524 research outputs found
The beau of Bath, and other one-act plays of eighteenth century life,
No full textFor contents, see Author Catalog.The beau of Bath.--The silver lining.--Ashes of roses.--Gretna Green.--Counsel retained.--The prince of court painters.For contents, see Author Catalog.Mode of access: Internet
Essai sur le beau /
No full textPublisher's announcements, [16] p. at end.Signatures: pi⁴(pi4+1) a-h⁸ i⁴(-i4) A-N⁸."Analyse de la notion du goût," p. [172]-192.Mode of access: Internet.Signature "Ramaggini" on front free endpaper, dated 1762. Slip written "Bibl. Stadl. 4" on front pastedown.Binding: red paper, half vellum. Author & title written at head of spine
Creighton University Window Fall 1998
No full textTHE ORDEAL OF PHILIP AND MARY ENGLISH / THE HUNTED
Dr. Bryan Le Beau, chair of the Department of History, is the author of a new book on the Salem witch trials (pictured at right). Inside this issue, Dr. Le Beau chronicles the a ordeal of two of the accused. See Page 4.
DANCES WITH STEEL: LITTLETON ALSTON'S 'TREE OF LIFE' SPROUTS ON CHICAGO'S NAVY PIER / DANCING WITH STEEL
A sculpture by Creighton's Littleton Alston, titled the "Tree of Life," takes root in Chicago. Read more about how the artist brought it to life, beginning on Page 12.
THEOLOGY IN THE PIT OF THE STOMACH : PURSUING CREIGHTON'S EDUCATIONAL MISSION IN THE DOMINICAN REPUBLIC / THEOLOGY IN THE PIT OF THE STOMACH
Roger Bergman, director of the Justice and Peace Studies Program, joined a group of Arts and Sciences students in the Dominican Republic this past spring as part of Creighton's Semestre Dominicano. What did they discover? Find out, starting on Page 16.
GOING STRONG AFTER 50 / STRENGTH TRAINING OVER 50
Dr. Thomas Baechle, chair of Creighton's Exercise Science Department, has a message for aging baby boomers: If you want to enjoy an active retirement, start strength training now. See story on Page 22.11
‘Mapping and analysing the impact of spatial data aggregation on urban heat vulnerability maps: A case study on Haarlem, the most petrified city in the Netherlands’
No full textIncreasing global temperatures are making the implementation of climate adaptation more crucial than ever before. This is due to the fact that urban areas, in which the majority of earth’s population resides, experience much higher temperatures than its surrounding areas. This phenomena is known as the Urban Heat Island (UHI) effect. Climate Services containing data on climate change and climate adaptation are used to indicate which areas are the most eligible for cooling strategies. This is done with support of vulnerability mapping. However, the way in which data is presented in these maps can affect the interpretation of data. Ultimately, this can affect decision making processes amongst stakeholders who are active in climate adaptive spatial planning. One of the problems that arises during conducting maps with data on climate change is the Modifiable Areal Unit Problem (MAUP). This is a statistical bias resulting in visual and statistical variations depending on the unit of analysis. Therefore, this research aims to create awareness of the effects of spatial data aggregation on vulnerability maps to the UHI effect. With support of multiple mapping scenarios and statistical analyses, the effects of spatial data aggregation are presented. The usability of the maps is assessed with support of semi-structured interviews with stakeholders in climate adaptive spatial planning. This research contributes to the current social and scientifical gaps on climate adaptation and vulnerability mapping.
Keywords: Urban Heat Island Effect (UHI), Climate Adaptation, Climate Services, Vulnerability Mapping, Modifiable Areal Unit Problem (MAUP), Spatial Data Aggregatio
L’erotisme dans Uwaoma et le beau monde d’Ifeoma Onyemelukwe
No full textL’érotisme c’est tout ce qui, à partir d’une représentation liée à la sexualité, provoque une excitation aussi bien émotionnelle et sensuelle que physique et mentale. Cette étude se donne la tâche d’examiner l’érotisme selon que nous la présente la célèbre écrivaine nigériane Ifeoma Mabel Onyemelukwe dans Uwaoma et le beau monde, un roman féministe africain postcolonial. Pour ce faire, nous nous appuyons sur la méthode descriptive. Nous constatons qu’Ifeoma Onyemelukwe a largement dépeint des scènes érotiques dans Uwaoma et le beau monde dont se distinguent deux catégories, à savoir, l’érotisme précédé de la pornographie et l’érotisme sans pornographie. Nous concluons grosso modo qu’Onyemelukwe figure parmi les nouveaux romanciers africains. Pourtant, en créant les effets de la beauté esthétique, elle se sert de cette technique pour épargner sa créativité littéraire de la grossièreté, de l’érotisme. Elle dénonce l’accouplement bestial dans son roman, ceci pour enseigner aux lecteurs, surtout les jeunes, qu’il faut se méfier de tel comportement car c’est une chose odieuse, grossière et immorale.English AbstractEroticism is, from the view point of representations linked to sexuality, all that causes emotional, sensual as well as physical and mental excitement. This study sets out to examine eroticism as presented by the famous Nigerian writer, Ifeoma Mabel Onyemelukwe in Uwaoma et le beau monde, a feminist African postcolonial novel. To achieve this, we rely on the descriptive method. We observe that the erotic scenes depicted by the author in Uwaoma et le beau monde are distinguished in two categories, namely, eroticism preceded by pornography and eroticism without pornography. We conclude roughly that Onyemelukwe figures among the new African novelists of our time. However, while creating the effects of cosmetic beauty, she uses this technique to save her literal creativity of vulgarity and eroticism. She denounces the beastly mating in the novel to educate her readers, especially the young people, of the need to be wary of such acts which she considers heinous, rude and immoral
Les répétitions contrariées. Sur Beau travail de Claire Denis
No full textBeau travail de Claire Denis fait partie des films qui nous invitent à les aborder sous l’angle de la répétition. Figure esthétique majeure des arts du xxe siècle, la répétition peut aussi être une forme discrète qui circule d’image en image. Parfois elle se cache et se déguise d’un plan à l’autre au sein d’un même film. Dans une approche analytique, l’auteure de cet article emploie la notion de « plan de consistance » présentée par Gilles Deleuze et Félix Guattari dans Mille plateaux (1980) pour proposer une étude figurative des formes de la répétition dans Beau travail. Deleuze et Guattari ont défini le « plan de consistance » comme un espace formel qui est simultanément un fond et un volume, une armature et une trame. Cet espace résiste dans la durée. En termes de cinéma, le plan de consistance d’un film est élaboré par l’articulation des plans, par la composition des cadres, par les mouvements qui animent l’espace ou les trajets qui le parcourent. Il constitue un repère visuel parfois fuyant, en mouvement mais repérable. L’analyse de Beau travail montre que les répétitions, loin de simplement construire des effets narratifs ou scéniques, participent de la mise en place d’un socle perceptif à la fois récurrent et variable, d’une trame visuelle reconnaissable et instable. L’auteure met ainsi au jour, dans l’économie figurative de ce film d’inspiration littéraire et musicale, l’élaboration de ce « plan de consistance » comme fond visible et invisible du montage filmique.Claire Denis’s Beau travail is one of those films which invite us to view them from the point of view of repetition. A major aesthetic device of the twentieth century, repetition can also be a discrete form circulating from image to image. Sometimes it hides and disguises itself from one shot to the next in the same film. Using an analytical approach, the author employs the concept “plane of immanence” proposed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus (1980) to engage in a figurative study of the kinds of repetition found in Beau travail. Deleuze and Guattari defined the “plane of immanence” as a formal space that is simultaneously a backdrop and a volume, a frame and a thread running through it. This space resists over time. In the cinema, the plane of immanence develops through the articulation of shots, the composition of the images and the movements that animate the space or the trajectories traversing it. It is a sometimes-receding visual bearing, in motion but locatable. The author’s analysis of Beau travail demonstrates that its repetitions, far from simply constructing narrative or theatrical effects, contribute to the establishment of a perceptive base at once recurring and variable, a visual thread that is recognizable and unstable. She thus brings to light, in the figurative economy of this film inspired by literature and music, the establishment of this “plane of immanence” as the visible and invisible backdrop to film editing
Les répétitions contrariées, Beau Travail de Claire Denis
No full textInternational audienceClaire Denis’s Beau travail is one of those films which invite us to view them from the point of view of repetition. A major aesthetic device of the twentieth century, repetition can also be a discrete form circulating from image to image. Sometimes it hides and disguises itself from one shot to the next in the same film. Using an analytical approach, the author employs the concept “plane of immanence” proposed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus (1980) to engage in a figurative study of the kinds of repetition found in Beau travail. Deleuze and Guattari defined the “plane of immanence” as a formal space that is simultaneously a backdrop and a volume, a frame and a thread running through it. This space resists over time. In the cinema, the plane of immanence develops through the articulation of shots, the composition of the images and the movements that animate the space or the trajectories traversing it. It is a sometimes-receding visual bearing, in motion but locatable. The author’s analysis of Beau travail demonstrates that its repetitions, far from simply constructing narrative or theatrical effects, contribute to the establishment of a perceptive base at once recurring and variable, a visual thread that is recognizable and unstable. She thus brings to light, in the figurative economy of this film inspired by literature and music, the establishment of this “plane of immanence” as the visible and invisible backdrop to film editing.Beau travail de Claire Denis fait partie des films qui nous invitent à les aborder sous l’angle de la répétition. Figure esthétique majeure des arts du xxe siècle, la répétition peut aussi être une forme discrète qui circule d’image en image. Parfois elle se cache et se déguise d’un plan à l’autre au sein d’un même film. Dans une approche analytique, l’auteure de cet article emploie la notion de « plan de consistance » présentée par Gilles Deleuze et Félix Guattari dans Mille plateaux (1980) pour proposer une étude figurative des formes de la répétition dans Beau travail. Deleuze et Guattari ont défini le « plan de consistance » comme un espace formel qui est simultanément un fond et un volume, une armature et une trame. Cet espace résiste dans la durée. En termes de cinéma, le plan de consistance d’un film est élaboré par l’articulation des plans, par la composition des cadres, par les mouvements qui animent l’espace ou les trajets qui le parcourent. Il constitue un repère visuel parfois fuyant, en mouvement mais repérable. L’analyse de Beau travail montre que les répétitions, loin de simplement construire des effets narratifs ou scéniques, participent de la mise en place d’un socle perceptif à la fois récurrent et variable, d’une trame visuelle reconnaissable et instable. L’auteure met ainsi au jour, dans l’économie figurative de ce film d’inspiration littéraire et musicale, l’élaboration de ce « plan de consistance » comme fond visible et invisible du montage filmique
Old Rosin the Beau
No full textMan discussing his death and the way in which people will remember himhttps://egrove.olemiss.edu/kgbsides_uk/1576/thumbnail.jp
Rosin the Beau
No full textA man plans out his death celebrationshttps://egrove.olemiss.edu/kgbsides_uk/2081/thumbnail.jp
- …
