Même s'ils sont de bonne foi, ces imams ne peuvent qu'accentuer le communautarisme en France, et travailler à contresens de l'intégration, car la plupart ne sont pas français.
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Ainsi, naturalistes peu rigoureux, flâneurs myopes, créationnistes et touristes portés vers la rêverie interagissent régulièrement avec des ptérosaures, diffusant à cette occasion des témoignages de plus ou moins bonne foi et quelques vidéos de moindre qualité.
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Les Acteurs de bonne foi is a comedy in one act and in prose written by French playwright Pierre de Marivaux and performed for the first time on October 30, 1749. Les Acteurs de bonne foi was produced by the Comédie-Française but was not a success. Marivaux published it in the Conservateur journal in November 1757. The play is built on the dialogue the author established with the reader through the mise en abyme device.
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Vengeance was one of two frigates built to Pierre Degay's design of 1793, initially ordered as Bonne Foi, and launched on 8 November 1794. She was a member of one of the larger classes of frigate, armed with 24-pounders.
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Other references suggest that Pictou was originally a privateer by the name of Bonne Foi. Again, there is no record in the London Gazette of a capture of a privateer with that name. Admiralty records show that in October 1813 Admiral Sir John Warren, commander-in-chief of the Royal Navy's North American station, purchased Syron and renamed her Pictou. Lieutenant Edward Stephens commissioned her.
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In effect, the text features interviews with the actors, discussion about the possibilities of staging, and lines from a play that is to be performed. Les Acteurs de bonne foi, is the last play Marivaux had performed in a large theatre, it is a hybrid text where comedy quickly leads to confusion between reality and the play, with the mise en abyme highlighting the importance of dramatic illusion.
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In 1985, Adrien founded the L'Atelier de Recherche et de Réalisation Théâtrale.ARRT La Tempete website. In the 1980s and 1990s, Adrien directed the works of authors including Shakespeare (Hamlet, then Le Roi Lear), Marivaux (Les Acteurs de bonne foi and La Méprise), Claudel (L’Annonce faite à Marie), Brecht (La Noce chez les petits bourgeois), Beckett (En attendant Godot), Vitrac (Victor ou les enfants au pouvoir), Gombrowicz (Yvonne, princesse de Bourgogne), Copi (L’Homosexuel ou la difficulté de s'exprimerCulture Next Liberation website 6 February 1997.), and Armando Llamas (Meurtres de la princesse juive). In 1993, Adrien directed Samuel Beckett's Waiting for Godot at the Théâtre de la Tempête.
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In childhood, he developed a great admiration for the work of the ancient Greek writer Plutarch. Despite the scantiness of Vauvenargues's oeuvre, it has attracted considerable interest. A century after his death, Schopenhauer favorably quoted several of Vauvenargues sayings, including: "la clarté est la bonne foi des philosophes" [clarity is the good faith of philosophers], from Reflections and Maxims, 729], and: "personne n'est sujet a plus de fautes que ceux qui n'agissent que par reflexion" [none are so prone to make mistakes as those who act only on reflection]. The chief distinction between Vauvenargues and his predecessor François de La Rochefoucauld is that Vauvenargues thinks nobly of man, and is altogether inclined rather to the Stoic than to the Epicurean theory.
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On a spiritual level, Nasta developed a set of beliefs based on his lifelong experiences treating patients and on the inspiration that he drew from the writings of two of his favorite authors: Michel de Montaigne and Sir Thomas Browne. Faith, hope and charity, as described in Browne's Religio Medici, defined Nasta's attitude towards his patients. Michel de Montaigne's goal, as stated in his "Essays", of describing himself with utter frankness and honesty ("bonne foi") guided Nasta in his continuous quest for self-improvement and in his desire for living "with a purpose".see Mihai Nasta's article on the personality of his father in the article "Bonum certamen" in "Marius Nasta – Centenary of his birth – record of lectures held during the commemorative meeting at the Marius Nasta Institute of Pneumophthisiology", pgs.
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Montaigne's stated goal in his book is to describe himself with utter frankness and honesty ("bonne foi"). The insight into human nature provided by his essays, for which they are so widely read, is merely a by- product of his introspection. Though the implications of his essays were profound and far-reaching, he did not intend or suspect that his work would garner much attention outside of his inner circle, prefacing his essays with, "I am myself the matter of this book; you would be unreasonable to suspend your leisure on so frivolous and vain a subject." Montaigne's essay topics spanned the entire spectrum of the profound to the trivial, with titles ranging from "Of Sadness and Sorrow" and "Of Conscience" to "Of Smells" and "Of Posting" (referring to posting letters).
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