590 research outputs found
Entretiens avec Marcelle Péry
No full textEntretiens avec Mme Marcelle Bernard Brunel épouse René Péry, auteur de la thèse « Étude sur le patois de Valbonnais », 1943 (http://sldr.org/sldr000005)
Review of Thomas Louis Tremblay, Journal de guerre (1915-1918) edited by Marcelle Cinq-Mars
No full textReview of Thomas Louis Tremblay, Journal de guerre (1915-1918), edited by Marcelle Cinq-Mar
Étude sur le patois de Valbonnais
No full textA lexical and morphologic description of Valbonnais dialect. A 319-page PhD dissertation under the direction of Prof. Antonin DURAFFOUR (Univ. Stendhal, Grenoble, France, 1943)Description lexicale et morphologique du patois de Valbonnais sous la forme d'un manuscrit de 319 pages.Thèse sous la direction du Prof. Antonin DURAFFOUR (Univ. Stendhal, Grenoble, 1943
Catalogue [Virgile Thomas éditeur (1876-1942)] : “Les succès de l’année” (17 titres [“Petits cadeaux” … “Le drapeau”]
No full textCatalogue Virgile Thomas éditeur, 67 Faubourg Saint-Denis, Paris : “Les succès de l’année” ; 17 titres [“Petits cadeaux” … “Le drapeau”] ; pas de mentions des auteurs ; artistes crédités : Joanyd, Salvator, Henriès, [Paul] Dalbret, Junka, D’amrémont, Nelly Borello, Marcelle Norny, [Paul] Nicolo et Jeanne Hesbly, Mansuelle) ; verso “Hardi !.. Petits français” chanson patriotique ; 1914. [notice mise à jour 27/07/2017
Catalogue [Virgile Thomas éditeur (1876-1942)] : “Les succès de l’année” (17 titres [“Petits cadeaux” … “Le drapeau”]
No full textCatalogue Virgile Thomas éditeur, 67 Faubourg Saint-Denis, Paris : “Les succès de l’année” ; 17 titres [“Petits cadeaux” … “Le drapeau”] ; pas de mentions des auteurs ; artistes crédités : Joanyd, Salvator, Henriès, [Paul] Dalbret, Junka, D’amrémont, Nelly Borello, Marcelle Norny, [Paul] Nicolo et Jeanne Hesbly, Mansuelle) ; verso “Hardi !.. Petits français” chanson patriotique ; 1914. [notice mise à jour 27/07/2017
Thomas J. Carrigan, Vivienne Osborne, Marcelle Carroll, Love\u27s Flame, 1920
No full textCaptain Donald Clay (Thomas J. Carrigan), Adele De Ronsard (Vivienne Osborne), Mme. Julia (Marcelle Carroll) and the housekeeper. Still photograph of scene in “Love’s Flame,” 1920. Plot: After his plane is shot down in flames, Capt. Clay, a young American aviator, is rescued by Frenchwoman Adele De Ronsard and taken to her family chateau. During his convalescence, Clay falls in love with Adele, who is caring for a small child whom Clay assumes is hers. Ordered to return to his squadron at the end of the war, Clay declares his love for Adele de Ronsard and finds his affection is returned. There is an awkward moment by the appearance of not one but two of Adele’s former suitors. The first, Maurice, she supposed dead in a military prison before she accepted the second, St. Gaudens. When they hear the crying of the child and jump to the conclusion that the child is Adele’s. Clay’s strong appeal to their sense of honor and fairness is overheard by Adele, confirming her judgment. She returns the rings of her former admirers, to their evident relief, and gives her hand to Clay. Clay asks Adele\u27s father, M. De Ronsard, for her hand in marriage. De Ronsard refuses to allow his daughter to marry a foreigner, and so Clay and Adele agree upon a ruse. They enter one of the bedrooms of the house together, and De Ronsard, believing that his daughter has been compromised, insists upon their wedding. After Adele\u27s sister confesses that she is the mother of the little war baby, Clay and Adele go away together. Carl Louis Gregory was director and cinematographer; Louis Reeves Harrison wrote the screenplay and story; produced and released by: Fidelity Pictures Company June 19, 1920. The cast featured Thomas Carrigan as Capt. Donald Clay); Vivienne Osborne as Adele De Ronsard; Cora Williams as Mathilde; Alexander Rene as Maurice; J. Albert Hall as St. Gaudens; Albert Roccardi as Monsieur Brisson; Marcelle Carroll as Mme. Julia; Reginald Barlow as Monsieur De Rosard; James Laffey as The Mayor.https://digitalcommons.chapman.edu/jonathan_silent_film/2399/thumbnail.jp
Thomas J. Carrigan, Marcelle Carroll, Vivienne Osborne, Love\u27s Flame, 1920
No full textCaptain Donald Clay (Thomas J. Carrigan) Mme. Julia (Marcelle Carroll), Adele De Ronsard (Vivienne Osborne), and the housekeeper. Still photograph of scene in “Love’s Flame,” 1920. Plot: After his plane is shot down in flames, Capt. Clay, a young American aviator, is rescued by Frenchwoman Adele De Ronsard and taken to her family chateau. During his convalescence, Clay falls in love with Adele, who is caring for a small child whom Clay assumes is hers. Ordered to return to his squadron at the end of the war, Clay declares his love for Adele de Ronsard and finds his affection is returned. There is an awkward moment by the appearance of not one but two of Adele’s former suitors. The first, Maurice, she supposed dead in a military prison before she accepted the second, St. Gaudens. When they hear the crying of the child and jump to the conclusion that the child is Adele’s. Clay’s strong appeal to their sense of honor and fairness is overheard by Adele, confirming her judgment. She returns the rings of her former admirers, to their evident relief, and gives her hand to Clay. Clay asks Adele\u27s father, M. De Ronsard, for her hand in marriage. De Ronsard refuses to allow his daughter to marry a foreigner, and so Clay and Adele agree upon a ruse. They enter one of the bedrooms of the house together, and De Ronsard, believing that his daughter has been compromised, insists upon their wedding. After Adele\u27s sister confesses that she is the mother of the little war baby, Clay and Adele go away together. Carl Louis Gregory was director and cinematographer; Louis Reeves Harrison wrote the screenplay and story; produced and released by: Fidelity Pictures Company June 19, 1920. The cast featured Thomas Carrigan as Capt. Donald Clay); Vivienne Osborne as Adele De Ronsard; Cora Williams as Mathilde; Alexander Rene as Maurice; J. Albert Hall as St. Gaudens; Albert Roccardi as Monsieur Brisson; Marcelle Carroll as Mme. Julia; Reginald Barlow as Monsieur De Rosard; James Laffey as The Mayor.https://digitalcommons.chapman.edu/jonathan_silent_film/2400/thumbnail.jp
WTO, agriculture, and developing countries
No full textThe objective of this paper is to present a survey of trade issues in agriculture from the perspective of developing countries. Developing countries are a large percentage of the World Trade Organization (WTO) membership, and agriculture is critical for their economic growth, poverty alleviation, food security, and environmental sustainability. First, this paper identifies trends in production, consumption, and trade of food and agriculture over the last decades. Some of the significant developments include the emergence of oilseeds and fruits and vegetables as the main exports from developing countries, replacing traditional exports such as sugar, coffee and cocoa. The trends also show a worsening of developing countries' net trade position due in part to income growth and population pressures, but also to economic policies in general, and trade policies in particular, both in developing and industrialized countries. Second, this paper focuses on some of the main development issues linked to the WTO agricultural negotiations. The objective is to align the different legal components and subcomponents of the negotiations under the Agreement on Agriculture, with developing countries' final objectives of sustainable economic growth, poverty alleviation, and food security. This paper concludes that the problems for developing countries are not legal constraints under the AoA, but the lack of financial and human resources and institutional capabilities. To link negotiations to their development goals, developing countries must consider the issue of funding. Finally, developing countries, most of which have embarked in unilateral liberalization over the last decade, should ask that the higher levels of protection in industrialized countries be reduced first.TMD ,
Poetry & Magic - Celebrating Anita Seppilli
No full textThis exhibition explores the themes of Poetry & Magic, as analysed by Anita Seppilli, in the context of today’s London and through the works of four contemporary artists: Stephen Chambers RA, Marcelle Hanselaar, Junko Theresa Mikuriya and Ana Maria Pacheco. The paintings by Chambers exhibited here are respectful interpretations of enigmatic and prophetic prints by William Blake. In Hanselaar’s etchings of Rebel Women of the Apocrypha we encounter powerful and magical female figures like Lilith, Sheba and the Witch of Endor. Mikuriya’s surrealist-inspired photographs, created especially for this show, pursued William Blake through the streets of London. Finally, Pacheco’s haunting drypoints draw on her Brazilian culture and mythical imagery to evoke dark moods and events
Vision chromatique et gestualité : le concept de transparence dans les oeuvres de Marcelle Ferron
No full textCe mémoire porte sur la place et l'importance de la transparence dans les œuvres de Marcelle Ferron. Signataire de Refus global, l'artiste originaire de Louiseville (Québec) s'est d'emblée exprimée par la peinture et ce, durant plusieurs années. À son retour de France en 1966 – elle a passé treize années de sa vie en dehors du Canada - elle s'est davantage intéressée au travail du verre, en cela initiée en France par le verrier Michel Blum. Elle ira même jusqu'à se consacrer exclusivement à ce médium durant quelques années. Notre propos est d'explorer les diverses formes de gestualité de l'artiste afin de comprendre comment ces espaces habillés de couleur et de lumière s'inscrivent peu à peu, puis exhaustivement, dans la production de Marcelle Ferron, avant que celle-ci ne revienne à la peinture. Quelles ont été les prémices de la transparence dans ses œuvres précédant les verrières? Comment s'est-elle ensuite passionnée pour le travail du verre? Enfin, nous nous intéressons plus spécifiquement à ce qui est considéré comme son œuvre majeure en matière de vitrail : la verrière de la station de métro Champ-de-Mars, à Montréal. Nous analysons préalablement les liens entre les idéaux développés dans le manifeste automatiste Refus global et la dimension utopique de l'engagement artistique et politique de Marcelle Ferron, notamment dans son passage à l'art public. Nous nous référons principalement à l'humaniste anglais Thomas More ainsi qu'à l'auteur allemand Paul Scheerbart de manière à appréhender la dimension utopique dans les œuvres de verre de Ferron. Dans un second temps nous appuyons notre réflexion sur les approches théoriques de Marc Augé, ethnologue et anthropologue français qui s'est beaucoup intéressé à la question du non-lieu, ce lieu non anthropologique, non marqué par l'humain- définition à laquelle répondent plusieurs lieux publics, en particulier le métro. Cela nous permet de saisir comment des œuvres telles que les verrières de Marcelle Ferron peuvent redéfinir les non-lieux en habitant l'espace public (parfois le plus impersonnel, voire éprouvant, comme un palais de justice, un hôpital ou un métro). Enfin nous investiguons l'histoire du verre et essayons de comprendre la portée tant technique qu'artistique de la verrière de la station de métro Champ-de-Mars. Ces observations nous mènent aux tout derniers travaux de réfection et transformation de la station et à la problématique de la conservation d'une telle œuvre d'art public.
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MOTS-CLÉS DE L’AUTEUR : Marcelle Ferron, Refus global, vitrail, utopie, lumière, transparence, verrière, non-lieu, verre, art public, Champ-de-Mar
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