Cahiers also found room in its top 10 for the first season of 202017 in 2002.
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It's not exactly Cahiers du Cinéma, but Kim Jong-il's how-to book actually, well, makes sense.
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Référence oblige à la Révolution française de 1789, de nombreuses municipalités ont collecté des Cahiers de doléances.
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Like the young Scorsese and his friends, the Cahiers du Cinéma critics who became directors, championed those films.
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The author of several books, he is also the editor of the illustrated biannual journal Les Cahiers Dessinés.
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One poignant intervention is the collaged map drawn by Mathieu Pernot on school notebooks ("Les cahiers afghans," 2012).
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Among the earliest photographs of Cahiers d'Art's collection are ones Picasso himself took of his sculpture studio in Boisgeloup.
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Picasso: In the Studio continues at Cahiers d'Art (14-15 Rue du Dragon, 6th arrondissement, Paris) through April 9.
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Which, OK, this could be just the straight-outta-Cahiers du Cinéma academic theorizing that Besson says he ignores.
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In an inevitable reference to the French Revolution of 1789, local authorities collected "cahiers de doléances," books of grievances.
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The most noteworthy film of 2017 for Cahiers du Cinema was, in fact, a series: David Lynch's "Twin Peaks: The Return".
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Some years later, the French film journal Cahiers du Cinéma subjected "Young Mr. Lincoln" to an extensive semiotic cum ideological analysis.
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Artists Doug Aitken and Jordan Wolfson discuss art's intrinsic humanity with Moderna Museet's Daniel Birnbaum, Harper's Bazaar's Laura Brown, and Cahiers d'Art's Staffan Ahrenberg.
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In the early 1980s, she spoke about being omitted from history books and from special issues of Cahiers du Cinéma dedicated to French cinema.
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Borowczyk (pronounced bo-ROV-chik) was featured on the cover of Cahiers du Cinéma and interviewed by the journal's editor at that time, Jacques Rivette.
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At a time when Cahiers du Cinéma devoted an entire issue to the Ruiz oeuvre, his films were nearly impossible to see in New York.
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Of course the New Wave movement was started by the men of Cahiers du Cinema, who met and discussed film all day in the coffee shops.
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When I was younger, I discovered Sanborns, a big magazine store filled with French and Italian Vogue, Artforum, Cahiers du Cinéma, i-D, The Face, etc.
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Dora — a diminutive nom de plume based on her middle name, Théodora — did more than photograph the various stages of "Guernica" for Christian Zervos's art journal Cahiers d'art.
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They then joined the staff of Cahiers du Cinéma, where they fell in with a like-minded group of passionate cinephiles including Mr. Truffaut, Mr. Godard and Claude Chabrol.
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That year he also oversaw the publication of the first volume of the catalogue of his work and the special issue devoted to it by Christian Zervos's journal Cahiers d'Art.
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Born in the 1950s, Assayas started his career writing criticism for Cahiers du Cinéma, that incubator of the New Wave, in 1980, before making his debut feature, Disorder, in 1986.
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It's as if Assayas wants to tease the viewer who may expect something "typical"—whether that's an upscale French drama, a more Cahiers-worthy experiment, or a Hollywood-style thriller.
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Now brought to the public's eye, these images, along with the others amassed by Cahiers d'Art, highlight the efforts behind these works and suggest the time over which they were made.
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Both the UK's Sight & Sound and France's Cahiers du Cinema, which have reputations as being among the most intellectually rigorous film journals, placed Twin Peaks: The Return within their top two.
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With contributors like the psychologist and cultural scholar Rudolf Arnheim, Mr. Sarris and, later, Mr. Bogdanovich, Film Culture established itself as an answer to the seminal French journal Cahiers du Cinéma.
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"I really love what Rei Kawakubo created with SIX Magazine — it's sort of journalistic — very inspiring," she says, citing Cahiers d'Art, Lapham's Quarterly, ACNE Paper and Visionaire as other sources of inspiration.
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He was never as famous as friends Jean-Luc Godard and François Truffaut, with whom he revolutionized cinema first as a critic for the legendary Cahiers du Cinéma and then as a filmmaker.
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"At this time Japanese cinema, above all that of the major studios, was a predominantly industrial, commercial cinema, against which we fought violently," Yoshida said in an interview with Cahiers du Cinéma in 1970.
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" Advertise on Hyperallergic with Nectar Ads Interviewing Robert Bresson for Cahiers du cinema in 1960, Jacques Doniol-Valcroze and Jean-Luc Godard proposed that there is "a single, privileged theme that returns in all your films.
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"I was a Marxist with all the love, all the passion and all the despair one can expect from a bourgeois who chooses Marxism," he said in a 21990 interview with the magazine Cahiers du Cinéma.
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These included Mr. Truffaut, Mr. Godard, Claude Chabrol and Éric Rohmer, all of whom had gotten their start at the critic André Bazin's magazine Cahiers du Cinema, and who became known as the Right Bank group.
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By 2006, Godard was already far removed from his origins as a critic for André Bazin's film journal, Cahiers du cinéma, and as a French New Wave auteur, known for breakthrough films like Breathless (1960) and Contempt (1963).
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The son of the French screenwriter Jacques Rémy, Assayas got his start directing short films and writing for the influential Cahiers du Cinéma—the same magazine that fostered the vision of directors like Jean-Luc Godard and François Truffaut.
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Like Truffaut and Godard, Mr. Assayas turned from critic to filmmaker after a stint with Cahiers du Cinéma; the French-Hungarian actor Laszlo Szabo, a frequent supporting player in New Wave films, has a scene here as Gilles's father.
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An engrossing book assembles hundreds of covers from independent cinema publications — some as ambitious as Cahiers du Cinéma but most as dishy as Confidential — that emerged in movie-loving China between the 1920s and the first years of Communism.
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We learn that Tom Hulce's portrayal of Mozart as a divinely gifted fidget, in "Amadeus" (1984), was inspired by McEnroe, and tribute is paid to Serge Daney, who was both a critic for Cahiers du Cinéma and a tennis aficionado.
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The black-and-white photographs, taken in the 1940s and '50s by different photographers, are being exhibited by Cahiers d'Art, the gallery of the eponymous art magazine, in the exhibition Picasso: In the Studio as well as in the publication's latest issue.
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They were directly inspired by the sculpture of the Dan people of West Africa, and many other works here, including a 1929 drawing of Oceanic statues he copied from the magazine Cahiers d'Art, express Giacometti's lifelong admiration for nonwestern sculpture (in the aestheticized, ahistoric manner common to the 1920s avant-garde).
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Thus at last month's Symposium Stockholm, a two-day conference devoted to new ideas, new technologies, and the people bringing them to life, he was the perfect speaker, both on his own and in a panel discussion with Laura Brown of Harper's Bazaar, Daniel Birnbaum of Moderna Museet, artist Jordan Wolfson, and Staffan Ahrenberg of Cahiers d'Art.
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She earned the moniker of "the Grandmother of the French New Wave," even though Varda wasn't really a part of the group of filmmakers associated with the magazine, Cahiers du Cinéma, like Jean-Luc Godard, François Truffaut, and Éric Rohmer, but rather Alain Resnais, Jacques Demy (Varda's dearly departed husband), and Chris Marker, collectively known as "the Left Bank" group.
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But that cuts both ways: Were I to turn in a hybrid list of my favorite "screen things" of 2017, it would have movies and TV shows, as well as the 45-second video of the bus blocking the demolition of the Georgia Dome, but it probably wouldn't have some of the more obscure film releases favored by many Cahiers or Sight & Sound voters.
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3rd (in 1985) – Cahiers du Cinéma"Cahiers du Cinéma/ Top Ten Lists 1951–2009 -> 1985". alumnus.caltech.edu. Retrieved 2010-06-13.
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Many of the cahiers of the Third Estate were composed using models sent from Paris, and it is probable that cahiers from poorer villages were constrained in expressing their grievances."Cahiers De Doléances." The French Revolution: A Document Collection. Ed. Laura Mason and Tracey Rizzo.
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Todrani published poetry in Les Cahiers du Sud, a literary review based in Marseille, from 1948 to 1966. He also published poetry in Cahiers GLM, another literary review. Todrani was the founder of Manteia, a literary journal.
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Top Ten Lists: 1951-2009 . Cahiers du Cinema. Retrieved 2011-10-22.
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The Cahiers also contain the first drafts of many aphorisms he later included in his books. To date, the Cahiers have been published in their entirety only as photostatic reproductions, and only since 1980 have they begun to receive scholarly scrutiny. The Cahiers have been translated into English in five volumes published by Peter Lang with the title Cahiers/Notebooks. In recent decades Valéry's thought has been considered a touchstone in the field of constructivist epistemology, as noted, for instance, by Jean-Louis Le Moigne in his description of constructivist history.
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Five Cahiers (yearbooks) were published between 1932 and 1936 entitled Abstraction-création: Art non- figuratif; a reprint edition of the Cahiers was published by the Arno Press, New York in 1968. Art exhibitions were also held throughout Europe.
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Cahiers d'ethnomusicologie. Anciennement Cahiers de musiques traditionnelles, (14), pp.290-299. She was trained in Kathak by her mother, Asha Joglekar, a Kathak danseuse and instructor. In 1963, her mother founded a dance school in Mumbai called Archana Nrityalaya.
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Un sobriquet du pays de Bitche in Les Cahiers Lorrains, n°3, 1960.
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"The Right Place" (in French). Cahiers du cinéma (n377).Holleran, Scott (October 12, 2004).
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French film magazine Cahiers du cinéma placed it as the third best film of 2012.
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Wolfgang Paalen, Le plus ancien visage du Nouveau Monde, in: Cahiers d´Art, Paris 1952.
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Canadian Woman Studies/Les Cahiers de la Femme. 2002 Spring-Summer; 22(1):169-177.
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Les Cahiers. La Societe hitorique acadienne. Vol. 42, No. 2. June 2011. pp. 99-100.
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L'Herne is a French independent publishing house, known worldwide for its collection Cahiers de L'Herne.
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Cahiers d'Art is a French artistic and literary journal founded in 1926 by Christian Zervos. Cahiers d'Art is also an eponymous publishing house which has published many monographs on artists living in France in the first half of the twentieth century. Publications include the definitive catalogue of works by Pablo Picasso, Pablo Picasso par Christian Zervos, in 33 volumes, with over 16,000 images. Cahiers d'Art carries no advertising and is published on an irregular schedule.
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Pre-Deportation Letters from Ile Saint Jean. Les Cahiers. La Societe hitorique acadienne. Vol. 42, No2.
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In January 1912 the journal of Cercle Proudhon was first published, entitled Cahiers du cercle Proudhon.
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July–August 1988. pp. 36-38.Strauss, Frédéric. "Reflet dans un œil mort". Cahiers du cinéma (411).
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"Pre-Deportation Letters from Ile Saint Jean". Les Cahiers. La Societe historique acadienne. Vol. 42, No. 2.
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Malausa, Vincent. "Pays noir, amour fou (Ray & Liz de Richard Billingham)". Les Cahiers du Cinéma. April 2019.
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After several financial failures, the directors wanted better publicity, with Cahiers an "instrument of combat" of the New Wave. Rohmer profiled New Wave filmmakers in the December 1962 issue before his June 1963 resignation, when Rivette became his successor. Rohmer later said that the pressure to leave Cahiers was the best thing that ever happened to him as a film director. Under Rivette's leadership, Cahiers changed from a nonpolitical film magazine to a Marxist journal examining the relationship between politics and modern culture.
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Her doctoral thesis published in 1933 as Répertoire critique des cahiers de doléances pour les Etats-généreaux de 1789. Hyslop was awarded her Ph.D. the next year and she published French Nationalism in 1789 According to the General Cahiers. She also returned to the United States that year and taught at a private school for a year before she was hired as a history instructor at Hunter College in 1936. That same year she published A Guide to the General Cahiers.
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Cahiers Leon Trotsky, February 1998 The latter of the two parties came to be known as 'RCPI (Tagore)'.
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Suzanne Liandrat-Guigues & Jean-Louis Leutrat, Alain Resnais: liaisons secrètes, accords vagabonds. (Paris: Cahiers du Cinéma, 2006). p. 234. The mural was "The American Forest" by the American artist and environmentalist Alan Sonfist.Suzanne Liandrat-Guigues & Jean-Louis Leutrat, Alain Resnais: liaisons secrètes, accords vagabonds. (Paris: Cahiers du Cinéma, 2006). p. 106.
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Cahiers intempestifs is a French publishing house of books on the visual arts, including contemporary art and graphic arts.
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The borderlands, 1777-1796]. In: Cahiers du monde russe et soviétique. Vol. 24 No. 4. October–December, 1983. p. 422.
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"Quadrige", 2003. \- De l’amour (On love). Pensées trouvées dans un vieux cahier de dessin, Les cahiers de l’Égaré, 2003; rééd.
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Marie-Monique Robin, Escadrons de la mort, l'école française, 453 pages. La Découverte (15 Sep 2004). Collection : Cahiers libres. () Transl.
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He has collaborated with the magazines Tel Quel, Communications, Information sur les sciences sociales, Littérature, Critique, and Cahiers du Cinéma.
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These self-help books aim at helping people achieve mental and physical wellbeing. The series includes titles such as: Petit cahiers d’exercices pour se faire des amis et développerses relations (Small exercise book to make friends and develop your relations), Petit cahiers d’exercices de simplicitéheureuse (Small exercise book to live in happy simplicity); etc.
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Valéry's most striking achievement is perhaps his monumental intellectual diary, called the Cahiers (Notebooks). Early every morning of his adult life, he contributed something to the Cahiers, prompting him to write: "Having dedicated those hours to the life of the mind, I thereby earn the right to be stupid for the rest of the day." The subjects of his Cahiers entries often were, surprisingly, reflections on science and mathematics. In fact, arcane topics in these domains appear to have commanded far more of his considered attention than his celebrated poetry.
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In the 1970s, he wrote a poetic text inspired by the video film Herman Dances Alone. In 1975, his poem inspired by Straub-Huillet's film "Moses und Aron" was published in the journal Cahiers du Cinéma. This poem was translated from German to French by Jean-Marie Straub, and appeared in the Cahiers in both languages, accompanied by the commentary "Il comble à peu tous mes espoirs quant au film" ("It encompasses nearly all my hopes with regard to the film")See: Cahiers du Cinéma, n. 258-259 (juillet-août 1975), p. 24.
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He is the editor of the Jewish music journal Musica Judaica and regularly contributes to the French journal Cahiers Maurice Ravel.
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Letourneau married Marie Coulombe, sister of pianist Clotilde Coulombe.Dix. Les Cahiers des Dix. Vol. Issue 61. Les Dix; 2008. p. 159.
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Les Cahiers de la BDIC, n°7. " CARTONS VERTS " BALKANS In 1919–1921, Pozzi was the mayor of Soisy-sous-Montmorency.
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Inanna is the publisher for Canadian Woman Studies/Les Cahiers de la Femme, which is one of Canada’s oldest feminist journals.
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The GNR's existence was at first restricted to the Cahiers européens, a magazine launched in the frame of the New European Order, a neo-fascist Europe-wide alliance. Mark Fredriksen, leader of the Fédération d'action nationale et européenne (FANE), who was breaking with the New European Order, became co- director of the Cahiers européens-Notre Europe until May 1975.
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Alain Paire, Chronique des Cahiers du Sud, 1914-1966, 1993 Other contributors included Gabriel Audisio, René Nelli, Simone Weil, Benjamin Fondane, Marguerite Yourcenar, Walter Benjamin and Paul Valéry.Luisa Passerini, The Liquid Europe of the Cahiers du Sud . Retrieved 23 April 2012 In 1945 Ballard drew up a new editorial board with Jean Tortel and Pierre Guerre.
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Cécile Defaut, 2008. \- Heidegger par gros temps, préface de Philippe Granarolo, Les Cahiers de l’Égaré, 2004. Traduit en espagnol. \- Avec des "si".
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Jean Rouch: Cinéma Et Anthropologie. Institut National de l’Audiovisuel. Paris: Cahiers Du Cinéma, 2009. The editing decisions themselves also proved quite controversial.
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Mohamed Raafat Abbas, “The Town of Yenoam in the Ramesside War Scenes and Texts of Karnak”, Cahiers de Karnak 16 (2017), 329–341.
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G. ROCHETBAU. PIONNIERS MOURIDES AU SÉNÉGAL: COLONISATION DES TERRES NEUVES ET TRANSFORMATIONS D'UNE ÉCONOMIE PAYSANNE. in the Cahiers ORSTOM, sér. Sci. Hum, vol.
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By this means the Estates General furnished the material for numerous ordonnances, though the king did not always adopt the propositions contained in the cahiers, and often modified them in forming them into an ordonnance. These latter were the ordonnances de reforme (reforming ordinances), treating of the most varied subjects, according to the demands of the cahiers. They were not, however, for the most part very well observed. The last of the type was the grande ordonnance of 1629 (Code Michau), drawn up in accordance with the cahiers of 1614 and with the observations of various assemblies of notables that followed them.
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In 2001, she began studying at the Conservatory of Dramatic Arts in Paris, but left in 2003 and began writing reviews for French film magazine Cahiers du cinéma until 2005, a job that fueled her desire to make films. "What I wanted [as a Cahiers critic] was to build little-by-little a cinematic train of thought," she has said. Hansen-Løve says she is not nostalgic about her time at Cahiers du cinéma, however useful it was, and that she experienced misogyny there. Meanwhile, she directed several shorts, including Contre-coup (2005), starring Louis Garrel and Lolita Chammah.
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Cf.: F. René Perron, "De Germain Doucet à Jacob Bourgeois", Société historique acadienne, Cahiers, Vol. 23, No. 1 (October–December 1991) and "Bourgeois et Doucet : à Bassevelle, des suites surprenantes", Société historique acadienne, Cahiers, Vol. 23, No. 1 (January–March 1992), pp. 27-46. (most likely Coubron northeast of Paris, France) was a French commander in the French colony of Acadia.
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It was ranked the best film of 2005 in the Village Voice Film Poll.> take 7 film critics' poll, Village Voice Empire named the film the 448th-greatest film of all time. The French film magazine Cahiers du cinéma ranked the film as 5th place in its list of best films of the decade 2000–2009.Cahiers du cinéma #652, january 2010.
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Arabofrancophonie, Les Cahiers de la francophonie, 10, 199-212. IBLV (2014). Official Website of IBLV. or in French high schools as an optional language.
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The film was awarded the FIPRESCI Prize at the festival. Cahiers du Cinema hailed the film as "the most poetic film this year in Venice".
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Zaâma d'Banlieue's main territory in Lyon's suburbs was in Croix-Rousse.L'Association de la Nouvelle Génération Immigrée. 1984. “Les Cahiers de la Nouvelle Génération”. édition 1.
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Cahiers archéologiques. Fin de l'antiquité et moyen-âge vol. 49 (2001) p. 15-28 The panel is currently in the Cabinet des Médailles of Paris.
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In : Besse, M., Stahl Gretsch, L.-I., Curdy, Ph. (eds.), ConstellaSion : Hommage à Alain Gallay. Lausanne : Cahiers d’archéologie romande 94, 353-374.Mayor, A. 2011.
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See Julien Théry-Astruc, "Introduction", in Innocent III et le Midi (Cahiers de Fanjeaux, 50), Toulouse, Privat, 2015, pp. 11–35, at pp. 13–14.
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The Cahiers antispécistes ("Antispeciesist notebooks"), originally called Cahiers antispécistes lyonnais ("Lyons antispeciesist notebooks"), was a French-language journal published from 1991 to 2019, with the aim of disseminating antispeciesist ideas and stimulating debate on animal ethics, particularly on the distinction between animal liberation and ecology. It was published quarterly during its first years of existence, then annually. Issue 43, the last issue, was released in August 2019.
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La Révolution antispéciste, a selection of twelve texts from Cahiers antispécistes, published by the Presses Universitaires de France in 2018, constitutes according to the philosopher and author of the preface Renan Larue, "a way of doing justice" to the writers and editors of Cahiers Antispécistes, whose work has for 30 years been "thought on the margins of academia" and have "often encountered complete indifference".
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Pascal Kané (January 21, 1946 – August 31, 2020)Hommage à Pascal Kané was a French film director and screenwriter. He studied in Paris before joining the editorial staff of Cahiers du Cinéma from 1969 to 1979. He left Cahiers du Cinéma to concentrate on directing. In addition to numerous documentaries he has directed feature films including Dora et la lanterne magique, Liberty belle and Un jeu d’enfant.
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Positif is a French film magazine, founded in 1952 by Bernard Chardère in Lyon. It is one of two major French-language film magazines, created several months after Les Cahiers du cinéma. The magazine is headquartered in Paris and is published monthly. Traditionally, Positif has served as a counterpoint to Les Cahiers du cinéma, focusing on film themes and scripts, in contrast to politics and aesthetics.
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Le Calvaire is a largely autobiographical novel, in which Mirbeau romanticizes his devastating affair with a woman of dubious morals, Judith Vinmer, who appears as "Juliette Roux" in the novel.Jean-Michel Guignon, « Aux sources du Calvaire - Qui était Judith/Juliette ? » , Cahiers Octave Mirbeau, n° 20, 2013, p. 145-152. See also Owen Morgan, « Judith Vimmer / Juliette Roux », Cahiers Octave Mirbeau, n° 17, 2010, p. 173-175.
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Keith Uhlich of Time Out New York named The Strange Case of Angelica the sixth-best film of 2010, calling it "the greatest man-falls- in-love-with-a-ghost story ever directed by a 101-year-old." In France, Cahiers du Cinéma listed it as the second-best film of 2011. Cahiers later named The Strange Case of Angelica the tenth-best film of the 2010s.
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Paul Courcoural, "Léon de Montesquiou. II", in Action Française, September 28, 1943, p. 3Catherine Durandin, "Ulysse et les Roumains", in Cahiers Balkaniques, Vol. 42, 2014, p.
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Ornea, pp. 423–424; Traian Sandu, "À régime nouveau, Panthéon littéraire nouveau. Écrire l'histoire d'une littérature légionnaire à venir", in Cahiers de la Nouvelle Europe, Vol.
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Cahiers du Monde russe 45, No. 1/2 (2004), pp. 31–59. In return supplies needed in Eastern Siberia, including salt and rice, would be purchased.
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Three of his movies, namely The Village, Lady in the Water and Split, have been chosen in the Annual Top 10 Lists of Cahiers du Cinéma.
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Athènes, 2006. \- Kim Grant, "Cahiers d'Art and the Evolution of Modernist Painting", The Journal of Modern Periodical Studies, v. 1, n. 2, 2010, pp. 216–227.
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Marel, Henri. « Germinal et Les Houilleurs de Polignies », Cahiers de l’U.E.R. Froissart (Valenciennes), no 5, automne 1980, pp. 113–126. He died, aged 75, in Paris.
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In: Cahiers du monde russe et soviétique. Vol. 24 No. 4. October–December, 1983. pp. 420-422. although this area had been part of its migratory territory.
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Cemetery of Splendour was ranked 5th in the Sight & Sound 20 best films of 2015, and 2nd in the Cahiers du Cinema 's 2015 Top Ten chart.
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71–111; K. Kroeper, "Shape+Matrix=Workshop. Ceramic from Minshat Abu Omar," Cahiers de la Céramique Égyptienne 3 (1992) pp. 23-–1; J. Riederer, "The microscopic analysis of calcite tempered pottery from Minshat Abu Omar," Cahiers de la Céramique Égyptienne 3 (1992) pp. 33–37; C. A. Redmount & M. E. Morgenstein, "Major and trace element analysis of modern Egyptian pottery," Journal of Archaeological Science 23 (1996) pp. 741–762.
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The corresponding "right bank" group is constituted of the more famous and financially successful New Wave directors associated with Cahiers du cinéma (Claude Chabrol, François Truffaut, and Jean-Luc Godard). Unlike the Cahiers group, Left Bank directors were older and less movie-crazed. They tended to see cinema akin to other arts, such as literature. However, they were similar to the New Wave directors in that they practiced cinematic modernism.
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The film journals Sight & Sound and Cahiers du cinéma named The Return the second-best and best "film" of the year respectively, sparking discussion about the artistic difference, if any, between theatrical film and TV series in the era of streaming. In December 2019, Vulture critics named The Return the best television series of the 2010s, while Cahiers du cinéma named it the best film of the decade.
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Stephen Codman canadianencyclopedia.ca. Retrieved 18 January 2018.Bibliographical Society of Canada. Papers of the Bibliographical Society of Canada: Cahiers de la Société Bibliographique Du Canada. Vol. 12-16.
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Scott DeLancey (2015)DeLancey, Scott. 2015. "Morphological Evidence for a Central Branch of Trans-Himalayan (Sino- Tibetan)." Cahiers de linguistique - Asie oriental 44(2):122-149. December 2015.
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Scott DeLancey (2015)DeLancey, Scott. 2015. "Morphological Evidence for a Central Branch of Trans-Himalayan (Sino-Tibetan)." Cahiers de linguistique - Asie oriental 44(2):122-149. December 2015.
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Jean-Christophe Averty was appointed Satrap in 1990. Publications of the college, generally called ("green candle"),Hugill 2012, p.123. include the Cahiers, Dossiers and the Subsidia Pataphysica.
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Staffan Ahrenberg (born 27 September 1957, in Stockholm) is a Swedish art collector, entrepreneur, film producer, and the owner and publisher of the French publishing house Cahiers d'art.
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Gabrielle Claes, Livio Belloi, Toto et sa soeur en bombe à Bruxelles in Les Cahiers du Muet, Cinémathèque Royale de Belgique, Musée du cinéma, 1995, pp. 4-5.
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Scott DeLancey (2015)DeLancey, Scott. 2015. "Morphological Evidence for a Central Branch of Trans-Himalayan (Sino-Tibetan)." Cahiers de linguistique - Asie oriental 44(2):122-149. December 2015.
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The show and Filipacchi himself played an important role in the formation of a 1960s youth culture in France. Filipacchi acquired the venerable Cahiers du cinéma in 1964. Cahiers was in serious financial trouble and its owners convinced Filipacchi to buy a majority share in order to save it from ruin. Filipacchi hired a number of his own people and redesigned the journal to look more modern, zippy, and youth-appealing. After the revolutionary May 1968 events in France and the subsequent evolution of Cahiers into a more political forum under the influence of the Maoist director Jean-Luc Godard and others, Filipacchi wanted out of the magazine and sold his share in 1969.
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Genocide: A Comprehensive Introduction. Taylor & Francis. p. 194. .Andrea Graziosi, "Les Famines Soviétiques de 1931–1933 et le Holodomor Ukrainien.", Cahiers du monde russe et soviétique, 46/3, p.
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In: Cahiers d'études africaines. Vol. 11 No.42.pp327-331 The period of this ruler (King Kala-Ekule of Nembe) has been estimated to about 1400.Alagoa E.J (1964).
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Branislav Andelkovic, 2002. Southern Canaan as an Egyptian Protodynastic Colony. Cahiers Caribéens d`Egyptologie 3-4: 75-92. # Branislav Andelkovic, 1995, pp. 68-69, map 1; Branislav Andelkovic 2002.
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Cahiers de Biologie Marine 57:35-42. It has been found from the intertidal zone to depths of at least 20 m.Ballesteros, M, Madrenas, E., Pontes, M., et al.
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Iolanda Malamen, "D. Ţepeneag: «Sunt un bătrân anarhist»" , in Ziua, June 9, 2003; retrieved October 1, 2007 His diaries from the early 1970s, detailing the years of his dissidence, were published in Romania beginning in 2006. Țepeneag has continued to publish in important Western magazines, and edited the Paris-based periodicals Cahiers de l'Est (later known as Nouveaux cahiers de l'Est), Poésie, and Seine et Danube, with support from the Romanian Cultural Institute.
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Among the writers who featured in it at this period were Éric Rohmer, Jacques Doniol-Valcroze, Pierre Kast, and André Bazin. After the closure of the journal, and after the death of Auriol, members of this group were among the founders of Cahiers du cinéma, of which the initial design and content were modelled on the earlier journal. The first issue of Cahiers was dedicated to Auriol.Dudley Andrew, André Bazin; revised edition.
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It was reproduced in the French literary journal Cahiers d'art, Paris, in 1927, no. 4-5 (p. 172) titled Le compotier.Christian Zervos, Juan Gris, Cahiers d'art, Paris, 1927, no. 4-5 (p. 172) Subsequently, the work was published in Daniel-Henry Kahnweiler's, Juan Gris, His Life and Work, London, 1947 (illustrated pl. 21), and is reproduced on page 195D of the Douglas Cooper, Juan Gris, Catalogue raisonné de l’oeuvre peint, vol. I, Paris, 1977, no.
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The film was positively reviewed in the French press, including the Cahiers du Cinéma, won several awards, and was broadcast on European television.Ribeiro, Ana (May 2016). "Transnational Misfortunes: Fictionalizing Chernobyl".
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Fourmanoir, P.M., M. Gressinger and Y. Plessis,1974 Faune ichthyologique des Gambiers. Cahiers du Pacifique 2/18:543-559.Thomson, J.M. 1997. The Mugilidae of the world. Mem. Qld. Mus.
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Further, the organized actions and modes of operation were also mainly organized through random operation. L'Association de la Nouvelle Génération Immigrée. 1984. “Les Cahiers de la Nouvelle Génération”. édition 1.
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Christian Biet published numerous articles in Communications, Droit et Société, Le Fablier, Revue des Amis de Jean de La Fontaine, Les Cahiers du GRIF, Littératures classiques, Théâtre/Public, and others.
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In: Cahiers du Centre Gustave Glotz, 18, 2007. pp. 115–140. Available at . Accessed 27 January 2016 In 160, Marcus and Lucius were designated joint consuls for the following year.
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Paris: Cahiers Du Cinéma, 2009. Furthermore, some of his collaborators found him too dictatorial in the editing process, in antithesis to his very open attitude while capturing footage.Edgar Morin. Preface.
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It was reported in November 1985Chevrie, Marc; Narboni, Jean; Ostria, Vincent (November 1985). "The Right Place" (in French). Cahiers du cinéma (n377). that Cimino attempted to adapt Porgy and Bess.
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Robert Vernet, Les peintures rupestres du haut de la passe d'Amogjar (Mauritanie), pp.199-206 In: Hic sunt leones: mélanges sahariens en l'Honneur d'Alfred Muzzolini, Cahiers de l’AARS; 10: 199-2006.
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Action: Cahiers Individualistes de Philosophie et d'Art, March 1920, Princeton University, Blue Mountain Project Acrobat and Young Harlequin forms part of the permanent collection of The Barnes Foundation in Philadelphia, Pennsylvania.
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The first issue of Cahiers appeared in April 1951. Much of its head staff, including Bazin, Doniol- Valcroze, Lo Duca, and the various members of what would become the Young Turks, had met and shared their beliefs about film through their involvement in the publication of Revue du Cinéma from 1946 until its final issue in 1948; Cahiers was created as a successor to this earlier magazine. Early issues of Cahiers were small journals of thirty pages which bore minimalist covers, distinctive for their lack of headlines in favor of film stills on a trademark bright yellow background. Each issue contained four or five articles (with at least one piece by Bazin in most issues published while he was still alive),Bickerton 2009, p. 21-22.
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At the start of the German occupation of France Roland Laudenbach co-edited the literary review Prétexte with Jean Turlais and François Sentein, and was associated with the theater company "Le Rideau des jeunes" led by Pierre Franck, whom he had met through Jean Cocteau. Prétexte was replaced by Cahiers de la génération in 1941, and its team became the core of the Cahiers français published by the Vichy youth organization. The Cahiers français attracted nonconformists of the 1930s such as Louis Salleron, Jean de Fabrègues, René Vincent and Pierre Andreu, and followers of Charles Maurras such as Raoul Girardet, Antoine Blondin and Jean Turlais. Raoul Girardet specialized as a historian in military societies, the colonial concept and French nationalism.
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The Cahiers québécois de démographie (English: Quebec Notebooks of Demography) is a peer-reviewed academic journal publishing original research in areas of demography, demographic analysis, and the demographics of Quebec and other populations.Association des démographes du Québec. Les Cahiers québécois de démographie, accessed 14 April 2011. The journal was established in 1971 and is published biannually by the Association des démographes du Québec (Quebec Association of Demographers), with support from the Demography Department at the Université de Montréal.
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The Cahiers québécois de démographie publishes articles on topics of mortality, fertility, migration, demographic theory, demographic measures, and related issues. Articles may focus on Quebec, Canada, or have an international perspective. The journal occasionally publishes special volumes of interdisciplinary research on themes such as health, population ageing, urbanization, education, linguistic demography, historical demography, population policy, and the demographics of indigenous peoples, Francophone Africa, or other population groups.Erudit. Cahiers québécois de démographie: Liste des numéros thématiques, accessed 14 April 2011.
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Upon its release in France, the film met with a mixed reception, but it maintained a positive reputation among critics and film-makers as one of Guitry's best films; in 2008, it was even included in Cahiers du Cinéma's list of the 100 most important films.100 films , chosen by 78 critics and film historians, for Cahiers du Cinéma, 2008. [Accessed 13 March 2012]. The film was released in the UK and USA, and enjoyed significant success.
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Ballard founded Les Cahiers du Sud as a continuation of the Marseilles review Fortunio, founded in 1914 by Marcel Pagnol. Through the poet André Gaillard (1898–1929), the magazine published surrealist writers like René Crevel, Paul Éluard and Benjamin Péret, and ex-surrealists like Antonin Artaud, Robert Desnos. Others published in the magazine included Henri Michaux, Michel Leiris, René Daumal, Pierre Jean Jouve and Pierre Reverdy. Cahiers du Sud also published the poetry of Joë Bousquet.
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Cécile Canut et Étienne Smith, Pactes, alliances et plaisanteries. Pratiques locales, discours global, Cahiers d'études africaines, Parentés, plaisanteries et politique, No 184 (2006) This survives to this day as the Malian cultural institution known as sanankuya, or the "joking relationship". In Mali, the state of Macina, in the midst of the Inner Niger Delta was dominated by Fula people and culture.Claude Fay,"Car nous ne faisons qu’un", Identités, équivalences, homologies au Maasina (Mali), Cahiers des Sciences Humaines, Vol.
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The Cahiers français attracted nonconformists of the 1930s such as Louis Salleron, Jean de Fabrègues, René Vincent and Pierre Andreu, and followers of Maurras such as François Sentein, Raoul Girardet, Antoine Blondin, Jean Turlais and Roland Laudenbach. On 31 May 1943 Laudenbach married Hélène Reverdy (3 March 1921 – 2 March 2000). In July 1944 he was named literary director of éditions du Centre. The first issue of Cahiers de La Table Ronde appeared in December 1944.
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The Cahiers d'Études Africaines is a peer-reviewed open access academic journal covering topics in the social sciences as relating to Africa, the West Indies, and the African diaspora. It publishes regular special theme issues on specific regions, problems, or the state of a discipline. The Cahiers d'Études Africaines was established in 1960 and is published by the Editions de l’EHESS, in collaboration with the Centre National de la Recherche Scientifique and the Centre national du livre.
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From 1971 to 1973, she was responsible for the Safari magazine for children at Montréal-Matin. From 1977 to 1979, she was editor in chief of the "Cahiers Passe-partout" at the Quebec Ministry of Education. She contributed to various publications, including Lurelu, Cahiers de la femme, Municipalité and the IBBY Newsletter; from 1986 to 1988, she was editor in chief for Coulicou. Gagnon has been a finalist several times for the Governor General's Awards for Literary Merit.
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Ballard began his writing career with Fortunio, a literary review founded by author Marcel Pagnol. He was the founder and editor of Les Cahiers du Sud from 1925 to 1966. Street sign.
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McGraw Hill. 2010, p.412 The two groups, however, were not in opposition; Cahiers du cinéma advocated for Left Bank cinema. Left Bank directors include Chris Marker, Alain Resnais, and Agnès Varda.
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Camille Laverdière, Oskélanéo: village du Haut Saint-Maurice, Cahiers de géographie du Québec, vol. 3, n° 6, 1959, p. 223-235 () By the beginning of World War II, Oskelaneo went into decline.
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The film was not a commercial successkamera.co.uk: Signe du Lion and for eight years afterwards Rohmer concentrated on short films and on his work at the influential film magazine Cahiers du cinéma.
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Truffaut, François (January 1954) A Certain Tendency of the French Cinema Cahiers du Cinéma The article was the manifesto for the politique des Auteurs, the Young Turks' emphasis on the importance of the director in the creation of a film, which Andrew Sarris later termed the auteur theory, resulting in the re-evaluation of Hollywood films and directors such as Hitchcock, Hawks, Jerry Lewis, Robert Aldrich, Nicholas Ray, and Fritz Lang. After the publication of Truffaut's article, Doniol-Valcroze and most of the Cahiers editors besides Bazin and Lo Duca rallied behind the Young Turks; Lo Duca left Cahiers a year later, while Bazin, in failing health, gave editorial control of the magazine to Rohmer and largely left Paris, though he continued to write for the magazine. Now with control over the magazine's ideological approaches to film, the Young Turks (minus Godard, who had left Paris in 1952, not to return until 1956)Richard Brody, pp. 31–34. changed the format of Cahiers somewhat, frequently conducting interviews with directors deemed "auteurs" and voting on films in a "Council" of ten core critics.
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A member of the Cahiers du cinéma in the 1950s, Kast created many short films and documentaries. Kast died from a heart attack on board an aircraft on 20 October 1984, aged 64.
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According to Jean-Philippe Tessé, in the French magazine Cahiers du Cinéma, the mini-series was very ambitious and formally very well produced, following other noteworthy projects such as The Maias (Os Maias).
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Pierre Alexandre (born 1922 in Algiers; died in 1994), was a French anthropologist and linguist.Denise Paulme, « Pierre Alexandre, 1922-1994 », Cahiers d’études africaines, vol. 34, no 136, 1994, p. 533-5Alexandre, Pierre. 1967.
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According to Jean-Philippe Tessé, in the French magazine Cahiers du Cinéma, the mini-series was very ambitious and formally very well produced, following other noteworthy projects such as The Maias (Os Maias).
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"Sam Fuller-sur les brisees de Marlowe" Cahiers du Cinema93, March 1959 His visual style and rhythm were seen as distinctly American, and praised for their energetic simplicity. Martin Scorsese praised Fuller's ability to capture action through camera movement.Martin Scorsese, "Samuel Fuller, ou le mouvement comme émotion", Les Cahiers du Cinéma 519, december 1997, p. 44-45 In the 1996 documentary The Typewriter, the Rifle & the Movie Camera, Quentin Tarantino and Jim Jarmusch credited Fuller as influential upon their works.
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She went on to play an important part in establishing the Montreal Symphony Orchestra in 1934 with the help of her husband.Dix. Les Cahiers des Dix. Vol. Issue 57. Les Dix; 2003. p. 69.
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Dákpá speakers live in some villages near the Sara people of Nyango; clans are Yangbà and Dèkò.Nougayrol, Pierre. 1989. Les Groupes Banda du Bamingui-Bangoran (RCA). Révue d'Ethnolinguistique (Cahiers du LACITO) 4: 197-208.
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In an April 1979 article in Cahiers du cinéma, film director Marie- Christine Questerbert described The Black Imp as a classic example of Méliès's way of evoking disorder, creating proliferation from simple visual motifs.
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123-141 in Cahiers Éric Weil I, ed. Jean Quillien, Lille: Presses Universitaires de Lille, 1987. it is important to note his focus on the concrete aspects of human life as it is lived.
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Sorties de guerre (Returning from war). Sous la direction de Jacques Frémeaux et Michèle Battesti. 2005. Ministère de la Défense; Secrétariat général pour l'administration; Cahiers du Centre d'études d'histoire de la défense. Page 48.
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This began "a long friendship" in which Isaac was influenced by Péguy.Hedwig Wahle, “Some Known and Unknown Pioneers of Continental Europe.” Together they created the French magazine Cahiers de la Quinzaine. Péguy was a Christian.
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"Morphological Evidence for a Central Branch of Trans-Himalayan (Sino-Tibetan)." Cahiers de linguistique - Asie oriental 44(2):122-149. December 2015. suggests that Nungish may be part of a wider Central Tibeto-Burman group.
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François Descostes, son of Joseph Descostes and Hortense de Livet, was born in Rumilly in 1846.Lovie, Jacques (1969). "Un Républicain Catholique à l'Époque du Ralliement, François Descotes", Cahiers d'histoire, Vol. 14, pp. 37–63.
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In Cahiers d'études africaines: (2005), vol 179-180, p. 771-203.Boyer Florence. Initiatives captives : développement local ou invisibilité migratoire ? La migration de descendants de captifs touaregs de la zone de Bankilaré (Niger) vers Abidjan.
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Guillaume Jacques is one of the Editors of the linguistics journal Cahiers de linguistique - Asie orientale. He is a member of the editorial board of Diachronica, Linguistics Vanguard, and Linguistics of the Tibeto-Burman Area.
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He was born on 7 June 1939 in Biskra, to a family originally from Bordj Benazzouz (near Biskra).Said Boulares, "La Grande Muette livre ses secrets", Les Cahiers de l'Orient No 39/40, 1995:201.
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Tunisia observes several national holidays dedicated to women: International Women's Day (March 8)Monique Pontault [sous la dir. de], Femmes en francophonie, coll. Les Cahiers de la Francophonie, n°8, éd. L’Harmattan, Paris, 2000, p.
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Les Dimanches was republished in 1994 by Quai Voltaire, with a preface by Dominique Joubert; and in 2008, Grasset Editions reissued both it and L'Horizon chimérique, followed by Contes, in the collection Les Cahiers rouges.
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Cahiers de Yoro Dyao: publiés et commentés par Henri Gaden. p 12. (E. Leroux, 1912) The name was also sometimes the title of chiefs or kings of the Serer people of the Senegambia region which includes modern day Senegal and the Gambia.Dyao, Yoro Légendes et coutumes sénégalaises. Cahiers de Yoro Dyao: publiés et commentés par Henri Gaden. p 12. (E. Leroux, 1912) This title was also used by some kings of the Wolof kingdoms.Ajayi, J. F. Ade, Crowder, Michael, History of West Africa, p462. Longman, 1976Boulègue, Jean.
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He joined the Socialist Party in 1895. From 1900 until his death in 1914, he was the main contributor to and the editor of the literary magazine Les Cahiers de la Quinzaine, which at first supported the Socialist Party director Jean Jaurès. However, Péguy ultimately ended this support after he began viewing Jaurès as a traitor to the nation and to socialism. In the Cahiers, Péguy published not only his own essays and poetry, but also works by important contemporary authors such as Romain Rolland.
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Jacques Saulnier, in Jean-Luc Douin, Alain Resnais. Paris: Éditions de la Martinière, 2013. pp. 256–257.Suzanne Liandrat-Guigues, Jean-Louis Leutrat. Alain Resnais, liaisons secrètes, accords vagabonds. Paris: Cahiers du Cinéma, 2006. p. 91.
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Southern Canaan as an Egyptian Protodynastic Colony. Cahiers Caribéens d`Egyptologie 3-4: 75-92. Egyptian artifacts dating to this era have been found in CanaanBranislav Andelkovic, 1995, pp. 68–69, map 1; Branislav Andelkovic 2002.
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Cahiers du septentrion, vol. 17. Sillery, Québec: Septentrion. 2000; 1895. Early explorers called the Milwaukee River and surrounding lands various names: Melleorki, Milwacky, Mahn-a-waukie, Milwarck, and Milwaucki, in efforts to transliterate the native terms.
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The Cahiers de Topologie et Géométrie Différentielle Catégoriques (French: Notebooks of categorical topology and categorical differential geometry) is a French mathematical scientific journal established by Charles Ehresmann in 1957.. It concentrates on category theory "and its applications, [e]specially in topology and differential geometry". Its older papers (two years or more after publication) are freely available on the internet through the French NUMDAM service. It was originally published by the Institut Henri Poincaré under the name Cahiers de Topologie; after the first volume, Ehresmann changed the publisher to the Institut Henri Poincaré and later Dunod/Bordas. In the eighth volume he changed the name to Cahiers de Topologie et Géométrie Différentielle.. After Ehresmann's death in 1979 the editorship passed to his wife Andrée C. Ehresmann; in 1984, at the suggestion of René Guitart, the name was changed again, to add "Catégoriques".
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In 1989 there were retrospectives on Robert Bresson and Working Title. There was also a tribute to John Cassavetes and a series of films to investigate the influence of Cahiers du Cinema, and Buster Keaton's SHERLOCK JNR.
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Bazin went on to co-found Cahiers du cinéma, whose contributors (including future film directors François Truffaut and Jean-Luc Godard) also praised the film. The popularity of Truffaut's auteur theory helped the film's and Welles's reputation.
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Le Roux began his career as a critic for Cahiers du Cinéma. In 1989, he was an assistant director to Alain Bergala's Icognito. Le Roux directed three films. His first film, Grand bonheur, was released in 1993.
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In 1951, Bazin founded a film magazine, Cahiers du Cinéma, and hired most of the "Hitchcocko–Hawksians"; Rivette began writing for the magazine in February 1953. Rivette championed American directors such as Howard Hawks and Fritz Lang and international directors such as Roberto Rossellini and Kenji Mizoguchi. He was highly critical of established qualité française directors, writing that they were afraid to take risks and were corrupted by money. According to Cahiers writer Fereydoun Hoveyda, early contributors to the magazine were politically right-wing except for Pierre Kast and Rivette.
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Unlike Rohmer, Rivette allowed writers such as Michel Delahaye and Jean-Louis Comolli to publish articles gravitating towards politics and philosophy and not necessarily related to film. They wrote pieces on Martin Heidegger and Louis Althusser and interviewed non-filmmakers such as Roland Barthes and composer Pierre Boulez. Rivette and Delahaye's 1963 interview with Barthes is considered the turning point for Cahiers as a magazine analyzing film from a semiotic perspective. Rivette was an ambitious and financially irresponsible editor; shortly after an expensive, 250-page double issue on American films, Cahiers needed financial help.
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Dialektikê: Cahiers de typologie analytique was an academic journal of archaeology published by the "Centre de palethnographie stratigraphique d'Arudy" from 1973 to 1987, with Georges Laplace as the editor-in-chief. It was the successor of an earlier journal entitled Cahiers de typologie analytique, published in 1972. The papers published in Dialektikê were mostly based on the presentations given to the "International seminars on typology" that Laplace organised yearly in Arudy. The papers were mostly about the methods and the theory of prehistoric archaeology, with a particular focus on lithic analysis and quantitative methods.
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"The Iliad, or The Poem of Force" () is a 24-page essay written in 1939 by Simone Weil. The essay is about Homer's epic poem the Iliad and contains reflections on the conclusions one can draw from the epic regarding the nature of force in human affairs. Weil's work was first published in 1940 under the title L'Iliade ou le poème de la force in Les Cahiers du Sud. Cahiers has been described as the only significant literary magazine available in the French free zone when the essay was first released.
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He became an activist against adult supremacy, before also taking up antispeciesism as a cause. In May 1989, along with David Olivier and three other activists, he published Nous ne mangeons pas de viande pour ne pas tuer d'animaux ("We don't eat meat so we don't kill animals"), in response to discussions of vegetarianism in France. With David Olivier and Françoise Blanchon, in 1991, he founded the antispeciesist journal Cahiers antispécistes lyonnais (later renamed to Cahiers antispécistes). He was also one of the journal's editors, before leaving at some point during the 1990s.
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A group of five Cahiers editors, including Godard and Doniol-Valcroze and led by Rivette, urged Rohmer to refocus the magazine's content on newer films such as their own. When he refused, the "gang of five" forced Rohmer out and installed Rivette as his replacement. Bickerton 2009, p. 38-41. Jacques Rivette,Jacques Rivette and Cahiers du cinéma · Senses of Cinema through his replacement of Rohmer as editor in 1963, shifted political and social concerns farther to the left, and began a trend in the magazine of paying more attention to non- Hollywood films.
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He was arrested for attempting to desert the army and incarcerated in military prison. Bazin used his political contacts to get Truffaut released and set him up with a job at his new film magazine, Cahiers du cinéma.
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Newitt, Malyn. "The Comoro Islands in Indian Ocean Trade before the 19th Century." Cahiers d'Études Africaines, Vol. 23, Cahier 89/90 (1983), Page 143 Farming and raising livestock provides employment for 20% and 5% of the working population.
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Music was a significant element of the film. Resnais was eager to use an alternation of speaking and singing in the dialogue.Interview with Alain Resnais in Cahiers du Cinéma, no.347 (1983); quoted by Emma Wilson, Alain Resnais.
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Cotnoir contributed to and served on the editorial board for the journal Arcade. She also has contributed to various Canadian and European periodicals including ', Estuaire, Lèvres urbaines, , Trivia, El Ciervo, Cahiers internationaux du symbolisme and Room of One's Own.
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He taught at the lycée in Reims from 1963 where he became a close friend of fellow playwright (and philosopher) François Regnault,François Regnault Homepage at Cahiers pour l'Analyse and published a couple of novels before moving first to the faculty of letters of the University of Reims (the collège littéraire universitaire) and then to the University of Paris VIII (Vincennes-Saint Denis) in 1969.Badiou Homepage at Concept and Form: The Cahiers pour l'Analyse and Contemporary French Thought Badiou was politically active very early on, and was one of the founding members of the Unified Socialist Party (PSU). The PSU was particularly active in the struggle for the decolonization of Algeria. He wrote his first novel, Almagestes, in 1964. In 1967 he joined a study group organized by Louis Althusser, became increasingly influenced by Jacques Lacan and became a member of the editorial board of Cahiers pour l'Analyse.
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The films that these critics made were experimental explorations of various theoretical, artistic, and ideological aspects of the film form, and would, along with the films of young French filmmakers outside the Cahiers circle, form the basis for the cinematic movement known as the French New Wave.Brody, Richard (20 June 2017) Notes on Cahiers The New Yorker Meanwhile, Cahiers underwent staff changes, as Rohmer hired new editors such as Jean Douchet to fill the roles of those editors who were now making films, while other existing editors, particularly Jacques Rivette, began to write even more for the magazine.Bickerton 2009, p. 32-38. Many of the newer critical voices (except for Rivette) largely ignored the films of the New Wave for Hollywood when they were not outright criticizing them, creating friction between much of the directorial side of the Young Turks and the head editor Rohmer.
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Mia Madre has an 84% approval rating on Rotten Tomatoes and a 70/100 on review aggregator Metacritic. Les Cahiers du cinéma placed the film 1st in their 2015 Top Ten chart and featured Nanni Moretti on their November's cover.
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Works in books Chapters Pierre Guéguen: La chasse au faon rose (ed. Cahiers d'Art, 1938) c. book of Illustrations for Murilo Mendes, Rainer-Maria Rilke, Jorge de Lima, 1944 Fifty gouache René Char Le Temps épars c. manuscript, 1966 Gravures (ed.
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Cimino, Michael (director) (2005). Commentary by director Michael Cimino. [Year of the Dragon Region 1 DVD]. Turner Entertainment Co. In 2011, the French movie critic Jean-Baptiste Thoret wrote a large profile on Michael Cimino for Les Cahiers du Cinéma.
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She is a regular contributor to the seminars organized as Cerisy-la-Salle and serves on the editorial board of Romantisme, Etudes françaises, Esprit, Cahiers de médiologie, and Crises. She is a member of several research teams at the CNRS.
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The French magazine Cahiers du cinéma was impressed, its contributor Pierre Kast called it "almost literally stunning" and praised its "moral relativism".Hoberman, J. "The Cold War sci-fi parable that fell to earth." The New York Times, September 31, 2008.
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Antônio da Silva Mello (May 10, 1886 - September 19, 1973), best known as A. da Silva Mello was a Brazilian physician and writer.J. R. (1974). A de Silva Mello (1886-1973). Cahiers Du Monde Hispanique Et Luso-brésilien 22: 223-223.
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Like other members of the clade Gymnosomata, Notobrachaeidae are highly specialized holoplanktonic carnivores.Lemus, E., Sanvicente-Añorve, L., Hermoso-Salazar, M, Flores-Coto, C. (2014). "The holoplanktonic Mollusca from the southern Gulf of Mexico Part 2: pteropods" (PDF). Cahiers de Biologie Marine.
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Boston: Houghton Mifflin, 1999. 54. Print. The cahiers were also highly variable in tone depending on where they came from, meaning that while they are often summarized as raising more sweeping and general complaints about French society at the time, many of the grievances shared were highly specific, such as Parish of St. Germain d'Airan asking "That dovecotes be destroyed...and that it be ordered that those remaining shall be closed in such a way that pigeons may not leave during the times of planting and harvest.""Cahiers De Doléances." The French Revolution: A Document Collection.
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Together with and , Verhaegen began involved in the new African section of the Belgian (Centre de recherche et d'information socio-politiques, CRISP) which published important series of documents on contemporary Congolese politics. This was disbanded in 1971 and Verhaegen became the director of the African Studies and Documentation CentreAfrican Studies and Documentation Centre, Rue Belliard 65, 1040 Bruxelles (Centre d’Études et de Documentation africaines, CEDAF) which replaced it. He directed its journal series Cahiers du CEDAF which was superseded by Cahiers africains. He also led the creation of a historical research section at the Royal Museum for Central Africa in Tervuren, Belgium.
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Aided by the immense popularity in Italy of comic actors Benigni and Villaggio, the film was a reasonable success with audiences there, receiving enthusiastic reviews from Alberto Moravia, Tullio Kezich, and Aldo Tassone along with a few outright pans.Kezich, Federico Fellini: His Life and Work, 385. Although it did poor business in France, it was acclaimed in Le Monde and Positif, and was featured on the cover of Les Cahiers du Cinéma which saw it as a winning diatribe on the excesses of Guy Debord's "society of spectacle".Thierry Jousse (1990), La voce della luna in Les Cahiers du Cinéma, 35.
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She also organized and hosted quatre Nuits de la poésie and co-hosted, with Michel Garneau, the National Film Board Poetry Night. Saint-Denis published numerous poems and texts in literary magazines including: l'Atelier littéraire de la Mauricie (Trois-Rivières), Sorcières (Paris), Femmes plurielle (Ottawa), Moebius and Les Cahiers de la femme (Toronto), Canton s’met à faire de la poésie (Sherbrooke), Cahiers des arts visuels and Arcade. She was an honorary member of the Union of Quebec Writers. The archives of Janou Saint-Denis are preserved in the Montreal archives centre of the Bibliothèque et Archives nationales du Québec (BAnQ).
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An incomplete list. Some closely related papers by other authors are also included. In the following "SLNM" stands for Springer Lecture Notes in Mathematics, while the titles of the four journals most frequently publishing research on categories are abbreviated as follows: JPAA = Journal of Pure and Applied Algebra, TAC = Theory and Applications of Categories, ACS = Applied Categorical Structures, CTGDC = Cahiers de Topologie et Géométrie Différentielle Catégoriques (Volume XXV (1984) and later), CTGD = Cahiers de Topologie et Géométrie Différentielle (Volume XXIV (1983) and earlier). For a more complete list, see the list at Street's website, from which this list was derived.
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Between 1968 and 1971, Daney also makes a series of travels to India, Morocco and Africa and starts lecturing cinema at the Censier University (Paris III). After Cahiers’ failure to create a “Revolutionary Cultural Front”, Daney took the responsibility of the magazine in 1973, supported by Serge Toubiana. Together, they operated a "return to cinema" for the magazine and also invited thinkers from outside the field of cinema: Michel Foucault, Jacques Rancière and Gilles Deleuze. In 1981, Daney left Cahiers for the French daily newspaper Libération, to which he had contributed occasionally since its creation in 1973.
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At the same time, the Parisian cinephilic culture became increasingly politicized. Critics, and by extension the cinephiles who followed their work, began to emphasize political aspects of films and directors. Though many of the major figures of the post-war community has been originally aligned with the political right—including most of the Cahiers du cinéma group—by the late 1960s Cahiers and the young cinephile public in general had aligned with various forms of the Left, with some figures, such as Jean-Luc Godard, aligning with Maoism. In this very politicized climate, cinema was often seen as directly connected to Marxism.
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Laudenbach was influenced by the Action Française, and was very close to Antoine Blondin during World War II (1939–45). He became a literary, theatre and cinema critic, and an outspoken political journalist. At the start of the German occupation of France he co- edited the literary review Prétexte with Jean Turlais and François Sentein, and was associated with the theater company "Le Rideau des jeunes" led by Pierre Franck, whom he had met through Jean Cocteau. Prétexte was replaced by Cahiers de la génération in 1941, and its team became the core of the Cahiers français published by the Vichy youth organization.
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He began to write for the Dominican journal La vie intellectuelle, and in 1935, became the assistant editor of the Catholic weekly Sept, and later its successor, the weekly Temps présent, for which he wrote the press review under the pseudonym of Scrutator until the outbreak of war in 1939. He was part of the team that revived this publication, from August 1940 to August 1941 under the title Temps Nouveaux, and illegally created the Cahiers du Témoignage chrétien. During this time he co-authored Traditions socialistes françaises (Les Cahiers du Rhône, La Baconnière, octobre 1944).
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Correspondance presque complète (Fayard/IMEC, 2000), p. 664. Bardac inherited Debussy's Blüthner piano and took it to Meyssac when he retired. This piano was acquired by the at Brive-la-Gaillarde in 1989.Cahiers Debussy (Centre de documentation Claude Debussy, 2007), p. 84.
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Pelletier, J.-F. and Guy, E. (2012): Évaluation des Activitiés de Transport Maritime en Arctique Canadien. les Cahiers Scientifiques du Transport, No 61/2012, Pages 12-13. Later that year, the vessel was given back part of her original name, Kigoriak (Russian: Кигориак).
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Engagements, Rébellions Et Genre Dans Les Quartiers Populaires (1968-2005), 65-78 Zaâma d'Banlieue's former leaders, however, remained principal actors in the Movement Beur, the "Arab movement", in France.L'Association de la Nouvelle Génération Immigrée. 1984. “Les Cahiers de la Nouvelle Génération”. édition 1.
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One of the concerts that Zaâma d’Banlieue organized took place on the 6th June 1981 in Saint-Fons, which was attended by approximately 400 teenagers from Lyon's suburbs. L'Association de la Nouvelle Génération Immigrée. 1984. “Les Cahiers de la Nouvelle Génération”. édition 1.
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The Ministers of Alexander II: A survey of their backgrounds and service careers. Cahiers de Monde Russe, 1976, Vol. 17, Issue 17-4, page 477. Owing to his military successes, in 1844 Nicholas Annenkov was promoted to Adjutant General of the Infantry.
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Jean Douchet (; January 19, 1929 – November 22, 2019) was a French film director, historian, film critic and teacher who began his career in the early 1950s at Gazette du Cinéma and Cahiers du cinema with members of the future French New Wave.
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In the 14th century, raids by Novgorod pirates, or ushkuiniki,Janet Martin, "Les Uškujniki de Novgorod: Marchands ou Pirates." Cahiers du Monde Russe et Sovietique 16 (1975): 5-18. sowed fear as far as Kazan and Astrakhan, assisting Novgorod in wars with Muscovy.
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1973), p. 17 A review of the French ideas about Jesus denial (French mythisme) was presented by Charles Maignial, "Quick remarks on mythicism in the history of religions and of faith."Cahiers du Cercle Ernest Renan, #82, Oct. 1973, p. 2-15.
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Evolution of the Crocodiles in East and North Africa. Cahiers de Paléontologie. Paris. Centre National pour la Formation et les Echanges Géologiques. However, it is now thought to be a crocodylid, having been allied with Rimasuchus, Osteolaemus, and Voay in the past.
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Articles are published in French, with abstracts in French and English. The journal is indexed in Revue des revues démographiques, Repère, Sociological Abstracts, and MEDLINE. Articles are freely available online through the Érudit publishing consortium.Érudit, Cahiers québécois de démographie, accessed 14 April 2011.
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L'exigence de normativité dans la jurisprudence du Conseil constitutionnel. ("Anything that can be normative is not. The exigence of normativity in the case law of the Constitutional Council"), in Les Cahiers du Conseil Constitutionnel, nr 21, 2006 sometimes known as "legislative neutrons".
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Workers for the Good Lord () is a 2000 French film directed by Jean-Claude Brisseau, starring Stanislas Merhar, Raphaële Godin and Emil Abossolo-Mbo. The film was chosen by Les Cahiers du cinéma as one of the 10 best pictures of 2000.
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Yekyong Publishing Co, 2002. Some of the oldest surviving chinsō of Chan masters were brought from China to Japan; about 12 of those are extant.Foulk T. Griffith, Sharf Robert H. On the Ritual Use of Ch'an Portraiture in Medieval China. In: Cahiers d'Extrême-Asie, Vol.
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Akademos. Revue Mensuelle d'Art Libre et de Critique (1909)See Mirande Lucien: Akademos. Jacques d'Adelswärd-Fersen et 'la Cause Homosexuelle'. Lille, Cahiers Gay-Kitsch-Camp, 2000 (152 pp.), which reprints some of the key articles of the magazine. Akademos itself is extremely rare nowadays.
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He was drafted in World War I and decided to become a conscientious objector.Bérénice Zunino: Pacifisme et violence. Femmes et enfants dans la pédagogie de la paix d’Ernst Friedrich. In: Les cahiers Irice, Jg. 4 (2011), Heft 2, S. 111–136, hier S. 111.
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The fantasy is republished by Athanasius Kircher in 1650 in his Musurgia Universalis (Book VII, pp. 627–634), this time in a score. Kircher also underlines the originality and value of this piece. ::Modern edition by Olivier Trachier: Strasbourg : Cahiers du Tourdion , [2014], 8 p.
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The Cahiers de l'Institut de linguistique de Louvain is a peer-reviewed academic journal covering linguistics published by Peeters on behalf of the Université catholique de Louvain. The journal publishes a peer-reviewed supplement series of books, the Série de Pédagogie Linguistique de Louvain.
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According to Payen,Payen Jacques (1987?): "Walschaerts, sa coulisse, sa vie" in Les Cahiers Chapelon, no 5, pp 26-31. in 1874 Walschaerts developed a particularly successful version of the Corliss stationary engine that won a gold medal at the 1878 Exposition Universelle in Paris.
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In 1984, approximately ten autonomous associations co-existed in Lyon's surroundings that were occupied with youth with immigrant heritage. During this year, Zaâma d’Banlieue's presence was by the A.N.G.I. noted to be fading.L'Association de la Nouvelle Génération Immigrée. 1984. “Les Cahiers de la Nouvelle Génération”.
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Zaâma d’Banlieue's two main modes of activity were the organization of free rock concerts for Maghreb immigrant youth in the suburbs, and the irregular publication of a four-page journal. L'Association de la Nouvelle Génération Immigrée. 1984. “Les Cahiers de la Nouvelle Génération”. édition 1.
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After the liberation, she met Simone de Beauvoir and collaborated in Modern Times. In 1953, she founded a literary magazine Ariane: women's notebooks, as a space for women. From 1957, the magazine became Ariane: Les cahiers culturels. The journal awards a diary prize each year.
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Punctuational evolution has been argued to explain changes in folktales and mythology over time.Julien d'Huy, A Cosmic Hunt in the Berber sky : a phylogenetic reconstruction of Palaeolithic mythology. Les Cahiers de l'AARS, 15, 2012; Polyphemus (Aa. Th. 1137) A phylogenetic reconstruction of a prehistoric tale.
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The prestigious Cahiers du Cinéma featured P'tit Quinquin on their cover of the September issue and placed it as the best picture on the 2014 Top Ten chart. In 2019, the magazine placed the film at #3 on their Top Ten of the decade.
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Canadian Woman Studies (French: Les cahiers de la femme) is a bilingual feminist quarterly academic journal covering women's studies. It is published by Inanna Publications and was established in 1978 by Marion Lynn and Shelagh Wilkinson. The current editor-in-chief is Luciana Ricciutelli.
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In the 15th century, the parish of Verrières belonged to the barony of Villeray in Condeau. For nearly a century (1850-1950), Verrières was one of the cradles of horse breeding Percheron.Les Cahiers Percherons, "Les manoirs du canton de Nocé" (1re partie), par Ph. Siguret.
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In terms of cinematography, the shot reverse shot scenes in the film were simultaneously shot with two different cameras. For Kechiche, this technique not only facilitates editing but also adds beauty to the scene which feels more truthful.Interview with Abdellatif Kechiche. Cahiers du Cinema.
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In the 1950s, Positif was associated with the non- Communist left (while Les Cahiers du cinéma originally held political affiliations with the right). Today, Positif is a neutral publication run by volunteers. The magazine was edited by Eric Losfeld from 1959.Senses Of CinemaIndependent.co.
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John P. LeDonne, "Appointments to the Russian Senate, 1762-1769" Cahiers du Monde Russe et Sovietique (1975) 16#1 pp 27-56. K. D. Bugrov, "Nikita Panin and Catherine II: Conceptual aspect of political relations." RUDN Journal of Russian History 4 (2010): 38-52.
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He also worked closely with the Fethullah Gülen Sunni Muslim Movement (See Gülen's "Dialog of Civilizations Platform"). However, the idea of a global hellenism is prevalent in all his works and teaching.Aquila, Québec, from Summer 1998. Also, Cahiers de Jeune Nation, Québec, from April 1992.
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At the time of its initial release in France, Army of Shadows was not well received or widely seen. In the wake of the events of May 1968, French critics denounced the film for its perceived glorification of Charles de Gaulle; at the time, American art-film programmers took their cues from Cahiers du cinéma, which had attacked the film on this basis. Because of this, it was not released in the United States for almost forty years. In the mid-1990s Cahiers du cinéma published a reappraisal of the film and Melville's work in general, leading to its restoration and re-release in 2006.
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After the defeat of France in 1940 Fabrègues and others including Jean Daujat, Jean Guitton, Henri Guitton, Gustave Thibon and François Perroux supported the Vichy regime's National Revolution, which they hoped would introduce a Christian social order. The German occupation and the evolution of the Vichy regime disappointed them without making them abandon their views. At the start of the German occupation of France Roland Laudenbach co-edited the literary review Prétexte with Jean Turlais and François Sentein. Prétexte was replaced by Cahiers de la génération in 1941, and its team became the core of the Cahiers français published by the Vichy youth organization.
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The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. These critics rejected the Tradition de qualité ("Tradition of Quality") of mainstream French cinema, which emphasized craft over innovation and old works over experimentation. This was apparent in a manifesto-like 1954 essay by François Truffaut, Une certaine tendance du cinéma français, where he denounced the adaptation of safe literary works into unimaginative films. Along with Truffaut, a number of writers for Cahiers du cinéma became leading New Wave filmmakers, including Jean-Luc Godard, Éric Rohmer, Jacques Rivette, and Claude Chabrol.
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Recent writers have included Daney, André Téchiné, Léos Carax, Olivier Assayas, Danièle Dubroux, and Serge Le Péron. In 1998, the Editions de l'Etoile (the company publishing Cahiers) was acquired by the press group Le Monde.Dowell, Ben (10 February 2009) "Le Monde sells influential cinema magazine Cahiers du Cinéma" The Guardian Traditionally losing money, the magazine attempted a make-over in 1999 to gain new readers, leading to a first split among writers and resulting in a magazine addressing all visual arts in a post-modernist approach. This version of the magazine printed ill-received opinion pieces on reality TV or video games that confused the traditional readership of the magazine.
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As a puzzle, assembling unpublished documents, memories, testimonies, iconographic elements, suggestions for interpretation, the Cahiers invite to discover an author who scored his generation, in a free approach without theoretical crutches, without partisan point of view. Indeed, the construction of an issue obeys the only logical research that tries to knock down the ideas and go to the heart of the work. More than four thousand collaborators, writers, academics and translators from all over the world have so far taken part in the Cahiers de L’Herne, helping to set up, far from the beaten track, an institution which is probably the only one of its kind.
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He began as a film booking clerk for Anglo-Amalgamated Film Distributors and, while working as an assistant film editor on documentaries in London, he began writing profiles of directors for the influential French movie magazine Cahiers du cinéma. He was a lifelong fan of westerns and wrote movie feature articles and interviews about the genre for various British magazines including the Monthly Film Bulletin and Time Out. He also continued to write for French magazines including Cahiers du cinéma, Positif and Midi Minuit Fantastique. His first credit as a screenwriter was on the 1969 movie The Oblong Box, initially with Michael Reeves and, after Reeves' death, for director Gordon Hessler.
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Séquences is a French-language film magazine originally published in Montreal, Quebec by the Commission des ciné-clubs du Centre catholique du cinéma de Montréal, a Roman Catholic film society. It is the third oldest film magazine in publication after Les Cahiers du cinéma and Positif.
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In the following years he had to fight for his position in Cameroon, as well as for his family property, around which he led an 18-year-long lawsuit.Richard Joseph: The Royal Pretender: Prince Douala Manga Bell in Paris, 1919-1922. in: Cahiers d'Études Africaines, Vol.
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The Cahiers français attracted nonconformists of the 1930s such as Louis Salleron, Jean de Fabrègues, René Vincent and Pierre Andreu, and followers of Charles Maurras such as Raoul Girardet, Antoine Blondin and Jean Turlais. Fabrègues was director of the Lyon-based weekly Demain from 1942 to 1944.
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Gary Southwell studied lutherie under Herbert Schwartz at the London College of Furniture. He went on to build guitars for Julian Bream, Nigel North, Jakob Lindberg, Scott Tennant, David Starobin,Cahiers de la Guitare:No81 2002; David Starobin Interview David Tanenbaum, Frank Bungarten, Sting and Paul Simon.
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Central Tibeto-Burman or Central Trans-Himalayan is a proposed branch of the Sino-Tibetan language family proposed by Scott DeLancey (2015)DeLancey, Scott. 2015. "Morphological Evidence for a Central Branch of Trans-Himalayan (Sino- Tibetan)." Cahiers de linguistique - Asie oriental 44(2):122-149. December 2015.
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Cahiers du Centre de recherche sur le surréalisme, Nr. 1/1979, pp. 221–226 As noted by Sologuren, Baciu's studies also helped revive interest in the poetry of César Moro.Javier Sologuren, Obras completas de Javier Sologuren, VII, Pontifical Catholic University of Peru, Lima, 2005, pp. 349, 370.
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PersianGeorges Bohas, "Tariq ibn Ziyad," Encyclopædia Universalis, accessed 18 October 2009. or Turk.Étienne Copeaux, L'image des Arabes et de l'islam dans les manuels d'histoire turcs depuis 1931, « Cahiers d'études sur la Méditerranée orientale et le monde turco-iranien » (CEMOTI), 1991, Vol. 12, N° 1, p. 198.
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The Armenian Social-Democratic Workers Organization (, Sotsial-Demokratakan Banvorakan Hai Kazmakerpoutiun, abbreviated «ՍԴԲՀԿ», S.D.B.H.K.), often pejoratively referred to as the Specificists (, spets’ifikner), was an Armenian Marxist organization in the Russian Empire.TerMinassian Anaïde. Aux origines du marxisme arménien : Les spécifistes. In: Cahiers du monde russe et soviétique, vol.
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Cahiers Octave Mirbeau is a French literary journal founded in 1994 by French scholar and Octave Mirbeau specialist Pierre Michel. The journal is based in Angers, France. Its periodicity is annual. Between May 1994 and March 2016, 23 installments were released, totaling more than 8 300 pages.
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Froment, Alain, "Origine et évolution de l'homme dans la pensée de Cheikh Anta Diop: une analyse critique", Cahiers d'Études Africaines, Vol. 31, Cahier 121/122 (1991), pp. 29–64 @ p. 31 Diop answered critics in chapter 12 of African Origins of Civilization, which is entitled 'Reply to a Critic'.
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In the February 1956 issue of the French film magazine Cahiers du cinéma, the film was listed as number thirteen in the top twenty films of 1955.Hillier 1985, p. 285. The film was well received by British critics who noted the film's violence on its initial release.
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He was artistic director of Rencontres d'Arles and is currently exhibition curator at a museum in Montpellier, where he lives. He was co- founder of the magazine Les Cahiers de la photographie and founder of the journal L'Œuvre Photographique; both of which he was editor-in-chief of.
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700 Africans, including 250 rebels,Général Gaussères. Les enseignements de Kolwezi – Mai 1978, in les Cahiers du Retex n° 12, supplément à Objectif doctrine 37 (published by Centre de doctrine de l'emploi des forces, Ministère de la Défense). On line : , 37-31 170 European hostages and 6 paratroopers died.
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The discovery of diamonds led to a high demand for 'Black labour'. The self-sufficiency and independence of the African rural homestead was questioned by the British GovernmentTshidi Maloka. Cahiers d'Etudes Africaines. Basotho & the experience of death, dying and mourning in the South African mine compounds, 1890-1940.
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In April 1945, however, Jacques Duclos of the French Communist Party, formerly high in the Comintern, published a repudiation of Browderism. Jaques Duclos, On the Dissolution of the Communist Party of the United States,. Published in Cahiers du Communisme, April 1945. Reprinted in William Z. Foster et al.
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From 1940 to 1942 he studied acting in the Cours René- Simon (and one of his small jobs at this time was as an extra in the film Les Visiteurs du soirSuzanne Liandrat-Guigues & Jean-Louis Leutrat, Alain Resnais: liaisons secrètes, accords vagabonds. (Paris: Cahiers du Cinéma, 2006). pp.
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Caballer Gutiérrez, M., Almón Pazos, B., Pérez Dieste, J., (2015) The sea slug genus Limacia Müller, 1781 (Mollusca: Gastropoda: Heterobranchia) in Europe. Cahiers de Biologie Marine 57:35-42. This was confirmed in 2017 with the description of Limacia mcdonaldi.Uribe R.A., Sepúlveda F., Goddard J.H.R. & Valdés Á. (2017).
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The Passion of the One, from Antiquity to the Present, Prblèmes d'Histoire des Religions , Volume XV, Brussels, pp. 215-23.Brunner, F., 1981, 'A comparison between Plotinus and viçishtâdvaita', in Les Cahiers de Fontenay no. 19-22. Neo- Platonism. Mixes offered to Jean Trouillard , Paris, pp. 101-24.
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Tadjbakhsh has served on the Board of Governors of Jacobs University/International University of Bremen Germany between (2008–2010). She has also served on advisory boards of the: Cahiers de L’Orient (2007–2008), Central Asian Monitor (1993-2000), and the Afghanistan Institute for Strategic Studies. Tadjbakhsh resides in France.
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The film was released in France in 1960 and had 917,219 admissions.Box office information for Stewart Granger films in France at Box Office Story The prestigious French film publication Cahiers du Cinéma named Moonfleet as one of the 100 most essential films ever made, listing it at #32.
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Hans Ulrich Obrist (born 1968) is a Swiss art curator, critic and historian of art. He is artistic director at the Serpentine Galleries, London. Obrist is the author of The Interview Project, an extensive ongoing project of interviews. He is also co-editor of the Cahiers d'Art review.
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Wieviorka is the director of the Centre d'Analyses et d'Interventions Sociologique (CADIS) at the École des Hautes Études en Sciences Sociales, which was established by Alain Touraine in 1981. Wieviorka is the founder and editor of the sociological journal Le Monde des Debats and was, with Georges Balandier, co-edited the Cahiers internationaux de sociologie until its publication was stopped at the end of 2010 (Avant- propos, Cahiers Internationaux de Sociologie, Vol. 128-129, 2010). In 1989, he was the first scholar to receive the Bulzoni Editore Special Award of the European Amalfi Prize for Sociology and Social Sciences, for his book Société et terrorisme (1988, English edition The Making of Terrorism 1993).
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Moullet began writing for Cahiers du cinéma at the age of eighteen, where he was an early champion of the films of Samuel Fuller. Though reportedly initially disliked by François Truffaut, the brash critic found a defender in a young Jean-Luc Godard. In one of his articles for the Cahiers (published in the March 1959) Moullet stated that "Morality is a question of tracking shots", a phrase which, along with Jean- Luc Godard's alternative, formulated shortly afterwards ("Travelling shots are a question of morality"), has since become well known in French cinema studies. Moullet's first short film was intended to be shown before Godard's second feature, Le Petit Soldat, which was banned due to its political content.
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" Several reviews of the time made much of the manner in which each production approached the appearance of Lavinia after the rape; "At Shakespeare's Globe, the groundlings are fainting at the mutilations in Lucy Bailey's coarse but convincing production. To Stratford-upon-Avon, Yukio Ninagawa brings a Japanese staging so stylised that it keeps turning the horror into visual poetry." Speaking of Bailey's production, Eleanor Collins of Cahiers Élisabéthains, said of the scene, "audience members turned their heads away in real distress."Eleanor Collins, "Titus Andronicus, directed by Lucy Bailey, The Globe, London, 31 May & 11 July 2006", Cahiers Élisabéthains, 70:2 (Autumn, 2006), 49–51 Charles Spencer of The Daily Telegraph called Lavinia "almost too ghastly to behold.
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The relationships between Betty and Rita, and Diane and Camilla have been variously described as "touching", "moving", as well as "titillating". Film critic Glenn Kenny, in a review of the film for Premiere, said that the relationship between Betty and Rita is "possibly the healthiest, most positive amorous relationship ever depicted in a Lynch movie",Glenn Kenny, "Mulholland Drive", Premiere, October 12, 2002. whereas the French critic Thierry Jousse, in his review for Cahiers du cinéma, said that the love between the women depicted is "of lyricism practically without equal in contemporary cinema".Thierry Jousse, "L'amour à mort," in Pendant les travaux, le cinéma reste ouvert, by Cahiers du cinéma (2003): 200.
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Car > l'Histoire est un merveilleux instrument de combat et il serait vain de nier > qu'une des raisons importantes de nos difficultés politiques réside dans > l'exploitation historique et la déformation systématique des expériences > nationalistes du passé. (...) C'est pour répondre à ce besoin (...) qu'une > équipe d'intellectuels, de professeurs, de nationalistes a créé la Revue > d'Histoire du fascisme. Duprat wrote a book on far right movements in France from 1940 to 1944, during the Collaborationist regime of Vichy. He also created a number of magazines and political reviews, including the Cahiers d'histoire du fascisme (History Notebooks on Fascism) and the Cahiers Européens-Notre Europe (European Notebooks - Our Europe), which also circulated denialist books or far right literature exalting the Third Reich.
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The reasons for this abandonment are unclear, as he never changed his mind as to its merits, and the subject matter was no more controversial than that of other works.René Journet, Guy Robert. "Pourquoi Victor Hugo n'a-t-il pas publié son poème « Dieu » ?" Cahiers de l'Association internationale des études francaises.
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He has also contributed as a critic to Cahiers du Cinema Japon and Esquire Japan. As of 2012, he became a professor in the Department of Moving Images and Performing Arts at Tama Art University. He is married to Japanese actress Maho Toyota, who played a leading role in Desert Moon.
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Alain de Benoist joined the FEN in 1961 and the following year became the secretary of the student society's magazine, Cahiers universitaires, in which he wrote the main articles along with D'Orcival. François Duprat, who had participated in the split from UNEF in 1960, was also a journalist in the magazine.
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Ed. Laura Mason and Tracey Rizzo. Boston: Houghton Mifflin, 1999. 56. Print. The cahiers of the Third Estate spoke out mainly against the financial privileges held by the two other Estates. They were both exempt from most taxes such as the church tithe and the taille (the main direct tax).
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Barawa (, Madīna Barāwa), also known as Barawe and Brava, is the capital of the South West state of Somalia.Pelizzari, Elisa. "Guerre civile et question de genre en Somalie. Les événements et leurs retombées sur le destin d’une femme: Starlin Abdi Arush (1957-2002)." Cahiers du Genre 1 (2018): 193-213.
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"Arménie 1900" has been republished in 2009 by HC Editions under the title "L'Arménie d'antan". Jean-Claude Kebabdjian was also the director of the review Ani, cahiers arméniens (5 issues – 1986, 1987, 1998, 1994), dedicated to armenology. The review was successful and received many contributions of prominent specialists, historians and intellectuals.
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5 Téchiné was also assistant director to Jacques Rivette (his editor at Cahiers du Cinema) on L'amour fou (1969).Marshall, André Téchiné, p. 3 Téchiné is noted for his elegant and emotionally charged films that often delve into the complexities of human condition and emotions. An intimist flavor pervades his work.
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Contre-feux, la revue littéraire. Eric Dussert. Miomandre l’enchanteur This work was his main livelihood. From time to time wrote in the edition Marges, New French Review, Manuscrit autographe and les Cahiers du Sud, and he had a column in the chronicle Nouvelles littéraires from 1922 until his death in 1959.
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"Autumn Fire page on French Wikipedia". He was a contributor of articles to, among others, Close Up, Films in Review, Sight & Sound, Film Culture and Cahiers du Cinéma."Saint Cinema: Selected Writings 1929-1970". In 1960 Weinberg served as a judge for the fourth annual San Francisco International Film Festival.
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He interpreted Bolshevism as a "Jacobin" experiment in state control; he still believed in the regime's inevitable failure, and in the reemergence of democratic Russia.Dmitry Shlapentokh, "Thermidor or Mongol Empire. History as Political Model in Russian Émigré Thought", in Cahiers du Monde Russe et Soviétique, Vol. 32, Issue 3, 1991, pp.
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29Jean Delay, La jeunesse d'André Gide, Gallimard (1956), p. 55 Gide was brought up in isolated conditions in Normandy and became a prolific writer at an early age, publishing his first novel, The Notebooks of André Walter (French: Les Cahiers d'André Walter), in 1891, at the age of twenty-one.
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The city has its own dialect,L. Messaoudi, Cahiers de Sociolinguistique n°6 (2001), Variations linguistiques: images urbaines et sociales, pp.87-98S. Levy, EDNA n°1 (1996), Reperes pour une histoire linguistique du Maroc, pp.127-137 a particular citadin variant of non-Hilalian Arabic which is distinct from Jeblia.
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On the initiative of René Jullian, in 1952 the Bulletin des musées lyonnais was created, and 8 years later changed its name to Bulletin des musées et monuments Lyonnais. In 2003 it changed to an annual publication and again changed its name, to Cahiers du musée des Beaux-Arts de Lyon.
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Almost all of the Hussards later participated to the Cahiers de la Table Ronde, renamed La Table Ronde, a review created for the purpose of contesting the predominance of Les Temps modernes and edited by Roland Laudenbach to which famous writers such as François Mauriac, Jean Giono or Jean Paulhan contributed.
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"900", Cahiers d'Italie et d'Europe was an Italian magazine published for the first time in November 1926, directed by Massimo Bontempelli with Curzio Malaparte as co-director. Beginning as an internationalist publication, after some numbers it dramatically changed its editorial line, rallying to the nationalist, strapaesani line of the magazine Il Selvaggio.
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Half were well educated lawyers or local officials, nearly a third in trades or industry, while fifty-one were wealthy land owners. To assist delegates, Cahiers de doléances, or lists of grievances, were compiled. Despite containing ideas that would have seemed radical only months before, most remained generally supportive of the monarchical system.
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Cahiers d'Etudes Africaines. Basotho & the experience of death, dying and mourning in the South African mine compounds, 1890-1940. Volume 38, Cahier 149(1988)pp17-40. The origins and features of the 'Apartheid City Structure' can be traced back to the particular class, social and economic circumstances of rapid industrialisation in Kimberley.
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La Licorne () or Cahiers de La Licorne/Cuadernos de la Licorne was a literary magazine founded by Uruguayan poet Susana Soca, which produced three issues in Paris in Spring 1947, Autumn 1948, and Winter 1948. A follow-on publication, Entregas de la licorne, was launched in Montevideo in 1953 under editor Ángel Rama.
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Truffaut kept a detailed diary during the production and later published in both French and English (in Cahiers du Cinema in English). In this diary, he called Fahrenheit 451 his "saddest and most difficult" film-making experience, mainly because of intense conflicts between Werner and himself.Insdorf 1995, p. 187.Baecque 1999, p. 212.
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A.H. Huussen, Cahiers uit het Noorden, Zoetermeer 2009; the texts of the original experts report of 10 Jan. 1947 and that of the sentence of the Amsterdam district court 12 Nov 1947 were retrieved by prof. Huussen in 2009. A bottle with exactly that ingredient had been found in van Meegeren's studio.
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Pamela Pianezza of Variety called the film "an alluring and very elegantly crafted — though largely predictable — romantic dramedy that should do well in territories where the French auteur is already known and esteemed." Cahiers du cinéma placed the film at number 6 on its list of the top 10 films of 2017.
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Both were to die during the war. In 1934, Solomon joined the French Communist Party (PCE). He taught at the Open University, and contributed to the Cahiers du Bolchevisme and to L'Humanité. In 1935, he worked for the election of Paul Rivet, the first member of the Popular Front to be elected.
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The first edition of the book was published in the final issue of the magazine Les Cahiers d'Utopie in 1978. It was translated to English by Paul Foss, John Johnston and Paul Patton, and published by the Foreign Agents imprint of Semiotext(e) in 1983. A second edition was published in 2007.
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After his debut in journalism in the service of the Bonapartists,Cf. « Bonapartisme », in Dictionnaire Octave Mirbeau. and his debut in literature when he worked as a ghostwriter,Cf. « Négritude », in Dictionnaire Octave Mirbeau; and Pierre Michel, « Quelques réflexions sur la “négritude” », in Cahiers Octave Mirbeau, n° 12, 2005, p. 4-34.
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Daniel, p. 628 In 1931, the poet married Geneviève Tissier, a trained jurist and lapsed Catholic. Their home on Rue Rollin subsequently became a venue for literary sessions, mostly grouping the Cahiers du Sud contributors. The aspiring author Paul Daniel, who became Rodica Wechsler's husband in 1935, attended such meetings with his wife, and recalls having met Gaultier, filmmaker Dimitri Kirsanoff, music critic Boris de Schlözer, poets Yanette Delétang-Tardif and Thérèse Aubray, as well as Shestov's daughter Natalie Baranoff.Daniel, p. 627–628, 631 Fondane also enjoyed a warm friendship with Constantin Brâncuși, the Romanian-born modern sculptor, visiting Brâncuși's workshop on an almost daily basis and writing about his work in Cahiers de l'Étoile.Daniel, p. 628. See also Răileanu & Carassou, p.
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Written in 1957, shot from July to November 1958, but not released until 13 December 1961, it was the film critic Rivette's first full-length film as a director and one of the early works of the French New Wave. Like his fellow Cahiers du cinéma critic Éric Rohmer, Rivette did not find popularity with his early films, and unlike many of the New Wave directors, he remained at Cahiers for most of the core New Wave era from 1958 to 1968, only completing two more full-length films during this time. As a New Wave characteristic, the film includes cameos for fellow directors Claude Chabrol (who also co-produced the film), Jean-Luc Godard, Jacques Demy and Rivette himself.
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Radical cultural ideas came to the fore in the era of the Popular Front and often were explicitly supported by the governments, as in the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne.Dudley Andrew, and Steven Ungar, Popular Front Paris and the Poetics of Culture (2005) An "art for the masses" movement flourished, led by efforts of three of the most influential art magazines to legitimize a visual imagery: Cahiers d'art, Minotaure, and Verve. The prevailing leftist anti-capitalist discourse against social inequality was a feature of the Popular Front cultural policy.Chara Kolokytha, "The Art Press and Visual Culture in Paris during the Great Depression: Cahiers d'art, Minotaure, and Verve," Visual Resources: An International Journal of Documentation (2013) 29#3 pp 184-215.
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Jean-Louis Comolli (born 30 July 1941) is a French writer, editor, and film director. He was editor in chief of Cahiers du cinéma from 1966 to 1978, during which period he wrote the influential essays "Machines of the Visible" (1971) and "Technique and Ideology: Camera, Perspective, Depth of Field" (1971-2), both of which have been translated in English anthologies of film and media studies. This work was important in the discussion on apparatus theory, an attempt to rethink cinema as a site for the production and maintenance of dominant state ideology in the wake of May 1968. After his tenure at Cahiers, Comolli continued his work as a director and has since published numerous works on film theory, documentary, and jazz.
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Though very high, these figures are representative of many other emirates of the Sokoto Caliphate, of which Adamawa formed a part.Catherine VerEecke (1994), The Slave Experience in Adamawa: Past and Present Perspectives from Yola (Nigeria), Cahiers d'Études Africaines, Vol. 34, Cahier 133/135, L'archipel peul (1994), pp. 23-53 The castes-based social stratification among the Fula people was widespread and seen across the Sahel, such as Burkina Faso, Niger, Senegal,Marguerite Dupire (1963), Matériau pour l'étude de l'endogamie des Peul du cercle de Kedougou (Sénégal oriental), Cahiers du Centre de recherches anthropologiques, Volume 5, Numéro 3, pages 235-236, 251, 223-297 (in French) Guinea, Mali,Jean Gallais (1962), Signification du groupe ethnique au Mali, L'Homme, T. 2, No. 2 (May - Aug.
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In 1965 he founded the 'Association for the Rehabilitation of the Mentally Infirm' (APRIM). He was the founder with his brother, François Berge, of the journal ‘Les Cahiers du mois’ in 1924. He is the author of several novels (L’Amitié indiscrète, Kra, 1927 ; Les Ailes d’Icare, Cahiers du Sud, 1928), a book of tales for children (Séraphine ou les Ficelles de Paquet-de-nerfs, Flammarion, 1954), philosophical essays (Les Maladies de la vertu, Grasset, 1960) and various studies (Les Psycho- thérapies, PUF, 1968). However, André Berge published mainly numerous articles and books devoted to the Psychology of childhood, psycho-pedagogy and sexuality in childhood and their effects on the problems in the family (L’Éducation sexuelle chez l’enfant, PUF,1952; Comprendre et éduquer un enfant difficile, Hachette, 1973).
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At a site called M'lefaat evidence has been found of a small village of hunter-gatherers dating to the 10th millennium BC that was contemporary with the Pre-Pottery Neolithic A in the Levant.Kozłowski, Stefan Karol (1998), "M'lefaat. Early Neolithic site in northern Iraq", Cahiers de l'Euphrate 8: 234,Solecki, Ralph S. (1997). "Shanidar Cave".
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Theobald's biography has been reconstructed by Bernard Gineste.Bernard Gineste, "Thibaud d'Étampes," in Cahiers d'Étampes-Histoire 10 (2009), pp. 43-58. Theobald was a canon and the son of a canon from Étampes. As a child he knew many married priests around Étampes, at a time when the Gregorian reform was seeking to enforce clerical celibacy.
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Gian Gaspare Napolitano (30 April 1907 - 5 January 1966) was an Italian journalist, screenwriter and film director. During the 1920s, he wrote for the literary review "900", Cahiers d'Italie et d'Europe. He made ten films between 1935 and 1956. He was a member of the Venice Film Festival jury in 1951, 1953 and 1961.
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Beek, W.E.A. van and Scherer, J.H. (eds) Explorations in the Anthropology of Religion: Essays in Honour of Jan van Baal. The Hague: Nijhoff (KITLV, Verhandelingen 74). 1975 Borsboom, A.; Kommers, J.; Remie, C. (eds) Liber amicorum A.A. Trouwborst: Antropologische essays. Nijmegen: Katholieke Universiteit Nijmegen, Instituut voor Culturele en Sociale Antropologie; 1989 Sociaal Antropologische Cahiers; v.
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23 He also arranged for print Sofiya Pregel's Last Poems (1973).Shrayer, p. 479 Slonim died in 1976 in the French resort of Beaulieu-sur-Mer. His incomplete memoirs, covering the period up to October 1917, were handed by his widow, Tatiana, to Aucouturier, who published them in Cahiers du Monde Russe et Soviétique.
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Keith Bradley, Slavery and Society at Rome. Cambridge University Press: 1994, , page 162 Also, he punished the killing of a slave by his/her master without previous trialAubert, Jean-Jacques. "L'esclave en droit romain ou l'impossible réification de l’homme". Esclavage et travail forcé, Cahiers de la Recherche sur les droits fondamentaux (CRDF). Vol. 10. 2012.
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Sean Penn and Penelope Ann Miller both received Golden Globe nominations for their respective roles as Kleinfeld and Gail. The post cinematic appreciation of the film was later highlighted when the French publication Cahiers du cinéma named it as Best film of the 1990s along with The Bridges of Madison County and Goodbye South, Goodbye.
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Of the ships departing on December 8, 32 Acadian families (225 prisoners) on board the British ship Pembroke, bound for North Carolina, seized control of the vessel. On February 8, 1756, the Acadians had sailed up the Saint John River as far as they could.Les Cahiers de la Societe historique acadienne vol. 35, nos.
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Since 1990, Basinger has been passionate about the composer Francis Poulenc. He has written a series of books called Cahiers de Francis Poulenc which look at the life and work of the composer. The work is supported by the Association of Friends of Francis Poulenc and supervised by Georges Prêtre, and by many artists.
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Jean-Claude Valla was born on 16 May 1944 in Roanne, Loire. Between 1962 and 1965, he was the leader the Federation of Nationalist Students (FEN) branch in Lyon, serving also in two redaction committees: in the FEN magazine Cahiers Universitaires, and in Europe-Action, a white nationalist review founded in 1963 by Dominique Venner.
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This followed an independent initiative of the Société des écrivains français professional association, in recognition for his contribution to French letters. Cahiers du Sud collected the required 3,000 francs fee through a public subscription, enlisting particularly large contributions from music producer Renaud de Jouvenel (brother of Bertrand de Jouvenel) and philosopher-ethnologist Lucien Lévy-Bruhl.Daniel, p.
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From 2000 to 2003 Paravicini Bagliani was vice president, and from 2005 to 2007 president of the Union Académique Internationale (UAI). In 2008 he became president of the Società internazionale per lo studio del Medioevo latino (S.I.S.M.E.L. – Florence), and in 1989 editor of the book series Cahiers lausannois d'histoire médiévale. Since 1993 he edits the periodical Micrologus.
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Pierre Andreu was a friend of Jacques Julliard and Pierre Vidal-Naquet, with whom he directed the Cahiers Georges Sorel. In 1970 Julliard was introduced to Jean Daniel by André Gorz. Daniel offered him a position on the Nouvel Observateur, where he would remain until 2010. He was Director of Collection at the éditions du Seuil.
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Sheikh Chérif Ousmane Madani Haïdara is a religious figure in Mali who has been the president of the High Islamic Council of Mali since April 2019. He is a follower of the Maliki school of IslamHolder, Gilles. "Chérif Ousmane Madani Haidara and the Islamic Movement Ansar Dine. A Popular Malian Reformism in Search of Autonomy", Cahiers d’études africaines, vol.
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The political discussions that raged throughout France were a direct challenge to the current system, as they gave the people a voice, and subsequently the cahiers were used to guide the elected representatives in what to discuss at the Estates General. In essence, they added greatly to a revolutionary air of expectation of the Estates General.
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In December 2018 and January 2019, Emmanuel Macron, President of the French Fifth Republic, asked for a compilation of Cahiers de doléances from across the country, which was completed in mid-January. Macron responded to the large number of petitions by calling for self-organized town halls, which took place over the period of January to March.
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Along with this, there was also technical training for those who needed it. The house was dedicated to the service of the local population, and was animated by a spirit that was open to all: Jews and Arabs, both Christian and Muslim.Elio Passeto, “Ratisbonne: au Coeur de Jerusalem et au Coeur de l’Eglise.” Cahiers Ratisbonne 1 (1996) 7.
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Pierre Vial was born on 25 December 1942. He was in his youth a contributor in Cahiers universitaires, the magazine of the Federation of Nationalist Students. He co- founded the Nouvelle Droite think tank GRECE in 1968, serving as its secretary general from 1978 to 1984. Vial promoted a neopagan stance in the vein of Marc "Saint-Loup" Augier.
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Medalion literar: Dumitru Ţepeneag, at the Romanian Cultural Institute in Paris; retrieved September 30, 2007 The founder of the magazine Cahiers de l'Est, he has also translated texts by Romanian poets into French -- examples include Leonid Dimov, Daniel Turcea, Ion Mureșan, Marta Petreu, Emil Brumaru, Mircea Ivănescu. His wife, Mona Țepeneag, is herself a translator and essayist.
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A common scale for classifying building types is the European Macroseismic Scale (EMS98)Gruenthal, G., (1998). European Macroseismic Scale 1998. in Cahiers du Centre Européen de Géodynamique et de Séismologie, Conseil de l'Europe, Luxembourg. The distribution of building types is different in industrialized and developing countries (Figure 4) and also in villages compared to cities in the same country.
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Pascal Bonitzer (; born 1 February 1946) is a French screenwriter, film director, actor, and former film critic for Cahiers du cinéma. He has written for 48 films and has appeared in 30 films since 1967. He starred in Raúl Ruiz's 1978 film The Suspended Vocation. He has a daughter, actress Agathe Bonitzer, with filmmaker Sophie Fillières.
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Yingxiang (; Influence Magazine) was an important film journal published in Taiwan, comparable in its significance as a platform of debate to the importance of the Cahiers du Cinéma for the French debate about film, the significance of Bianco e nero in the Italian context, the impact of Filmkritik in Germany and of Screen for English-speaking cinema lovers.
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According to Michèle Audin. His publications include the books 1965 Catégories et structures (Dunod, Paris, 1965) and Algèbre (1969). His collected works, edited by his wife, appeared in seven volumes in 1980–1983 (four volumes published by Imprimerie Evrard, Amiens, and the rest in the journal Cahiers de Topologie et Géométrie Différentielle Catégoriques which he had founded).
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The word "dhampir" is associated with Balkan folklore, as described by T. P. Vukanović. In the rest of the region, terms such as Serbian vampirović, vampijerović, vampirić (thus, Bosnian lampijerović, etc.) literally meaning "vampire's son", are used.Levkievskaja, E.E. La mythologie slave : problèmes de répartition dialectale (une étude de cas : le vampire). Cahiers slaves n°1 (septembre 1997).
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With René Fouque, Antoinette Fouque participated in the literary journal Cahiers du Sud. She gave birth to a daughter, Vincente, in 1964. This event helped make her realize the difficulties that women face when they are mothers and married, especially in an intellectual environment. Between 1965 and 1969, she read Italian manuscripts for Éditions du Seuil.
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Debussy Cahiers no. 21 (Paris, France: 1997), 63. Copeland was not the first to perform Debussy in the United States; that honor went to Helen Hopekirk, a Scottish pianist who programmed the Deux Arabesques in Boston in 1902. From 1904 until his final recital in 1964, Copeland played at least one work of Debussy on each of his recitals.
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Schwarz-Bart's parents moved to France in 1924, a few years before he was born. His first language was Yiddish and he learned to speak French on the street and in public school.Jean Daltroff, « André Schwarz-Bart et la ville de Metz », Les Cahiers lorrains, 1-2, 2012, p. 68-81 In 1941 his parents were deported to Auschwitz.
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The music is composed by Adrian Utley of the British group Portishead. Hailed by Cahiers du Cinema as one of the ten best films of the year, it premiered in competition at the Berlin Film Festival in 2000 and was released in France the same year by MK2 and in the United States by Strand Releasing in 2001.
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He occasionally wrote violent articles for L'Humanité. He also wrote for the Les Cahiers de l’Université Populaire, an anarchist journal, in 1906 and 1907. He was charged with forgery in 1909, but the charge was dismissed. In 1911 Després was on vacation in Chandry, Ouzouer-le-Marché when he heard of the death of Gaston Couté.
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The SBR is part of the network "BioGenOuest" and give access to different technological platforms as sequencing, mass spectrometry, microscopy and bioinformatics. The station publishes (since 1960) a bilingual scientific journal, the Cahiers de Biologie Marine (CBM). The SBR also hosts between 12 and 15 national and international conferences per year, including the Jacques Monod Conferences.
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He came from a family of booksellers.André Bellard :"Laurent- Charles Maréchal, l'École de Metz", in Les cahiers lorrains, S.H.A.L., Metz, 1959. His father, Louis-Jean-Baptiste (1792-1826), was a member of the and a prominent Mason. Following his father's death, his mother, Félicité Constance Gentil, took over the bookshop, but he was more attracted to drawing and sketching.
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Edouard Mennig founded his company in Avenue Van Volxem 310-312 in Brussels.Les Cahiers de La Fonderie, Collections de La Fonderie: Une machine-outil au musée, La scie à ruban (French). His wood working machines were driven by a series of pulleys and belts and used for many operations from chopping to crafting.Ecomusée du Bois-du-Luc (English).
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Tatsuya Kimura was born in 1964 in Kyoto, Kyoto Prefecture, Japan. Debuted as a critic in his high school days. He graduated Waseda University in Tokyo in 1987. In 1993, he joined in and wrote for Cahiers du cinéma Japon with Shinji Aoyama, Kiyoshi Kurosawa and Makoto Shinozaki.Cahiers du cinéma Japon, #7, April 1993 and #8, November 1993 , etc.
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Lachenay was credited as a film critic who wrote articles for Cahiers du cinéma. However, Truffaut occasionally published under the alias "Robert Lachenay". Lachenay later worked as a crew member on the early films of Truffaut and Jacques Rivette. He wrote and directed one short film, Le scarabée d'or in 1961, based on an Edgar Allan Poe story.
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Yves Bonnardel (born 1967) is a French philosopher, essayist and editor, libertarian, egalitarian and antispeciesist activist. He is one of the founding members of the French-language journal Cahiers antispécistes ("Antispeciesist Notebooks") and of the events Veggie Pride, Les Estivales de la question animale ("The Summers of the Animal Question") and the march to close all slaughterhouses.
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Das dritte Ufer: Vilém Flusser und Brasilien : Kontexte Migration Ü̈bersetzungen, Susanne Klengel, Holger Siever, Königshausen & Neumann, 2009, , 9783826036873, p.41 (in German) He died in 1963 in a car accident.Alain Guy et ses collaborateurs, Le Temps et la Mort dans la philosophie contemporaine d'Amérique latine, André Caravelle. Cahiers du monde hispanique et luso-brésilien Année 1994 63 pp.
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Affinités de la faune culicidienne des Comores. Cahiers ORSTOM, ser Ent Med et Parsitol 15, 153-170." Aedes pembaensis is found on the east coast of Africa, as far north as Pate Island, Kenya "Van Someren, E.C., Furlong, M., 1964, The biting habits of Aedes (Skusea) pembaensis Theo. and some other mosquitoes of Faza, Pate Island, East Africa.
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The critic Carlos Alberto de Mattos described it as the first work of art of the Brazilian cinema in the 21st century. The film was acclaimed by the critics of various countries and, according to the French magazine Cahiers du Cinéma, To the Left of the Father is a "barbarous poem verging on hallucination, of extraordinary power".
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Ferdinand Florent Fels (14 August 1891, Paris – 26 January 1977, Cap-d'Ail) was a French journalist, publisher and author prominent in discussing art in France. He often used the pseudonym Felsenberg. In 1919 he pooled his demobilisation bonus with Marcel Sauvage to found the magazine Action: Cahiers individualistes de philosophie et d’art. Here they expressed an individualist anarchist philosophy.
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Depoortère and Ravix judge that neo-Ricardian contribution failed without giving effective impact on neoclassical trade theory, because it could not offer "a genuine alternative approach from a classical point of view."Christophe Depoortère, Joël Thomas Ravix 2015 The classical theory of international trade after Sraffa. Cahiers d'économie Politique / Papers in Political Economy (69): 203–34, February 2015.
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The Graduate Institute of Development Studies was among the pioneer institutions in Europe to develop the scholarly field of sustainable development. The school was also known for the critical view of many of its professors on development aid, as well as for its journal, the Cahiers de l'IUED It was at the center of a huge international network.
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Matt Zoller Seitz, writing for The New York Times, called the film "a virtual definition of the phrase 'acquired taste'", but added that "if you invest yourself in Mr. Serra’s vision, the film’s emotional payoffs are devastating". Honor of the Knights appeared in a tie for seventh place on Cahiers du Cinemas top ten list of 2007.
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Retrieved 19 October 2012."Forever Albion". Retrieved 19 October 2012. Sumner left IPC to serve as directeur of Cahiers du Cinéma (during its transition from Le Monde to Phaidon Press) and currently serves as EVP of the international Titan Entertainment Group, running their movie/music merchandise division,"Titan Gets Its Teeth Into Hammer Films!" Hammer Films. 1 April 2010.
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Trouillot has contributed to different newspapers and magazines in Haiti. He has published poetry, and also writes song lyrics for such musical artists as Tambou Libète and Manno Charlemagne. Trouillot is a co-editor of the journal Cahiers du Vendredi. Along with his sister Evelyne Trouillot and her daughter Nadève Ménard, he founded a writer's organisation named Pré-Texte.
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The film received very high acclaim in France on its initial release. Jacques Doniol-Valcroze wrote in Cahiers du Cinéma that the film was a powerful work comparable to work of artists Francisco Goya and Franz Kafka.Knaap 2006, pg. 43 French film critic and director François Truffaut referred to Night and Fog as the greatest film ever made.
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Moselly was born in Paris. He graduated with an Associate of Arts degree in the exams of 1895 (he was then 25 years old). He taught at Montauban, Orleans, in Paris (Lycée Voltaire) and Neuilly-sur-Seine (Lycée Pasteur). He appeared with Charles Péguy, among the first authors of the Cahiers de la Quinzaine (founded in 1901 by Peguy).
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This encyclopaedic dictionary of 722 pages, with thematic articles and amply illustrated, is the result of work begun in ICOFOM in 1993.A. Desvallées, "Pour une terminologie muséologique de base", ′′La muséologie/museology (Cahiers d'étude/Study series)′′, 8, Paris, ICOM, 2000, p. 8; A. Desvallées, and F. Mairesse (Eds), Dictionnaire encyclopédique de muséologie, Paris, Armand Colin, 2011.
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A characteristic 16th-century narrow alleyway of Al-Jdayde The Armenians, who specialized in trade with Persia and India, were the predominant inhabitants of Jdeideh. During the 16th and 17th centuries, following the Ottoman conquest, the neighbourhood was subdivided into rectangular land parcels.David, Jean-Claude. (1982) « Urbanisation spontanée et planification » Les cahiers de la recherche architecturale, n°10-11.
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The USSR sought to remove Buddhism and other religions, as they believed that a lack of religion combined with urbanization would result in an increase in production. In 1929 many monasteries were closed down and monks were arrested and exiled.Bräker, Hans (1981). Der Buddhismus in der Sowjetunion, Cahiers du Monde russe et soviétique 22 (2/3), p.
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Alternatives économiques, Syros, 1998, Comment ont-ils réussi ? L’histoire des entrepreneurs : du XVIIIème siècle à nos jours, Studyrama, 2002, L’aventure des entrepreneurs, Studyrama, Paris, 2006, Pépinière d’entrepreneurs. Le capitalisme, L’Harmattan, 2006... Dimitri Uzunidis has also significant responsibilities in the scientific edition sector, he is the editor of international journals: Innovations, Cahiers d'économie de l'innovation and Journal of Innovation Economics.
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In the 1980s, he regularly wrote in Le Quotidien de Paris (), founded and directed by . He was close to friends such as , Henri Sauguet and and used to publish in Brenner's Les Cahiers des Saison (1953–1962). Schneider was awarded the 1996 prix de la langue française. He is buried at Père Lachaise Cemetery (45th division).
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He was also the co-founder and vice-president of the Association Roger Vailland in 1995. Moreover, he served on the editorial board of the Cahiers Roger Vailland. Ballet was the co-founder of Le Temps des Cerises, a publishing house, in 1993. He was the founding editor-in-chief of La Revue Commune in 1996.
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Retrieved January 14, 2012. The influential French film magazine Cahiers du Cinéma has placed five of De Palma's films (Carlito's Way, Mission: Impossible, Snake Eyes, Mission to Mars, and Redacted) on their annual top ten list, with Redacted placing first on the 2008 list. The magazine also listed Carlito's Way as the greatest film of the 1990s.
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It was bought by teen-magazine owner Daniel Filipacchi, and its style became "splashier" and more youth-oriented. Rivette remained editor until April 1965, and was replaced by Jean-Louis Comolli and Jean Narboni. He contributed articles to the magazine until 1969. Immediately after Rivette left Cahiers, Beauregard was ready to make The Nun (1966) and Rivette and Gruault again revised their script.
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He determined what was moral and right, like a hall monitor." Antoine de Baecque wrote that these writers respected Rivette, but considered him "brusque, arrogant and dogmatic" and that he "did not hesitate to excommunicate adversaries or mediocrities." However Cahiers writers André Labarthe and Michel Delahaye praised him; Delahaye said that he "was the most brilliant, with a peerless charisma.
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341 Such pieces were later included, but left unsigned, in the anthology L'Honneur des poètes ("The Honor of Poets"), published by the Resistance activists as an anti-Nazi manifesto.Daniel, p. 640. See also Răileanu & Carassou, p. 134 Fondane also preserved his column in Cahiers du Sud for as long as it was possible, and had his contributions published in several other clandestine journals.
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Maffesoli Michel was awarded the Grand Prix des Sciences de l'Académie française in 1992 for La transfiguration du politique. Michel Maffesoli is the director of the Cahiers Européens de l'imaginaire and Sociétés journals, as well as a member of the editorial board of Space and Culture and . Michel Maffesoli called to vote for Nicolas Sarkozy in the French presidential election of 2012.
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Traduit en espagnol. \- La voie certaine vers "Dieu," (The certain way to God), Les cahiers de l’Égaré, 2008. 5\. Literary Works \- Ma vie antérieure (Ma anterior life), Encre Marine, 1997, et Le destin de solitude, Encre Marine, 1999; rééd. dans Ma vie antérieure & Le destin de solitude, Encre Marine, 2003. \- Essais sur Homère (Essais on Homer), PUF, 1999; rééd. coll.
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Georges-Émile Tanguay (5 June 1893 - 24 November 1964) was a Canadian composer, organist, pianist, and music educator.Les Cahiers de l'Ouest. Vol. Issues 9 - 20. 1956. An associate of the Canadian Music Centre, his compositional output is relatively small; consisting of 4 orchestral works, 4 chamber music pieces, 9 works for solo piano, 2 works for solo organ, and 4 choral works.
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Grand Armorial de France tome 2, page 116. The family de Beaumont du Repaire added "Beynac" to its name and took the courtesy title of "marquis de Beaumont-Beynac"Charondas A quel titre, Les Cahiers nobles, 1970. One of the descendants sold the château in 1961. In 1827, the communes of Beynac and Cazenac were merged under the current name.
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They published interviews with certain directors and opened a new discourse about filmmaking aesthetics. In 2003, the film Milchwald (This Very Moment) by Christoph Hochhäusler was shown at the Berlinale. In 2004, the film Marseille by Angela Schanelec was shown at the Cannes Film Festival. Both films garnered critical acclaim from French film reviewers in Cahiers du cinéma and Le Monde.
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He started film studies at the IDHEC (Hautes Études Cinématographiques), where he came to love the films of Robert Bresson and Jean-Luc Godard, among others. He soon began to write for Cahiers du cinéma and directed his first film in 1961, on Maurice Béjart, which led to his expulsion from the school as students were banned from making professional films.
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Pod Prąd ('Against the current') was a Polish weekly Marxist newspaper published between 1934 and 1936, issued by dissidents from the Communist Party of Poland that turned against the Soviet Union.Congress for Cultural Freedom, Société d'études et de publications économiques, and Association des amis de Preuves. Preuves: cahiers mensuels du Congrès pour la liberté de la culture. Paris: Le Congrès, 1961. p.
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Cinema Papers was first published as a nationally distributed magazine in January 1974. The name was derived, via a single issue magazine produced by students at LaTrobe University in October 1967, from the influential French journal Cahiers du Cinéma. The magazine was published on a bimonthly basis and had its headquarters in Melbourne. In 1989 Cinema Papers absorbed another film magazine, Filmviews.
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Lille: A.N.R.T, Université de Lille III, 1991. He also did fieldwork on the history of agriculture in VenezuelaARVANITIS, R. & BARDINI, T. (1990) Le rôle de l'ingénieur agronome dans la situation politique de l'agriculture vénézuélienne: 1936-1948. Cahiers des Sciences Humaines, 26, 429-446. ARVANITIS, R. & BARDINI, T. (1992) El papel del ingeniero agrónomo en el contexto político de la agricultura venezolana.
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Suzanne Liandrat-Guigues & Jean-Louis Leutrat, Alain Resnais: liaisons secrètes, accords vagabonds. (Paris: Cahiers du Cinéma, 2006). p.180. Resnais left in 1945 to do his military service which took him to Germany and Austria with the occupying forces, as well as making him a temporary member of a travelling theatre company, Les Arlequins.International Dictionary of Films and Filmmakers – 2: Directors; 2nd ed.
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The action is punctuated by episodes of song which develop towards the end into scenes that are almost operatic; Resnais said that his starting point had been the desire to make a film in which dialogue and song would alternate.Interview in Cahiers du Cinéma, 347 (1983) p.28; quoted by Emma Wilson in Alain Resnais. (Manchester: Manchester U.P., 2006.) p.157.
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According to Cahiers du cinéma, the film is one of the most personal works of Deray.Cahiers du cinéma, issues 581-585, Éditions de l'Étoile, 2003, p.58. Le Nouvel Observateur referred to it as "un petit film démodé comme le petit roman de Sagan" (i.e., "a little film which is old-fashioned in the same way the little novel by Sagan is").
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Dogme certifikate for Susanne Bier's "Elsker dig for evigt" (Open Hearts, 2001), Dogme No. 28. Lars von Trier and Thomas Vinterberg wrote and co-signed the manifesto and its companion "vows". Vinterberg said that they wrote the pieces in 45 minutes. The manifesto initially mimics the wording of François Truffaut's 1954 essay "Une certaine tendance du cinéma français" in Cahiers du cinéma.
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The OCM soon began to absorb or make contact with other small groups and networks. The OCM drew its recruits from senior industrialists, civil servants and professionals. The first priorities were collection of intelligence and organization of fighting units. The group also published Cahiers that discussed the post-war economy and politics, which gave it the reputation of being elitist and technocratic.
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Upon graduation, Koe wrote to Cahiers du cinéma for a job, but received no response. She next applied to work as a dancer with burlesque clubs in Germany and Australia, also receiving no response. She sold vintage and handmade clothes on Etsy for a time. Koe then marketed herself as an au pair who could coach children in Mandarin on a European forum.
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Numerous archival traces provide an indication of the intended contents of Dadaglobe. The French scholar Michel Sanouillet (1924-2015) rediscovered the abandoned project and, in 1966, published a selection of the texts intended for the original anthology.Michel Sanouillet, Le Dossier de Dadaglobe, in Cahiers de l'association internationale pour l'étude de Dada et du Surréalisme, no. 1 (1966), pp. 111–143.
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A heavy fog prevented accurate artillery spotting and the attack was called off. A second assault on 31 March resulted in the capture of Le Roc Noir, but the Redoute Ruinée held out.Jean- Louis Riccioli, "La deuxième bataille des Alpes : printemps 1945", Cahiers de la Méditerranée 52 (1996), pp. 98 and 107. The offensive of 23–31 March "failed miserably".
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Subsequently, she starred in The Mother and the Whore in 1973, directed by Jean Eustache. A longtime photographer, she began working for Cahiers du Cinéma in 1986 as a portrait painter, and photography became her main activity. In 2008, she began studying the works of her father, Romain Weingarten, poet and playwright. Wiengarten was married to Benjamin Baltimore from 1968 to 1978.
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Cahiers du Cinema, Iss. 448, October 1991 When finally released in 1991, Les Amants du Pont-Neuf was a critical success. Binoche won a European Film Award as well as securing her third César nomination for her performance. In the film Binoche portrays an artist who lives rough on the famous Parisian bridge where she meets another young vagrant (Denis Lavant).
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These provided a forum for free discussion and conferences which he chaired. He published a monthly bulletin of the Causeries populaires which became L'Action libre in November 1931 and then les cahiers libres d'études sociales controverse from January 1932. When the tram stopped operation in 1937 he began work as a proofreader, and became an active member of the proofreader's union.
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A brief biographical sketch was published by Suzanne Renée Briet, "Un Maréchal de France inconnu : Jean de Schulemberg, comte de Mont-de-Jeux (1598–1671)", Les cahiers d’études ardennais 4 (1959:38–40) Mezières: Editions de la Société d'Études Ardennaises, Archives departmentales; it was expanded in book form as Le maréchal de Schulemberg (Mezières: Editions de la Société d'Études Ardennaises) 1960.
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The war caused an exodus of the Crimean Tatars. From the total Tatar population of 300,000 in the Tauride Province, about 200,000 Crimean Tatars moved to the Ottoman Empire in continuing waves of emigration."Hijra and Forced Migration from Nineteenth-Century Russia to the Ottoman Empire" , by Bryan Glynn Williams, Cahiers du Monde russe, 41/1, 2000, pp. 79–108.
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Claude Traunecker (born 1943 in Mulhouse) is a French Egyptologist, professor at the University of Strasbourg and researcher at the CNRS. He has participated in numerous archaeological excavations and research on ancient Egypt. From 1968 to 1984, Traunecker worked in Franco-Egyptian Center for the Study of Temples Karnak and Luxor. He published research in the journal Cahiers de Karnak.
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Jean Charles Louis Dubois de Gennes (15 April 1814 – 15 May 1876) was a 19th- century French writer, journalist and chansonnier. A former military and member of the Société du Caveau, collaborator of the Almanach pour rire, he is remembered for his correspondence with Victor Hugo.Victor Hugo, : souvenirs, journaux, cahiers, 1972, (p. 155) He also published under the pseudonym Claudius Transiens.
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Henri- Georges Clouzot's tomb at the Montmartre Cemetery. Although Clouzot's reputation had grown internationally, he lost notability in French cinema due to rise of the French New Wave. The New Wave directors refused to take Clouzot's thriller films seriously,Hayward, Les diaboliques, 8. and expressed their displeasure publicly through articles and reviews in the film criticism publication, Cahiers du cinéma.
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Section des sciences économiques et sociales, École des hautes études en sciences sociales, Cahiers d'études africaines, vol. 46, issue 4; vol. 46, issue 184, Mouton (2006), pp. 933, 938Smith, Étienne, « Merging ethnic histories in Senegal: whose moral community? », in Derek Peterson & Giacomo Macola (dir.), Recasting the Past: History Writing and Political Work in Modern Africa, Athens, Ohio University Press, 2009, (213-232.), p.
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His castle named château de la Bourdaisière. In 1788, he was appointed deputy of the Third Estate in Rennes, then appointed Sénéchaussée of Morlaix. In 1789, Armand Joseph Dubernad is listed among the writers of the Cahiers de Doléances (= Register of grievances) of the city. In 1790, he is the cofounder of the first Jacobin Club of Brittany, of which he became president.
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A garrison of forty-six soldiers defended it against French attacks during the second Battle of the Alps. It was retaken by France on 29 April 1945.Marco Picone Chiodo, In nome della resa: l'Italia nella guerra, 1940–1945 (Mursia, 1990), p. 543.Jean-Louis Riccioli, "La deuxième bataille des Alpes : printemps 1945", Cahiers de la Méditerranée 52 (1996), pp.
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In the final century of the Empire, Byzantine grammarians were those principally responsible for carrying, in person and in writing, ancient Greek grammatical and literary studies to early Renaissance Italy.Robins, Robert H. "The Byzantine Grammarians." Cahiers Ferdinand de Saussure 51 (1998): 29-38. During this period, astronomy and other mathematical sciences were taught in Trebizond; medicine attracted the interest of almost all scholars.
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See Elisabeth Roudinesco, Jacques Lacan & Co.: A history of psychoanalysis in France, 1925-1985, pp.51-2 He wrote for the wartime (1939-1946) poetry magazine Messages. After the death of Oscar Milosc he became Director of the Friends of Milosz, established in 1966.A. Silvaire, "Jean Audard (1913-1998)", Cahiers De l'Association Les Amis de Milosz 37 (1999) He had three children.
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In 1982 the Académie française awarded Andreu the 15,000 francs Prix de l'essai for his Vie et mort de Max Jacob. Towards the end of his life Andreu moved towards the left and supported François Mitterrand. He was a friend of Pierre Vidal-Naquet and Jacques Julliard, with whom he directed the Cahiers Georges Sorel. He became deeply pacifist and interested in ecology.
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After a 9-year absence from directing, Vartanov was asked to save a troubled project, The Roots (1983) which he later wrote was "the best film made in Armenia that year." During this period he also worked as a university professor of cinema and photography, while publishing his writings. They appeared in several languages, including French, in Cahiers du cinéma.
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The records are based on the bibliographical supplement to the Cahiers de civilisation médiévale, published by the Centre d'Études Supérieures de Civilisation Médiévale (CESCM) at the University of Poitiers. In 2004, the CESCM has joined forces with the IBM and Brepols Publishers. A joint interface enables the user to search simultaneously for articles in the IMB and monographs in the BCM.
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Story Of Jen proved to be as controversial as The Passenger, dividing both the public and the press. Cahiers du cinéma praised the "unique uncompromised vision", when others were just appalled by the graphic violence and the "disturbing description of a distressed adolescent psyche". Story of Jen premiered on 10 June 2009 and a DVD was released on November of the same year.
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From c. 1367, this maternal dynasty provided many kings of Waalo who rule by the royal title "Brak". The Braks were the successors of the Lamanes in Waalo,Boulègue, Jean, "Le Grand Jolof", (XVIIIe – XVIe Siècle). (Paris, Edition Façades), Karthala (1987), p 30 Dyao, Yoro, "Légendes et coutumes sénégalaises", Cahiers de Yoro Dyao: publiés et commentés par Henri Gaden. (E.
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Over the next few years, Truffaut became a critic (and later editor) at Cahiers, where he became notorious for his brutal, unforgiving reviews. He was called "The Gravedigger of French Cinema" and was the only French critic not invited to the 1958 Cannes Film Festival. He supported Bazin in developing one of the most influential theories of cinema, the auteur theory. In 1954, Truffaut wrote an article in Cahiers du cinéma, "Une Certaine Tendance du Cinéma Français" ("A Certain Trend of French Cinema"), in which he attacked the state of French films, lambasting certain screenwriters and producers, and listing eight directors he considered incapable of devising the kinds of "vile" and "grotesque" characters and storylines he called characteristic of the mainstream French film industry: Jean Renoir, Robert Bresson, Jean Cocteau, Jacques Becker, Abel Gance, Max Ophuls, Jacques Tati and Roger Leenhardt.
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This number would remain unchangeable until the beginning of the seven year war. Versailles accordingly sent reinforcements by the fixing the number of companies at forty. At the end of the French regime, 2600 soldiers of the troupes de la Marine were present in Canada. These effectifs were relatively important compared to the resident population since in 1688 for example, Canada housed 1418 soldiers for a population of almost 10300.SÉVIGNY (André), « Le soldat des troupes de la Marine » in Les Cahiers des Dix, n° 44 (1989), p. 39-74 ; « S’habituer dans le pays. Facteurs d’établissement du soldat en Nouvelle-France à la fin du Grand Siècle » in Les Cahiers des Dix, n° 46 (1991), p. 61-86 ; « Ces Militaires qui ont peuplé la Nouvelle-France » in Cap-aux-Diamants, n° 43, (automne 1995), p. 10-13.
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Cahiers du Cinéma (, Notebooks on Cinema) is a French film magazine co-founded in 1951 by André Bazin, Jacques Doniol-Valcroze, and Joseph-Marie Lo Duca.Itzkoff, Dave (9 February 2009) Cahiers Du Cinéma Will Continue to Publish The New York TimesMacnab, Geoffrey (7 April 2001) Pretentious, nous? The Guardian It developed from the earlier magazine Revue du Cinéma (Review of the Cinema established in 1928) involving members of two Paris film clubs—Objectif 49 (Objective 49) (Robert Bresson, Jean Cocteau, and Alexandre Astruc, among others) and Ciné-Club du Quartier Latin (Cinema Club of the Latin Quarter). Initially edited by Doniol-Valcroze and, after 1957, by Éric Rohmer (Maurice Scherer), it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol, and François Truffaut, who went on to become highly influential filmmakers in their own right.
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143: "Father Chaillet (a Jesuit) never had in mind to swap his occupation of theologian for a profession of director of clandestine editions. If he came to found the Cahiers du Témoignage chrétien, it was due to the urgency of a situation which put the Christian souls in peril, facing the most pressing high standards of their faith. More generally, it was to hurl a scream which served as a title for Father Fessard (Gaston Fessard) (a Jesuit) for the first Cahier: France, prends garde de perdre ton âme!."As underlined by Curtis, 2002, p. 138: "In mid-1942, the Cahiers du Témoignage Chrétien, a clandestine review, prepared and circulated pamphlets in both zones of France; the most important of them were Antisémites, which was distributed with over 20,000 copies, Silence and Complicity, J'Accuse and Fraternité." and the organisation Amitié Chrétienne.
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Secret Things () is a 2002 French erotic thriller film directed by Jean-Claude Brisseau, starring Coralie Revel and Sabrina Seyvecou. The film is sometimes associated with the New French Extremity. Cahiers du Cinema named Secret Things, jointly along with Ten by director Abbas Kiarostami, as the best film of 2002. The film was awarded the 'French Cineaste of the Year' title at the 2003 Cannes Film Festival.
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Some historians and scholars consider that this famine amounted to genocide of the Kazakhs. The Soviet authorities undertook a campaign of persecution against the nomads in the Kazakhs, believing that the destruction of the class was a worthy sacrifice for the collectivization of Kazakhstan.PIanciola, Niccolò, 2004, "Famine in the steppe. The collectivization of agriculture and the Kazak herdsmen, 1928-1934", Cahiers du monde russe, vol.
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There, Rohmer established himself as a critic with a distinctive voice; fellow Cahiers contributor and French New Wave filmmaker Luc Moullet later remarked that, unlike the more aggressive and personal writings of younger critics like Truffaut and Godard, Rohmer favored a rhetorical style that made extensive use of questions and rarely used the first person singular.Luc Moullet. The Mask and the Role of God. Mubi Notebook.
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V. Sebillote, "Les Labyades: Une phratrie a Delphes?" Cahiers du Centre Gustave Glotz, 8 (1997) 39-49 However, a reference in the text to "Poseidon Phratrios" continues to support the phratry theory. The inscription dates to the late classical period. There is a lengthy discussion of funerary rituals, where it is stated, among other things, that the deceased should be accompanied in utmost quietness, without lamentations.
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The OCM drew its recruits from senior industrialists, civil servants and professionals. The first priorities were collection of intelligence and organization of fighting units. The group also published Cahiers that discussed the post-war economy and politics, which gave it the reputation of being elitist and technocratic. Blocq-Mascart was made head of the OCM civil office and a member of the OCM executive.
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The OCM had several thousand members by 1942. In 1942 Blocq-Mascart published a 50-page discussion of the "problem of minorities" in the OCM Cahiers. In it he traced the historical roots of antisemitism and its development in prewar in France, taking a position that could be taken as justification for the view. He identified the Jews as a group that caused "ongoing controversies".
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Passeto 9 In 1996, the Centre (CCEJ) began publishing the Cahiers Ratisbonne. In 1998, the Centre became a Pontifical Institute. Three years later, in 2001, the Congregation for Catholic Education decreed that the Pontifical Center of Jewish Studies at Ratisbonne be closed. The Centre was transferred to the Pontifical Gregorian University in Rome, and incorporated with the Centro Cardinal Bea per gli Studi Giudaici.
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Religious Studies Review 42 (2016): 235–40.Dominic Steavu, Awakening to Reality: The "Regulated Verses" of the Wuzhen pian, a Taoist Classic of Internal Alchemy. Cahiers d'Extrême-Asie, 17 (2008): 47. Publications of Golden Elixir Press include translations of some of the main texts of Taoist Internal Alchemy: the Cantong qi (Seal of the Unity of the Three),The Seal of the Unity of the Three.
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Shlomo Venezia,Shlomo Venezia & Béatrice Prasquier, Inside the Gas Chambers: Eight Months in the Sonderkommando of Auschwitz , Polity, 2011. Leon Cohen, Marcel Nadjary, Marcel Nadjary, Χρονικό 1941–1945 [Chronicle], Ιδρυμα Ετσ - Αχα'ι'μ, Thessaloniki, 1991. Dr. Miklos Nyiszli,Miklos Nyiszli, Auschwitz: A Doctor's Eyewitness Account ', Arcade Publishing, 2011. Alter Fajnzylberg, Alter Fajnzylberg, Les cahiers d'Alter Fajnzylberg : ce que j'ai vu à Auschwitz, Éditions Rosiers, 2014.
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I p.32 In 1478 he fought in Flanders with Philippe de Crèvecœur, where he commanded the troops at the battle of Guinegatte, won by Maximilian of Austria on August 7, 1479.Georges Poull, « Robert de Baudricourt, chevalier, capitaine de Vaucouleurs et bailli de Chaumont, sa famille et sa descendance », Cahiers d'histoire, de biographie et de généalogie, vol.2, (Rupt-sur-Moselle, 1966), p.32.
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Françoise d'Alençon, who had become a widow in 1537, decided to retire in her land of La Flèche, which she had received as a gift from her husband Charles de Bourbon.Pierre Schilte, Le Château-Neuf de Françoise d'Alençon, Cahiers Fléchois no. 1, 1979. The old feodal castle, actually Château des Carmes, was too old and with no comfort, Françoise d'Alençon ordered the construction of a new building.
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Boussard, Jacques, L'origine des familles seigneuriales dans la région de la Loire moyenne, Cahiers de Civilisation Médiévale 5, 1962 Phalle, Édouard de Saint, Comtes de Troyes et de Poitiers au IXe siècle: histoire d’un double échec. In Christian Settipani and Katharine S. B. Keats-Rohan, Onomastique et Parenté dans l'Occident médiéval. 2000. Kerrebrouck, Patrick van., Nouvelle histoire généalogique de l'auguste maison de France, vol.
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The French section of the WILPF was close to the French Communist Party, and was attacked by the critics of that party. Mélin left the French Communist Party in 1923. She remained active in the WILPF in fighting for internationalism and establishment of international laws. In 1924 she presented her Cahiers de la Paix (Notes on Peace) at the Washington congress of the WILPF.
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The film was entered into the 1969 Cannes Film Festival. Dillinger Is Dead was the subject of controversy on its release for its violence and depiction of the parvenu set. Critics have also called it director Marco Ferreri's masterpiece. The influential French film magazine Cahiers du Cinéma praised the film, interviewed the director and translated two of his previous interviews from the Italian magazine Cinema & Film.
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Nader El-Bizri is a modernist in outlook since he aims at bringing newness to the tradition rather than simply reproduce it or being in rupture with it.Nader El-Bizri, "The Labyrinth of Philosophy in Islam", in Comparative Philosophy 1.2 (2010): 3–23. Refer also to his article: Nader El- Bizri, 'Le renouvellement de la falsafa?', Les Cahiers de l’Islam I (2014): 17–38.
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He wrote many articles for several art magazines in particular in the Cahiers d'Art by Christian Zervos. In 1930, he began painting under the influence of Paul Cézanne, Les Fauves and the Impressionists. Then he painted abstract motives and later he returned to figuration. In December 1997, his natal city and the Organism "Thessaloniki, European Cultural Capital" consecrates for him his first retrospective exposition.
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Dominique Noguez in Cahiers du Cinema wrote "....No frills, no Gipsy violin effects, no second movement of Aranjuez's concerto – and it is thereby, poignant. It is the other side of Vietnam. The stubbornness of a silent young man who is running away....who simply wanted to live." Shortly after the completion of Windflowers, Adolfas was contacted by Governor Harold E. Hughes of Iowa and his staff.
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Co-starring Liron Levo and Jeanne Moreau, Disengagement is a political drama charting the story of a French woman, of Dutch/Palestinian origin, who goes in search of a daughter she abandoned 20 years previously on the Gaza strip. She arrives in Gaza during the 2005 Israeli disengagement. The film won the prestigious Premio Roberto Rossellini and was critically acclaimed, particularly by the eminent Cahiers du cinéma.
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The Romanesque church of St. Julien of Le Mans stands on a hillside. It possesses a saddleback tower and contains notable Romanesque wall paintings depicting notably the siege of Antioch in 1098.Elizabeth Lapina, "La représentation de la bataille d'Antioche (1098) sur les peintures murales de Poncé sur Loir", in Cahiers de civilisation médiévale, 52, 2009, p. 137-158 The château is noted for its Renaissance staircase.
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John Sandford or Sanford (c. 1565 – 1629) was an English clergyman and academic, known as a grammarian of the Romance languages. He was also a neo- Latin poet, and a founder of the tradition of literary nonsense under the pseudonym Glareanus Vadianus, a mocker of Thomas Coryat.Brandon S. Centerwall, Identifying 'Glareanus Vadianus' as John Sanford, Cahiers élisabéthains, No. 55 (April, 1999), pp. 35-7.
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Straub, who was born in Metz, met Paris-born Huillet as a student in 1954. Straub was involved in the Parisian cinephile community at the time. He was friends with Francois Truffaut and contributed to his publication Cahiers du Cinéma, although Truffaut refused to publish Straub's more inflammatory writings. He worked as an assistant to the film director Jacques Rivette on the 1956 film A Fool's Mate.
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In partnership with the Collège de France, L'Herne publishes the collection of Cahiers d’Anthropologie Sociale under the patronage of Claude Lévi-Strauss, Philippe Descola and Françoise Héritier. The eleven books from this collection provide the readers all the work done in the Laboratory of Social Anthropology at the Collège de France, and also offer a new vision of the anthropological approach on a few major topical issues.
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G. F. Martin (New York: Harper Row, 1972): pages 242-264. Original publication: "Une Révolte populaire à Lyon au Xve siècle. La Rebeyne de 1436", Cahiers d'histoire publiés par les Universités de Clermont-Lyon-Grenoble, III (1958), pages 129-149. During the reign of Louis XI (1461–83) four annual fairs were established, which drew merchants from all over Europe, especially Italy (and Florence in particular).
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Leccia's first film was the short, Stridura, in 1980. In December 2004, his film Azé, made in 1999, was released. Like his earlier work, such as the shorts Île de beauté (Island of Beauty) (1996) and Gold (2000), both co-produced with Dominique Gonzalez- Foerster, in Azé Ange Leccia continued to stress the light and sound effects.Thirion, A. (2004) "Aze" Cahiers du Cinema no.
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Alain Delon was known as much for his beauty as for his acting career and holds an enduring status as a leading man in French cinema. In the magazine Cahiers du cinéma, founded by André Bazin and two other writers in 1951, film critics raised the level of discussion of the cinema, providing a platform for the birth of modern film theory. Several of the Cahiers critics, including Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivette and Éric Rohmer, went on to make films themselves, creating what was to become known as the French New Wave. Some of the first films of this new movement were Godard's Breathless (À bout de souffle, 1960), starring Jean-Paul Belmondo, Rivette's Paris Belongs to Us (Paris nous appartient, 1958 – distributed in 1961), starring Jean-Claude Brialy and Truffaut's The 400 Blows (Les Quatre Cent Coups, 1959) starring Jean-Pierre Léaud.
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Valois lost financial support, the Faisceau was dissolved, he founded the Republican Syndicalist Party (PRS). Jacques Arthuys was also a leader of the party. During the second Cartel des gauches (Left-wing Coalition), the party published the Cahiers bleus (1928–1932), which hosted essays by widely- different personalities, including Marcel Déat (a future neo-socialist who had been excluded from the French Section of the Workers' International (SFIO) who would later be a collaborationist), Bertrand de Jouvenel (co-founder of the Mont Pelerin Society, a liberal organisation that still exists), Pierre Mendès France (one of the young guards, or jeunes loups, of the Radical-Socialist Party who would become French Prime Minister during the Fourth Republic), and Edouard Berth. After the 6 February 1934 crisis, Valois founded Le Nouvel Age ("The New Era"), which he presented as a left-wing review, along with the Cahiers bleus.
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Alexandre Astruc's manifesto "The Birth of a New Avant-Garde: The Camera-Stylo", published in L'Écran on 30 March 1948, outlined some of the ideas that were later expanded upon by François Truffaut and the Cahiers du cinéma. It argues that "cinema was in the process of becoming a new means of expression on the same level as painting and the novel ... a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. This is why I would like to call this new age of cinema the age of the caméra-stylo." Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the famous film magazine Cahiers du cinéma.
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1950 : "L'éclat du ciel" Revue Moderne 1953 : "On n'oublie pas le jour" Editions Seghers 1953 : Obtention du prix René-Guy Cadou 1954 : "Mémoire d'été" Cahiers de Rochefort 1955 : "Passager de l'avril" Editions Chiffoleau avec des illustrations de Geneviève Couteau 1957 : "Ces mains vers l'aube" Editions Chiffoleau 1972 : "La musique est aveugle" Editions Traces 1972 : "Solitude de l'imaginaire" Editions Archipel sur des dessins de Cadou-Rocher 1975 : "Solaire-en-Bonnieux" Cahiers des Viviers du Vent en collaboration avec Robert Momeux, dessins de Françoise Laux 1976 : "Regard sur l'œil" Editions Archipel 1982 : "Impasses bleues" Editions Traces 1999 : "Le roncier de mémoire" Editions du Petit Véhicule THE REVUES WHERE WE CAN FIND JEAN LAROCHE Jean LAROCHE has worked with a lot of revues, like 1956 : "13 poètes du Pays Nantais" Académie Régence 1961 : "17 poètes du Pays Nantais" Académie Régence Revues Océane, Phréatique, Traces, la Tour de Feu, Io, le Puits de l'Ermite...
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They contend the test is inappropriate to apply to ancient Egyptian mummies, due to the effects of embalming and deterioration over time.Alain Froment, 1991. "Origine et evolution de l'Homme dans la Pensée de Cheikh Anta Diop: une Analyse Critique", Cahiers d'Etudes africaines, XXXI-1-2: 29–64. In 1974, Diop was one of about 20 participants in a UNESCO symposium in Cairo, where he presented his theories to specialists in Egyptology.
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Only Angels Have Wings has become thought of as one of Hawks's best films, with Dave Kehr calling it the "equilibrium point" of Hawks's career, bridging themes developed in his early films of the 1930s to some of his darker films of the 1940s and 1950s. Film critics at Cahiers du Cinema also praised the film in the 1950s as a quintessential support of the auteur theory.McCarthy 1997, p. 276.
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Jean José Marchand was born on 14 August 1920 in Paris. He volunteered at the start of World War II (1939–45). After the Fall of France in 1940 he worked at the Bibliothèque nationale de France and contributed to the journals Poésie 40, Confluences and Les Cahiers du Sud. After the Liberation of France in 1944 Roger Grenier helped him get a position as art critic for Combat.
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Anne Garvey, in the Jewish Chronicle, calls it a "perfect piece of written heartbreak". Mesnil-Amar and her husband devoted their lives after the war to Jewish causes. André founded the Central Service for Jewish Deportees after the war, and Mesnil-Amar wrote articles for and edited their publication. She also wrote for the Journal of the Alliance Israélite Universelle, Nouveaux Cahiers, and delivered lectures on Franz Kafka and Marcel Proust.
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Examples are Veritas and the Catholic-oriented Cahiers du Témoignage Chrétien (Christian witness notebooks). These journals, particularly the important ones, contained propaganda articles against the Vichy regime, which revealed and criticised the actions of the government and state apparatus, as well as substantive pieces dealing with e.g. Nazism or collaboration. Frenay generally constructed the editorial of the Combat newspaper in person, until he joined de Gaulle in Algeria.
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The Cahiers of the First Estate reflected the interests of the parish clergy. They called for an end to bishops holding more than one diocese, and demanded those who were not noble be able to become bishops. In return they were prepared to give up the financial privileges of the Church. They were not, however, prepared to give up the dominant position that the Church held over the other two Estates.
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Bogdanovich kept a card file of every film he saw between 1952 and 1970, with complete reviews of every film. Bogdanovich was influenced by the French critics of the 1950s who wrote for Cahiers du Cinéma, especially critic-turned-director François Truffaut. Before becoming a director himself, he built his reputation as a film writer with articles in Esquire. These articles were collected in Pieces of Time (1973).
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Francisque Gay became active in the French Resistance, using the Lyon and Paris premises of his publishing house as a base. He helped publish the clandestine reviews La France continue and Les cahiers politiques. In March 1944 he escaped arrest by the Gestapo and went into hiding until the Liberation of Paris in August 1944. L'Aube reappeared on 23 August 1944 during the height of the Paris uprising.
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Siamak Pourzand began his career in journalism with the newspaper Bakhtar Emroz in 1952. In the 1960s and 70s, Pourzand served as an American correspondent for the newspaper Keyhan. His notable assignments included covering the funeral of John F. Kennedy as well as interviewing Richard Nixon. He also reported on Hollywood and became one of Iran's "best known film critics", writing for the French film journal Cahiers du cinéma.
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Pierre Lucien Pouzet, Les voitures Rhône-Alpines dans les compétitions jusqu'en 1914, Cahiers Techniques de la Fondation de l'Automobile Marius Berliet After World War I, he returned to competition, winning regularly on his famous M Type. When the company encountered its first difficulties in 1929, André Citroën, who was already mass-producing automobiles, proposed to acquire the company. Through pride, Cottin refused and eventually lost most of his fortune.
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The Gur–Adamawa link was demonstrated in Kleinewillinghöfer (1996)Kleinewillinghöfer, Ulrich. 1996. 'Relationship between Adamawa and Gur: The case of Waja.' Gur Papers / Cahiers Voltaiques 1.25–46. and has been accepted as established by later researchers, who have gone further in noting that the Adamawa and Gur languages themselves do not form coherent groups and are not necessarily more closely related internally than they are to each other.
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Also present were the bishops Evantius of Vienne, Syagrius of Autun, Isice I of Grenoble, Isaac I of Valence, Eusebius of Mâcon, Agricola of Nevers and Veranus of Cavaillon. Among the decisions, the sixth and last canon decided to open at the expense of the bishop a leprosarium in each city.Charles Petouraud, « Les léproseries lyonnaises au Moyen Âge et à la Renaissance », Cahiers d'Histoire, t. VII-3, 1962, p.
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Laurent Fels in 2013 Laurent Fels, PhD in French literature, is a writer and high school teacher in Luxembourg and is a member of the research centre 'Écritures' of the Université de Lorraine. He was born in Esch-sur-Alzette. He is the founder and editor of the magazine Les Cahiers de poésie. archive His work earned him a seat in the European Academy of Sciences, Arts and Letters.
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Arthuys and Heurtaux were arrested at the end of 1941, and Blocq-Mascart and Touny took over leadership of the OCM. The OCM drew its recruits from senior industrialists, civil servants and professionals. The first priorities were collection of intelligence and organization of fighting units. The group also published Cahiers that discussed the post-war economy and politics, which gave it the reputation of being elitist and technocratic.
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Cahiers pour l'Analyse was a magazine published in Paris in the 1960s. Ten issues appeared between 1966 and 1969. It was "guided by the examples of Georges Canguilhem, Jacques Lacan and Louis Althusser". Edited by a small group of Althusser's students at the Ecole Normale Supérieure, the magazine appeared during what were – arguably – the most fertile and productive years in French philosophy during the whole of the twentieth century.
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Bégaudeau published his first novel, Jouer juste in 2003. In 2005, he published Dans la diagonale and Un démocrate, Mick Jagger 1960-1969, a fictionalized account of the life of Mick Jagger. In 2006, his third novel entitled Entre les murs earned him the Prix France Culture/Télérama. Bégaudeau works as a movie critic for the French version of Playboy, having previously worked for the Cahiers du cinéma.
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History of Medieval Philosophy 272 On trinitarian theology, however, Gerard was much closer to the emerging Franciscan view.Russell L. Friedman, Trinitarian Texts from the Franciscan Trinitarian Tradition, ca. 1265-85, in Cahiers de L'Institut Du Moyen-Âge Grec Et Latin, Volume 73 (2006), p. 22. With Aquinas, he was one of the developers of the quodlibet genre of open philosophical discussion, flourishing for about a century from his time.
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When Au Hasard Balthazar first played in New York at the 1966 Film Festival, "it received mostly unfavorable notices". Reviews in Europe, however, were glowing. The noted filmmaker and Cahiers du Cinema critic Jean-Luc Godard said, "Everyone who sees this film will be absolutely astonished [...] because this film is really the world in an hour and a half." Godard married Anne Wiazemsky, who played Marie in the film, in 1967.
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Nader El-Bizri, 'A Philosophical Perspective on Alhazen's Optics', Arabic Sciences and Philosophy 15 (2005), 189–218; Nader El-Bizri,'La perception de la profondeur: Alhazen, Berkeley, et Merleau- Ponty', Oriens-Occidens: Cahiers du centre d'histoire des sciences et des philosophies arabes et médiévales, CNRS. 5 (2004), 171–184; and see a short essay by Valérie Gonzalez, "Universality and Modernity", The Ismaili United Kingdom, December 2002, pp. 50–53.
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In 1981, he helped to start the Clinique d'Opal, where he worked as a midwife and a general practitioner. He also worked at the Court of Appeal of Douai, where he was fundamental in a decision on the Outreau trial. In 1998, he took over direction of the Association catholique des Infirmières et Médecins. In 2000, he took over Cahiers Saint-Raphaël, a quarterly Catholic magazine on bioethics and medical news.
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While working at Cahiers du cinéma, Assayas wrote lovingly about European film directors he admires but also about Asian directors. One of his films, HHH: A Portrait of Hou Hsiao-hsien, is a documentary about Taiwanese filmmaker Hou Hsiao-hsien. He married Hong Kong movie actress Maggie Cheung in 1998. They divorced in 2001, but their relationship remained amicable, and in 2004 Cheung made her award-winning film Clean with him.
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Owing to his new contacts abroad, Baconsky began publishing his work in international reviews, among them France's Cahiers de L'Herne; Austria's Literatur und Kritik and Die Presse; and West Germany's Die Welt, Akzente and Das Ensemble. Following his return, Baconsky published his essay volume Meridiane and a selection of poems translated from the American Carl Sandburg. His own lyrics were published in a Hungarian translation, authored by poet Sándor Kányádi.Braga, p.
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Louis de Robert (5 March 1871, Paris – 27 September 1937) was a French writer, winner of the prix Femina in 1911. He became friends with Émile Zola during the Dreyfus Affair and took a stand for the revision of the trial.Quella- Villeger, Deux amis dreyfusards de Zola, Paul Brulat et Louis de Robert : Lectures de l'Affaire Dreyfus, Les Cahiers naturalistes, 1998, vol. 44, n+72, pp. 185-196.
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This sense of inadequacy is furthered by the image of the video which starts pitch black and ends in an obfuscating white, thus inverting the meaning of the title: "This video thus reveals its macabre dimension, which makes the viewer all the more uncomfortable as it depicts the innocence and fragility of childhood."Brunel, Raphaël (2009). "João Onofre", La Mesure du Désordre. Les Cahiers de la creation contemporaine, 2.
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Sergei Prokofiev's Piano Sonata No. 4 in C minor, Op. 29, subtitled D’après des vieux cahiers, or After Old Notebooks, was composed in 1917 and premiered on April 17 the next year by the composer himself in Petrograd.Berman, Boris. (2008). Prokofiev's piano sonatas: a guide for the listener and the performer. . The work was dedicated to Prokoviev's late friend Maximilian Schmidthof, whose suicide in 1913 had shocked and saddened the composer.
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He is a member of the jury Renaudot since 1993. He contributed to La Nouvelle Revue française, Combat, Cahiers des saisons, La Quinzaine littéraire, Figaro Magazine, Écrivain magazine, as well as literary programs on France Culture. His writing is intimate, sensitive and melancholy; he draws the material for his novels and stories for much of his autobiographical experiences, his travels and friendships. He has lived in Paris since the early 60s.
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Wood began to contribute to the film journal Movie in 1962, primarily on the strength of an essay he wrote for Cahiers du cinéma on Hitchcock's Psycho. In 1965, he published his first book, Hitchcock's Films (New York: A. S. Barnes, 1965). From 1969 to 1972, under the aegis of Peter Harcourt, Wood was a lecturer in film at Queen's University, Kingston, Ontario. In September 1974, Wood and his wife divorced.
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On review aggregator website Rotten Tomatoes, the film has an approval rating of 93% based on 15 retrospectively collected reviews, with an average rating of 7.09/10. In 1980 Janet Maslin of The New York Times wrote that "the film is elusive in any circumstances. However, anything this purely mysterious has its magic." The Color of Pomegranates made the Top 10 list for 1982 in Cahiers du cinéma.
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She headed the Lebanese delegation to the International Conference for Women in Haiderabad, India. The following year she issued in Cahiers de L'est « Mission in India » , her recollection of the Conference. She finalized her second novel "Sous la baguette du Coudrier" in 1949 but postponed the publication. On November 24, 1952, she held a conference entitled "Réminiscence" at the Lebanese Cenacle in which she was the first female member.
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They included the story Der Mond und das Mädchen (The Moon and the Maiden) which she sent in to a contest organized by the Luxemburger Zeitung. Other newspapers she contributed to included Jonghémecht, Junge Welt and Tageblatt. In Les Cahiers luxembourgeois she maintained a column Lettres de Suzette à Micromégas. She also wrote for the Berliner Lokalanzeiger and other German newspapers including Ullsteins Frauenblätter and Welt am Montag.
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She is best known for her two essays: D'elles (1979) and Quand je lis je m'invente (1984), which contributed to the development of feminist criticism in Quebec. Her writing appeared in various magazines such as Châtelaine, Forces, Cahiers du centre de recherche sur le surréalisme and Actuellement. She was manager for the cultural magazine Spirale from 1984 to 1986. She died in Montreal at the age of 57.
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Cashiers du Cinemart is an American magazine and a webzine about independent film, published and edited by Mike White. The print version began in 1994 as a zine and evolved over the late 1990s into a more typical magazine format. The title is a reference to the French film magazine, Cahiers du cinéma. It ceased print publication temporarily in 2008, but continues on the Internet and via print on demand issues.
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In 2007, Cowen collaborated with filmmaker and writer Andre Labarthe founder of the Cahiers du cinéma for his exhibition called The Lotus Eaters. Since 2007, Cowen has lived in Berlin. Cowen taught photography to underprivileged, inner-city kids at LEAP between 1990 and 1994. Cowen discovered and mentored the young and brilliant illegal immigrant Dan-el Padilla and helped him earn a scholarship to Collegiate School in New York City.
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The film has an 89% approval rating on Rotten Tomatoes, based on 75 reviews, with an average rating of 7.49/10. The critics’ consensus on it being stated as, “Potentially insurmountable for viewers not attuned to the director's wavelength, The Image Book is typically confounding - and ultimately rewarding - late-period Godard.” It also holds a 76/100 on Metacritic. It was named the best film of 2019 by Cahiers du cinéma.
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Suzanne-Liandrat-Guigues & Jean-Louis Leutrat, Alain Resnais: liaisons secrètes, accords vagabonds. (Paris: Cahiers du Cinéma, 2006.) p.226. "Les films où les héros ne réussissent pas... je crois que c'est un ressort dramatique qui n'attire pas... Alphonse, ou Hélène, ou Bernard sont des gens qui ne cessent de faire des erreurs et cela crée un malaise." It nevertheless drew much attention from French film-makers and critics.
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The Cahiers de doléances (or simply Cahiers as they were often known) were the lists of grievances drawn up by each of the three Estates in France, between March and April 1789, the year in which the French Revolution began. Their compilation was ordered by Louis XVI, who had convened the Estates-General of 1789 to manage the revolutionary situation, to give each of the Estates – the First Estate (the clergy), the Second Estate (the nobility) and the Third Estate, which consisted of everyone else, including the urban working class, the rural peasantry, and middle class and professional people, who were the only ones in the group likely to have their voices heard – the chance to express their hopes and grievances directly to the King. They were explicitly discussed at a special meeting of the Estates-General held on 5 May 1789. Many of these lists have survived and provide considerable information about the state of the country on the eve of the revolution.
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Robert Francis was Jean-Pierre Maxence's brother, the pseudonym of Pierre Godmé. After studying science, he occupied a post of civil engineer in the North of France in the 1930s. At the same time, he devoted himself to letters and founded with his brother in 1928 a literary magazine, Les Cahiers, which disappeared in 1931. Robert Francis belonged to the middle of the jeune droite catholique des années 1930 ("Young Catholic Right of the 1930s").Véronique Auzépy-Chavagnac, La Jeune Droite catholique (années 1930 et 1940), Mil neuf cent, Revue d’histoire intellectuelle (cahiers Georges Sorel), n°13, 1995Nicolas Kessler, Jean-Louis Loubet del Bayle, Histoire politique de la jeune droite (1929-1949), L'Harmattan, 2001 A friend of Thierry Maulnier, he wrote with him and his brother a work which had a certain success on its release: Demain la France ("Tomorrow France") which was a charge against the regime of the moment, written on the morrow of the 6 February 1934 crisis.
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Born in France of Spanish Republican parents, Rafael Andia first studied the violin but was attracted by the musical tradition of his family.Article des Cahiers de la Guitare numéro 71 ( Meeting with Rafael Andia ) The flamenco that he then practiced yielded to the classical guitar, but his conception of the instrument remains durably fixed under that first influence.Dictionnaire des Interprètes, Paris, Robert Laffont, 1982 Rafael Andia will remain a cornerstone for his generation because of a quite complete guitaristic activity. His reputation is as important in the field of contemporary music - where he has premiered some of the more significant works of our times Articles des Cahiers de la Guitare numéros 12 et 17 ( Tristan Murail, interview and analysis of "Tellur" et The work of Jolivet for solo guitar ) \- as it is in the field of ancient music, where he has widely contributed to the renewal of baroque guitar, particularly through the complete work of Robert de Visée.
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He also created a project for a Breton language choir.René-Yves Creston, Paul Ladmirault - Jorj Robin skulter vrezon, e vuhez, e ober. Jorj Robin sculpteur breton, sa vie, son œuvre, Unvaniez ar Seiz-Breur, Plaquette commémorative éditée pour Keltia "Cahiers Interceltiques d'Art et de Littérature" en 1931. After his early death at the age of 24, he was commemorated in a special edition of the journal Keltia, written by Creston and Paul Ladmirault.
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Rivette's staging, in the classical style of Marivaux, was intentionally simple. He and Gruault continued reworking the film script (which was finally passed by the censorship board), but Bourseiller could not afford to produce a film version, so the project was shelved. After André Bazin's death in 1958, Rohmer became editor-in-chief of Cahiers du cinéma. By 1962, Rohmer was often at odds with his staff for not promoting New Wave filmmakers.
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" In a 1970 interview for the magazine Cahiers du Cinéma, Yoshida explains: "The fundamental theme is: how to change the world, and what is it that needs to be changed? Reflecting on the present situation through the medium of an era already past, I came to believe that Osugi’s problems continue to be ours. Osugi is very well known in Japan – one could say almost legendary: he is someone who spoke of free love.
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With time, Fondane became a contributor to newspapers or literary journals in France, Belgium, and Switzerland: a regular presence in Cahiers du Sud of Carcassonne, he had his work featured in the Surrealist press (Discontinuité, Le Phare de Neuilly, Bifur), as well as in Le Courrier des Poètes, Le Journal des Poètes, Romain Rolland's Europe, Paul Valéry's Commerce etc.Daniel, p. 624–625. See also: Răileanu & Carassou, p. 70, 135, 142, 159; Sitman, p.
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In 1904, he was deeply moved by a short story by Israel Zangwill in the Cahiers de la quinzaine entitled Chad Gadya. It relates the tale of a young Venetian Jew from a traditional family attracted by the external non-Jewish world. Not able to find his place in either world he ends by committing suicide. Spire engaged in the Zionist cause, joining Zangwill's Jewish Territorial Organisation (ITO) and campaigned, publishing numerous articles.
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" ("The myth of the world conspiracy: The agitation of Swiss Frontists against Jews and Freemasons, by the examples of the Berne lawsuits concerning "The Protocols of the ways of Zion>"). Basel: Helbing & Lichtenhahn, 1992. Other especially important scholarly work on the controversy continues to be published by researcher Michael Hagemeister.These include Hagemeister's "Russian émigrés in the Bern trial of the 'Protocols of the Elders of Zion' (1933–1935)", Cahiers Parisiens/Parisian Notebooks, 5, 2009, pp.
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E.C. Lodge, 'The Constables of Bordeaux in the Reign of Edward III', English Historical Review Vol. 50 no. 198 (April 1935), pp. 225-41.Gascon Rolls, C61/91 19 (Gascon Rolls Project), citing F. Beriac, 'Guillaume Sanche IV de Pommiers et la noblesse bordelaise en 1377: trahison, fidélité et attentisme,' in Félonie, Trahison et Reniement au Moyen Age, Cahiers du CRISIMA, Colloque International III, (Université Paul-Valéry, Montpellier 1997), pp. 599-612.
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For a New York Times feature on the film, Cahiers du Cinéma editor Stéphane Delorme wrote that the film "reminds us of a New York independent cinema that we loved — black and white, shot on film, spontaneous, with funny and intelligent dialogue — and that seemed to no longer exist." Wesley Morris of The Boston Globe similarly praised the film, writing: "There aren’t enough of these truly independent movies anymore."Morris, Wesley. The Color Wheel.
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Nantel had intended to pursue a singing career, but abandoned these plans after her marriage to Louis-Athanase David, the Provincial Secretary of Quebec, in 1908.Harvey, F. (2003). La politique culturelle d'Athanase David, 1919-1936. Les Cahiers des dix, (57), 31–83. doi:10.7202/1008103ar Her husband later became a member of the Senate of Canada and their son, Paul David, was a cardiologist and also a member of the Canadian Senate.
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" Paul Klee's confidante Will Grohmann argued in the Cahiers d'art that he "stands definitely well solid on his feet. He is by no means a dreamer; he is a modern person, who teaches as a professor at the Bauhaus." Whereupon Breton, as Joan Miró remembers, was critical of Klee: "Masson and I have both discovered Paul Klee. Paul Éluard and Crevel are also interested in Klee, and they have even visited him.
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On nights and weekends away from the Ballets Russes, Brodovitch began sketching designs for textiles, china, and jewelry. By the time his work for the ballet had finished, he had already compiled an extensive portfolio of these side projects and was selling his designs to fashionable shops.Purcell, Kerry William: p18. He worked part-time doing layouts for Cahiers d'Art, an important art journal, and Arts et Métiers Graphiques, an influential design magazine.
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Almuró was born in Paris in 1927 and studied piano from an early age. In 1946, influenced by Surrealism and René Daumal, he founded a literary journal titled Les Cahiers Sensationnistes. In 1947, he joined Pierre Schaeffer's Club d'Essai on RTF (Radio Télévision Française) as a radio producer.Liner notes from "L'Envol/Ambitus" LP, Disques BAM, France, 1963 [BAM or Boîte à Musique was a French record label created by Jacques Lévi-Alvarès in the 1930s.
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Detail of the lithography Le Match Staunton – Saint-Amant by Alexandre Laemlein.La Stratégie (edited by Jean and Numa Preti) n°10, novembre 1911 Rousseau is on the right.Les Cahiers du CREB (edited by Etienne Cornil) tome 4 (2007) page 35 Eugène Rousseau (13 November 1805, St. Denis, France – Paris, France, 1877) was a French chess master. He was the strongest chess player in New Orleans in the first half of the 1840s.
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On Hermanjat and Fauvism, see: . In 1910, following genealogical research, he began spelling his name "Hermanjat", rather than "Hermenjat" as he had previously. It was also at this time that he made the acquaintance of Ferdinand Hodler and was influenced by Symbolism.On the links between Hodler and Hermanjat, see : Laurent Langer : « Dans le sillage de Hodler : Abraham Hermanjat », Les lettres & les arts. Cahiers de critique littéraire et artistique, hors série consacré à Ferdinand Hodler, 2013, .
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Throughout its course, the collective attempted to expand geographically, despite restrictions imposed by the social and local character of the network. These expansions, however, imposed challenges to the collective’s consideration and determination of significance between various events and happenings. L'Association de la Nouvelle Génération Immigrée. 1984. “Les Cahiers de la Nouvelle Génération”. édition 1. Nasri, Foued. 2011. "Zaâma D'banlieue (1979-1984): Les Pérégrinations D'un Collectif Féminin Au Sein Des Luttes De L’Immigration".
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See Alice Voinescu, "Jurnal", Editura Albatros, Bucharest 1997 pp. 11, 554–555, 697, 699, 738–739, 815, 821 The writer Panait Istrati , a TB sufferer, became a friend of the Nasta family after receiving much needed medical assistance from Marius at the Filaret hospital in the final years of his life.See the exchange of correspondence between Istrati and Lucia Nasta following his treatment by Marius Nasta at the Filaret Hospital in "Cahiers Panait Istrati" no.
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A conscientious objector, he served during his obligatory civilian service (1985–87) at the Cahiers de la Réconciliation, magazine of the MIR, French branch of the International Fellowship of Reconciliation (IFOR). He was editor of this magazine from 1987 to 2006. He has been member of MIR France national committee since 1987 and was MIR France co-president from 1994 to 2004. He was member of IFOR Steering Committee from 1996 to 2000.
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"Queer Liberation, Not Rainbow Capitalism", a sign held at the Queer Liberation March in 2019 In many parts of the globe, there have existed for decades political groups that denounce pink capitalism and commodification of LGBTI rights often as queer or pink blocs within LGBTI Pride Parades.Radical Queers. A Pop Culture Assessment of Montréal's Anti-Capitalist Ass Pirates, the Panthères roses, and Lesbians on Ecstasy. Canadian Woman Studies/Les cahiers de la femme. 2005.
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He was active in the Internationalist Communist Party and then the Internationalist Communist Organisation before expelled in 1989. He became a secondary school teacher, until 1965 when he became lecturer in history at the University of Grenoble and then professor. In 1977, he set up the Trotsky Institute, to publish in French all of Trotsky's writings (so far, 27 volumes). He also founded and edited the Cahiers Léon Trotsky, devoted to the history of Trotskyism.
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58, 1980: "L'explication scientifique elle-même prise au piège devient un reflet supplémentaire, et non une réponse définitive." ("The scientific explanation, itself caught in a trap, becomes an additional reflection, and not a definitve reply.")Jean- Pierre Oudart, in Cahiers du cinéma, no. 314, juillet 1980: "Il y a dans ce film au moins deux films, mal mixés, une greffe qui ne prend pas, mais qui tient tout de même à une nécessité".
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He was born at Grenoble (Isère). He studied law, and in 1783 obtained a judgeship at Grenoble. He took part in the struggle between the parlements and the court in 1788, and promoted the meeting of the estates of Dauphiné at Vizille (20 July 1788), on the eve of the French Revolution. He was secretary of the assembly, and drafted the cahiers ("notebooks") of grievances and remonstrances presented by it to King Louis XVI.
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Since 1967 he has dedicated his compositional work to the study of micro-intervals in a neo-serial approach using quarter-tones,Bancquart Alain, "Musique: imaginaire, combinatoire, Essai sur la composition en micro-intervalles", in Les cahiers du CIREM, n°28–29, P.U.T, Tours, 1994, pp.9–64 and more recently 16th tones., "Alain Bancquart", Dictionnaire des musiques microtonales [Dictionary of Microtonal Music] (Paris: L'Harmattan, 2003) . He is married to French poet Marie-Claire Bancquart.
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Former writer for Cahiers du cinéma, he is best known as a specialist in the works of Jean-Luc Godard. He taught at the University of Paris III: Sorbonne NouvelleHis page at the site of the University of Paris III: Sorbonne Nouvelle and at La Fémis. In 2000, he became the cinema counsellor of Jack Lang with whom he worked regarding the arts in education. He directed his first feature film in 1982.
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Former activist of the Fédération des étudiants nationalistes (Federation of Nationalist Students), Lefebvre also contributed to Cahiers universitaires, the movement's newspaper. In 1968, he became one of the founders of the Groupement de recherche et d'études pour la civilisation européenne (GRECE). After that, he joined the Le Figaro Magazine (Figaro diary) with Alain de Benoist and other "neo-rightists". He founded the ephemeral Magazine hebdo while managing the groupe Media and L'Histoire magazine.
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Miller became, subsequently, the son-in-law of Lacan. Both Miller and Milner attended Lacan's seminars held at the ENS and their friendship was instrumental in the founding and direction of the Cahiers pour l’Analyse several years later. From 1968 to 1971, Milner was affiliated with the Maoist movement of the proletarian Left and discovered the path of his own political evolution. Milner seems to have disavowed, or moved away from, these early affiliations.
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He soon became known for his unusually well-crafted scripts and imagery. His new career, however, caused his wife to divorce him. He quickly developed in France a reputation as an "intellectual" porn director,Inkorrektes: John B. Root en dvd sur filmdeculte.com and his work was followed positively over the years by cultural magazines such as Les InrockuptiblesLes Hot d'or au coeur d'un X en crise, Les Inrockuptibles, 23 October 2009 and Cahiers du cinéma.
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From 1971 to 1979 he represented Iran at the United Nations. Having been forced out of the Iranian Foreign Ministry following the 1979 revolution, Hoveyda became a senior fellow and member of the Executive Committee of the National Committee on American Foreign Policy (NCAFP). Apart from politics, he was active in the field of cinema and was a founding member of the editorial board of the celebrated film magazine Cahiers du cinéma.
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Mounir speaking Tunisian Arabic, recorded for Wikitongues. The Tunisian Derja () is considered a variety of Arabic – or more accurately a set of dialects.« Travaux de phonologie. Parlers de Djemmal, Gabès, Mahdia (Tunisie) et Tréviso (Italie) », Cahiers du CERES, Tunis, 1969 Tunisian is built upon a significant Berber, African Romance Tilmatine Mohand, Substrat et convergences: Le berbére et l'arabe nord-africain (1999), in Estudios de dialectologia norteafricana y andalusi 4, pp 99–119 Corriente, F. (1992).
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Hippalectryon is one of Aristophanes' favourite insults. Michel Meslin, Cahiers d'anthropologie religieuse 3, 1994, Presses Paris Sorbonne , , p. 121 . He uses it in Peace (421 BCE), The Birds (414) and in The Frogs (405), in which Dionysus and Euripides mock Aeschylus for mentioning it.Swets et Zitlinger, « Annales de la Faculté des Lettres de Bordeaux et des Universités du Midi, quatrième série commune aux Iniversités d'Aix, Bordeaux, Montpellier, Toulouse », dans Revue des études anciennes, t.
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Between 1926 and 1927, while in Alexandria Suarès published and co-edited with Elian J. Finbert "Messages d'Orient", a Review on Eastern and Far-Eastern matters. In 1928, he published in Paris Sur un Orgue de Barbarie. From 1928 to 1939, Carlo Suarès, in collaboration with Mme de Manziarly published and co-edited in Paris "Les Cahiers de l'Etoile", a monthly review. Publications included texts from Joe Bousquet, Le Corbusier, Krishnamurti, Benjamin Fondane.
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Bertrand Mandico is a French experimental film director of short films, medium-length films, experimental essays, and one feature film. The Wild Boys, his first feature film, was named the top film of 2018 by Cahiers du cinema. His films are often interested in the body and gender fluidity and incorporate photos and written elements. Born in 1971 in Toulouse, Mandico graduated from the film directing program at the Gobelins school in Paris.
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Burri Retrospektive, 1915–1995. Milan: Electa. Exhibition catalogue. pp. 81–83 In 1949 the critic Christian Zervos published the photo of a Catrame (exhibited in Paris the previous year) in the renowned Cahiers d'art. Despite Burri’s affinity with informalism and his friendship with Ettore Colla, which brought Alberto close to the Gruppo Origine (established and disbanded in 1951 by Colla himself, Mario Balocco and Giuseppe Capogrossi), the painter’s artistic research appeared more and more solitary and independent.
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David Olivier (born 11 March 1956) is a French and British philosopher and antispeciesist activist. He is founder of the French journal Cahiers antispécistes ("Antispeciesist Notebooks"), the annual event Veggie Pride and of the annual meeting Les Estivales de la question animale ("The Summers of the Animal Question"). Olivier is also the creator of the term "veggiephobia" and of numerous articles and conferences. He is an advocate of utilitarian and antinatauralist ethics, and defines himself politically as a progressive.
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The same method was applied by four of Diop's collaborators to Mbosi,Obenga, Théophile. Égyptien ancien et négro- africain, Cahiers Ferdinand de Saussure, No. 27 (1970–1972), pp. 65–92. Duala,Ngom, Gilbert (1993), "La parenté génétique entre l'egyptien pharaonique et des langues négro-africaines moderns: L'exemple du duala", Ankh, N° 2, pp. 29–83. Basa,Ndigi, Oum (1997–1998), "Les Basa du Cameroun et l'antiquité pharaonique égypto-nubienne", Ankh, N° 6–7, pp. 280–3.
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The Institute for the History of Aluminium (French: Institut pour l'histoire de l'aluminium) is a French non-profit organisation. Founded in 1986, its aims are to foster multidisciplinary study of the history of aluminium in its technical, economic, industrial, commercial and cultural aspects and to protect the aluminium industry's heritage. The IHA edits the Cahiers d'histoire de l'aluminium and an electronic newsletter. It provides support for students who are interested in the history of aluminium through research grants.
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The son of architect , Mathieu Riboulet studied cinema and modern letters at the New Sorbonne University. He made several self-produced films within the framework of the Spy Films company established in the 1980sAvec Mathieu Riboulet, interview with Isabelle Zribi, Cahiers du cinéma, n°662, Decembre 2010, p. 60 before devoting himself to writing. The main characters of Quelqu'un s'approche, of the novels Le Corps des anges and L'Amant des morts are young men attracted by men.
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Véronique Manniez-Rivette told the funeral goers that just as angels are said to sing during moments of silence at twenty minutes past the hour, Rivette had died at 12:20pm. The March 2016 issue of Cahiers du Cinema was dedicated to him. In May 2016 the Cinémathèque française announced that Rivette's first three short films had been rediscovered by his widow and were being restored and then screened at the Festival Coté Court that June.
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Malet 1992: pp. 29–32. Hemingway wrote in 1934 in the journal Cahiers d'art, "I won't change The Farm for any painting in the world" Miró later would use the area of Mont-Roig in other works such as Earth and worker or Catalan Landscape (The Hunter). In them, as in The Farm, can be observed succession in the transformation of figurative forms to other places, where there are all kinds of symbol and graphics.Martinez Muñoz 2000: p. 99.
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After the war, he began a career as a journalist, first writing for the journal Esprit, a neo-Catholic, Marxist magazine where he met fellow journalist André Bazin. For Esprit, Marker wrote political commentaries, poems, short stories, and (with Bazin) film reviews. He later became an early contributor to Bazin's Cahiers du cinéma. During this period, Marker began to travel around the world as a journalist and photographer, a vocation he pursued for the rest of his life.
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François Truffaut wrote harshly of him after seeing The Flame of New Orleans: "We don't follow our elders in paying the same tribute to Renoir and Clair. There is no film by Clair which matches the invention and wit of Renoir's Tire au flanc.... Clair makes films for old ladies who go to the cinema twice a year."In Cahiers du Cinéma, no.37 (July 1954): quoted in Olivier Barrot, René Clair, ou Le Temps mesuré.
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Several of Hatzfeld's books have been translated into different European and Asian languages, among them English. Hatzfeld contributed to L’Autre Journal, GEO, Autrement, Rolling Stone, Cahiers du cinéma, Le Monde, Actuel. He has also written for various magazines and collective books in France and abroad (such as The Paris Review and the collection BPI Centre Pompidou); he also acted as a co-author of screen- writings. Some of Hatzfeld books have been adapted for the theatre.
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On Metacritic, the film has a weighted average score of 78 out of 100, based on 17 critics, indicating "generally favorable reviews". Sight & Sound film magazine listed it at #2 on its list of best films of 2012.'The Master' Tops Sight & Sound's Top Ten of 2012 While 'Holy Motors' is #1 with Cahiers Du Cinema In 2016, the film was ranked among the 100 greatest films since 2000 in an international poll of 177 critics.
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A 1989 Priory of Sion circularLes Cahiers de Rennes-le-Château Nr IX, page 59 (Éditions Bélisane, 1989). cited Roger-Patrice Pelat as a Grand Master of the Priory of Sion. Pelat was a friend of the then President of France François Mitterrand and centre of a scandal involving French Prime Minister Pierre Bérégovoy. This initiative by Plantard had an unexpected consequence; in October 1993, the judge investigating the Pelat scandal had Pierre Plantard's house searched.
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He had now undertaken a path that lead to 'synthesis', with its starting point in 'unity'.Albert Gleizes, Souvenirs: le Cubisme, 1908-1914, La guerre, Cahiers Albert Gleizes, Association des Amis d'Albert Gleizes, Lyon, 1957, p. 15. Reprinted, Ampuis, 1997, written during the First World War Albert Gleizes, 1920-23, Ecuyère (Horsewoman), oil on canvas, 130 x 93 cm, Musée des Beaux- Arts de Rouen (Purchased from the artist in 1951. Dépôt du Centre Pompidou, 1998).
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Nader El-Bizri, 'Ibn al-Haytham et le problème de la couleur', Oriens-Occidens: Cahiers du centre d'histoire des sciences et des philosophies arabes et médiévales, C.N.R.S. Vol. 7 (2009), pp. 201–226; see also: Nader El-Bizri, Grosseteste’s Meteorological Optics: Explications of the Phenomenon of the Rainbow after Ibn al-Haytham', in Robert Grosseteste and the Pursuit of Religious and Scientific Knowledge in the Middle Ages, eds. J. Cunningham and M. Hocknull (Dordrecht: Springer, 2016), pp.
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Jacques Aumont (born 25 February 1942) is a French academic and writer on film theory. Born in Avignon he initially trained as an engineer but started contributing film criticism to Cahiers du cinéma in the late 1960s.Daniel Dottorini, Aumont, Jacques, Enciclopedia del Cinema, 2003. He is professor emeritus at University of Paris III: Sorbonne Nouvelle, director of studies at the School for Advanced Studies in the Social Sciences, and professor at the École nationale supérieure des Beaux-Arts.
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In several works, he denounced the present turn of contemporary art that has broken with the European artistic tradition. Jean Clair was a professor of art history at the École du Louvre between 1977 and 1980, and founded the "Cahiers du musée d'Art moderne" a series of publications of the Museum of Modern Art in Paris, France, that ran from 1978 to 1986. He regularly participates in debates on contemporary art and the dissemination of art.
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The total effect of the picture is entertainment troubled by delusions of art and vice-versa." Two years later, director Vincente Minnelli said in an interview to the French film magazine Cahiers du Cinema, "I was very pleased with the way the film turned out. Judy gave one of her best performances and the Cole Porter songs were excellent. Unfortunately, the merchandising on the film was bad, and it failed to go over when it was released.
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Early on, Lasbax was heavily influenced by the work of Théodore Ruyssen who was, himself, an interpreter of Henri Bergson. Nevertheless, he drew from a wide variety of thinkers to develop his own original work. Such thinkers include Baruch Spinoza, Johann Gottlieb Fichte, Auguste Comte, Georg Wilhelm Friedrich Hegel and Emile Durkheim.E. Goossens, Review of La Dialectique et le Rythme de l'Univers (Cahiers de Synthèse Dialectique, I), by Émile Lasbax, Revue Néo-Scolastique de Philosophie 28 (1926): 490.
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The image appeared on everything from canvases to bathing suits and hairbrushes, and were all sold at flea markets. Knowles produced the Identical Lunch graphic series, which showcases her friends and Fluxus colleagues consuming The Identical Lunch, during the early 1970s. In the late 1960s, Knowles worked closely with Marcel Duchamp to recreate his first optical piece, the Coeurs Volants. The original was made in 1936 for the Cahiers d'Art, a French artistic and literary journal.
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Ujicǎ studied literature in Timișoara, Bucharest and Heidelberg. He moved to Germany in 1981. In 1990 he began making films. Together with Harun Farocki, he created Videograms of a Revolution, a film which has become a standard work in Europe when referring to relationships between political power and the media and the end of the Cold War, and which was listed by the magazine Les Cahiers du Cinema as one of the top 10 subversive films of all time.
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A trio was formed, Roland Schramlei on bass, Bert Armbruster on piano, and Giorgio on drums. Resources were so limited that, only possessing a ride cymbal, Giorgio would have to hire a drum kit every time they had an engagement. The main jazz magazine was Les Cahiers du Jazz from Paris, and there was also one in Italy. In both countries the magazines organized the local Jazz Societies into Federations which could then stage concert tours.
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Born in Limoges, France on May 3, 1914 Clancier was encouraged by professors in 1930. He began writing poems and, in 1933, to work for journals including Les Cahiers du Sud. He came in 1939 to Paris, but returned in 1940 in Limousin, studying at the Faculty of Arts at Poitiers and Toulouse, and met Joe Bousquet in Carcassonne. In 1940, he joined the editorial board of the journal Fontaine led in Algiers by Max-Pol Fouchet.
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Kino Video, 2004. Influential film clubs of the period included Objectif 49, whose members included Robert Bresson and Jean Cocteau, and the Ciné-Club du Quartier Latin (Cinema Club of the Latin Quarter). Revue du Cinéma, a magazine published by members of the two clubs, later evolved into the influential film magazine Cahiers du cinéma. Many of the people who attended the screenings became film critics and later filmmakers, founding the film movement known as the French New Wave.
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It has been proposed that Abbot Geoffrey of Vendôme introduced the chronicle of Angers into his abbey and began their continuation.Stéphane Lecouteux (2009), "L'abbé Geoffroy de Vendôme (1093–1132), initiateur des Annales de Vendôme?" Cahiers de civilisation médiévale 52 (1 [205]): 37–43. All the entries (events and obituaries) up to 1075 are written in the same hand and are so heavily reliant on the chronicle of Saint-Maurice as to be of little historical value.
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Monsignor Benigni proved to have special gifts for relations with the press. Beginning in 1907, he provided a daily news bulletin, La Corrispondenza di Roma, which became from 1909 to 1912 La Correspondance de Rome and in 1913-1914 Cahiers de Rome. This gave him influence over the contents of publications in many countries. He set up among his contacts the Sodalitium Pianum (Fellowship of Pius X), to report to him those thought to be teaching Modernist doctrines.
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This family descends from Gilles van DievoetAlain van Dievoet, « Généalogie de la famille van Dievoet originaire de Bruxelles, dite van Dive à Paris », in : Le Parchemin, ed. Office généalogique et héraldique de Belgique, Brussels, 1986, n° 245, p. 273 to 293, and also : Alain van Dievoet, « Quand le savoir-faire des orfèvres bruxellois brillait à Versailles », in : Cahiers bruxellois, Brussels, 2004, pp. 19-66. This article contains an extensive bibliography and many references and transcripts of archival documents.
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After Theodor Ahrenberg's death in 1989, Ulla Ahrenberg has continued her role as custodian and archivist of the collection. Their son Staffan Ahrenberg, a successful Hollywood producer and entrepreneur, continues his father's collecting tradition; his own collection includes contemporary American and European art, such as that of Richard Serra, Robert Longo, Wolfgang Tillmans, Cildo Meireles, Jenny Holzer, Martin Kippenberger and Adrián Villar Rojas. In October 2012 Staffan Ahrenberg relaunched the renowned French art and literature journal Cahiers d'art.
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Daniel Lérault, Jean Rière, "D'un atermoiement à l'autre. La publication de la correspondance Panaït Istrati–Romain Rolland", in Études Romain Rolland – Cahiers de Brèves, Issue 41, July 2018, pp. 47–48 Lăzăreanu was similarly involved, in 1952, with the Romanian orthographic reform, voted in as a member of the Linguistics Institute, and nominally implementing locally the objectives stated in Marxism and Problems of Linguistics.Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, pp. 115–116.
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Marie Henriette Steil Marie Henriette Steil (1898–1930) was a Luxembourg writer and feminist. Born on 3 August 1898 in Luxembourg, she is known to have been keen to assert her independence as a woman and to have promoted feministic trends such as a boyish hairstyle. After publishing some short pieces in Les Cahiers luxembourgeois, she aspired to become a professional writer but died when she was only 32. Her earliest works were published in Luxembourg newspapers.
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Couëlle is granddaughter of the French architect Jacques Couëlle, and daughter of the painter Jérôme Couëlle. She is an art historian. She completed her master's thesis on "Kitsch as a Modernist Device" at the Université du Québec à Montréal in 1991. From 1989 to 2001, she was an art and theater critic for numerous publications, including art press, Canadian Art, Cahiers de théâtre Jeu, Variable Sky, Sculpture Space, Esse, ETC, Parachute, Possibles, Spirale and Vie des arts.
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Macel is a contributor to several magazines such as Artforum, Flash Art, Art Press, Parkett and Cahiers du Musée national d'art moderne. Macel has served as the Chief Curator at the Centre Pompidou since 2000, where she started the museum's contemporary art department. She has curated shows for Sophie Calle, Gabriel Orozco, Nan Goldin, and Philippe Parreno. At the Venice Biennale, Macel curated the French pavilion in 2013 (Anri Sala), and the Belgian pavilion in 2007 (Eric Duyckaerts).
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These currents can considerably alter, change and are dependent on the various yearly seasons. If the mixed layer is less thick (10 to 20 meters), the quasi-permanent current at the surface adopts an extreme oblique direction in relation to the direction of the wind, becoming virtually homogeneous, until the Thermocline.Courants mesurés près de la surface, The drift current from observations made on the bouee laboratoire, Joseph Gonella, 1971: Cahiers Océanographiques, vol. 23, pp. 1–15.
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After a Ph.D. on Virginia Woolf, she embarked on a master's degree in dance which culminated in the publication of her essay "The Dance of Nietzsche". Her first novel, La Nuit est en avance d'un jour, was published in 1985 at Éditions Orban. She translated the entire non-expunged Journal of Anaïs Nin. A great traveler, she has contributed to many literary journals such as L'Infini, Les Cahiers de l'Herne, L'Atelier du roman, ' on the internet or the magazine '.
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From 1968 to 2000, Veilletet worked for the daily French newspaper Sud Ouest, and became their chief reporter in 1973. In 1976 he got France's highest journalism award–the prix Albert-Londres. He edited the Sunday edition of Sud Ouest from 1979 to 1989, then became editor-in-chief of Sud Ouest until 2000. He also participated in the 1979 launch of a magazine about bullfighting, a subject he was passionate about, Les Cahiers de la corrida.
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1946 he divorced Alice and married the Venezuelan designer and artist Luchita Hurtado, whom he had met in New York through his friend Isamu Noguchi. Hurtado moved to Mexico in 1947 to live with Paalen and together they explored the ancient culture of the Olmec, about which Paalen later published a widely respected article in the French art magazine Cahiers d'art.Wolfgang Paalen, Le plus ancien visage du Nouveau Monde, in: Cahiers d’art 27 (1952), Nr. 2 Paalen radicalizes the assumption of his friend and colleague Miguel Covarrubias, that the Olmecs were a culture succumbed and (after hundreds of war-years) finally wiped out by the aggressive Maya civilization, comparing the Olmecs to the ancient European matrilinear civilizations, which underlay invasive and more aggressive patriarchal civilizations some 3000 years ago. Paalen's thesis about the matrilinear social-structure of the ancient societies of Mesoamerica, which he documented with considerable support from his own research, was never substantially challenged and strongly influenced such artists as Alice Rahon, Remedios Varo and Leonora Carrington in their archaist and feminist themes.
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As more issues of Cahiers were published, however, Bazin found that the Young Turks, a group of young proteges and critics serving as editors underneath him, were beginning to disagree with him in the pages of the magazine. Godard would voice his disagreement with Bazin as early as 1952, when he challenged Bazin's views on editing in an article for the September issue of Cahiers.Godard, Jean-Luc (September 1952) Defense And Illustration of Classical Construction Cahiers du Cinéma Gradually, the tastes of the Young Turks drifted away from those of Bazin, as members of the group began to write critical appreciations of more commercial American filmmakers such as Alfred Hitchcock and Howard Hawks rather than the canonized French and Italian filmmakers that interested Bazin. The Young Turks broke completely with Bazin by 1954, when an article in the January issue by Truffaut attacked what he called La qualité française ("the French Quality," usually translated as "The Tradition of Quality"), denouncing many critically popular French films of the time as being unimaginative, oversimplified, and even immoral adaptations of literary works.
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However, Rafael Lapesa (1981) considered that the question has not been properly researched and that further investigation is needed. It has also been pointed out that the earliest documentation written in Spanish (13th century) can be analysed as having an VSO order, however this would not affect documents written after that time. Sobre el orden de constituyentes en la lengua medieval: la posición del sujeto y el orden básico en el castellano alfonsí, Cahiers d'Études Hispaniques Médiévales , p 208, (2008).
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Paris: Cahiers du Cinéma, 2006. pp. 232–233.Alain Resnais, in an interview accompanying the DVD of Providence issued by Edition Jupiter in 2013. Gielgud later described the project as "by far the most exciting film I have ever made", and noted the impressive calmness of Resnais throughout filming which made him "wonderful to work with". He also recalled the contribution made by Florence Malraux, Resnais's wife, who spoke fluent English and helped overcome the director's limitations in that respect.
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Elsa Cayo, 26 min, 1988. Then, in a direct confrontation with the problem of the plinth — which is also the problem of tradition — Vermeiren began to exhibit « replicasVoir Michel Gauthier, « Transferts (sur les «répliques» de socles dans la sculpture de Didier Vermeiren) » in Les Cahiers du Musée national d'art moderne n°47, p. 117-131, 1994 » of plinths of sculptures by Rodin, Carpeaux, Chamberlain..., usually made from the same material (plaster, bronze, etc.) as the figures their originals supported in the museum.
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This battle was far more stubbornly contested than that of Ad Decimum, but it ended in the utter rout of the Vandals and, once more, the flight of Gelimer. He retreated to Mons PappuaFor possible location of Mons Pappua see J. Desanges, 1959."La dernière retraite de Gélimer", Cahiers de Tunisie 7, pp 429-435. (maybe in the Mount Edough, near Annaba)John Reynell Morell, Algeria: The Topography and History, Political, Social, and Natural, of French Africa, London: Nathaniel Cooke, 1854, p. 197.
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"Affaire Pelat: Le Rapport du Juge", Le Point, no. 1112 (8–14 January 1994), p. 11. Plantard had first claimed that Pelat had been a Grand Master in a Priory of Sion pamphlet dated 8 March 1989, then claimed it again later in a 1990 issue of Vaincre, the revived publication of Alpha Galates, a pseudo-chivalric order created by Plantard in Vichy France to support the "National Revolution".Les Cahiers de Rennes-le-Chateau, Nr. IX, page 59, Éditions Bélisane, 1989.
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He was a contributor to many journals, such as La Nouvelle Revue française, Commerce, Europe, Le Journal des Poètes and Les Cahiers des Saisons. In 1970, he was awarded the Grand Prize of Poetry from L'Académie française for his life's work. A small part of his archives is conserved at the Musée des Beaux-Arts de Saint-Lô in France.prixjeanfollain Prix littéraire Jean Follain de la Ville de Saint Lô is a literary award honouring his name and contributions to French literature.
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Pierre Michel (born 11 June 1942), is a professor of literature and a scholar specializing in the French writer Octave Mirbeau. Michel was born in Toulon, the son of the historian Henri Michel. After defending his doctoral dissertation on the works of Octave Mirbeau at the University of Angers in 1992, Michel founded a year later, the "Société Octave Mirbeau", a literary society he is currently presiding. He is also the founder and editor in chief of Cahiers Octave Mirbeau (1993).
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Henk van Ommeren was born on the edge of Paramaribo as the son of doctor Hendrik van Ommeren who would later became Chairman of the Estates of Suriname. His son did not want to go to fancy schools and universities, he would later become telegraphist, and sailor, and travel all over the world's oceans. In 1959, van Ommeren settled in the Netherlands and started writing. In 1962, van Ommeren made his debut Yanacuna in the series Antilliaanse Cahiers under the pseudonym Bernardo Ashetu.
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Gunilla Larsson. Ship and society: maritime ideology in Late Iron Age Sweden Uppsala Universitet, Department of Archaeology and Ancient History, 2007. . p. 208.Cahiers du monde russe et soviétique, Volume 35, Number 4. Mouton, 1994. (originally from the University of California, digitalised on 9 March 2010) As the 10th century progressed, the Khazars were no longer able to command tribute from the Volga Bulgars, and their relationship with the Byzantines deteriorated, as Byzantium increasingly allied with the Pechenegs against them.
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While the saisie- contrefaçon regime, thus spread between so many different articles and different rights, is very homogeneous in the field of industrial property, it is quite different and much less homogeneous in the field of literary and artistic property.See prior to the reform instituted by Act French Act No. 2007-1544 of 29 October 2007,.I. Romet, « La saisie-contrefaçon, unité et diversité. Neuf propositions pour harmoniser la saisie-contrefaçon », JCP – Cahiers de droit de l’entreprise, n° 4/2004, p.
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In a number of publications, Schönemann argued that the statistical heritability estimates used in most twin studies rest on restrictive assumptions which are usually not tested, and if they are, often are found to be violated by the data.Schönemann, P. H. & Schönemann, R. D. (1994). Environmental versus genetic models for Osborne's personality data on identical and fraternal twins. Cahiers de Psychologie Cognitive – Current Psychology of Cognition 13, 141–167: He argued that this was true for the monozygotic twins raised apart vs.
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It was founded in 1966 by Raymond Bourgine. In the 1960s, Bourgine funded the Federation of Nationalist Students (FEN) in exchange for their members to sell copies of Le Spectacle du Monde.Pascal Dillane, Un ancien dirigeant de l’extrême droite représente la presse française, ACRIMED, February 2005 The editor of the FEN's publication, Les Cahiers universitaires, was François d'Orcival, former editor in chef of the French weekly magazineValeurs Actuelles. It was incorporated in 1997 and became a subsidiary of Sud Communication in 2006.
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In the U.S. Northwestern University launched its Program of African Studies in 1948. The first scholarly journals were founded: Transactions of the Gold Coast & Togoland Historical Society (1952); Journal of the Historical Society of Nigeria (1956); The Journal of African History (1960); Cahiers d’études africaines (1960); and African Historical Studies (1968). Specialists grouped together in the African Studies Association of the US (1957)' the African Studies Association of the UK (1963); the Canadian Association of African Studies/Association Canadienne des Etudes Africaines (1970).
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He changed the form of operating rooms, which become ovoid, using glass floors and walls. Despite his work's appreciation, it was not carried out in his innovation and the hospital was built using more traditional designs created by the company architect. The project was published on Cahiers d’Art in 1935 in an article signed by Jean Hélion. From 1936 to 1938, Nelson worked on the design of a suspended house to show the benefits of steel construction as a solution to standard housing.
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Paris, L'Harmattan, 1996, 206 pp. (« Points de vue »)., Cahiers d'études africaines, 160, 2000 Looking specifically at the N'Gongbo Baoulé people, one writer contrasts Ivorian women's roles the traditional Western tradition where the public and the private spheres are separated, with the superior public sphere reserved for men, and argues that Western intellectuals transpose this model onto "traditional" societies in Africa. Rather, the African experience is said to be characterized by coexistence of parallel positions, overlapping roles, and cross gender cooperation.
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At ENS, he attended the seminars of Jacques Lacan and was a member of the editorial board of Cahiers pour l'Analyse beginning with its inception in 1966. Regnault taught at the Lycée de Reims from 1964–70, where he became a close friend of another philosopher and playwright, Alain Badiou. In 1970, Regnault joined the Department of Philosophy (headed by Michel Foucault) at the then newly founded University of Paris VIII (Vincennes). In 1974, he moved to Paris VIII's Department of Psychoanalysis.
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Cahiers Agricultures is a peer-reviewed open access scientific journal covering research on farming systems worldwide, the way they are changing, and their role in society. The journal publishes articles, short communications, reviews, comments, and replies, mainly in French language. It is published by EDP Sciences and the editor-in-chief is Jean-Yves Jamin (Centre de coopération internationale en recherche agronomique pour le développement). The journal was established in 1992 and it is published by EDP Sciences since 2016.
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Serge Daney (June 4, 1944, Paris – June 12, 1992) was a French movie critic. He was a major figure of Cahiers du cinéma which he co-edited in the late 1970s. He also wrote extensively about films, television, and society in the newspaper Libération and founded the quarterly review Trafic shortly before his death. Highly regarded in French and European film criticism circles, his work remains little known to English-speaking audiences, largely because it has not been consistently translated.
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The title comes from a newspaper headline featured in the film which proclaims the death of the real life American gangster John Dillinger. The film proved controversial on its initial release for its subject matter and violence but is now generally regarded as Ferreri's masterpiece. It was acclaimed by the influential French film magazine Cahiers du cinéma and afterwards Ferreri worked and lived in Paris for many years. Since the mid-1980s the film has been screened only very rarely.
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After staging a theatrical version of Denis Diderot's novel La Religieuse starring Anna Karina in 1963, Rivette became the editor-in-chief of Cahiers du Cinéma until 1965. He then began production on a film version of La Religieuse, which led to a lengthy public battle with French censorship over the film's release. Finally released in 1967, the publicity made it financially successful. Rivette was unhappy with La Religieuse and re-evaluated his career, developing a unique cinematic style with L'Amour fou.
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Between 1987 and 1997 Philippe Baqué wrote for journals such as Le Monde diplomatique, Politis, Nouveau Politis, Témoignage chrétien, Campagne solidaire, Faim développement magazine, Maintenant and Cahiers de l'Iremam. From 1992 to 2003 he also worked on investigations for audio-visual documentaries. In 1999 he published the book Un nouvel or noir, ou le pillage des objets d'art en Afrique (A new black gold, or the looting of art in Africa). He has since written investigative reporting articles on this subject.
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This feature-length musical film, often mislabelled as a documentary, deals with gypsy culture throughout the world around the theme of their music and dance. For Vincent Ostria, then journalist at the Cahiers du Cinéma, it was "the most genuine film of the year (1993 editor's note)." A year later, Gatlif brought the world of the author J. M. G. Le Clézio to the screen in Mondo (1994). His 2004 film Exils, won the Best Director Award at the 2004 Cannes Film Festival.
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He exhibited regularly at the Yvon Lambert Gallery in Paris from 1971 until 1991 and since that date at the Daniel Templon Gallery in Paris. Daniel Dezeuze also has a considerable body of written work. In 1971 he founded the review Peinture, cahiers théoriques with Louis Cane and Marc Devade with the help of the review Tel Quel. His theoretical articles from this review are included in the publication from the Ecole Nationale des Beaux-Arts de Paris of his writings.
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As Franju was the archive's co-founder, the Cinémathèque Française celebrated by presenting the director's back catalogue. With the renewed interest, the film's critical reputation began to be re-evaluated. French critics' response to the film was significantly more positive than it was on its original release, with former editor-in-chief of Cahiers du cinéma Serge Daney calling the film "a marvel". The film was re-released in its original and uncut form to American theaters on October 31, 2003.
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2009, page 185. as well as the titular King of Jerusalem and of the Armenian Kingdom of Cilicia for the brief period of her reign from 1458 to 1460, when they were deposed. Louis died in April 1482, at the priory of Ripaille.Bernard Andenmatten, Laurent Ripart, « Ultimes itinérances. Les sépultures des ducs de la Maison de Savoie entre Moyen Age et Renaissance», dans A. Paravicini Bagliani et alii (dir.), L’itinérance des seigneurs (XIVe-XVIe siècle), Lausanne, 2003 (Cahiers lausannois d’histoire médiévale, 34), p.
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Between 1952 and 1969, 77.5% of the ENA's graduate student intake were Sciences Po alumni. FNSP further strengthened its role as a scientific publication center with significant donations from the Rockefeller Foundation. FNSP periodicals such as la Revue française de science politique, le Bulletin analytique de documentation, la Chronologie politique africaine, and the Cahiers de la Fondation as well as its seven research centres and main publishing house, Presses de Sciences Po, consolidated the university's reputation as a research hub.
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Around this time he became a correspondent of Oscar Milosz.'Lettres a Jean Audard', in O.V. de L. Milosz (1877-1939), 1959 In the 1930s he was a contributor to Cahiers du Sud, and joined others associated with Surrealism in anti-Fascist efforts. An essay by Audard on the extent to which psychoanalysis was materialist drew heavy criticism from Georges Politzer for the 'bootlegging Bergsonianism' of its 'Freudo-Marxism'.Georges Politzer, 'Psychanalyse et marxisme: un faux contre-revolutionnaire: le freudo-marxisme', Commune, 1933.
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Rivette in 2006 Jacques Rivette (; 1 March 1928 – 29 January 2016) was a French film director and film critic most commonly associated with the French New Wave and the film magazine Cahiers du Cinéma. He made twenty-nine films, including L'amour fou (1969), Out 1 (1971), Celine and Julie Go Boating (1974), and La Belle Noiseuse (1991). His work is noted for its improvisation, loose narratives, and lengthy running times. Rivette's films explore themes such as conspiracy theories and theatricality in daily life.
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With a surprising and effective sense of cinema, Fellini endows his characters with a life both simple and real".First published May 1954 in Les Cahiers du Cinéma. Fava and Vigano, 76 Film critic Geneviève Agel appreciated the maestro's symbolism: "Fellini films a deserted piazza at nighttime. It symbolizes solitude, the emptiness that follows communal joy, the bleak torpor that succeeds the swarming crowd; there are always papers lying around like so many reminders of what the day and life have left behind.
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One of the authors of "Sakharov collection", later published in six languages (preface to the German edition wrote Heinrich Böll and Leo Kopelev ). He participated in helping families of political prisoners. He was one of the compilers, authors and publishers of the magazine "Searches and Reflections" (Moscow, 1980-1981) . His first publication on the assessment of the Soviet population losses during the civil war, collectivization and World War II was published in the journal « Cahiers du monde russe » in Paris in 1977.
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The Art of Love received mixed to positive reviews. The Première magazine gave it two out of four stars, describing the cast performances as "convincing", but also calling the film "predictable". Isabelle Zirbi of the Les Cahiers du cinéma praised Emmanuel Mouret's directing and writing ideas, awarding the film with three out of four stars. Le Nouvel Observateur reviewed the film more positively, naming it a "delicious patchwork of plots and characters", and gave it four out of five stars.
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After returning to Paris, Riquet wore the striped uniform of the camps for his first sermon at Notre Dame. Important figures in the French Resistance spirituelle included the Jesuit Pierre Chaillet who clandestinely produced the Cahiers du Témoignage chrétien ("Christian Witness" – an underground journal of Nazi resistance) and the martyrs Fernand Belot, Roger Derry and Eugene Pons. The Amitiés Chrétiennes organisation operated out of Lyon to secure hiding places for Jewish children. Among its members were the Jesuit Pierre Chaillet and Alexandre Glasberg.
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In 1934 he arranged another exhibition of his paintings and sculptures in the Gallerie des Cahiers d' Art and in the international exhibitions of Paris and Venice. From 1935 to 1937 he was co- editor of the art magazine 3rd Eye. In 1941 he was offered a position in the Architectural School of the National Technical University of Athens. In 1949 he formed, with other artists including Yiannis Moralis, Yannis Tsarouchis, Nikos Nikolaou, Nikos Engonopoulos and Panayiotis Tetsis, the "Armos" art group.
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She entered clandestinity from 1943, and collaborated in particular with the Cahiers de Défense de la France.Philippe Viannay, Du bon usage de la France : Résistance, Journalisme, Glénans (p. 49-98) After the Liberation, she worked on the daily newspaper France-Soir, from the clandestine newspaper Défense de la France and to the creation of the magazine France et Monde. In 1951, she joined the editorial office of the women's weekly Elle, where she led the "Parents-enfants" section until 1973.
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These notes were preserved and now are available in three cahiers from Internet Archive.Louis Couturat notes (1891,2) Cours de Calcul Integral par M. Picard, cahier 1, cahier 2, cahier 3 Like his contemporary, Henri Poincaré, Picard was much concerned with the training of mathematics, physics, and engineering students. He wrote a classic textbook on analysis and one of the first textbooks on the theory of relativity. Picard's popular writings include biographies of many leading French mathematicians, including his father in law, Charles Hermite.
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Just before the French Revolution, unrest mounted. Several years of fiscal problems preceded a bad harvest in 1788 and a very cold winter of 1788-89. The election of the Estates-General of 1789 was prepared by elections for in 1788 and in January 1789, which highlighted the political oppositions of class and caused some agitation. At the end of March, as the cahiers de doléances were drawn up, a wave of insurrection shook Provence. A wheat riot occurred in Seyne on 29 March.
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Jacques Rivette (; 1 March 1928 – 29 January 2016) was a French film director and film critic most commonly associated with the French New Wave and the film magazine Cahiers du Cinéma. He made twenty-nine films, including L'amour fou (1969), Out 1 (1971), Celine and Julie Go Boating (1974), and La Belle Noiseuse (1991). His work is noted for its improvisation, loose narratives, and lengthy running times. Inspired by Jean Cocteau to become a filmmaker, Rivette shot his first short film at age twenty.
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117 In addition, Fondane's research was hosted by specialized venues such as Revue Philosophique, Schweizer Annalen and Carlo Suarès' Cahiers de l'Étoile. After a long period of indecision, the Romanian poet became a dedicated follower of Lev Shestov, a Russian-born existentialist thinker whose ideas about the eternal opposition between faith and reason he expanded upon in later texts.Jordan Strump, note to Queneau, p. 214 According to intellectual historian Samuel Moyn, Fondane was, with Rachel Bespaloff, one of the "most significant and devoted of Shestov's followers".
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16, 20 He witnessed first-hand and described Brâncuși's primitivist techniques, likening his work to that of a "savage man".Sandqvist, p. 250 Rimbaud le voyou was eventually published by Denoël & Steele company in 1933, the same year when Fondane published his poetry volume Ulysse ("Ulysses") with Les Cahiers du Journal des Poètes.Daniel, p. 627–628, 641 The Rimbaud study, partly written as a reply to Roland de Renéville's monograph Rimbaud le Voyant ("Rimbaud the Seer"), consolidated Fondane's international reputation as a critic and literary historian.
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Now the government was forced to confront the problem of managing this new category of orphans.Corinna Kuhr, "Children of 'Enemies of the People' as Victims of the Great Purges," Cahiers Du Monde Russe 39 (1998): 210. In 1937, the Politburo decided to accommodate children of the enemies of the people in normal orphanages administered by the Narkompros. Educational staff underwent training by the NKVD (People's Commissariat of Internal Affairs), and the orphans' names were kept on record.Kuhr, "Victims of the Great Purges," 211-12.
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The Presses universitaires de Saint-Boniface (PUSB) university press was established in 1990. It publishes the research findings of Université de Saint-Boniface faculty as well as the work of the Centre d’études Franco-canadiennes de l’Ouest (CEFCO) and the Cahiers franco- canadiens de l’Ouest. To date, PUSB has published works on educational integration, translation, grammar, cultural production, inter-linguistic and socio-cultural relations, and francophone education in a minority setting. The literary works of Gabrielle Roy and Roger Léveillé have also been published at PUSB.
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Gottlieb and a small circle of friends valued the work of the Surrealist group that they saw exhibited in New York in the 1930s. They also exchanged copies of the magazine "Cahiers d’art" and were quite familiar with current ideas about automatic writing and subconscious imagery. Gottlieb painted a few works in a Surrealist style in 1940 and 1941. The results of his experiments manifested themselves in his series “Pictographs” which spanned from 1941–1950. In his painting Voyager’s Return , he juxtaposes these images in compartmentalized spaces.
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His novel Journal secret de Napoléon Bonaparte (The Secret Diary of Napoleon Bonaparte), published in 1948 with a preface by Jean Cocteau, received enthusiastic reviews from Georges Bataille, Jacques Audiberti, Joseph Delteil, Marcel Pagnol, Jean Dutourd, and Jacques Chastenet. André Breton claimed the author had invented "history-fiction", a new literary genre.Max Milo Editions Acknowledged as his greatest success, the novel was re-published in France in 1980 and 1997. In 1951, he co-founded the Cahiers du Cinéma and remained on its editorial board until 1955.
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Rohmer had never been very interested in film, preferring literature, but soon became an intense lover of films and switched from journalism to film criticism. He wrote film reviews for such publications as Révue du Cinéma, Arts, Temps Modernes and La Parisienne. In 1950, he co-founded the film magazine La Gazette du Cinéma with Rivette and Godard, but it was short-lived. In 1951 Rohmer joined the staff of André Bazin's newly founded film magazine Cahiers du Cinéma, of which he became the editor in 1956.
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The site's consensus states "More dull than hypnotic, The Brown Bunny is a pretentious and self-indulgent bore." Metacritic gives the film a score of 51 out of 100 based on reviews from 30 critics. French cinema magazine Les Cahiers du Cinéma voted The Brown Bunny one of the ten best films of 2004. The film won the FIPRESCI Prize at the Vienna International Film Festival for its "bold exploration of yearning and grief and for its radical departure from dominant tendencies in current American filmmaking".
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Down at the banks of the Congo River in Ngaliema commune Kinshasa is a city of sharp contrasts, with affluent residential and commercial areas and three universities alongside sprawling slums. It is located along the south bank of the Congo River, downstream on the Pool MaleboJean Flouriot, "Kinshasa 2005. Trente ans après la publication de l’Atlas de Kinshasa ", Les Cahiers d’Outre-Mer 261, January–March 2013; doi:10.4000/com.6770. and directly opposite the city of Brazzaville, capital of the Republic of the Congo.
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On May 15, a contingent of 100 men was taken from the quarantine camp among the Greek Jews selected on April 11. He was assigned the job of a Heizer ("stoker"), a member of the Sonderkommando assigned to the crematorium furnace, in Birkenau Krematorium V. Alter Fajnzylberg talks about his athletic buildAlter Fajnzylberg, Les cahiers d'Alter Fajnzylberg : ce que j'ai vu à Auschwitz, Éditions Rosiers, 2014. and Leon Cohen describes his unusual strength.Leon Cohen, From Greece to Birkenau : the crematoria workers'uprising, Salonika Jewry Research Center, 1996.
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In 2003, Libaux released his first solo album a musical comedy entitled L'Héroïne au bain, featuring the voices of Helena Noguerra, Philippe Katerine, Lio, Doriand, Ludovic Triaire, Dominique Dalcan and Michael von Der Heide. The album was a critical success – an article in Les Cahiers Du Cinéma praised its 'cinematic' qualities – but it failed to achieve significant sales. His second album Imbécile, came out in 2007 on the label Discograph. The songs on this "scripted" album tell the story of four characters at a dinner party.
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Other governments, such as the Russian Empire, were even more distrusting of the journalistic press and effectively banned journalistic publications until the mid-19th century.Nurit Schleifman, "A Russian Daily Newspaper and Its New Readership:" Severnaia Pchela", 1825–1840." Cahiers du monde russe et sovietique (1987): 127–44 As newspaper publication became a more and more established practice, publishers would increase publication to a weekly or daily rate. Newspapers were more heavily concentrated in cities that were centres of trade, such as Amsterdam, London, and Berlin.
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31 This dissatisfaction explains why many of his paintings weren't signed. He only signed paintings he was going to exhibit or sell. To his way of thinking, a painting was never completed and he could always alter it. Dries didn't hesitate to destroy paintings he wasn't satisfied with. In 1956 he estimated that he had “done about 1100 paintings including 300 or so which had been destroyed by the artist.”In Les cahiers d'art-documents, documentation put together by Jean Albert Cartier, p. 10.
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They were finally able to return to Équihen-Plage in 1919, and he remained there for the rest of his life. In his final years, he displayed some nostalgia for his homeland; notably a painting entitled "Souvenir de régates" (now lost), where he depicts himself manning a racing boat in Lake Geneva. He was interred in the village cemetery.Jacqueline Duroc, "Peintres des Iles de Bretagne - de lointains visiteurs...", in Les Cahiers de l'Iroise, #162, 1994.. A major retrospective was held at the Lake Geneva Museum in 2014.
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Post war, he and Prévert followed this triumph with what at the time was the most expensive production ever undertaken in the history of French film. But the result, titled Les Portes de la nuit, was panned by the critics and a box office failure and was their last completed film. By the 1950s, Carné's reputation was in eclipse. The critics of Cahiers du cinéma, who became the film makers of the New Wave, dismissed him and placed his films' merits solely with Prévert.
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Cahiers du cinéma, which had not praised Bande à part, greeted The Married Woman as a major artistic and intellectual work. In September however, the Commission de Controle (the censorship board) voted 13-5, with two abstentions, to ban the film. Objections centred on the title, which the board said implied all married women were adulterous, and on the film's devotion 'to the salacious illustration of scenes of sexuality.' The commission's reasons were not made public but were relayed to the minister of information, Alain Peyrefitte.
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In collaboration with Marie Delcourt and Bernhard Groethuysen, Aline Mayrisch also translated the sermons of the medieval mystic Meister Eckhart, L'enfant qui s'accuse by Jean Schlumberger and Le mythe de Sisyphe. Essai sur l'absurde by Albert Camus. In the 1930s, Aline Mayrisch financially supported the exile publication Maß und Wert, edited by Thomas Mann. The following works were dedicated to Aline Mayrisch: Das literarische Frankreich von Heute by Frantz Clément, Les Cahiers de la Petite Dame by Marie van Rysselberghe and La vie d'Euripide by Marie Delcourt.
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60 one of five notable Jewish aces in France.Les cahiers du judaïsme 21-22 Alliance israélite universelle – 2007"Cinq As juifs se distinguent dont Jacques-Louis Ehrlich – dix-neuf avions et Drachens abattus -, Eugène Weismann, ... Jacques-Louis Ehrlich de l'escadrille l54, quinzième As dans le palmarès des aviateurs, demeure très humble au sujet ..." His score was matched by a Jewish-born German ace, Wilhelm Frankl, who had converted to Catholicism to marry his Austrian bride. Ehrlich died in his native Paris on 10 August 1953.
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Filmmaker and Cahiers du Cinema critic Jean-Luc Godard wrote a glowing review for the film, writing that "everyone who sees this film will be absolutely astonished [...] because this film is really the world in an hour and a half." Wiazemsky subsequently developed a relationship with Godard, and married him one year later, in 1967. She starred in several of his films, including La Chinoise (1967), Week End (1967), and One Plus One (1968). In the 1980s, she began to turn to work behind the camera.
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André Téchiné (; born 13 March 1943) is a French screenwriter and film director. He has a long and distinguished career that places him among the most accomplished post-New Wave French film directors. Téchiné belongs to a second generation of French film critics associated with Cahiers du cinéma who followed François Truffaut, Claude Chabrol, Jean-Luc Godard and others from criticism into filmmaking. He is noted for his elegant and emotionally charged films that often delve into the complexities of emotions and the human condition.
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Vojislav V. Jovanović was born in Niška Banja, Niš, Serbia (Kingdom of Yugoslavia at the time). He has published 28 books of novels, prose and poetry. His works are included in various anthologies of Serbian literature and have been translated to English, French,Cahiers de l’Est, n° 16, 1979. – La nouvelle prose serbe / Choix, traduction, préface et notes sur les auteurs de Harita et Francis Wybrands Dutch, Romanian and CatalanJOVANOVIĆ, Vojislav (2009). «Cementiris/Groblja», «Terra geperuda/Grbava zemlja», «I vindrà la mort/Jer i smrt će doći».
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Maria Ludovica (Marilù) Parolini (1931–2012) was an Italian photographer and screenwriter. Parolini moved to Paris in 1957 and worked as a secretary at Cahiers du cinéma from 1960 to 1962. There she met members of the French New Wave and worked as a set photographer for Jean-Luc Godard, François Truffaut, Jacques Rivette and Agnès Varda, taking some of the most iconic photographs of the New Wave. During this period, she appeared in Jean Rouch and Edgar Morin's cinéma vérité documentary Chronique d'un été (1961).
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The Holodomor (; derived from ),Graziosi, Andrea. 2005. "Les Famines Soviétiques de 1931–1933 et le Holodomor Ukrainien." Cahiers du monde russe et soviétique 46(3): 453–472 [457]. .Werth, Nicolas. 2007. "La grande famine ukrainienne de 1932–1933." In La terreur et le désarroi: Staline et son système, edited by N. Werth. Paris. . p. 132. also known as the Famine- Genocide in Ukraine, the Terror-Famine and sometimes referred to as the Great FamineBoriak, Hennadii. 2009. Sources for the Study of the 'Great Famine' in Ukraine.
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Excepting parts of the first book (in SCHTROUMPF: Les cahiers de la BD, issue 25, July 1974), none of the later interviews had seen prior magazine publication, be it in part or in whole. The last version therefore was an posthumous account where the last two decades of Giraud's life were concerned. As a kid, Sadoul was as fascinated by the stage as he was by comics. At the age of 23, he set up his own theater company (Orbe-recherche Théâtrale) in Rouen.
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Les Cahiers du Vent du Chemin. Paris,1983. In these nations, pacifism was denounced as cowardice; indeed, Mussolini referred to pacifist writings as the "propaganda of cowardice". Today, the United States requires that all young men register for selective service but does not allow them to be classified as conscientious objectors unless they are drafted in some future reinstatement of the draft, allowing them to be discharged or transferred to noncombatant status. Some European governments like Switzerland, Greece, Norway and Germany offer civilian service.
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French film critics generally gave Picnic on the Grass a positive reception, characterized by respect for Renoir. They highlighted the film's connection to impressionism and described it as charming. Rouvel's face was on the cover of the December 1959 issue of Cahiers du cinéma, and the magazine called the film "the most beautiful of a month rich in masterpieces". The review by Éric Rohmer stressed the technical novelty of the film, released in "the year of the 'New Wave'", which Renoir had influenced profoundly.
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Meyer Schapiro Professor of Modern Art and Theory, Jonathan Crary Crary's Techniques of the Observer gives a unique study on the origins of modern visual culture. Techniques of the Observer was published in 1990 and translated into nine foreign languages. Crary has also written on present day “art and culture for publications including Art in America, Artforum, October, Assemblage, Cahiers du Cinema, Film Comment, Grey Room, Domus and Village Voice.” Crary is also a critic and wrote critical essays for more than thirty exhibition catalogs.
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460, 483 (In 1793 Necker moved because of the installation of a revolutionary government in Geneva?) After being put on the list of Émigrés Necker was not paid any interest on the money he had left in the treasury.Othénin d’Haussonville (2004) "La liquidation du ‘dépôt’ de Necker: entre concept et idée-force,", p. 156-158 Cahiers staëliens, 55 His house in Rue de la Chaussée-d'Antin, his estate in Saint-Ouen sûr Seine and the two million livres were confiscated by the French government?Othénin d’Haussonville, p.
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Eisenschitz modelled himself on the film historian Georges Sadoul, the definitive edition of whose masterwork, the Histoire générale du cinéma, he edited. Eisenschitz is an internationally known expert on Fritz Lang and Nicholas Ray, as well as Chris Marker and Robert Kramer. He has worked and published on Friedrich Wilhelm Murnau, Ernst Lubitsch, German cinema and the history of the Cinémathèque française, among other topics. Eisenschitz wrote for Cahiers du cinéma between about 1967 and 1972, and for La nouvelle critique from 1970 to 1977.
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The film received mixed to positive reviews. Cahiers du cinéma called Soba "an astonishing self-produced film noir, based on an unforeseeable script". According to film critic Stéphane Delorme (comité de sélection, Cannes), it was "the best and most exciting Mexican film of the year" and El Financiero said it was "a great movie". Radio France Internationale lauded the film's "disturbing" atmosphere, calling it "a UFO in Mexican cinema" and Uno Mas Uno labeled it as "a ruthless incursion into the world of perversion and corruption".
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They consist of (generally quite long) quotations arranged in > one order or another and, although they may include an opinion on the > subject, they rarely contain an original opinion.Bauer, Wolfgang (1966), > "The Encyclopaedia in China", Cahiers d'Histoire Mondiale 9.1: 665-691. Robert L. Fowler, Professor of Greek at the University of Bristol, says that although comprehensiveness is a primary criterion in defining an "encyclopedia", there are encyclopedias of individual subjects (e.g., Encyclopaedia of Chess Openings) that defy the etymology from Greek enkyklios paideia "the circle of subjects".
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In 1983, he became a journalist and film critic for the weekly periodical Le Point, of which his father, Pierre Billard, also a journalist and a film critic, was one of the founders and chief editors. He held this post until 1990. He took over the same functions at the daily newspaper Le Monde in 1990 and in 1995, he became responsible for the daily film column. In 2003 he became head editor of Cahiers du cinémas four years after its purchase by Le Monde.
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Carlhian was one of the founders of the Société lyonnaise de philosophie in 1923, which included teachers at state universities and Catholic schools, Christians and non-Christians. In 1921 Carlhian founded the critical review Le Van, which published reviews of works of philosophy, theology, economics, sociology and science. He wrote 117 editorials for this review, which ceased publication in 1940. He published Cahiers du Van in 1932, which published texts such as La Vie morale de Jacques Chevalier and Le Portrait de Monsieur Pouget de Jean Guitton.
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Luis González y González (11 October 1925 - 13 December 2003) was a Mexican historian from San José de Gracia, Michoacán. He was an expert on the Mexican revolution and Mexican presidentialism. He published several articles in prestigious Spanish-language journals such as Historia de América, América Indígena, Vuelta, Nexos, and also Cahiers d'histoire mondiale. He was editor in chief of Historia Mexicana, a leading journal on Mexican history published by El Colegio de México, where he was a researcher and a professor for many years.
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There are both French and U.S. pathways that explain the spread of torture, including methods used in Algeria, to Latin American regimes allied with the West from the 1960s onwards. Regarding the French pathway, journalist Marie-Monique Robin argued in her 2004 book on death squads how French intelligence agents had taught their Chilean and Argentine counterparts the use of torture and "disappearances" as a counter-insurgency tactic.Marie- Monique Robin, Escadrons de la mort, l'école française, La Découverte (15 September 2004). Collection: Cahiers libres. ().
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They can not receive the appellation of "sinners", since they belong to a primitive and amoral universe that does not know the concept of sin. They are the "jungle rumberas" (Tania, Sandra, Zonga, Tahími), inspired in personages of illustrated novels and carried to the cinema mainly by Juan Orol.YouTube: Las Rumberas (History of The Salsa in Mexican Cinema The rumberas film, unique to Mexico, reached the attention of many specialized critics. François Truffaut, still writing for Cahiers du cinéma, wrote a dossier on this exotic subgenre.
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He made a short political career as a member of Pierre Mendès France's cabinet in 1956. He was secretary, then editor-in- chief of the Cahiers de la République, and assigned to the office of Jean-Pierre Chevènement, between 1984 and 2002, on civic education. He showed anxiety throughout his life to articulate his republican commitment and his career as a historian. This contributed to the originality of his work, straddling between ancient Rome and contemporary times, especially around the functioning of society and political institutions.
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The daughter of Dr. Henri Choquette, She was born in Shawinigan and studied with the Ursulines at Trois-Rivières from 1924 to 1931. Choquette began work with the Quebec public service but soon gravitated towards journalism. She contributed to various newspapers and journals, including Le Bien Public, Le Nouvelliste, ', La Revue populaire, Le Jour, Amérique française, Le Devoir and Les Cahiers de l'Académie canadienne-française. From 1937 to 1948, she worked at radio station CHLN in Trois-Rivières, serving as host and director for the station.
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Most of this correspondence was published in 1955, as a preamble to Critique de la Raison Impure. When the publication of Cahiers de l'Etoile stopped, it is in the Carnets mensuels that La fin du Grand Mythe was published. In 1945, Suarès started to write again and among his more notable works are: Critique de la Raison Impure, La Kabale des Kabales, De Quelques Apprentis-Sorciers, and the Qabala Trilogy: The Cipher of Genesis, The Song of Songs, and The Sepher Yetzira (Shambhala Publication Inc.).
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Raymond Queneau and André Blavier considered Berbiguier to be a fou littéraire, a "literary madman," or rather, the literary equivalent of outsider art in France.Raymond Queneau, Aux Confins des Ténèbres, les Fous littéraires, (Gallimard, Les Cahiers de la NRF, Paris, 2002); André Blavier, Les fous littéraires, (Éditions des Cendres, Paris, 2000) (reprint). Théophile Gautier used Berbiguier as a model for his fantastic story, Onuphrius; ou les vexations fantastiques d'un admirateur d'Hoffmann, and Gustave Flaubert similarly consulted Berbiguier's work for his tale of Bouvard et Pécuchet.
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After his time in the United States, Khondji returned to France in 1981 and worked as an assistant for cinematographers like Bruno Nuytten, Martin Schafer and Pascal Marti. He also worked as a lighting director on music videos and commercials. His second feature film was Le tresor des Iles Chiennes (1991), a low budget, black and white, post-atomic adventure film. His work on this movie was significant enough to warrant the Cahiers du cinéma to publish one of its rare interviews with a cinematographer.
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She began to publish poetry and essays in 1999, in journals (Souffles, Encres vives, ARPA, Autre Sud, La main millénaire, Recours au poème, Nunc, Les Cahiers du Sens) and with various publishing houses (La Porte, Clapàs, Corlevour, etc). Patrick Cabanel remarks that "these titles reveal that this poetry mixes, as Roland Barthes would have said, at least three Mediterraneans: Greek, Judeo-Christian, and 'Cévenole,' in the broad sense." She is a member of the editorial committees of the journals Loxias and Foi et Vie.
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Troupes de la Marine in formation. The Troupes de la Marine The troupes of La Marine (later reshaped as the Troupes de Marine), a body founded by Cardinal Richelieu in 1622 under the denomination of Compagnies Ordinaires de la Mer, were originally intended to form the garrisons of the ships of the King. It was in 1674 that Jean-Baptiste Colbert decides to make permanent colonial troops and give them the name of Compagnies Franches de la Marine.SÉVIGNY (André), « Le soldat des troupes de la Marine » in Les Cahiers des Dix, n°44 (1989), p. 39-74 ; « S’habituer dans le pays. Facteurs d’établissement du soldat en Nouvelle-France à la fin du Grand Siècle » in Les Cahiers des Dix, n°46 (1991), p. 61-86 ; « Ces Militaires qui ont peuplé la Nouvelle-France » in Cap-aux-Diamants, n°43, (automne 1995), p. 10-13. They were dissolved in the 19th century to be re-formed under a new designation being the Troupes de Marine, dependent this time however on the Minister of War (Ministère de la Guerre), which means belonging to the French Army (Armée de terre).
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Belkhodja published her first newspaper articles in Le Sauvage and Sans frontières and wrote her first script on her return from Egypt. She has worked as a reporter for the Gamma Agency, has also collaborated with such magazines as L'autre journal and La légende du siècle, has founded a new magazine specialising in Asian issues and collaborated with gastronomy, tourism and travel magazines. She has refocused her activities on writing and regularly publishes her texts in literary reviews such as Alter texto, Hakaî, Poète, Carquois, les Cahiers de Poésie and Gong.
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O. Boucher-Rivalain, 'William Henry Leeds (1786-1866), architectural critic, and his contribution to the Westminster Review in the 1840s ', Cahiers Victoriens et Edouardiens, 55, pp.33-41 From 1839 to 1854 he edited the Civil Engineer's and Architect's Journal, and from 1855 to 1856 edited Land and Building News.S. A. Allibone, Critical Dictionary of English Literature and British and American Authors, 1908, vol. 1 He translated Georg Moller's Memorials of German Gothic architecture and edited a revised edition of Decorative Part of Civil Architecture by William Chambers.
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He continued making short films, including Le Coup de Berger, which is often cited as the first New Wave film. Truffaut later credited Rivette with developing the movement. Although he was the first New Wave director to begin work on a feature film, Paris Belongs to Us was not released until 1961, by which time Chabrol, Truffaut and Godard released their own first features and popularised the movement worldwide. Rivette became editor of Cahiers du Cinéma during the early 1960s and publicly fought French censorship of his second feature film, The Nun (1966).
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Surrealism was both an artistic and political movement aims at the liberation of the human being from the constraints of capitalism, the state, and the cultural forces that limit the reign of the imagination. From its origins individualist anarchists like Florent Fels opposed it with his magazine Action: Cahiers individualistes de philosophie et d'art. However faced with the popularity of surrealism Fels' magazine closed in 1922. The movement developed in France in the wake of World War I with André Breton (1896-1966) as its main theorist and poet.
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Since 1994, it publishes the academic review Cahiers Benjamin Fondane, which has recovered and published much of Fondane's correspondence and political texts. In 2006, following a Fondane Society request, a square on Paris' Rue Rollin was renamed in honor of the Romanian-born writer. Ronald Klapka, Dominique Hasselmann, php?article1622 Une place pour Benjamin Fondane, at Remue.net, May 26, 2006; retrieved June 7, 2010 Three years later, on the 65th commemoration of Fondane's killing, the Mémorial de la Shoah museum hosted a special exhibit dedicated his life and literary work.
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Spire left the Conseil d'Etat for the ministry of Labor, then joined the staff of Jean Dupuy, Minister of Agriculture in the government of Waldeck-Rousseau. He became friends with Charles Péguy who published his Et vous riez ! in Les Cahiers de la quinzaine (1905), poems which reflect a certain disappointment with the worker's movement. In 1902, he was commissioned by the Office du Travail (Labor Office) to conduct an inquiry into the labor conditions of English workers and discovered the East European Jewish immigrant neighbourhood of Whitechapel in the East End of London.
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He contributed poetry to the Carcassonne poetic review Cahiers du Sud, and carried on a correspondence with many writers and friends, including Louis Aragon, André Gide, Paul Éluard, Max Ernst, and Simone Weil. He died in Carcassonne, and his home there is now a museum in his memory. Bousquet became friends with the surrealists, and his poetry is often associated with them. He also purchased paintings by Salvador Dalí, Max Ernst, Jean Fautrier, Wols, André Masson and Hans Bellmer, and was modeled by René Iché and painted by Jean Dubuffet.
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Fabrice Nicolino has worked various trades - including as a manual worker - before becoming Editorial secretary in the Femme Actuelle weekly in 1984. He then became an investigative reporter and has since worked with a number of printed outlets, including Géo, Le Canard enchaîné, Télérama, ' . He has been writing a column in the catholic daily La Croix since 2003. He has founded with Dominique Lang a publication titled Cahiers de Saint-Lambert, which is subtitled "Facing the environmental crisis together". Since 2007, he has been writing a blog: « Planète sans visa ».
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According to one modern editor, the dedication was in fact to a count of Toulouse, probably Count Raymond V, and was made later, in 1148, during the Second Crusade. A third edition was produced at the Avignonese curia between 1356 and 1362, when Cardinal Nicolau Rossell incorporated into a copy of the Liber censuum.Jean Richard (1983), "Review of Rorgo Fretellus de Nazareth et sa description de la Terre Sainte: histoire et édition du texte by P. C. Boeren (North-Holland Publishing, 1980)", Cahiers de Civilisation Médiévale 26(103), pp. 252–253.
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On its release the film met with a largely hostile reception from both critics and the public in France. Resnais attributed the film's failure to the unfamiliarity of the public with the world of the comic-strip and its personalities, which made it difficult to appreciate the confrontation of values which the film explored.The film received a rare sympathetic review in Cahiers du Cinéma, where it was included among their ten best films of 1989. The film failed to get distribution either in the United States or in Great Britain.
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Personnel of the orphanages to house the children of the convicted were to be purged and refitted with politically reliable staff to properly supervise the "correction" of the children.Corinna Kuhr, Children of ‘Enemies of the People’ as Victims of the Great Purges, Cahiers Du Monde Russe 39 (1998): 210.Catriona Kelly, Children's World: Growing Up in Russia, 1890–1991, New Haven: Yale UP, 2007, 238. Article 5 of the Order stated wives with breast-feeding children, those who were ill, or with ill children were not to be arrested.
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In 1966, following the example of Cahiers du Cinéma critics Truffaut, Jean-Luc Godard, Claude Chabrol and Éric Rohmer, who had created the Nouvelle Vague ("New Wave") by making their own films, Bogdanovich decided to become a director. With his wife Polly Platt, he headed for Los Angeles, skipping out on the rent in the process. Intent on breaking into the industry, Bogdanovich would ask publicists for movie premiere and industry party invitations. At one screening, Bogdanovich was viewing a film and director Roger Corman was sitting behind him.
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In creating a character who constantly challenges himself, who constantly aspires to an absolute that is impossible and unattainable, Mirbeau explores the tragedy of an artist who is uncompromising, unwilling to conform to the academic traditions of art, and who, rather than submitting to them, confronts head-on the institutionalized prejudices encountered in the world of politics, the fine arts, and a public inhospitable to change.See Christian Limousin,« La Critique d'art de Mirbeau : de “l'âge de l'huile diluvienne” au règne de l'artiste de génie » , Cahiers Octave Mirbeau, n° 1, 1994, 11-41.
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These writings were published in a collected volume after the magazine ceased operations. Pedenault wrote many pieces for Elle (Quebec), Focus, Dérives, Les cahiers de la femme, Possibles, JEU, Guide ressources, Ciel Variable, Le Sabord and Arcade, and also wrote teleplays, essays and songs. She won the 1992 for her book La Douleur du volcan, the 2000 and the 2004 Prix Abitibi-Consolidated for her works. Pedneault wrote the lyrics of the song "Du pain et des roses" (Bread and roses) during the first Marche mondiale des Femmes organized in Quebec in 1995.
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By then he "already had a solid grounding in mathematics and logic (along with Lacanian theory)", and his own two contributions to the pages of Cahiers "anticipate many of the distinctive concerns of his later philosophy". The student uprisings of May 1968 reinforced Badiou's commitment to the far Left, and he participated in increasingly militant groups, such as the Union des communistes de France marxiste-léniniste (UCFml). To quote Badiou himself, the UCFml is "the Maoist organization established in late 1969 by Natacha Michel, Sylvain Lazarus, myself and a fair number of young people".
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One of the cahiers de doléances written in Angers in 1789 The first months of the French Revolution were relatively quiet in Angers. In 1789, the city lost its ancient administrative positions, replaced in 1790 by the department of Mayenne-et-Loire, soon renamed "Maine-et-Loire". Anjou, as a political entity, disappeared, although the new department included most of its territory. The War of Vendée, a Royalist rebellion and counterrevolution led in Vendée, a department located at the southwest of Maine-et-Loire, reached the Loire in March 1793.
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Indiana University Press, (1992) pp. 57-62 In a 1983 piece he called this relationship, common in Francophone West Africa at the time, "cultural bribery."Manthia Diawara. (1992) p.42 He was also founder, editor, and publisher from 2008 of the PanAfrican arts magazine, Cahiers d’Afrique. Active with FESPACO and film making up until his death, in 2009 he was made Chevalier de l’Ordre des arts, des lettres et de la communication by the government of Burkina Faso. In July 2009, he served as a Jury Member at the Second Festival culturel panafricain d’Alger (PANAF).
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Jean-Luc Godard ( , ; ; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He rose to prominence as a pioneer of the 1960s French New Wave film movement, and is arguably the most influential French filmmaker of the post-war era. According to AllMovie, his work "revolutionized the motion picture form" through its experimentation with narrative, continuity, sound, and camerawork. During his early career as a film critic for the influential magazine Cahiers du Cinéma, Godard criticized mainstream French cinema's "Tradition of Quality", which emphasized established convention over innovation and experimentation.
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In 1960, Albert B. Lord published The Singer of Tales (1960), which influentially examined fluidity in both ancient and later texts and "oral- formulaic" principles being used during composition-in-performance, particularly by contemporary Eastern European bards relating long traditional narratives. From the 1970s, the term "Oral literature" appears in the work of both literary scholars and anthropologists: Finnegan (1970, 1977), Görög- Karady (1982), Bauman (1986) and in the articles of the journal Cahiers de Littérature Orale.Barnard, Alan, and Jonathan Spencer, Encyclopedia of Social and Cultural Anthropology (Taylor & Francis, 2002).
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Roberte Hamayon, (in French)Gestes et Sons, Chamane et Barde, in Chamanisme et Possession, Cahiers de Musiques Traditionelles 19, Ateliers d'Ethnomusicologie, Genève, 2006 The physical gesture of playing the drum is often integrated into a shamanic dance. For this reason the drumming is not restricted to regular tempo but may speed up and slow down with irregular accents.Tim Hodgkinson, Siberian shamanism and improvised music, Contemporary Music Review vol 14, parts 1-2, Netherlands, Harwood,1996, p62. In some regions, the skin of a shaman's drum should be cut after his/her death.
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Ja'far 'Abd Al-Hamid is an Iraqi British filmmaker of "Mesocafe". Born in Iraq, Ja'far and his family moved to other parts of the Arab world before settling in London in the mid-1980s. While studying social sciences at the University of London, Ja'far began to assist in independent TV and radio productions in London. After attending courses in film production at London's Lux Centre, Hoxton, he began to write film criticism for the Arabic daily Al- Hayat newspaper, and later for the Paris-based Cahiers du cinéma magazine.
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By 1957, having become a leading proponent of categorical methods, he founded the mathematical journal Cahiers de Topologie et Géométrie Différentielle Catégoriques. Jean Dieudonné described Ehresmann's personality as "... distinguished by forthrightness, simplicity, and total absence of conceit or careerism. As a teacher he was outstanding, not so much for the brilliance of his lectures as for the inspiration and tireless guidance he generously gave to his research students ... " He had 76 PhD students, including Georges Reeb, Wu Wenjun (吴文俊), André Haefliger, Valentin Poénaru, and Daniel Tanré. His first student was Jacques Feldbau.
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Koudalek is a prize winner of the guitar competition "Fundación Jacinto e Inocencio Guerrero" in Madrid, and received for his artistic performances the Appreciation Award from the Ministry of Education, Arts and Culture. The CD Exotic Fruits, released in 2002 by Tyrolis Music was awarded as "the best CD of the year" by French Technical Periodical "Les Cahiers de la Guitare". In August 2012, Koudelak was appointed as chairman of the steering committee of the Indonesia International Guitar Festival & Competition. and became 2013 member of the honours committee for the Tirana International Guitar Festival Competition.
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In 2016, she appeared as one of the leads in Refn's thriller film The Neon Demon, portraying a modeling agent. Critical response to the film was polarized, though the French film magazine Cahiers du cinéma named it the third-best film of 2016. The same year, she starred in six episodes of the series Hap and Leonard, playing the ex-wife of investigator Hap Collins. In 2018, she was seen in home-invasion based horror film The Strangers: Prey at Night, playing the matriarch of a family under siege by killers.
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In 1982 he defended a Ph.D. thesis about Luchino Visconti. Since the seventies Plakhov wrote articles and reviews for daily and professional press, both Russian and international, (Pravda, Iskusstvo kino, Seans, Sight and Sound, Guardian, Cahiers du Cinema, etc.), he currently works as an author of cinema reviews for Kommersant. During Perestroika Plakhov was a secretary of the USSR Union of Cinematographers and a head of the Conflict Committee, which released more than 200 films banned by Soviet censorship. Plakhov published several books about Soviet and modern world cinema.
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Sokhona shot his first feature film, Nationality: Immigration, from 1972 to 1975 as an immigrant in Paris. The film hybridised documentary and surreal fiction, with Sokhana himself playing the lead role of an immigrant living through a rent strike in the Rue Riquet.Sarah Cowan, The Right to Speak, The Paris Review, February 22, 2017. Sokhona wrote on African cinema for Cahiers du Cinéma, arguing that "Africa was colonized, and so is its cinema", and that African film-makers were beginning "to draw up battle plans for [....] cinematic independence".
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The film's lyrical and expressionistic style with its leaning on the silent era sets it apart from other Hollywood films of the 1940s and 1950s, and it has influenced later directors such as Rainer Werner Fassbinder and Robert Altman. Selected for preservation in the United States National Film Registry in 1992, it is now considered one of the greatest films of all time. The influential film magazine Cahiers du cinéma selected The Night of the Hunter in 2008 as the second-best film of all time, behind Citizen Kane.
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She agrees to marry an Italian man suggested by her father (Gabriele Tinti), but divorces him after six days, coinciding with the Six-Day War between Israel and Egypt. Four days after the breakup, David dies from a heart attack. Simon, having devoured film theory books and Cahiers du Cinema magazine during his porn-making incarceration, is eager to make a feature film, and starts conceiving an autobiographical story. When he and Charles are released from jail, they reunite with Sam, who is now a successful restaurateur, and frequently dine with him.
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Caroline Branchu in the rôle of Julie in La Vestale by Gaspare Spontini, 1807. Thimoléone-Rose-Caroline Chevalier Lavit,Cahiers de l'Académie d'Histoire (1-11), Paris, 1970, p. 51. Her full name is also sometimes given as Marie- Rose-Thimoléone (Caroline) Chevalier de Lavit. known by her married name as Alexandrine-Caroline (or Caroline or simply Mme) Branchu (2 November 1780 – 14 October 1850) was a French opera soprano of mixed race who was born in Cap- Français, Saint-Domingue the former French colony which is the modern-day Cap- Haïtien, Haiti.
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Selected for Les Belles Étrangères in France in 2007,See Les Belles Etrangères (2007), Tamirace writes poetry that captures the fragmentation of geography and identity in post-war societies.See Tamirace Fakhoury, " La mémoire de la guerre et du conflit", Les Cahiers de Malagar, Confluences, 11/09/2009 Tamirace holds a Ph.D. in Political Sciences from the University of Freiburg in Germany. She completed a research fellowship at the European University Institute in Florence, Italy. She was also a visiting scholar at the University of California campus located in Berkeley, California.
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This study was published the year before (1969), through it, he examines an inventory from 1718 of the same Franciscan convent (a manuscript of his own collection)."Cahiers du monde hispanique et luso-brésilien", Issues 14-15, Institut d'études hispaniques, hispano-américaines et luso-brésiliennes, Université de Toulouse-Le Mirail, 1970, p. 194 Anticipating to his times as thirty years had to pass and so in the year 2000, the Escuela de Conservación y Restauración de Occidente (School of Conservation and Restoration of the West) was founded in Guadalajara.
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Blackboard Jungle was nominated for an Oscar for its screenplay, and was MGM's top moneymaker that year. Richard Brooks on set at MGM studios, 1950's In 1955, Brooks was one of four American auteur filmmakers named as "rebels" by the French magazine Cahiers du Cinéma. Box-office success was what gave the writer/director more freedom at MGM, but Brooks also recognized that he would never have complete control of his films while under contract. He determined to avoid writing original screenplays and focused on adaptations of best-sellers or classic novels.
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Slonim initially lectured on Russian topics at Yale, Chicago and Penn, before becoming, in 1943, a professor of Russian and comparative literature at Sarah Lawrence College, Yonkers. While publishing various pieces in American academic journals, Slonim also contributed to the Jewish cultural review Yevreiski Mir. In a 1944 article for that magazine (quoted favorably by scholar Simon Markish),Simon Markish, "À propos de l'histoire et de la méthodologie de l'étude de la littérature juive d'expression russe", in Cahiers du Monde Russe et Soviétique, Vol. 26, Issue 2, 1985, pp.
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After the khanate's annexation by Imperial Russia in 1783, the last khan Şahin Giray remained nominally in power until 1787, when he took refuge in the Ottoman Empire, and was executed in Rhodes. Other dynasts were permitted by the Russian authorities to reside in their Bakhchisaray palace. Selim III's young son, Qattı Giray, was converted by missionaries to Protestantism and married a Scottish heiress, Anne Neilson.Hakan Kırımlı, “Crimean Tatars, Nogays, and Scottish Missionaries: The Story of Kattı Geray and Other Baptised Descendants of the Crimean Khans”, Cahiers du monde russe 45, no.
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100 The star power of Juliette Binoche, who became known to the American public thanks her Oscar- winning performance in The English Patient, was not enough for the film to find a large audience. In France, the reviewer in Cahiers du cinéma raised doubts about the film’s narrative procedure and the incongruity of the epic sweep and the banal family narrative depicted. Rotten Tomatoes reported that 62% of 42 sampled critics gave the film positive reviews. Andrew Sarris from The New York Observer called the film "not to be missed".
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With its detached and intentionally naive style, Rohmer described it as "avant-garde popular theater" in the vein of Mr Puntila and his Man Matti. For Rohmer, the satire against science should be understood through Renoir's role as an artist, not philosopher or moralist, and not as a rejection of practical science. As for politics, he defended the artist's right to look at the problems of the world without being politically engaged. Picnic on the Grass made 13th place on Cahiers du cinéma's composite list of the best films of 1959.
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Since 2007 she has been editorial advisor by the Éditions Hermann and director of the philosophy series Le Bel Aujourd'hui which she founded the same year. In 2010, she created by Éditions Hermann a series intended to host collective works: the Rue de la Sorbonne series and, in 2011, a series devoted to Jewish thought and studies, "Panim el Panim". She is the president of Les Cahiers Maurice Blanchot, which she co- founded with Monique Antelme and Mike Holland in 2010. Danielle Cohen-Levinas is married to composer and pianist Michaël Levinas.
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As in the staircase and the basketwork tray at the center of the composition, the curved lines can be said to organize the straight lines.Jean-Marie Clarke, "Le Philosophe en méditation, de Rembrandt," Cahiers de Psychologie de l'art et de la culture, Ecole Nationale Supérieure des Beaux-Arts, 6, 1980, 132. The first figure is that of an old man seated at a table in front of a window, his head bowed and his hands folded in his lap. The second figure is that of an old woman tending a fire in an open hearth.
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Lilar wrote two autobiographical books, Une Enfance gantoise (1976) and À la recherche d'une enfance (1979), and two novels, both of which date from 1960, Le Divertissement portugais and La Confession anonyme, a neoplatonic idealization of love filtered through personal experience. The Belgian director André Delvaux recreated this novel on film as Benvenuta in 1983, transposed as an intense examination of a tortured but exalted relationship between a young Belgian woman and her Italian lover. Les Moments merveilleux and Journal en partie double, I & II were published as part of Cahiers Suzanne Lilar (1986).
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In 1944, Surrealist André Breton travelled to Québec, where he wrote Arcane 17. His visit had a profound effect on Québec literature and provided the impetus for the first Surrealist poetry published in Canada, Les Sables du rêve (The Sands of Dream) by Thérèse Renaud, with drawings by Jean-Paul Mousseau, published by Les Cahiers de la files indienne in 1946. This was followed by the formation of Les Automatistes movement, a militant group of poets, painters and dancers, and the Surrealist-inspired manifesto Refus Global of 1948.Rosemont, p.
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Le Corbusier - a friend of Badovici - for instance became one of the architects whose ideals were frequently discussed in this magazine. Badovici cultivated relations to European avantgarde magazines like Wendingen (Netherlands) and Cahiers d’Art (France, founded in 1926) of his friend Christian Zervos. Regularly each issue of L’Architecture Vivante presented a number of architects and their works but there were also some very few dealing with just one artist (Le Corbusier, Pierre Jeanneret and in 1929 Eileen Gray and her home E-1027).Ireland.Archiseek.com: Architects of Ireland – Eileen Gray (1879–1976) Eileen-Gray.
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By the end of the 1950s, many of the remaining editors of Cahiers, however, were becoming increasingly dissatisfied with the mere act of writing film criticism. Spurred on by the return of Godard to Paris in 1956 (who in the interim had made a short film himself), many of the Young Turks became interested in making films themselves. Godard, Truffaut, Chabrol, Doniol-Valcroze, and even Rohmer, who had officially succeeded Doniol-Valcroze as head editor in 1958, began to divide their time between making films and writing about them.Bickerton 2009, p. 32-33.
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Le Monde took full editorial control of the magazine in 2003, appointing Jean-Michel Frodon as editor-in- chief. In February 2009, Cahiers was acquired from Le Monde by Richard Schlagman, also owner of Phaidon Press, a worldwide publishing group which specialises in books on the visual arts. In July 2009, Stéphane Delorme and Jean-Philippe Tessé were promoted respectively to the positions of editor-in- chief and deputy chief editor. In February 2020, the magazine was bought by several French entrepreneurs, including Xavier Niel and Alain Weill.
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In 1984 he published his text Photobiographie recounting his life, his artistic process and his relationship with Picasso in a special issue of Les Cahiers du Sud dedicated to him. Since the 2000s, he produced a set of paper cuts works. Significant collections of his photographic work can be found at Nicephorus-Niepce Museum in Chalon-sur-Saône and the Museum of Photography in Charleroi in Belgium. The city of Mougins in the Alpes Maritimes honored Villers with the creation of a Museum of Photography bearing his name.
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By the 1970s, there was a reconsideration based on Quebec's need for French support.David G. Haglund and Justin Massie. "L'Abandon de l'abandon: The Emergence of a Transatlantic 'Francosphere' in Québec and Canada's Strategic Culture," Quebec Studies (Spring/Summer2010), Issue 49, pp 59–85 The Association française d'études canadiennes was formed in 1976 to facilitate international scholarly communication, especially among geographers such as Pierre George, its first president, (1976–1986).Jean-Pierre Augustin, "Pierre George et l'Association Française d'Etudes Canadiennes (AFEC): 1976–2006," Cahiers de Géographie du Québec (Sept 2008) 52#146 pp 335–336.
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Zbigniew Bzymek (born January 21, 1976) is a filmmaker, experimental theatre and music video artist who lives and works in New York City. He is best known for his film Utopians, which premiered at The 61st Berlin International Film Festival and for winning the Grand Prix at the 31st Rencontres Henri Langlois. He has been called "a young filmmaker to follow" by Stéphane Delorme in the French film journal Cahiers du Cinéma. In theatre, he has worked with Krystian Lupa and Elizabeth LeCompte and has been a longtime member of The Wooster Group.
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Created and directed by Georges Monti, Le Temps qu'il fait is now located at Bazas, in Gironde. The house draws its name from the eponymous novel by Armand Robin. Nearly 500 works have been published (2008 figures), mainly in the field of French literature, but also photography. Also regularly published are the "Cahiers du Temps qui fait", critical volumes devoted to a writer, prestigious or kept secret, for example Philippe Jaccottet, Roger Munier, Jude Stéfan, Luc Dietrich, Louis-René des Forêts, Henri Thomas, François Augiéras, Yves Bonnefoy, André Frénaud, etc.
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Cold Water () is a 1994 French film written and directed by Olivier Assayas about two troubled teenagers in France during the 1970s. The film was screened in the Un Certain Regard section at the 1994 Cannes Film Festival. In October, 2007, it was screened at the Pacific Film Archive in Berkeley, California, where Assayas spent a week in residence introducing and discussing his films with the audiences there. He was accompanied by his friend Jean-Michel Frodon, the current director of the journal Cahiers du cinéma, of which Assayas was once the director.
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Archives on the works of Jean Vilar and the totality of the 3,000 representations programmed by the Festival of Avignon since its 1947 debut are conserved at Maison Jean-Vilar, located in Avignon at 8, rue de Mons, Montée Paul-Puaux. The Maison houses most notably a library, videotheque, expositions and database. The Association Jean Vilar publishes the review journal, Les Cahiers Jean Vilar, which inscribes the thought of the festival's ideator in a resolutely contemporary context, analysing the place of theatre in society, as well as political stakes involved in theatrical production.
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He studied at the Université de Clermont-Ferrand under Francis Vian and the École nationale des langues orientales vivantes, where he learned modern Greek and Turkish, and did an agrégation on classical literature. In 1983 he presented his doctoral thesis on the ancient Greek epic Dionysiaca by Nonnus. He was a professor at the Blaise Pascal University until 1998 and after that at the Paris Nanterre University. He created and led the Institut français d'études sur l'Asie centrale in Tashkent, Uzbekistan, and founded the journal Les Cahiers de l'Asie centrale.
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He returned to France and stayed there from 1949 to 1959. He continued to work for La Nouvelle Relève, La Presse, La Patrie and Le Devoir. He also wrote an article on Jacques Chevalier in the newspaper La Patrie on April 5, 1959, entitled "Visite à Jacques Chevalier" (Visit to Jacques Chevalier), which evokes his visit to the philosopher's home in rue Pierre-Leroux in Paris; it was reprinted in the Cahiers bourbonnais in the 3rd quarter of 1962, following Chevalier's death. Baillargeon died while undergoing heart surgery, August 15, 1967, in Rochester, Minnesota.
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Then, France would possess enough soldiers to thwart the eventual flood of immigrants from Asia. From that racialist perspective, the French press sided with Imperial Russia during the Russo-Japanese War (1904–1905), by representing the Russians as heroes defending the white race against the Japanese Yellow Peril.Beillevaire, P. X. "L'opinion publique française face à la guerre russo–japonaise" in Cipango, cahiers d'études japonaises, Volume 9, Autumn 2000, pp. 185–232. French Indochina: In the oriental French Empire, the country and people of Vietnam were renamed French Indochina.
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Le National, a far right political review, honoured him in April 1978 as one of the French leaders of "the 'revisionist' historical school" who had introduced in France "one of the most explosive booklets" of Richard Harwood,Hommage à François Duprat, Le National, April 1978, pp. 9–11 member of the British National Front and author of the negationist pamphlet "Did Six Million Really Die?" The Cahiers européens – Notre Europe diffused this pamphlet starting in February 1976. The anonymous author of this text had been identified by Pierre-André Taguieff as likely being André Delaporte.
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With a few activists, in 2003, she launched the "Stop Gavage" collective, which fights against the force-feeding of geese and ducks. This led to the establishment, in 2008, of the animal rights association L214, which disseminates shocking images of slaughterhouses to raise awareness of the animal cause; Gothière is the spokesperson and director. She has argued that "only a vegan society would amount to success", but that small steps are progress. Gothière was an editor of antispeciesist journal Cahiers antispécistes, from 1998 to the end of its publication in 2019.
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He was initially closely aligned to the patriots who were demanding reforms, and full of enthusiasm published booklet after booklet in support of the Revolution. Although he was the feudal lord of Pantin (near Paris), he even had printed the cahiers de doléances ("lists of grievances") of his own parish, accompanied by his own annotations. As Lacretelle observed, "He initially turned to the ideas of freedom: but soon, the abuses that were made of it turned him against them". Faithful to the king and religion, he was then imprisoned as a counter-revolutionary.
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His work of this period, mostly still lifes, is close in style to that of Torres-García, with simplified color and bold outlines. In 1930, he joined the group Art Concret and adopted a vocabulary of abstract rectilinear form that derived from the Neoplasticists Piet Mondrian and Theo van Doesburg. During the following years Hélion's art evolved to include curved lines and volumetric forms. He became recognized as a leading abstract painter, as well as an eloquent critic and theoretician whose writings were frequently published in Cahiers d'Art and elsewhere during the 1930s.
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A third girl, named Marie-Victoire, was born and died in infancy in 1783. Meanwhile, in 1782, the couple gave birth to another daughter, Rose, who lived until 1832. In 1781 her husband began a political career, gradually climbing the ladder in the municipal affairs of the village of Estagel until becoming, from June 1786 to June 1787, first consul of the village, which corresponds to the mandate of a mayor today. In 1789, he wrote a large part of the Cahiers de doléances (Book of grievances) of Estagel.
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He adopted the principles of the Revolution and wrote the cahiers de doléances of the Third Estate of his riding. He wrote against acting in concert with the other two Estates because they lacked the legitimacy of the Third Estate. Merlet was appointed to a series of positions as the National Assembly conducted a massive reorganisation of France's administrative structure. He was a major of the National Guard (July 1789), then named city councillor (of Saumur) and attorney-trustee of the district in the month of June 1790.
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After the war Susana Soca founded Cahiers de La Licorne (literally, "notebooks of the unicorn"), a French conceived transatlantic literary journal designed and presented as a twice yearly periodical-anthology. The first edition, published in Paris, appeared in March 1947. The cover featured a unicorn based drawing by Valentine Hugo which referenced the Monoceros (unicorn) constellation. Inside many of the various features also benefited from characteristically stylised illustrations by Hugo, who also contributed a number of pictures of Soca herself and of Luisa Blanco Acevedo de Soca, Susana's mother.
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She studied in the School of Cinema of Chile, but withdrew in the third year. In 1996 she directed the short film Desde siempre, winner of the Santiago Short Film Festival, and was reviewed by the magazine Cahiers du cinéma. Rivas says that she knew she wanted to be a director since she was seven. During her childhood Rivas was not allowed to watch television so she went to the cinema three times a week and cites this as an influence in her decision to become a director.
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Although Masse has published in numerous magazines and produced about twenty albums, it has never aroused the enthusiasm of the public usually fond of comics, nevertheless his work is often acclaimed by the critic and by artists who quote him as a reference. For Willem, Masse was in 1982 the greatest. Thierry Groensteen evokes in 1984 the "massolatry" reigning within the team of the Cahiers de la Bande Dessinée. Yves Frémion concludes his short biography of Masse by saying he is a major artist, alive, funny, who has something to say.
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His contribution also extends to the field of Spanish guitar,Articles des Cahiers de la Guitare numéros 42 et 43 (Turina and the guitar), 46 ( Don Juan Parga, the missing link ), et 77( José-Luis Narvaez, a music with a human face ) by making popular many techniques for that instrument as a teacher of classical and baroque guitar at École Normale de Musique de Paris, where he has been teaching since 1971. Composer and editorial director, he brings regularly his contribution to the ancient, classical or contemporary repertoire.
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Bloch also joined the Mouvements Unis de la Résistance (Unified Resistance Movement, or MUR), section R1, and edited the underground newsletter, Cahiers Politique. He went under various pseudonyms: Arpajon, Chevreuse, Narbonne. Often on the move, Bloch used archival research as his excuse for travelling. The journalist-turned-resistance fighter Georges Altman later told how he knew Bloch as, although originally "a man, made for the creative silence of gentle study, with a cabinet full of books" was now "running from street to street, deciphering secret letters in some Lyonaisse Resistance garret"; all Bloch's notes were kept in code.
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In 1840 he was chosen to accompany the Prince of Joinville to St. Helena to retrieve and bring Napoleon's remains to France, in what became known as the retour des cendres. During his exile at Sainte Hélène he compiled Napoléon's confidences in a book entitled "Les cahiers de Sainte Hélène". The manuscript was codified and later decodified and commented by Paul Fleuriot de Langle. According to historians, this document is more accurate than Las Cases' "Memorial de Sainte Hélène" which reached a much larger amount of readers in the 19 century as it was designed for propangadistic purposes.
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The subject and the style of the book earned Dupré to be attached to the movement of the Hussards. Guy Dupré joined the publishing house Plon, which has long specialized in military memorabilia. He prepared a biography of General Charles Mangin that was never completed but whose face would appear in Le Grand coucher. He made an anthology of Maurice Barrès (Mes Cahiers, Plon, 1962), an anthology of the Chroniques de la Grande Guerre of the same (Plon, 1968), as well as the cross-correspondence between Maurice Barrès and Charles Maurras: La République ou le Roi, correspondance 1888-1923, Plon, 1970.
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The director was the subject of a 1990 documentary, Jacques Rivette, the Night Watchman, directed by Claire Denis and Serge Daney. Travis Mackenzie Hoover wrote that the documentary portrays Rivette with "lonerish tendencies" and as "a sort of transient with no home or country, wandering about or loitering in public space instead of staking out some personal terra firma." In 1960, he appeared briefly with girlfriend Marilù Parolini in Jean Rouch and Edgar Morin's cinéma-vérité documentary, Chronique d'un été. Parolini was a secretary at Cahiers and, later, an on-set still photographer for Rivette and other New Wave filmmakers.
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William Baziotes created the cover art for this 80-page issue, which also included artists statements by Peter Agostini, Mary Bonnell, Peter Busa, Alfred Jensen, Elaine de Kooning, Albert Kotin, Adja Yunkers, among others. Cahiers by Robert Goldwater, and Jack Tworkov. Essays included: Andre Breton's "A Catalogue Foreword"; Hans Hofmann's "Space and Pictorial Life"; Harry Holtzman's "The Sickness... the Hero"; Ad Reinhardt's "Seven Quotes"; and "Manifesto IV" by P.G. Pavia. Artists' reproductions included work by Nicholas Carone, Arshile Gorky, Philip Guston, Emil Hess, Aristodimos Kaldis, Allan Kaprow, Frederick J. Kiesler, Franz Kline, Ibram Lassaw, Alice Mason, Mark Rothko, and numerous others.
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According to Truffaut's theory, auteurs took material that was beneath their talents—a thriller, a pulpy action film, a romance—and, through their style, put their own personal stamp on it. It is this auteur style that concerns formalism. A perfect example of formalist criticism of auteur style would be the work of Alfred Hitchcock. Hitchcock primarily made thrillers, which, according to the Cahiers du cinema crowd, were popular with the public but were dismissed by the critics and the award ceremonies, although Hitchcock's Rebecca won the Oscar for Best Picture at the 1940 Academy Awards.
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In 1958, Mabire was sent as a reserved soldier to North Africa during the Algerian War (1954–62). Between 1963 and 1965, he wrote articles in Philippe Héduy's L'Esprit public, and was a contributor in Cahiers universitaires, the magazine of the Federation of Nationalist Students (FEN). In 1965, he was part of the grassroots committees of far-right presidential candidate Jean-Louis Tixier- Vignancour, and wrote in January a book to explain his endorsement. From 1965, he served as the redactor-in-chief of Europe-Action, in which he wrote about neo-paganism, the Waffen SS and the Charlemagne Regiment.
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France does not have any procedure of public inquiries to allow the assessment of major technological programmes. The plan envisaged the construction of around 80 nuclear plants by 1985 and a total of 170 plants by 2000.Les physiciens dans le mouvement antinucléaire: entre science, expertise et politique Cahiers d'histoire, published 2007, accessed 11 April 2011 Work on the first three plants, at Tricastin, Gravelines, and Dampierre started the same year and France installed 56 reactors over the next 15 years. Electricity generation related CO2 emissions in France as of 27 May 2020 with overall CO2 intensity of 52 gCO2eq/kWh.
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The Cahiers universitaires released their last issue in January 1967. If the FEN never succeeded in forming a lasting and in reaching majority approval among students—UNEF remaining the main union—the period was a "significant tactical moment" for the nationalists. After the FEN auto- dissolved in 1967, many of its members were involved in the foundation of the GRECE in 1968—escorted by adherents of the REL—all led in this project by De Benoist. Ideas promoted by the FEN, especially its meta-political ambition expressed in the founding manifesto, influenced Europe-Action (1963–66) and the Nouvelle Droite (1968–present).
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The name may also be an allusion to the protagonist's slave-like condition of "degradation and submission", as alp may be readily associated with the African slave trade or the enslavement of minorities in the Slavery in Romania). The tale thus becomes the hero's quest for the recovery of "human status". The name which means "White Black" has also been regarded as an oxymoronic example of absurdist tradition in the local folklore by comparatist Vasile Măruţă.Măruţă, Vasile (1987) "Arp et Tzara. A «la recherche d'un niveau – la différence»", in Cahiers du Centre de Recherche sur le Surréalisme.
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The quarterly immediately became an influential advocate of the International style (Bauhaus, Constructivism, De Stijl). Badovici's friend Le Corbusier, for instance, became one of the architects whose ideals were frequently discussed in the magazine. Badovici cultivated relations with other European avant-garde magazines such as Wendingen (Netherlands) and Cahiers d'Art (France), founded in 1926 by his friend Christian Zervos. Each issue of L’Architecture Vivante routinely presented a number of architects and their works, but a few issues were devoted to a single designer (Le Corbusier, Pierre Jeanneret and, in 1929, Eileen Gray and her home E-1027).Ireland.Archiseek.
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A series of ups and minor officials was appointed to assume the organization of each government. In particular governor (in Quebec, it was the Governor General), add a king's lieutenant to attend a sub-delegated the steward (the commissary or the Commissioner of the Navy or the general-voyer or warehouseman), a staff, guards for governor, with a Court of Justice judge, assistant prosecutor, clerk, notary, judge a castle to house the governor and his staff.Marcel Trudel, New France by text, frames of life, Montreal, Éditions Hurtubise HMH, 2003, p. 41 (Les Cahiers du Quebec, QC 134 History Collection) ().
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Among the three Estates, the Second Estate's cahiers were possibly the most surprising. Many of them proved to be quite liberal in their opinions, 89% voting that they were willing to give up their financial privileges. Although they had, until then, opposed the idea of commoners entering their ranks (as shown by the Segur Ordinance), they finally accepted the fact that merit, as much as hereditary status, should qualify men to hold certain offices (including Military, Administrative and Venal Offices). They also attacked the government for being out of date and the injustice of the Ancien Régime.
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The Yaéré, from Fula yaayre, is the name of a vast annually-flooded grassland and savanna, part of the extensive floodplains around the shallow and variable Lake Chad in Central Africa.The annual flooding is described by A. Bouchardeau, Monographie hydrologique du Logone, (Paris:Orstom) 1968; V. Bénech et al., Hydrologie et physico-chimie des eaux d'inondation de la plain d'inondation du Nord-Cameroun (in series: Cahiers Orstom: série hydrologique) 1982 and E. Naah, Restauration hydro-technique de la plaine du Yaéré, (Projet Waza Logone, Yaoundé) 1993.. The Yaéré is part of the Lake Chad flooded savanna ecoregion. Accessed 7 July 2020.
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In 1957 Rohmer and Claude Chabrol wrote Hitchcock (Paris: Éditions Universitaires, 1957), the earliest book-length study of Alfred Hitchcock. It focuses on Hitchcock's Catholic background and has been called "one of the most influential film books since the Second World War, casting new light on a filmmaker hitherto considered a mere entertainer". Hitchcock helped establish the auteur theory as a critical method and contributed to the reevaluation of the American cinema that was central to that method. By 1963 Rohmer was becoming more at odds with some of the more radical left-wing critics at Cahiers du Cinéma.
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In 1954, future filmmaker François Truffaut wrote an article in Les Cahiers du Cinema harshly criticizing the work of Jean Aurenche & Pierre Bost. The writing team progressively went out of fashion and barely worked during the 1960s as their favorite collaborators (Autant-Lara, Clément, Delannoy) grew older and retired. In 1970, young filmmaker Bertrand Tavernier (who was a fan of their work), asked them to write with him an adaptation of L'Horloger d'Everton (a Georges Simenon novel) for his first feature film. The film, titled L'Horloger de Saint Paul was a great success, both public and critical.
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The teaching of history in French schools was influenced by the Nouvelle Histoire, as disseminated in the 1960s and 1970s by Cahiers pédagogiques and Enseignement and other journals for teachers. Also influential was the Institut national de recherche et de documentation pédagogique (INRDP). Joseph Leif, the inspector-general of teacher training, said pupils should learn about historians' approaches as well as facts and dates. Louis François, dean of the history/geography group in the Inspectorate of National Education, advised teachers to provide historic documents and promote "active methods", which would give pupils "the immense happiness of discovery".
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Tribute to Éric Rohmer () (a.k.a. Maurice Schérer) is a short 2010 video commissioned by Les Films du Losange as a tribute to Éric Rohmer by his friend and former colleague Jean-Luc Godard, and is the work that directly precedes the release of the 2010 feature Film Socialisme in Godard's filmography. It was first presented at the Soirée en hommage à Éric Rohmer on 8 February 2010 at the Cinémathèque Française. The short film consists of various titles of articles that Rohmer wrote for Cahiers du Cinema appearing on a black background as Godard's narration muses about brief, fragmented memories of Rohmer.
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The Braks themselves predated by the Lamanes,Boulègue, Jean, "Le Grand Jolof", (XVIIIe \- XVIe Siècle). (Paris, Edition Façades), Karthala (1987), p 30 Dyao, Yoro, "Légendes et coutumes sénégalaises", Cahiers de Yoro Dyao: publiés et commentés par Henri Gaden. (E. Leroux, 1912) ruled over Waalo from the 14th century until the disestablishment of the monarchy in 1855 due to French colonialism.Barry, 1985, p 41 Although Lingeer Ndoye Demba is generally regarded as the ancestor of the Joos of Waalo, and Lingeer Fatim Beye as an early ancestor and matriarch, some sources suggests that Fatim Beye was the founder of the Joos Dynasty.
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Brody, pp. 31–34 As he continued to work for Cahiers, he made Une femme coquette (1955), a 10-minute short, in Geneva; and in January 1956 he returned to Paris. A plan for a feature film of Goethe's Elective Affinities proved too ambitious and came to nothing. Truffaut enlisted his help to work on an idea he had for a film based on the true-crime story of a petty criminal, Michel Portail, who had shot a motorcycle policeman and whose girlfriend had turned him in to the police, but Truffaut failed to interest any producers.
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Spearman's tetrad difference equation states a necessary condition for such a g to exist.Famous artefacts: Spearman's Hypothesis. Cahiers de Psychologie Cognitive / Current Psychology of Cognition, 16, 665–698: The important proviso for Spearman's claim that such a g qualifies as an "objective definition" of "intelligence", is that all correlation matrices of "intelligence tests" must satisfy this necessary condition, not just one or two, because they are all samples of a universe of tests subject to the same g. Schönemann argued that this condition is routinely violated by all correlation matrices of reasonable size, and thus, such a g does not exist.
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These include Jean-Pierre Melville, Louis Malle and Claude Chabrol. Decaë first worked as a cinematographer with Melville on Le Silence de la Mer (1949). Decaë also edited and mixed the sound. Although Decaë worked with Melville on Les enfants terribles, which as Williams commented (1992, p333) "...the work is more accurately to be viewed as a stunning demonstration of the cinematic possibilities of faithful literary adaptation in the hands of a gifted director", according to Marie (p 88) it was his distinctive camera work on Bob le flambeur which caught the attention of the Cahiers critics.
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On 24 April 1941 Marshal Pétain officially inaugurated 1 May as the fête du Travail et de la Concorde sociale, the day on which work and mutual understanding were celebrated. The regime won over some trades unionists for the drawing up of a Work Charter. In it they declared themselves against both capitalism and Marxism, the regime advocated the finding of a third way. It is often told that in 1941 the Vichy Government set up a retirement system; the allowance for old, waged workers,Jacques George, Retraites : une histoire récente, une situation fragile, 24 January 2005 (fr), on the cahiers-pedagogiques.
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In addition to book reviews by Charles Collins and Lin Carter, contributors included Barry Brown, Richard A. Lupoff and William K. Everson. Inspired by the ratings and reviews of films in Cahiers du Cinéma, Stewart introduced a similar system with the "Comic Book Council", the first critical coverage of comic books to appear in a national magazine. Commentary and ratings of underground comics were juxtaposed with reviews of mainstream comics. Another key feature was the "Frankenstein Movieguide", an attempt to document all fantastic films seen on television with "mini-reviews" written by Joe Dante and Stewart.
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The Bastion was seized by Algiers in 1568, but the Lenches were able to quickly regain control. Tomasino's nephew Antonio, one of the richest men in Marseille,Michel Vergé- Franceschi, « La Corse enjeu géostratégique en Méditerranée et les marins Cap Corsins » in Cahiers de la Méditerranée, vol. 70, Crises, conflits et guerres en Méditerranée, Tome 1 : Désordres en Méditerranée et Enjeux, mis en ligne le 12 mai 2006 served as governor of the Bastion de France (1568-1588). During this period Henri III confirmed the monopoly of the Magnifique compagnie (1582) and extended its limits to include the fisheries of Bizerte (1584).
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3–4; p.9: "... Resnais's films are tempered with a concern for human character and feelings which never loses sight of the vital connection between the forms of the art and its human subjects". There is general agreement about Resnais's attachment to formalism in his approach to film; he himself regarded it as the starting point of his work, and usually had an idea of a form, or method of construction, in his head even before the plot or the characters took shape.Suzanne Liandrat- Guigues & Jean-Louis Leutrat, Alain Resnais: liaisons secrètes, accords vagabonds. (Paris: Cahiers du Cinéma, 2006). p.136.
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Tunisia is homogeneous in terms of language, since nearly all of the population masters French and Arabic (the state Official language) and speaks Tunisian Arabic which is the mother-tongue of almost all Tunisians. Tunisian Arabic is actually a dialect – or more accurately a set of dialects,« Travaux de phonologie. Parlers de Djemmal, Gabès, Mahdia (Tunisie) et Tréviso (Italie) », Cahiers du CERES, Tunis, 1969 for which there is no official body of standards. It is established on a berberTilmatine Mohand, « Substrat et convergences : Le berbère et l'arabe nord-africain », Estudios de dialectologia norteaafricana y andalusi, n°4, 1999, pp.
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On 9 May 1928 the Republican Syndicalist Party (Parti républicain syndicaliste, PRS) was founded, led by Valois, Arthuys, Hubert Bourgin and Charles Albert. The first issue of the party's journal, Cahiers bleus, appeared on 15 August 1928 with contributors such as Pierre Mendès France, Pietro Nenni, Emmanuel Berl, Édouard Berth and future Fascist sympathisers such as Bertrand de Jouvenel, Marcel Déat and Paul Marion. In the 1930s Arthuys was a member of the right-wing nationalist Croix-de-Feu league created by François de La Rocque. When Adolf Hitler came to power in 1933 Arthuys strongly opposed Nazism.
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Joseph Douillet (; 1878–1954)Wym Coudenys, 'Russian Collaboration in Belgium During World War II: The Case of Jurij L. Voycehovshij,' (Limited access) Cahiers du Monde Russe, April–September, 2002, Vol. 43, No. 2/3, p. 485. was a Belgian diplomat to the Soviet Union, known as the author of Moscou sans Voiles: Neuf ans de travail au pays des Soviets (Moscow Unmasked: A Record of Nine Years Work in Soviet Russia) published in 1928. The work heavily criticized Soviet Communism and formed a major influence on Hergé's cartoon book Tintin in the Land of the Soviets.
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In January 2010, Charles Dantzig published two books of poetry simultaneously: a collection of his own new poems in Grasset's Collection Bleue, Les nageurs, and an anthology of his poetry with new writing and critical essays, La Diva aux longs cils. The poems were selected by Patrick McGuinness of St Anne's College, Oxford. At the same time, Charles Dantzig's novel Je m'appelle François was published in paperback and his translations of Oscar Wilde and F. Scott Fitzgerald were republished in the Cahiers Rouges collection. Les nageurs and La Diva aux longs cils were presented at the Maison Française in Oxford in 2010.
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The affair ended Colette's marriage and caused a scandal. It lasted until 1924. Some believe Bertrand to be the role model for the title character in Colette's novel Chéri, but in fact she had published about half the book, in serial form, before she and her stepson met for the first time, in the spring of 1920. Their affair actually inspired Colette's novel Le Blé en herbe. In the 1930s, he participated in the Cahiers Bleus, the review of Georges Valois' Republican Syndicalist Party. From 1930 to 1934, Jouvenel had an affair with the American war correspondent Martha Gellhorn.
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Cahiers de Linguistique Asie Orientale is a peer-reviewed academic journal of East Asian linguistics that was established in 1978 and is published by Brill. The articles published before 2007 are in free access on the Persée website. It publishes articles in English, French and Mandarin Chinese, and covers a wide range of topics including Generative syntax, Linguistic typology, Phonetics, Phonology and Historical linguistics on all languages of the Sino- Tibetan, Austro-Asiatic, Austronesian, Hmong-Mien, Kra-Dai, Tungusic, Mongolic and Turkic families, as well as on Japanese, Korean and Ainu. It is indexed in Scopus.
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In the legend, which takes place in the time of Count García Fernández of Castile, the seven sons of Gonzalo Gustios, lord of Salas, are killed by their mother Sancha's brother, Ruy Velázquez, lord of Lara, at the instigation of his wife, Doña Lambra. Mudarra, the bastard son of Gonzalo Gustios and the Muslim sister of al-Manṣūr, then takes revenge for his brothers by killing Ruy and Lambra.Julio Escalona Monge (2000), "Épica, crónicas y genealogías: En torno a la historicidad de la Leyenda de los infantes de Lara" Cahiers de linguistique hispanique médiévale 23, pp. 113–76, esp. 119–24.
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There are also several translations: the oldest, in French by Migne, in Dictionnaire desApocryphes, vol. II, Paris 1858, 403 is based on Mai’s edition, while that of M. Philonenko (Le Testament de Job, in Semitica, Cahiers publies par l’Institut des Etudes Semitiques de l’Universite de Paris, XVIII, Paris, 1968), also in French, follows Brock’s edition, while the German, by P. Riessler (Altjüdisches Schrifttum ausserhalb der Bibel, Augsburg 1928, 1104–1134) follows the edition ofJames. For a more recent translation, see L. Wills, Ancient Jewish Novels, New York 2002. 13\. Cf. Kohler, Testament, 264; James, Testament, LXXIII. 14\.
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Bec was titular professor at Poitiers university and assistant director of the Centre d'Études Supérieures de Civilisation Médiévale (Centre for high studies in medieval civilisation). He is considered one of the most important specialists in Occitan dialectology and in mediaeval Occitan literature. His activity is distributed among Occitanist politics, philological research and literary creation. He collaborated with publications like Cahiers de Civilisation Médiévale, Revue de Linguistique Romane, Estudis Romànics, Oc. In 1982 he took part in the Linguistic Normalisation commission for Aranese, with Jacme Taupiac and Miquèu Grosclaude: they established some linguistics norms, officialised in 1983, following IEO's indications for Gascon.
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Guerres mondiales et conflits contemporains (French, literally "World Wars and Contemporary Conflicts") is a quarterly peer-reviewed academic journal covering the history of modern conflicts, until 1987 with a particular focus on World War II. It is published by the Presses Universitaires de France. The journal was established in 1949 as the Cahiers d'histoire de la guerre. In 1950 it was renamed as Revue d'histoire de la Deuxième Guerre mondiale and in 1982 as Revue d'histoire de la Deuxième Guerre mondiale et des conflits contemporains, before obtaining its current title in 1987. The founding editor-in-chief was Henri Michel.
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Pro-independence rally in Northern Rhodesia (later Zambia), March 1960 The Year of Africa altered the symbolic status of Africans worldwide, by having the world recognize the existence of African nations as a force to be reckoned with on the international arena. It marked the beginning of a new, more Afrocentric era in African studies, marked by the founding of the Cahiers d'Études africaines and the Journal of African History.John Lonsdale, "African Studies, Europe & Africa", afrika spectrum 40(3), 2005.Johannes du Bruyn, "The "Forgotten factor" sixteen years later: some trends in historical writing on precolonial South Africa", Kleio 16(1), 1984; .
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Roger William Corman (born April 5, 1926) is an American director, producer, and actor. He has been called "The Pope of Pop Cinema" and is known as a trailblazer in the world of independent film. Much of Corman's work has an established critical reputation, such as his cycle of low-budget cult films adapted from the tales of Edgar Allan Poe. In 1964, Corman—admired by members of the French New Wave and Cahiers du Cinéma—became the youngest filmmaker to have a retrospective at the Cinémathèque Française, as well as in the British Film Institute and the Museum of Modern Art.
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Cahiers co- founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, which the American film critic Andrew Sarris called auteur theory. (The original French La politique des auteurs, translated literally as "The policy of authors".) Bazin and Henri Langlois, founder and curator of the Cinémathèque Française, were the dual father figures of the movement. These men of cinema valued the expression of the director's personal vision in both the film's style and script.
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Not until the late age of 39, during his first stay in Switzerland, did de Dadelsen compose his first long poem, “Bach en automne” (1952-1953), that Camus published in 1955 in the Nouvelle Revue Française.Nouvelle Revue Française, N° 35, 02/11/1955, Pages 867-876. In 1956 his “L'invocation luminaire de Jonas” and other poems appeared in the Cahiers des Saisons and in 1957, “La dernière nuit de la pharmacienne” and other poems were published in Preuves. A first collection, consisting of the unfinished series, “Jonas”, was published by Gallimard in 1962 by François Duchêne, a colleague and friend of Jean Monnet.
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The Beti people are Bantu people who once lived in northern parts of Central Africa, with a complex, undocumented and debated prehistory.Pierre Alexandre (1965), Proto-histoire du groupe beti-bulu-fang: essai de synthèse provisoire, Cahiers d'Études Africaines, Vol. 5, Cahier 20 (1965), pages 503-560 (in French) They likely moved into equatorial Africa in the seventh or eighth century, then further southwest in central Cameroon between the seventeenth and nineteenth centuries, likely after waves of wars and slave raids from the Fulani people. They were also a targeted source for slaves and ivory by the Hausa people.
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The painting was reproduced again in Cahiers d'art (1927), within an article dedicated to African art.Cahiers d'art : bulletin mensuel d'actualité artistique, 1927 (N1,A2)- (N10,A2), Gallica, Bibliothèque nationale de France Richardson goes on to say that Henri Matisse was fighting mad upon seeing the Demoiselles at Picasso's studio. He let it be known that he regarded the painting as an attempt to ridicule the modern movement; he was outraged to find his sensational Blue Nude, not to speak of Bonheur de vivre, overtaken by Picasso's "hideous" whores. He vowed to get even and make Picasso beg for mercy.
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There was also a collegiate church in Albi, the Church of Saint-Salvi, which was also served by a college of canons, at least since the mid-eleventh century. The canons, twelve in number, followed the rule of Saint Augustine, and were headed by a provost. The provost was elected by the canons and confirmed by the bishop, and had the right to confer all the benefices that belonged to the collegiate church.J.-L. Biget, "Sainte-Cécile et Saint-Salvi: chapitre de cathédrale et chapitre de collégiale à Albi," Cahiers de Fanjoux 24 (1989) 65-104.
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In 1949 a Soviet Colonel Kalinov defected to the west, he published a book claiming that Soviet records indicated the military loss of 13.6 million men including 2.6 million POW dead. Sergei Maksudov a Russian demographer living in the west estimated Soviet war losses at between 24.5 and 27.4 million, including 7.5 million military dead.S. Maksudov, Pertes subies par la population de l'URSS, 1918–1958, Cahiers du Monde russe et soviétique, XVIII, 3, July–September 1977S. Maksudov Losses Suffered by the Population of the USSR 1918–1958 The Samizdat register II / edited by Roy Medvedev New York : Norton, 1981.
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He often wrote for L'Humanité, Les Cahiers du bolchevisme and La Vie ouvrière, advancing the need for a united front of exploited workers, and for workers to understand the broader issues when often they were focused on immediate goals such as better wages and improved working conditions. In the early 1930s the PCF was in disarray. Eugen Fried was assigned by Comintern to eliminate the social-democratic and anarcho-syndicalist elements, and prevent the Trotskyists from gaining influence. He was to resolve rivalry, eliminate unsound elements and install men loyal to Moscow at the head of the party.
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In 1928, with Édouard Berth, Marcel Déat, Bertrand de Jouvenel and Pierre Mendès-France, he took part in the editing of the Cahiers bleus which had just launched George Valois. The same year, he met André Malraux to whom he dedicated his Mort de la pensée bourgeoise, a satire in which Emmanuel Berl called for a more committed culture and literature. During the 1930s, he entered politics on the side of the radicals. After working for the weekly Monde, in 1932 he launched the weekly Marianne, which was the leading weekly on the left until the appearance of Vendredi in 1935.
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The hotel was probably sold around 1954, by which time Odilon Albaret was close to retirement age. Albaret worked with her sister, Marie Gineste, between 1954 and 1970 at Le Belvédère in Montfort-l'Amaury (Yvelines). This was the house where Maurice Ravel had lived between 1921 and his death, and which now functioned as a small museum dedicated to the composer. Under the terms of a "convention de gardiennage" which the sisters signed with Edouard Ravel, they agreed to look after the house for a term of twenty years.Manuel Cornejo, « Editorial. Bolérite aiguë », Cahiers Maurice Ravel, no 18, 2016, p.
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This is reflected by cahiers submitted by members of the Third Estate in March to April 1789: those of Carcassonne demanded that Louis "assure to the third estate the influence to which it is entitled in view of...its contribution to the public treasury". This desire for higher social position resulted in high levels of bourgeois entry into the Second Estate throughout the seventeenth and eighteenth centuries. This was enabled by several factors. The poverty of many noble families meant that they married bourgeois families; the nobles gained bourgeois wealth, while the bourgeoisie gained noble status.
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Rather, he proposes we accept that absurdity is a part of our lives and live with it. The turning point in Camus's attitude to the Absurd occurs in a collection of four letters to an anonymous German friend, written between July 1943 and July 1944. The first was published in the Revue Libre in 1943, the second in the Cahiers de Libération in 1944, and the third in the newspaper Libertés, in 1945. The four letters were published as Lettres à un ami allemand (Letters to a German Friend) in 1945, and were included in the collection Resistance, Rebellion, and Death.
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However, the most distinctive features of this young squire are his compassion and his moral values which make him so endearing. On 28 March 1553, in his Journal, he mentioned the practice of distilling cider to make apple brandy, the first reference to the spirits known today as Calvados. He is buried somewhere in the church in Le Mesnil-au- Val, the exact location is unknown. Since 1986, an association called the Comité Gilles de Gouberville has been busy providing information about the Norman squire, organizing lectures and visits, and publishing annually Les Cahiers goubervilliens since September 1997.
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Pierre Braunberger, Jean-Luc Godard, Jacques Rivette, Rohmer and François Truffaut were among the Cahiers critics who named it to year-end top ten lists. Jean Renoir in 1959 Renoir had supported the French Communist Party (PCF) in the 1930s, but Picnic on the Grass received negative reviews from critics with communist sympathies. It was released at a time when the PCF idealized progress and its members were enthusiastic about the Soviet space program. Samuel Lachize of L'Humanité considered the film flawed on a technical level, and criticized its lack of a clear choice between scientific progress and the rejection of it.
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Novel in the form, this minimalist film travelled all around the world, was critically acclaimed at more than 50 international film festivals, and won numerous awards in Singapore, Chonju, Delhi, Houston, Bangkok and Tokyo. The film also gained critical success in Europe, and has been considered as one of "the most outstanding revelations of the decade" by the prestigious French Film Review "Les Cahiers du Cinéma". ‘Flying with One Wing (2002)' was yet another courageous work by Asoka. This is the first time in this part of the world that the issue of gender politics is addressed in cinema.
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Spring Breakers has since appeared on various retrospective "best of" lists, including one honouring the best films of the 21st century. In 2016, British film magazine Little White Lies placed the film at number 40 on their list of the 50 best films of the decade (so far). In August of that same year, BBC Magazine conducted a poll on the 21st century's 100 greatest films so far, with Spring Breakers ranking at number 74. In France, the magazine Les Cahiers du cinema featured Spring Breakers on their March 2013's cover, and placed it second on their December 2013 Top Ten chart.
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The split between the West and Soviet filmmaking became readily apparent with André Bazin's dismissal of montage and Cahiers du Cinéma's assertion of the primacy of auteurs. The belief that a still, highly composed, and individuated shot marked cinema's artistic significance was an affront to the dialectical method. That individual directors could compose and produce films by themselves (at least in terms of credit and authorship) made impossible the collectivization of filmmaking. Eisenstein's later work (Alexander Nevsky [1938] and Ivan the Terrible [1944–1946]), would undercut his earlier film's appeal to masses by locating the narrative on a single individual.
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Christian Zervos (; Argostoli, Cefalonia, Greece, January 1, 1889 – September 12, 1970, Paris) was a Greek-French art historian, critic, collector, writer and publisher. Better known as an art critic in his own right, Zervos founded the magazine Cahiers d'art (1926–1960) in Paris, and ran an art gallery. He was a connoisseur of modern painting in his time, and of Greek art and prehistoric art. He published several books, of which the most important are: The Art of Crete, The Art of the Cyclades, L'art de l'époque du Renne en France, and a catalogue raisonné of the work of Pablo Picasso.
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In 1959, in the middle of the Algerian War, he and Marie-Thérèse Maugis formed the Maspero publishing house, Éditions François Maspero. They later were joined by Jean-Philippe Bernigaud and Fanchita Gonzalez Batlle, and then by Émile Copfermann. Their first two collections, "Cahiers libres" and "Textes à l'appui", focused on the Algerian War from an anti-colonialist perspective, and on contestation of the French Communist Party's unreformed Stalinism. Maspero published Frantz Fanon's The Wretched of the Earth (1961), censored by the French authorities, with a preface by Jean-Paul Sartre, as well as Fanon's L'An V de la Révolution algérienne.
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The style of the journal moved through literary modernism in the early 1960s to radicalism and dialectical materialism by 1970. Moreover, during the mid-1970s the magazine was run by a Maoist editorial collective. In the mid-1970s, a review of the American film Jaws marked the magazine's return to more commercial perspectives, and an editorial turnover: (Serge Daney, Serge Toubiana, Thierry Jousse, Antoine de Baecque, and Charles Tesson). It led to the rehabilitation of some of the old Cahiers favourites, as well as some new film makers like Manoel de Oliveira, Raoul Ruiz, Hou Hsiao-hsien, Youssef Chahine, and Maurice Pialat.
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Maximilien Rubel (10 October 1905 in Chernivtsi – 28 February 1996 in Paris) was a famous Marxist historian and council communist. Rubel was born in western Ukraine and was educated in law and philosophy in Vienna and Chernivtsi National University, the town of his birth and was influenced by the Austro-Marxist Max Adler. He moved to France in 1931 to study sociology at the Sorbonne, from which he received his Licence-ès-lettres in 1934. He became a French citizen in 1937, and shortly after began publishing the literary magazine Verbe-Cahiers humains, before being drafted into the French Army.
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He wrote a series of poems for in English the American series Nexus about philosophy and raison d'être. In 2006-2007, he worked with Issa Nyaphaga and Dezza Nguembock to promote the shows Bigna and Esthetique & Handicap for Afrik'DEZ'Arts, an international art association, in collaboration with the Cameroon Embassy in Paris. In September 2007, he took the Cahiers Renaud-Barrault created by Simone Benmussa and re-infused it with a modern adaptation. In September 2008, the creation of Je Me Souviens de Toi ("I Remember You") was commissioned by Radio France, with text by Mathieu Carrière and music of Henryk Gorecki.
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L'imbroglio du Karabakh: une perspective azérie (translated into French by B.Eisenbaum). = Les Cahiers de l'Orient (Paris), Hiver 2011, numéro 101, pages 83-95. 4) As for Central Asia, his main argument has been the futility of US efforts to impose there the democratic values of European civilization, since democracy in Muslim countries inevitably leads to election and entrenchment of Islamofascism. Instead of direct Western intervention in the region, he recommends support for the local despots who are able to maintain peace in the region and order in their countries by brutally effective methods of the same Islam.A.Rasizade.
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Alfred Louis Delattre in front of the chapel On 8 August 1830, Hussein II Bey signed an act granting land for the purpose of honouring Louis IX "at the location of the prince's death [at] La Malka". This act confirmed old treaties concluded between France and Tunisia.Pierre Gandolphe, « Saint-Louis de Carthage », Cahiers de Byrsa, I, 1951, p. 270 On account of the political difficulties related to the abdication of Charles X and the death of Hussein II in 1835, the act did not enter into force until 1840, after the terms had been confirmed by Ahmed I Bey.
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Haltestellen des Werdens – Eine biographische Ausstellungschronologie (1958–1974) by Rudolf Schmitz compiles texts by Johannes Gachnang, starting with a remark on wildness and Sturm und Drang. Rudolf Schmitz motivates his Portrait des Ausstellungsmachers als Amateur d'art with Géricaults Le Radeau de la Méduse. André Berne-Joffroy writes in Erinnerungen und Anmerkungen um die Paulhan-Ausstellung und ihren Katalog about Jean Paulhan (founder of the lettre francais and Cahiers de la Pléiade). Emile Cioran starts Aus einem Interview mit Michael Jakob with a question by Jakob, that mentions Cioran's disbelief in dialogue and his belief that every meeting was a kind of cruxification.
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In 1985, she started the bilingual journal Cahiers d'Extreme-Asie, which has since become established as an important publication in the study of East Asian religions. The stated purpose of the journal was to draw scholars in Europe, America, and East Asia closer together. Seidel’s position in Kyoto put her in a unique position to serve as a link between the various geographic communities of scholars. She was an international scholar: German in her upbringing and cultural identity, French by citizenship and education, residing and working in Japan, and wooed by the English-speaking academic establishment.
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Another article on the subject was published on pages 36–41, in "Les Cahiers du Pays de Ploemeur", on 17 December 2007. Attempts were made to obtain official recognition that the grave contains the remains of F/O Ernest Russell Lyon since March 2009. In July 2014 those efforts were successful, with the Ministry of Defence confirming that ... it has been decided that the existing headstone on Grave 33 should be replaced with a memorial to F/O Ernest Russell Lyon stating that he is buried near this spot. On 5 October 2015, a rededication service was held at the Guidel Communal Cemetery.
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The first privately owned daily newspaper was the Severnaia Pchela (Northern Bee), edited with government approval by Alexander Smirdin (1795–1857), a well-known publisher of literary books and school textbooks, as well as the literary magazines Biblioteka Dlya Chtenya and Syn otechestva. The Northern Bee was published in St. Petersburg 1825–1860 and reached a growing urban middle strata with literary tastes. Upscale writers such as Alexander Pushkin ridiculed its pandering to common tastes. Nurit Schleifman, "A Russian Daily Newspaper and Its New Readership:" Severnaia Pchela", 1825-1840." Cahiers du monde russe et sovietique (1987): 127-144.
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He later became the chief critic for MSN before joining The New York Times. He has also written for The Los Angeles Times, Rolling Stone, and Entertainment Weekly."Glenn Kenny Biography & Movie Reviews," RogerEbert.com, accessed August 16, 2017 Kenny has edited an anthology on Star Wars and written a monograph on actor Robert de Niro for the French film magazine Cahiers du cinéma.Greg Cwik, "Glenn Kenny on Robert De Niro, ‘Boyhood’ Critics and the Long Death of Print," IndieWire, August 19, 2014.Chuck Bowen, "Review: Glenn Kenny’s Robert De Niro: Anatomy of an Actor The House Next Door," Slant Magazine, July 19, 2014.
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Moleskine notebook Moleskine's notebooks are based on notebooks distributed in Paris during the 19th-20th centuries, handmade by small French bookbinders who supplied the local stationery shops around the turn of the 20th century. They are fashioned after author Bruce Chatwin's descriptions of the notebooks he used. Moleskine items are designed in Italy with most of them being printed, stitched, and assembled in China; this has been criticised by Moleskine customers. Since 2008, some components have been manufactured in Volant, Cahiers and Folio hard covers in Turkey, watercolour paper in France, and some components in Vietnam.
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The critics of Cahiers du cinéma wrote some of the most ardent pages dedicated to Mexican actresses. It is also important to emphasize that some rumberas (as Rosa Carmina or Ninon Sevilla), managed to combine around them to real filming teams that framed as few actresses they succeeded in Mexican cinema (perhaps a privilege only limited to María Félix and Dolores del Río). It is also important to note that due to the success of rumberas film, many other films were created, which together, allowed the Mexican film industry to consolidate itself. Today, the industry is struggling, despite very specific successes.
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Born in Lunéville, Lorraine, Girardin was the son of René-Louis, Marquis de Girardin, a sponsor of Stanisław Leszczyński, the reigning Duke of Lorraine and deposed King of Poland, as well as for tutor Jean-Jacques Rousseau. Having embraced a career as an army officer, he very quickly achieved the rank of captain in the regiment of Chartres while still very young. Enthusiastic supporter of the Revolution, he wrote the cahiers de doléances of the bailiwick of Senlis, but was not elected to the National Assembly (French Revolution). Instead, he was appointed President of the department of the Oise (1790).
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Retrieved on 8 September 2014. Many references list the name as Aristobia testudo,Catalogue of Life: list of synonyms for Aristobia reticulator but this name, though published earlier, is unavailable under the ICZN,Jiroux, E., Garreau, P., Bentanachs, J., and P. Patrick (2014) First contribution to the study of Monochamini in Southeast Asia (Coleoptera, Cerambycidae, Lamiinae). Les Cahiers Magellanes (NS) 14: 67–118. primarily in that Johann Eusebius Voet's 1778 work giving the name testudo fails to fulfill the requirement in ICZN Article 11.4 that a work must be consistently binominal; none of Voet's 1778 names, including testudo, are available.
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Danoën was born Émile Orvoën, to Pierre Orvoën and Léonie Le Doze at Moëlan- sur-Mer in Finistère, Brittany, but he grew up in the seamen's hostel run by his parents in the district of Saint-François in Le Havre. During the Second World War, he moved to Marseilles with his first wife Georgette, with whom he had two sons, Michael and Peter. He worked at the magazine Les Cahiers du Sud while at the same time appearing in bars and restaurants in the old port working as a street violinist.The French review, Volume 30, p.
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However, the film was well received by the influential magazine Cahiers du cinéma. Jean-Luc Godard called it one of the ten best American sound films. Likewise, François Truffaut praised the film, noting the "intelligent, subtle" script, the "extraordinary precision" of Mason's performance, and the beauty of the film's CinemaScope photography. Modern critics have praised Nicholas Ray's use of widescreen cinematography to depict the interior spaces of a family drama, rather than the open vistas typically associated with the format, as well as his use of extreme close-ups in portraying the main character's psychosis and megalomania.
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Hyslop taught at a private school for two years before starting graduate school at Columbia University. She received her A.M. in 1924 and taught at Rosemary Hall and Mount Holyoke for the next four years. Hyslop started work on her Ph.D. at Columbia in 1928 and she was commissioned by the French Government to catalog a list of grievances drawn up during the election of the Estates General of 1789 (cahiers de doléances), spending three years in France on the project. In recognition of her work, she was made a Chevalier of the Ordre des Palmes Académiques.
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The Rationalist Union (French: Union rationaliste) is a French nonprofit organization founded in 1930 that promotes the role of reason. Many of the members are scientists, members of the Institut de France, Nobel Prize laureates, professors at the Collège de France, and famous writers. The Union is strongly Republican (in the French sense of the term) and Jacobin and is opposed to communitarianism. The Rationalist Union host two radio shows, one on the radio of the French Anarchist Federation, and another on the public radio France Culture, and publish two journals, Les Cahiers Rationalistes, and Raison Présente.
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Another possibility (hypothesized more recently) is that he chose the name himself, maybe as a reference to his predecessor Innocent II (1130–1143), who had succeeded in asserting the papacy's authority over the emperor (in contrast with Celestine III's recent policy).Julien Théry-Astruc, "Introduction", in Innocent III et le Midi (Cahiers de Fanjeaux, 50), Toulouse, Privat, 2015, pp. 13–14 On 22 February 1198 the new pope was ordained to the priesthood and consecrated to the episcopate by Cardinal Ottaviano di Paoli, bishop of Ostia e Velletri, and solemnly crowned by Cardinal Graziano da Pisa, protodeacon of SS. Cosma e Damiano.
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Milton Friedman – Abolish The Fed . Youtube: "There in no institution in the US that has such a high public standing and such a poor record of performance" "It's done more harm than good"Milton Friedman – Abolish The Fed . Youtube: "I have long been in favor of abolishing it." He was opposed to Federal Reserve policies, even during the so-called 'Volcker shock' that was labeled 'monetarist'.Reichart Alexandre & Abdelkader Slifi (2016). The Influence of Monetarism on Federal Reserve Policy during the 1980s. Cahiers d'économie Politique/Papers in Political Economy, (1), pp. 107–50 Friedman believed that the Federal Reserve System should ultimately be replaced with a computer program.
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The concept of focusing the fight for animal rights around the ethical concept of antispeciesism lead Olivier, in 1989, soon joined by Françoise Blanchon and Yves Bonnardel, to found the journal Cahiers antispécistes. The journal remained, for a long period, the essential media supporting the antispeciesist movement in France. Oliver himself authored many of the journal's articles, in addition to creating French translations of the texts of Peter Singer, Tom Regan, Paola Cavalieri, James Rachels and Steve F. Sapontzis. He and the other co-founders of the journal were a decisive influence on Sébastien Arsac and Brigitte Gothière, future founders of the animal protection organization L214.
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Olivier left the editorial staff of Cahiers antispécistes in 2004, after the publication of issue 23. In October 2001, in a bid to increase recognition of the refusal to eat animals, Olivier founded the first Veggie Pride in Paris, defining in his manifesto, the term "veggiephobia". Veggie Pride was intended to bring together people expressing their pride in refusing to eat animals (vegetarians and vegans) and denouncing the discrimination they feel they suffering their social life (community food for example) or in defense of their ideas. The event was exported to several French, European and North American cities, and organized its 18th Parisian event in 2018.
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Critical reception for Twixt has been predominantly negative and the film currently holds a rating of 29% "rotten" on the review aggregator website Rotten Tomatoes based upon 17 reviews. Reviewers have criticized the film for being "flimsy" and "[close to] unwatchable". The Hollywood Reporter panned Coppola's dream sequences in Twixt, commenting that the "young Coppola" could have done more with the scenes while "the present-day [Coppola] produces only tepid and tired imagery that would not earn high marks in any film school." In contrast, Le Monde, Variety and Les Cahiers du cinéma gave the film positive reviews, and Variety praised Twixt as a "disarmingly cheeky, intermittently gorgeous trifle".
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His thought constitutes the modern continuity of certain ideas of German romanticism: the idea of a sense without borders and moving forms, in the spirit of what Novalis calls the "Encyclopedia". He founded and directed the magazines Fin de siècle (with for four issues between 1974 and 1976Revue Fin de siècle.) and Aléa (for nine issues between 1981 and 1989). He also directed the series "Détroits" at Éditions (with and Philippe Lacoue-Labarthe) and "35-37" at Hazan. A holder of a doctorate degree in philosophy, Bailly has been teaching at the in Blois, of which he has been directing the publication Les Cahiers de l’École de Blois since 2003.
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In early 1954, Rivette and Truffaut (nicknamed "Truffette and Rivaut") began a series of interviews with film directors whom they admired. The interviews, influential on film criticism, were recorded on a Grundig portable tape recorder weighing over which was never used by journalists. Although most entertainment reporting was limited to sound bites or anecdotes from film actors, Rivette and Truffaut became acquainted with the directors they interviewed and published their in-depth interviews verbatim. From 1954 to 1957, Cahiers du Cinéma published a series of interviews with noted film directors including Jacques Becker, Abel Gance, Hawks, Alfred Hitchcock, Fritz Lang, Jean Renoir, Roberto Rossellini and Orson Welles.
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According to Truffaut, who obtained funds for its completion, "The release of Paris nous appartient is a score for every member of the Cahiers du cinéma team". He helped Rivette premiere it at the Studio des Ursulines on 16 December 1961, followed by a run at the Agriculteurs cinema in Paris. Although reviews of the film were mixed, it was praised by L'Express. Pierre Marcabru of Combat said, "The connection between image and sound has never been so striking, evocative or necessary", and Jeander of Libération praised the film's depiction of "the moral and intellectual confusion of these young people who are repressed by their epoch for more than their elders".
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With the end of the Great Power alliance at the end of World War II and the beginning of the Cold War, so-called "Browderism" was attacked by the rest of the international Communist movement. They particularly criticized the restructuring of the American party in 1944. In April 1945 the French Communist Party's theoretical magazine, Les Cahiers du communisme, published an article by French party leader Jacques Duclos that declared that Browder's beliefs about a harmonious post-war world were "erroneous conclusions in no wise flowing from a Marxist analysis of the situation."Quoted in Klehr, Haynes, and Anderson, The Soviet World of American Communism, pg. 95.
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It was popularized in the journal Cahiers du cinéma: auteur theory maintains that directors like Hitchcock exert a level of creative control equivalent to the author of a literary work. In French, the word means "author", but some expressions like cinéma d'auteur are also in use. ; bête noire: a scary or unpopular person, idea, or thing, or the archetypal scary monster in a story; literally "black beast." In French, être la bête noire de quelqu'un ("to be somebody's black beast") means that you're particularly hated by this person or this person has a strong aversion against you, regardless of whether you're scary or not.
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Federico Fellini, (; 20 January 1920 – 31 October 1993) was an Italian film director and screenwriter known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du cinéma and Sight & Sound, which lists his 1963 film ' as the 10th-greatest film. Fellini won the Palme d'Or for La Dolce Vita, was nominated for twelve Academy Awards, and won four in the category of Best Foreign Language Film, the most for any director in the history of the Academy.
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He won the William and Norma Copley Foundation Award in 1966. His records and reports from other sources show his periods of greatest activity as being the 1920s, early 1930s, and the 1960s. His output is remarkable in that it ended with a period of productivity that was just as notable as the early period. He embarked in 1966 on his Demeures, or Dwellings,Fabrice Flahutez, « Les demeures de Georges Malkine ou la fabrique de la maison de compensation », Mélusine n° XXIX, Cahiers du Centre de Recherche sur le Surréalisme (Paris 3 Sorbonne-Nouvelle), Henri Béhar (dir.), Lausanne, Éditions L’Age d’Homme, 2008, pp. 148-158.
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Considered one of the greatest poets of Romandy, Roud attempts in his poetry, which is dedicated to the landscapes of the Haut-Jorat, to reach a perception of an "elsewhere" or of a lost paradise. His most famous work is "Air de la solitude". Following his death in 1976 in Moudon, the "Association des Amis de Gustave Roud" (The Friends of Gustave Roud Association) was formed and since 1982 has published a number of unedited texts in their series "Cahiers Gustave Roud". 26 years after Roud died, a selection of his works was published by Éditions Gallimard under the "Collection de Poche Poésie" imprint, featuring an introduction by Philippe Jaccottet.
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Paul Zumthor's obituary of Nico H. J. Van Den Boogaard was published in Cahiers de civilisation médiévale 26.103 (1983): pp. 279–281. Many of the medievalist articles that Van den Boogaard wrote between 1962 and 1982 were republished after his death in the anthology Autour de 1300: Etudes de philologie et de littérature médiévales (Amsterdam: Rodopi, 1985), / . A bibliography of his publications, listing two dozen articles as well as book reviews and collaborative papers, is included in the introduction to Autour de 1300, pages xxi-xxiv. Van den Boogaard's style of academic writing was modern, modest, interdisciplinary, good-humored, and accessible to a broad audience.
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Accompanied by their son-in-law, her parents left for Switzerland, without the two million livres, half of his fortune, loaned as an investment in the public treasury in 1778.Craiutu, Aurelian A Voice of Moderation in the Age of Revolutions: Jacques Necker’s Reflections on Executive Power in Modern Society. p. 4] The Works of John Moore, M.D.: With Memoirs of His Life and Writings, Band 4 by John Moore (1820)d’Haussonville, Othénin (2004) “La liquidation du ‘dépôt’ de Necker: entre concept et idée- force”, pp. 156–158 Cahiers staëliens, 55 The increasing disturbances caused by the Revolution made her privileges as the consort of an ambassador an important safeguard.
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Baron-Cohen, S. (1994) How to build a baby that can read minds: Cognitive mechanisms in mind reading. Cahiers de Psychology Cognitive/Current Psychology of Cognition, 13, 513–552. Darwin C, (1904) The Expression of Emotions in Man and Animals (London: Murray) (original work published 1872). Ellsworth, P. C., and Carlsmith, J. M. (1973) Eye contact and gaze aversion in aggressive encounter. Journal of Personality and Social Psychology, 33, 117–122. Emery, N. J. (2000) The eyes have it: The neuroethology, function and evolution of social gaze. Neuroscience and Biobehavioral Reviews, 24, 581–604. Gibson, E J. (1969) Principles of Perceptual Learning and Development (New York: Academic Press).
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Calmes' work was troubling to many historians at the time: his vast publication, founded on work in the archives of the Hague and of the Luxembourgish government, undermined traditional historiography, and he criticised the works of neo-Orangists such as Prosper Mullendorff, Jules Mersch, Auguste Collart, and Paul Weber, while attacking what he saw as the "Orangist legend". This may explain why his book was mostly ignored by the press and review journals such as Hémecht and Cahiers Luxembourgeois; likewise, the historians Nicolas Margue and Joseph Meyers did not take account of Calmes' ground-breaking work in their 1969 revised edition of Herchen's textbook.
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He supported giving the OCM a political program and assisted with a project for constitutional and administrative reform that recommended a presidential system. Blocq-Mascart and Pierre Lefaucheux developed the OCM doctrine and program, and presumably expressed the view of many businessmen in their constitution project and in their studies in the Cahiers de l'OCM, although these views may not have been shared by all members. In 1941 Blocq-Mascart made contact with Jean Cavaillès of Libération-Nord and with the clandestine Communist Party. Arthuys and Heurtaux were arrested at the end of 1941, and Blocq-Mascart and Touny took over leadership of the OCM.
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In the late 1950s de Roux created several language courses in Germany, Spain and England. Upon his return to France, he founded with several friends (including his brother Xavier de Roux, his sister Marie-Helene de Roux and Jean Thibaudeau) the mimeographed bulletin L'Herne, where he published his "Confidences to Guillaume", a chronicle of lyrical cynicism addressed to his geranium. He served in the French military. In 1960 he published his first novel, Mademoiselle Anicet, and redeveloped his review in the final form of the Cahiers de l'Herne, a collection of monographs devoted to ignored or cursed literary figures, including articles, documents and unpublished texts.
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The themes in the serial as a whole include science fiction, ethnography, language acquisition, narrative form, the convergence of technology and the human consciousness, and the history of American cinema. She referred to the project as "ongoing and open-ended" until the release of The Fold in 2013. Critics have praised Peggy and Fred in Hell since its beginning in 1984. Both The Village Voice and Cahiers du Cinema placed the serial on their "Best Films of the Year: 1989" lists, and Senses of Cinema included it on their "50 Best films of 2004" (for the version Peggy and Fred in Hell: Beginning, Middle, End).
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Lingeer Fatim Beye Joos FadiouMany variations : Fatimata Beye (see BIFAN, 1979, pp 225, 233), Fatim/Fatimata Beye (see BIFAN, 1979, p 234), Fatime Bey (BIFAN, 1979, p 234), etc. The Serer surname Beye or Bèye, following its French spelling in Senegal is also a Serer matriclan. Fatim (proper : Fa tim) in Serer language means "the maternal clan of..." For more on Serer matrilineality, see: Jean-Marc Gastellu « 'Petit traité de matrilinarité. L'accumulation dans deux sociétés rurales d'Afrique de l'Ouest', Cahiers ORSTOM, série Sciences Humaines (1985) » , and Jean-Marc Gastellu, "Matrilineages, Economic Groups and Differentiation in West Africa" : A Note (O.R.S.TO.M) (commonly Lingeer Fatim Beye) was a 14th-century (c.
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While Lewis was popular in France for his duo films with Dean Martin and his solo comedy films, his reputation and stature increased after the Paramount contract, when he began to exert total control over all aspects of his films. His involvement in directing, writing, editing and art direction coincided with the rise of auteur theory in French intellectual film criticism and the French New Wave movement. He earned consistent praise from French critics in the influential magazines Cahiers du Cinéma and Positif, where he was hailed as an ingenious auteur. His singular mise-en-scène, and skill behind the camera, were aligned with Howard Hawks, Alfred Hitchcock and Satyajit Ray.
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It was a mixture of reportage and self- reflection, with a poetic quality that, though individual images may be read either way,Tisseron, S. (1996). Choses vues. Les cahiers de médiologie, 2(2), 165-170. doi:10.3917/cdm.002.0165. Schuh sometimes valued over documentary authenticity: This is evident in the book Begegnungen which Schuh published in 1956, in which he combined older and more recent images in free association, in accord with the objectives of the ‘Kollegium Schweizerischer Photographen’, the Academy of Swiss Photographers which he founded together with Paul Senn, Walter Läubli, Werner Bischof and Jakob Tuggener, a loose group that promoted an ‘auteur’ emphasis.
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When the film premiered at the 47th Berlin International Film Festival in 1997, hundreds of journalists walked out of the screening and those that stayed audibly ridiculed the film. Day and Night was considered the worst French film since 1945 by Cahiers du cinéma, and considered as a possible "worst film in history" by the French version of Slate.«Le Jour et la Nuit», pire film de l'histoire... Vraiment? Variety claimed that the film was, "Laugh-out-loud awful without touching the cult realm of 'so bad it's good," Françoise Giroud stated "It's a bad movie, there's no question", and L'Humanité called it an "Absolute debacle".
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Retrieved 2011-10-22. At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 34 based on 36 reviews. Furthermore, the film was nominated for a Golden Raspberry Award for Brian De Palma in the category of 'Worst Director', where he lost to Roger Christian for Battlefield Earth. The film's reception among French- language critics was markedly different in positive fashion. Film journal Cahiers du cinéma devoted several articles to De Palma and Mission to Mars at the time of its release, and placed it as #4 in their list of the 10 best films of 2000.
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This interdisciplinary group works out of the Center of Poetic Studies at the University of Liège, in Belgium, and was formed in 1967. Members have included Francis Édeline, Jean-Marie Klinkenberg, Jacques Dubois, Francis Pire, Hadelin Trinon and Philippe Minguet, with several other associate members. Beyond their personal research in biochemistry, cultural sociology, aesthetics, or semiotics, the authors have published collectively various books as well as more than sixty papers in such journals as Communications, Poétique, Versus, Visio, Degrés, Cahiers internationaux de symbolisme, Communication et langage, Era, Revue d'esthétique, Le Français moderne, Texte, Technê, Protée, RS/SI, Nouveaux actes sémiotiques, Les Documents de travail d'Urbino, etc. or in collected papers.
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In the 12th and 13th centuries, the abbey Saint-André de Villeneuve-lès-Avignon is owning the parish church, and collects its income.Guy Barruol, Michèle Bois, Yann Codou, Marie-Pierre Estienne, Élizabeth Sauze, « Liste des établissements religieux relevant de l’abbaye Saint-André du Xe au XIIIe siècle », in Guy Barruol, Roseline Bacon et Alain Gérard (directeurs de publication), L’abbaye de Saint-André de Villeneuve-lès- Avignon, histoire, archéologie, rayonnement, Actes du colloque interrégional tenu en 1999 à l'occasion du millénaire de la fondation de l'abbaye Saint- André de Villeneuve-lès-Avignon, Éditions Alpes de Lumières, Cahiers de Salagon no 4, Mane, 2001, 448 p., p 223.
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He was then interned at Interlaken in Switzerland on 30 March 1918, but liberated 4 November 1918. After the first world war, he was the military commander of the city of Mayence. Major Raynal was also filled with strong civic engagement: before the war, he had supported the action of Jaurès and Socialist Party. Near the Commander Rossel Captain Henry Gerard collaborator Jaurès The new Army and Military section of Humanity, he was particularly invested in animation the socialist camp "Grand Air" (See: Gilles Candor and Prochasson "Jaurès and the mid Republican officers"), Cahiers Jaurès, 3 in 1994 and The People, 19 June 1916.
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He is agrégé in Philosophy (in 1999), Docteur ès lettres (at Sorbonne in 2003 with Rémi Brague as a thesis director. Director at the Publishing firm les Éditions du Cerf, he manages the collection Les Cahiers d'Histoire de la Philosophie ("The History Notebooks of Philosophy") that he has founded, and to which Jean-Luc Marion, Rémi Brague, Joseph Ratzinger, among others, have contributed. Maxence Caron is the author of literary texts and poems and of several works about German thinking (Martin Heidegger, Immanuel Kant, Georg Wilhelm Friedrich Hegel) and about saint Augustine. Pianist, musicologist, Maxence Caron graduated with honours from the Conservatoire National de Paris in 1990.
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This gave rise to the sentiment that the conscript army of citizen-soldiers (see Levée en masse and Milicia Nacional) was a truer expression of the people and the nation than the monarchs themselves, paving the way for elements within the army to take politics into their own hands. This process in Spain has been compared to the experience of France during the same period: from Bonaparte's own military- backed coup of 1799, to the participation of liberal generals Lafayette, Gérard and Mouton in the 1830 overthrow of the Bourbon Restoration.Chanet, J 'La République entre tradition parlementaire et tentation du coup d'État'. Cahiers Jaurès, 200 (2011).
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He wrote and contributed to various leading cinema journals across India (Montage, Cinevision, Madhyam) and abroad (the most prominent of these, Cahiers du Cinema, Revue du Cinema and Sight & Sound – for each of which, he acted as a Correspondent). He also participated extensively in the effort to compile Encyclopaedia Americana and also, the encyclopedia of Soviet Film. Around this time, he availed of an opportunity to conduct extensive research on Indian cinema in order to produce a film anthology to commemorate its golden jubilee, 50 Years of Indian Cinema (1963). In 1967, he was appointed one of the experts on the UNESCO Committee of the History of World Cinema.
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A childhood spent in the Belfort region, gave Beurard-Valdoye exposure to German language and culture, including local dialects often associated with geography and local water courses and their various names. The proximity of the Swiss border enabled repeated visits to the Basel Kunstmuseum which made a lasting impact as did a visit early in his life to Le Corbusier's Chapelle Notre Dame du Haut. During his studies at the University of Strasbourg in the early 1970s he discovered Dada art, especially work by Hans Arp and Sophie Taeuber-Arp. In 1980, he moved to Lyon where was co-founder of an arts magazine, Cahiers de leçons de choses.
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During this period he began writing film criticism for the magazine Gazette du Cinéma and later Cahiers du Cinéma, and was one of the most respected writers by his peers. In 1956 Rivette made the short film Le Coup du Berger, which Truffaut credited as enacting the New Wave movement. The following year he began work on his first feature film with the initial support of Italian neorealist director Roberto Rossellini. Paris Belongs to Us was shot in the summer of 1958, but not released theatrically until 1961, after Chabrol, Truffaut and Godard had their feature-film debuts distributed and made the New Wave renowned worldwide.
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Eustache was born in Pessac, Gironde, France into a working class family. Relatively little information exists about Eustache’s life prior to the time he became a member of the Cahiers du cinéma coterie in the late fifties, though it is known that he was largely self-educated and worked in the railroad service prior to becoming a filmmaker.Dryden Theatre: The Rediscovery of Jean Eustache Information suggests that the mystery surrounding his youth was intentional, with sources stating that "during his lifetime Eustache published little information about his early years, indicating that he felt no nostalgia for an unhappy childhood."John Wakeman World Film Directors, Vol.
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The Berbers, however, continued to offer stiff resistance, then being led by a woman of the Jarawa tribe, whom the Muslims called "the prophetess" [al-Kahina in Arabic]; her actual name was approximately Damiya.Three citations may be given: Muhammed Talbi, "Un nouveau fragment de l'histoire de l'Occident musulman: l'épopée d'al Kahina" in Cahiers de Tunisie 19: 19-52 (1971); Abdelmajid Hannoum, Post-Colonial Memories. The Legend of Kahina, a North African heroine (2001); Yves Modéran, "Kahena" in Encyclopédie Berbère 27: 4102-4111. By a prior interpretation of Ibn Khaldun (1332-1406), al-Kahina was seen as Jewish; yet this is now being understood as a misreading of Ibn Khaldun's text.
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It was through the efforts of French left-wing intellectuals led by Magdeleine Paz that Serge was released and allowed to return to Belgium and then France in April 1936. In 1935 Magdeleine Paz joined the Comité de liaison contre la guerre et l‟union sacrée (Liaison committee against war and the union sacrée), a pacifist organization. In the early 1930s Magdeleine Paz became a member of the Ligue des droits de l’Homme (League of Human Rights), representing the Socialist Party. The Cahiers of the League refused to publish an article by Magdeleine Paz in which she denounced the Moscow Trials held between 1936 and 1938.
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He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider.Bill Krohn, Hitchcock at Work (London: Phaidon, 2000), p. 9. cited in Hitchcock at Mount Rushmore filming North by Northwest (1959) This view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by Bill Krohn, the American correspondent of French film magazine Cahiers du cinéma, in his book Hitchcock at Work.
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Bernard Descôteaux (born 1947 in Quebec, Canada) is a Québécois journalist. He was the 8th editor-in-chief of the Montreal-based newspaper Le Devoir, a post he occupied from 1999.Les cahiers du journalisme. Centre de recherche, École supérieure de journalisme de Lille, Département d'information et de communication, Université Laval- Page 36 "Bernard Descôteaux Dans un style sans doute plus sobre que certains de ses illustres prédécesseurs, Bernard Descôteaux explique dès son arrivée à la tête du journal, en mars 1999, que l'indépendance du Devoir fait quasiment figure ..." Under his leadership, the newspaper recorded profits and increased its circulation, in contrast to much of the rest of the sector.
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Several months after the Cercle Marxiste's formation, Sâr and Sary joined the French Communist Party (CFP). Sâr attended party meetings, including those of its Cambodian group, and read its magazine, Les Cahiers Internationaux. The Marxist–Leninist movement was then in a strong position globally; the Communist Party of China had recently come to power under Mao Zedong and the French Communist Party was one of the country's largest, attracting the votes of around 25% of the French electorate. In Paris, Pol Pot was inspired by the writings of Mao Zedong and Joseph Stalin (pictured together in 1949) on how to conduct a revolution and build a Marxist–Leninist-governed state.
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Many important writers first came to public attention through the "Cahiers libres" collection, such as Régis Debray, published in 1967 or Bernard-Henri Lévy in 1973. Georges Perec published his first texts in Partisans. In the 1960s, Éditions Maspero paid particular attention to the problems of the Third World and of neo-colonialism, publishing among others books by Che Guevara. Maspero published Mongo Beti's Cruel hand on Cameroon, autopsy of a decolonization in 1972, which was censored by Minister of the Interior Raymond Marcellin at the request, brought forward by Jacques Foccart, of the Cameroon government, represented in Paris by ambassador (and author) Ferdinand Oyono.
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Even the Situationists, who held similar positions, bristled at being publicly grouped with the anarchists. Daniel Guérin's Anarchism: From Theory to Practice was popular during the May 1968 events. Fédération anarchiste During the events of May 68 the anarchist groups active in France were Fédération anarchiste, Mouvement communiste libertaire, Union fédérale des anarchistes, Alliance ouvrière anarchiste, Union des groupes anarchistes communistes, Noir et Rouge, Confédération nationale du travail, Union anarcho-syndicaliste, Organisation révolutionnaire anarchiste, Cahiers socialistes libertaires, À contre-courant, La Révolution prolétarienne, and the publications close to Émile Armand. In the seventies the FA evolved into a joining of the principles of both synthesis anarchism and platformism.
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Weil, Éric "Violence et Langage" in Cahiers Éric Weil I, Lille: Presses Universitaires de Lille, 1987. In this sense, in order to be able to seize violence in discourse, and to subsume it in order to overcome it, violence must take on a discursive form. For Weil, violence is brought into discourse by giving it the logical form of contradiction. In this way, the irreducible philosophical categories that have at one point ordered and structured human understanding are discourses that have also arrived at overcoming pure violence for a time and have defined a specific notion of contradiction that has helped organize human society and understanding.
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Claude Henri Jean Chabrol (; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker. Chabrol's career began with Le Beau Serge (1958), inspired by Hitchcock's Shadow of a Doubt (1943). Thrillers became something of a trademark for Chabrol, with an approach characterized by a distanced objectivity.
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Whether the brigands were English, Piedmontese or merely vagabonds was not easily determined and, when the Great Fear had spread to its largest expanse, it was a system, feudalism, rather than a specific person or group, at which its animosity was directed. Earlier revolts had not been subversive, but rather looked to a golden age that participants wished to see reinstated; the socio-political system was implicitly validated by a critique of recent changes in favour of tradition and custom.Bercé, 332. The Cahiers des doléances had opened the door to the people’s opinion directly affecting circumstances and policy, and the Great Fear evidenced this change.
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During the 1960s he also wrote for December and the Village Voice. In 1976 he moved to Los Angeles with his partner Bill Reed and began work as a film critic and entertainment journalist for the Los Angeles Herald-Examiner and also wrote for Film Comment and Film Quarterly during this period. In 1982 he collaborated with Bill Reed on the book Rock On Film, while continuing to write for diverse publications, including the San Francisco Examiner, Rolling Stone, Cahiers du Cinéma, Arts, the Los Angeles Reader, Enclitic, and Wide Angle. From the Herald-Examiner he moved to Daily Variety and later The Advocate.
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In 1975, he became the youngest assistant (staging) of the company Renaud-Barrault alongside Madeleine Renaud and Jean- Louis Barrault in the théâtre d'Orsay-gare d'Orsay in Paris. He worked with Simone Benmussa on the latest editions of Cahiers Renaud-Barrault, and met Marguerite Duras, Samuel Beckett, Marie-Helene Dasté, Catherine Eckerle, and Madeleine Milhaud. He participated alongside Jean-Louis Barrault in the production of Christopher Columbus by Claudel and Milhaud, and Thus Spoke Zarathustra by Nietzsche. In 2000, he worked with the Arte TV network on the documentary Jean Genet...l'Autre (France Television), produced by Richard Trank in association with the Simon Wiesenthal Center (Los Angeles).
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Accidental Life was shown at the Pula Film Festival, receiving mediocre reviews from the critics. During its five-week theatrical run in Grič Cinema in Zagreb, the film's earnings recovered its budget. It went largely unnoticed in Yugoslavia, despite receiving multiple recommendations in Cahiers du cinéma, the renowned French film magazine. A possible reason for the film's tepid reception is because it did not really belong to any of the established movements in cinema of the era: it was far from populist storytelling, yet - with its absence of pronounced symbolism, original motifs, or more extravagant camera and editing work - seemed too bland for the proponents of modernist cinema.
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The entrepreneur in charge at first, Claude-Humbert Gérin, established workshops and employed craftsmen from the Chantilly manufactory, whose patron, the duc de Bourbon, had recently died. Notable defectors from Chantilly were the debt-ridden brothers Gilles and Robert Dubois, one a sculptor, the other a painter.Nicole Dubois, "La carrière des Dubois" Cahiers de la céramique et des arts du feu. When early trial pieces were shown to the marquis du Châtelet, he arranged with Orry de Fulvy, brother of a superintendent of royal buildings, that a factory be set up in the premises of the disused royal château to manufacture a brilliantly white soft-paste porcelain.
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Jean-Loup Amselle is a French anthropologist and ethnologist. He is director of studies emeritus at EHESS and former editor-in-chief of the Cahiers d’études africaines. Trained in social anthropology and in ethnology, Jean- Loup Amselle had realized several works in the field in Mali, in Côte d’Ivoire and in GuineaSee his blog (in French). He is the inventor of an anthropology of connections (the way that a society feeds of different influences) and pursues research about themes like ethnicity, identity, interbreeding, but also about contemporary African art, and about multiculturalism, postcolonialism and subordinatismSee his page of researcher at the EHESS (in French).
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The work is a classical comedy of manners with characters, in the tradition of Molière,Philippe Baron, « La Technique dramatique d'Octave Mirbeau », in Octave Mirbeau, Presses de l'Université d'Angers, 1992, pp. 369-377. in which Mirbeau criticizes the French society of the Third Republic and the world of business as a legal kind of gangsterism.Philippe Baron, « Les Corbeaux, d'Henry Becque, et Les affaires sont les affaires, d'Octave Mirbeau », Cahiers Octave Mirbeau, n° 8, 2001, p. 199-210. When the play was presented in Paris during the 1994-5 season (400 performances), it was commented that business and scandals are no different today than they were 100 years ago.
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Mid-1930s view of the with Jan Buijs' De Volharding Building (1928) Jan Willem Eduard Buijs, sometimes written Jan BuysAccording to Chris Rehorst (Christiaan M. Rehorst), Jan Buijs, architect van de Volharding: de architectuur van het bureau Ir. J.W.E. Buijs en J.B. Lürsen, Cahiers van het Nederlands Documentatiecentrum voor de Bouwkunst 4, The Hague: Staatsuitgeverij, 1983, (thesis) p. 197, note 2 , Buijs used both spellings, but "Buijs" is the spelling in the census and commonly in discussions of him. (26 August 1889 - 19 October 1961) was a Dutch architect, best known for his De Volharding Building. His works include manufacturing, commercial, residential and municipal buildings.
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Former student of the Ecole Normale Supérieure , Jean Michel Berthelot began his career as a teacher of philosophy in secondary education. After a PhD under the direction of Raymond Ledrut, he became professor of sociology at the University of Toulouse from 1982 to 1997, where he directed the CERS (Centre d'études et de recherches sociologiques) and the doctoral school. In 1997, he joined the University of Paris Sorbonne, first Paris V and then Paris IV. He was Secretary General of the International Association of French speaking sociologists Language (AISLF), from 1992 to 2000, as well as Secretary General of the journal "Les Cahiers Internationaux de Sociologie".
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He began his radio career during his military service in 1958, presenting several special broadcasts for troops. In the 1960s he began presenting jazz programmes at RTBF (Belgian Radio and Television) and Radio Luxembourg. Today he is best known as the producer and host of the RTBF program La troisième oreille This broadcasting replaced 25, 50, 75 of Nicolas Dor in 1998 which presents rare 78, 45 and 33 rpm recordings. He also works as journalist in the specialized and general press,Particularly in Les cahiers du jazz, magazine established in 1959 by Frank Ténot and Lucien Malson and regularly hosts jazz concerts in Belgium and abroad.
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272 At this time he met such writers as Joey Bousquet, François Le Lionnais, Paul Valéry, Paul Eluard, Lanza del Vasto and André Gide. He became close to Gabriel Bertin, to whom he dedicated his first novel, Cerfs-volants. At the end of the German Occupation of France, Georgette died of tuberculosis, following the privations of war. Danoën moved to Paris where he became literary critic of Louis Aragon's journal Ce Soir. He wrote columns and stories for various publications such as Action, L’Aurore, Bref, Les Cahiers du peuple, Europe, Existences, La Gazette des lettres, Les Lettres françaises, Mystère Magazine, La Nef and others.
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The journal, founded by the art critic Christian Zervos in Paris at 14, rue du Dragon in 1926, was published with an interruption from 1941 to 1943, until 1960. The first post-war issue was dated 1940–1944 and focused on poets and writers from the Resistance, including Vercors. Cahiers d'Art also published selections from poet Paul Éluard's Open Book I (1940) and Open Book II (1942). After World War II, the psychoanalyst Jacques Lacan was invited by Zervos to publish two articles on logic: Logical Time and the Assertion of Anticipated Certainty (1945) and The Number Thirteen and the Logical Form of Suspicion (1946).
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Around Georges Lambrichs, he met Dominique Aury and Constance Delaunay, and all the authors of the new series of Georges Lambrichs, Le Chemin : Jacques Borel, Le Clézio, Michel Butor, Georges Perros, Jean Roudaut, Pierre Bourgeade, Ludovic Janvier, Marianne Alphant, Max Loreau and many others, including Henri Thomas, though he was older. The magazines successively directed by Georges Lambrichs, Les Cahiers du Chemin then the NRF, in which he actively participated, gave rise to various meetings where the authors met. Some of them became and remained very close friends: , Michel Deguy, Gérard Macé. From time to time he published in the magazine Poésie directed by Michel Deguy.
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Encouraged by this, Sattouf created the very macho and ambivalent character Pascal Brutal. From 2004 to 2014, he published a weekly strip in the satirical French weekly Charlie Hebdo entitled "La vie secrète des jeunes", recounting real life anecdotes. The strips have been republished in three volumes, one in 2007, the second in 2010 and the last one in 2013. In late 2014, he left Charlie Hebdo and moved to Le Nouvel Obs, a weekly magazine, with a new strip called Les cahiers d'Esther (Esther's notebooks), based on true stories told to him by Esther A., a girl who was 9 years old when the strip started.
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Howorth has also served as an advisor for the transatlantic think-tank European Horizons; and for Fair Observer on foreign and defense policy as well as the changing nature of transatlantic relations. He has served on the editorial boards of Politique Etrangère; European Geostrategy; European Review of International Studies; Les Cahiers de Mars; Studia Diplomatica- the Brussels Journal of International Relations; Yale Journal of International Affairs; L'Evénement européen. From 1986 to 1990, he served (with George Ross) as Managing Editor of Contemporary France: a review of interdisciplinary studies. From 1996 to 2003, he served as General Editor of a series of monographs on Contemporary French Politics and Society, Berghahn Books (Oxford and New York).
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He was teacher of philosophy from 1947 to 1956, then professor of Sociology and Anthropology at Grenoble II. Gilbert Durand was the co-founder with Léon Cellier and Paul Deschamps in 1966 and the director of the Centre de recherche sur l'imaginaireCentre de recherche sur l'imaginaire (CRI) and a member of Eranos. In 1988 he founded the humanities and social sciences review Les Cahiers de L'imaginaire. He participated in the resistance in the Vercors. He was a follower of Gaston Bachelard, Henry CorbinGilbert Durand, "La pensée d'Henry Corbin et le Temple maçonnique", Travaux de la loge nationale de recherches Villard de Hoonecourt, 3, 1981, pp. 173–182 and Carl Gustav Jung and the teacher of Michel Maffesoli.
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Plaque in memory of Fondane, at his former home on Rue Rollin 6 In France, the caretaker of documentary enterprises regarding Fondane was for long Sernet (Voronca's brother-in-law), who released part of Super Flumina Babylonis and other previously unknown texts (published in various issues of Cahiers du Sud and other journals), while supervising a new edition of L'Honneur des poètes, where Fondane was properly credited.Daniel, p. 639–640 In 1945, philosopher Jean Grenier edited the first-ever version of Le Lundi existentiel. A Fondane reader (comprising L'Exode) was being planned around 1946, and supposed to be published by Les Éditions de Minuit, with contributions from poets Jean Lescure and Paul Éluard.
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If the ideological approach is concerned with broad movements and the effects of the world around the filmmaker, then the auteur theory is diametrically opposite to it, celebrating the individual, usually in the person of the filmmaker, and how his/her personal decisions, thoughts, and style manifest themselves in the material. This branch of criticism, begun by François Truffaut and the other young film critics writing for Cahiers du cinéma, was created for two reasons. First, it was created to redeem the art of film itself. By arguing that films had auteurs, or authors, Truffaut sought to make films (and their directors) at least as important as the more widely accepted art forms, such as literature, music, and painting.
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While in college, Franchi started a small, mimeographed newsletter, the New York Film Bulletin, which listed various screenings and other off-beat film events in the New York area. It also contained film reviews and articles on trends in the world of independent and U.S. released foreign films. When he left Fordham, he took the publication with him, upgraded it to a fully printed magazine and began, in the early 1960s, to print translations from the famed French film theory and film criticism magazine Cahiers du cinéma. NYFB helped to popularize the views of the French New Wave in the US, and helped introducing François Truffaut's auteur theory to America via the early writings of Andrew Sarris, among others.
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Abou Zahab was a professor at the Instituts d'études politiques in Paris, and the Institut national des langues et civilisations orientales. She was also a researcher at the Centre de recherches internationales (Fr), and worked with the Cahiers d'études sur la Méditerranée orientale et le Monde Turco-Iranien on subjects relating to contemporary Afghanistan and Pakistan. She spoke Arabic, Urdu, Persian, Pashto, and Punjabi, and in addition to scholarly works she published works detailing her travels through Afghanistan, Iran, Pakistan, and India. These included time spent in Bangladesh during André Malraux's involvement with the liberation movement there, and she was in Beirut during the 1975 advent of the Lebanese Civil War, around which time she converted to Shia Islam.
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Thierry Groensteen, "Bloc-Notes", Les Cahiers de la BD, March 1988, p67-68 Monsieur Dupuis (the real-life publisher Jean Dupuis) himself has made two appearances - both times we only see his legs. Spirou is also staffed by the Van Schrijfboek brothers: the mustached translator Bertje and the red-haired editor Jef, cleaning lady Mélanie Molaire (who always fumes at the mess left by Gaston and which she has to clean up), concierge Jules Soutier, and a string of attractive secretaries named Sonia (who is constantly handing in her notice), Yvonne and Suzanne. Occasionally, real-life figures from the Journal de Spirou (such as editor Yvan Delporte or writer Raoul Cauvin) have cameos.
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This matter was debated by scholars since the 11th-century Arab polymath and mathematician Alhazen (al-Hasan Ibn al-Haytham) affirmed in experimental contexts the visibility of space. This issue, which was raised in Berkeley's theory of vision, was treated at length in the Phenomenology of Perception of Maurice Merleau-Ponty, in the context of confirming the visual perception of spatial depth (la profondeur), and by way of refuting Berkeley's thesis.For recent studies on this topic refer to: Nader El-Bizri, 'La perception de la profondeur: Alhazen, Berkeley et Merleau-Ponty', Oriens-Occidens: Cahiers du centre d'histoire des sciences et des philosophies arabes et médiévales, Centre National de la Recherche Scientifique Vol. 5 (2004), pp. 171–184.
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Contrary to popular belief that it was composed in 1908, Adolf Loos first gave the lecture in 1910 at the Akademischer Verband für Literatur und Musik in Vienna. The essay was then published in 1913 in Les Cahiers d’aujourd’hui in French as . Only in 1929 was the essay published in German in the Frankfurter Zeitung, as . It was the architect Henry Kulka, who assisted Loos during a reprint of the essay in 1931 in Trotzdem, that altered the original year to 1908 after he consulted Loos, who either didn't remember well or wanted to assume primacy in the confrontation against the Secessionists.Christopher Long, “Ornament, Crime, Myth, and Meaning”, 85th ACSA Annual Meeting Proceedings, Architecture: Material and Imagined, 1997.
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He headed specialist publications such as Bulletin linguistique, Studii și cercetări lingvistice, Fonetică și dialectologie, Revue roumaine de linguistique and Cahiers de linguistique theorique et appliquée. He authored the monumental Istoria limbii române, which appeared in six volumes between 1938 and 1946, and was frequently re-edited; as well as other valuable linguistic works. In the field of literature, he was among the foremost editors of the interwar period and lent support to numerous authors, and also an anthologist (Cronicarii români, 1944; Schiță de istorie socială a limbii române, 1975). However, his main contribution was as a subtle memoirist: Note din Grecia (1938), Diverse (1962), Cartea albă (1968), Călătorii și portrete (1977).
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It is this key feature that gave rise to the naming of the artist as the 'Master of the Plump-Cheeked Madonnas'. In particular, the faces of the female figures in these works show a strong resemblance to each other: the forehead is high and clear, the eyes are half-closed, the eyelids are fat, the eyebrows are fine and curved, the nose ends on a straight edge and the nostrils are narrow.D. Martens, 'Une oeuvre méconnue du Maître aux madones joufflues', Cahiers du Musée des beaux-Arts de Lyons (2002-2006), kol. 28-35 Stylistically the paintings are close to the mature work of other Bruges painters such as Gerard David and Ambrosius Benson.
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Roud graduated from the University of Wisconsin in 1950, and after spending a year in Paris on a Fulbright scholarship, undertook post-graduate study at the University of Birmingham. In the 1950s, Roud became the London correspondent of the French film magazine Cahiers du cinéma. In 1960 he became the director of the London Film Festival,BFI, 1 August 2012: Voting for the Sight & Sound poll... in 1962 Retrieved 2012-10-25 and in 1963 co-founded the New York Film Festival, where he headed up the selection committee. He worked for both festivals until February 1970, when he ceased to be the director of the London Film Festival to concentrate on the New York festival.
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In addition, the documents and appeals were circulated via samizdat. Many documents that reached the West were republished in periodicals such as the Cahiers du Samizdat and the Samizdat Bulletin.Moscow Helsinki Group members Yuliya Vishnevskya, Lyudmila Alexeyeva, Dina Kaminskaya and Kronid Lyubarsky in Munich, 1978Over time, the Group's documents focused on a wide range of issues, including national self-determination, the right to choose one's residence, emigration and the right of return, freedom of belief, the right to monitor human rights, the right to a fair trial, the rights of political prisoners, and the abuse of psychiatry. In the six years of its existence in the Soviet Union, the Moscow Helsinki Group compiled a total of 195 such reports.
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Driver made her directorial debut in 1981 with You Are Not I,IMDB - You Are Not I a short subject film based on a Paul Bowles story and co-written by Jim Jarmusch. Shot in six days on a $12,000 budget, it developed a following soon after a well-received premiere at the Public Theater, only to be pulled out of circulation when a warehouse fire destroyed the film's negative. Rarely seen, it was still championed by renowned critics and film journals like Jonathan Rosenbaum and Cahiers du Cinéma, which hailed You Are Not I as one of the best films of the 1980s. Considered 'lost' for many years, a print was later discovered among Bowles's belongings.
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The 1950s saw the emergence of a number of Paris-based actors, including Gérard Philipe, Simone Signoret, Yves Montand, and Brigitte Bardot, whose films reached a global audience. The late 1950s saw the birth in the city of the Nouvelle Vague, or "New Wave" of cinema; led by a group of young directors who rejected the methods of Hollywood and who shared their ideas in a journal called the Cahiers du Cinema. The landmark films of the New Wave were The 400 Blows by François Truffaut (1959), Hiroshima mon amour by Alain Resnais (1959) and Breathless by Jean-Luc Godard (1960). Other prominent New Wave directors included Claude Chabrol, Éric Rohmer, and Jacques Rivette.
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Entertainment Weekly also named it the best Western.IMDB Trivia Section The British Film Institute's Sight & Sound magazine ranked it as the seventh- best film of all time based on a 2012 international survey of film critics and in 2008, the French magazine Cahiers du Cinéma ranked The Searchers number 10 in their list of the 100 best films ever made. In 1989, The Searchers was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress, and selected for preservation in its National Film Registry; it was one of the first 25 films selected for the registry. The Searchers was the first major film to have a purpose-filmed making-of, requested by John Ford.
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In 2001, after a concert in Bangkok, he met Woratep Rattana- umpawan and suggested that he found a guitar festival, and offered his help to make the classical guitar popular in Asia. This led to the founding of the Asia International Guitar Festival in Bangkok. After being the artistic director of the LiGiTa (Liechtensteinische Gitarren Tage) over 10 years, Koudelak start to work at the same position in Bangkok for the Asia International Guitar Festival in 2001. In the same year, he recorded in a music studio in Bangkok the CD Exotic Fruits, which was released 2002 by Tyrolis Music and became the CD of the year by the French technical periodical Les Cahiers de la Guitar.
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Her elder sister, Christina, lived in Russia, and was in Sweden counted as too far away to be given a share in the inheritance of their father, leaving only Margaret and her younger sister Catherine among the sisters as heirs.Kungagravar och medeltidshistoria, Beckman, Natanael, Fornvännen 22-47, 1921 It is known that Margaret shared her inheritance with her niece Ingrid in Norway, and her niece Ingeborg in Denmark, giving each one-fourth.Kungagravar och medeltidshistoria, Beckman, Natanael, Fornvännen 22-47, 1921 In 1114, Margaret was sent a letter by Theobald of Étampes (Theobaldus Stampensis) thanking her for a liberality to the Church of Caen.Bernard Gineste, "Thibaud d'Étampes", in Cahiers d'Étampes- Histoire 10 (2009), pp.
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The library at The Cinematheque holds more than 2,400 books organized by Director, Actor, Theory, History, Genre, Aesthetics, Criticism and other categories; more than 150 different periodical collections, including CinemaScope, Film Comment, Sight & Sound, Cahiers du cinéma, Reel West and Variety; and more than 7,500 film stills, sorted by director and film. In addition, the library collections include film-related encyclopedias, dictionaries, almanacs, and catalogues. International film festival brochures, as well as the archive of all the program guides of The Cinematheque since 1973, are also part of the library holdings. In 2012, an online archive was compiled for The Cinematheque's 40th anniversary and includes highlights from historical programming and special guests.
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In 2003, Christoph joined forces with Axel Moebius to produce through their own company Thoke + Moebius Film (TMF). At TMF Christoph has been able to produce or coproduce a slate of nine titles such as Tropical Malady from Apichatpong Weerasethakul, a major arthouse sensation which got Jury Price in Cannes 2004 (jury presidency: Quentin Tarantino) and was regarded as best film of the year 2004 by Cahiers du cinéma. Other titles at TMF include Bruno Dumont’s Twentynine Palms (film), Venice 2003, Official Competition, The Buffalo Boy, official entry from Vietnam for Best Foreign Language Film category at the 78th Academy Awards and Wedding Chest, official entry from Kyrgyzstan for Best Foreign Language Film category at the 79th Academy Awards.
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As a journalist, Lucio Maria Attinelli has been the correspondent of the Italian periodicals in Paris: Il Mondo, La Fiera Letteraria, L’Europeo, Gente. With Italo Calvino, Dino Buzzati, Stefan Themerson, André Pieyre de Mandiargues amongst others, he has collaborated in the international literary review Il Caffé, created and managed by G. Vicari. His encounters with Ezra Pound, Julio Cortázar, Alberto Giacometti, Jean Genet and his letters to the Editor in Paris during May 1968 in France were used as references in Italy. He has collaborated in France to the daily newspapers Le Figaro and Combat as well as to the literary review Les cahiers des saisons, managed by Jacques Brenner and Bernard Frank.
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The beginning of the New Wave was to some extent an exercise by the Cahiers writers in applying this philosophy to the world by directing movies themselves. Apart from the role that films by Jean Rouch have played in the movement, Chabrol's Le Beau Serge (1958) is traditionally (but debatably) credited as the first New Wave feature. Agnès Varda's La Pointe Courte (1955) was chronologically the first, but did not have a commercial release until 2008. Truffaut, with The 400 Blows (1959) and Godard, with Breathless (1960) had unexpected international successes, both critical and financial, that turned the world's attention to the activities of the New Wave and enabled the movement to flourish.
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Many of these directors, such as Edmond Agabra and Henri Zaphiratos, were not as successful or enduring as the well-known members of the New Wave and today would not be considered part of it. Shortly after Truffaut's published list appeared, Godard publicly declared that the New Wave was more exclusive and included only Truffaut, Chabrol, Rivette, Rohmer and himself, stating that "Cahiers was the nucleus" of the movement. Godard also acknowledged filmmakers such as Resnais, Astruc, Varda and Demy as esteemed contemporaries, but said that they represented "their own fund of culture" and were separate from the New Wave. Many of the directors associated with the New Wave continued to make films into the 21st century.
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He was elected to the Estates-General of 1789 by the Second Estate of Paris, and was the spokesman of the minority of Liberal nobles (including the duc d'Orléans and the marquis de Lafayette) who joined the Third Estate on the 25th of June. In July 1789, Stanislas wrote and shared two propositions based on varying cahiers from across the Assembly, one known as the Rapport du Comité de Constitution. Both liberals and conservatives alike felt the proposals were not rooted in the best interest of either faction. He was chiefly concerned with keeping the kingdom intact, yet he voted for the motion of the vicomte de Noailles to abolish feudalism in France 4–5 August 1789.
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The original intention was to have similar journals published in many different cities throughout France; by September 1994, these failed to materialise, so "lyonnais" was dropped from the name. The journal used the subtitle "revue de lutte pour la libération animale" ("journal of the fight for animal liberation") from its original publication to 1996, before changing it to "réflexion et action pour l'égalité animale" ("reflection and action for animal equality") in 1998. As well as articles on moral philosophy, Cahiers antispécistes contained translated versions and commentaries of texts written by English-speaking animal rights authors, including Tom Regan and Peter Singer. It also included interviews with leaders within the radical animal rights movement.
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Numerous sources such as Cahiers du Cinéma, Le Monde, Positif, Ouest-France and Le Parisien gave the film their highest five-star rating. Le Monde called it "a beautiful film of very pure sadness" and La Croix who thought the theme of guilt was a welcome new addition to Almodóvar's work, calling Julieta "a beautiful and intense film". L'Express thought Almodóvar had returned to the top of his game with Julieta, calling it "a work constantly on the edge, never overwhelmed by its own emotions, deliberately cold [and] even austere". Libération gave a positive review, but felt the film was "too well-oiled" which prevented the drama of the story from "truly expressing all its power of emotional attraction".
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It is considered one of the 100 best Brazilian films of all time, according to the Brazilian Film Critics Association (Abraccine). In the opinion of writer and psychoanalyst Renato Tardivo, author of Porvir que vem antes de tudo – literatura e cinema em Lavoura Arcaica, the film is one of the most important works of Brazilian cinema “of all times”. The critic Carlos Alberto de Mattos described it as the first work of art of the Brazilian cinema in the 21st century. The film was acclaimed by the critics of various countries and, according to the French magazine Cahiers du Cinéma, To the Left of the Father is a "barbarous poem verging on hallucination, of extraordinary power".
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In his thirties he played a pivotal role in the French New Wave, discussing the beginnings of "the new cinema" as the co- founder of Cahiers du cinéma and defended Alain Robbe-Grillet.Cahiers du Cinema by Jim Hillier, David Wilson, British Film Institute, Nick Browne In 1963 he appeared in L'Immortelle, an international co-produced drama art film directed by Alain Robbe-Grillet. His own works in this area include directing the film L'eau a la bouche and acting in some New Wave films, including Chantal Akerman's cult classic Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles. Additionally he was friends with François Truffaut who shot his first film Une Visite in his apartment.
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Renat Nelli (), who was born in Carcassonne, Aude in 1906 and died in 1982, was one of the major Occitan authors of the 20th century. In Vichy France, Nelli joined the French Resistance and in 1945 was one of the co-founders of the Institut d'Estudis Occitans. He also co-wrote the special issue of the Cahiers du Sud magazine on "the Genius of Òc and the Mediterranean Man" (1943), in which the three main lines of his literary mission stand out: the publication and translation of medieval Occitan poets; publishing his own poems; and being a critic. His collections are marked with sensuality and draw their inspiration from the mystical traditions of Cathars and trobadors.
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He told Truffaut "Roughly speaking, the subject will be the story of a boy who thinks of death and of a girl who doesn't." As well as the real-life Michel Portail, Godard based the main character on screenwriter Paul Gégauff, who was known as a swaggering seducer of women. Godard also named several characters after people he had known earlier in his life when he lived in Geneva. The film includes a couple of in-jokes as well: the young woman selling Cahiers du Cinéma on the street (Godard had written for the magazine), and Michel's occasional alias of Laszlo Kovacs, the name of Belmondo's character in Chabrol's 1959 film Web of Passion.
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The exact date of her birth is not known and sources differ in their opinions: 1647 is proposed by Frade and Wyles and also Conley in the Internet Encyclopedia of Philosophy; the Encyclopædia Britannica suggests 1654; and the Catholic Encyclopedia 1651. The only known portrait of her, dated 1854, has her death at the age of 68, suggesting 1651–52. Eliane Itti argues for 1645, on the basis of the parish register at Is-sur-Tille which would set the date of her baptism to 24 December 1645.Eliane Itti, « L’acte de baptême d’Anne Le Fèvre (Mme Dacier) : Is-sur-Tille, 24 décembre 1645 », Cahiers du centre de généalogie protestante 142, 2008/2, p.
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There is every indication the Huli have lived in their region for many thousands of years and recount lengthy oral histories relating to individuals and their clans. They were extensive travellers (predominantly for trade) in both the highlands and lowlands surrounding their homeland, particularly to the south. The Huli were not known to Europeans until November 1934, when at least fifty of them were killed by the Fox brothers, two adventurers unsuccessfully looking for gold who had just parted with the more famous explorers Mick and Dan Leahy.Chris Ballard, "La Fabrique de l'histoire", in Isabelle Merle and Michel Naepels, Les Rivages du temps: Histoire et anthropologie du Pacifique, Paris: L'Harmattan, « Cahiers du Pacifique Sud contemporain », 2003, pp. 111-34.
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After World War II, Chabrol moved to Paris to study pharmacology and literature at the Sorbonne, where he received a licencié en lettres. Some biographies also state that he briefly studied law and political science at the École Libre des Sciences Politiques. While living in Paris Chabrol became involved with the postwar cine club culture and frequented Henri Langlois's Cinémathèque Française and the Ciné-Club du Quartier Latin, where he first met Éric Rohmer, Jacques Rivette, Jean-Luc Godard, François Truffaut and other future Cahiers du Cinéma journalists and French New Wave filmmakers. After graduating, Chabrol served his mandatory military service in the French Medical Corps, serving in Germany and reaching the rank of sergeant.
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She was the chief co-editor of the journal Les cahiers de médiologie during several years. Merzeau also focused on the question of traces - that she developed with researchers like Béatrice Galinon-Mélénec - and on numerical identity around the idea of an identity mediation and a presence which cannot be reduced to an accumulation of calculated traces. More generally, her work concentrated on behavior in numerical environments and the conditions of a numerical culture. In a conference on "The User's intelligence" for example, employing the theories of usage and the stakes of digital literacy, she seeks to demonstrate, from the user to the consumer and the content producer, the multiplicity of the user's role.
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He was known as "le jeune" ("the Younger") to distinguish him from his father, the sculptor, artist and engraver Jean-Louis Prieur (1732-1795), a major figure in French neo-classicism. He was born in Paris and influenced by Cochin and Moreau le Jeune. Enthusiastic about the new ideas of the day, he produced more than sixty drawings or "tableaux historiques" (historical scenes) showing episodes from the French Revolution, now held at the Musée Carnavalet. He was a member of the 'section du Faubourg-Poissonnière' and in September 1793 a jury member on the revolutionary tribunal.« Le regard de Jean-Louis Prieur », Cahiers d'histoire, Espaces Marx, 2001, n° 82-84, p. 52.
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In 1939, van Velde came upon his own painting style while working in a large-format with gouache. He stopped painting in 1941, but began again in autumn 1945. His first solo exhibition opened on 21 March 1946 in Paris in the "Galerie Mai" with 25 canvases, nearly all of his existing works, but the show was a failure. Beckett wrote his first essay on his work in les Cahiers d'art de Zervos. In 1947, van Velde signed a contract with the Galerie Maeght in Paris, and in 1948 he showed his work in the Kootz gallery in New York, but this was also a commercial failure, despite a good review by Willem de Kooning.
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Retrieved 9 April 2019. In the US, Guy Lodge of Variety described the film as "a rare and remarkable cine-memoir ... a uniquely moving work of self-identification and self-illustration, bristling with pride, anger and even some regret — for the general ugly state of things, certainly, but perhaps for a family he’s come to see, and shoot, a little differently over the decades."Locarno Film Review: ‘Ray & Liz’. Variety. 7 August 2018. Retrieved 9 April 2019. Upon its release in France, monthly magazine Les Cahiers du Cinéma rated it film of the month, saying: Ray & Liz is "a haunting piece [...] that conceal the secrets of a solitary childhood" and is "a great crazy love movie".
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Falardeau graduated with a Master's degree in art history from Laval University in Québec in 1978. Her thesis was L'Humour visuel: un modèle d'analyse visuelle des images comiques (English: Visual Humour: A Model for Visual Analysis of Comic Images). As a comic book author, Falardeau began in 1974 by publishing in the Québec newspaper Mainbasse and the following year in its supplement, Perspectives. From 1976 to 1980, she produced a monthly strip in the Montréal magazine Châtelaine and continued her collaborations with Le Fil des événements (Québec) and CWS / CF Les cahiers de la femme (Toronto). In 1982, she collaborated on the magazine Le Temps fou (Montréal) and from 1984 to 1987 with La Vie en rose magazine.
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The real life Devaivre sued director Tavernier because he wanted his name bigger than Aurenche's in the credits. Tavernier's opponents, including Cahiers du Cinéma and Le Monde, attacked him because they thought that he was attacking the French New Wave when he portrayed the characters of Aurenche and Bost in a positive light. Tavernier thought that it was crazy that they were attacking him and pointed out that he had worked with Jean-Luc Godard, Claude Chabrol, Agnès Varda, and Jacques Demy and did not oppose any of their works. French critics thought that the film supports passitivity and collaboration as well as appealing to the conservative elements of French film-making.
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Conomos in the 1980s was a film curator, programmer and researcher for the Australian Film Institute, Paddington. There, Conomos was responsible for the film programs: Cahiers Du Cinema in the Fifties, Early German Expressionist Cinema, The Evil Eye (Religion in the Cinema), Cinematheque Series: Ken Russell, François Truffaut, Horror Film (a retrospective), Through Other People's Eyes (Multicultural Cinema) and Archetypes (with Mark Jackson and Mark Stiles). Conomos towards the late 1980s was also a video art and new media curator/consultant and researcher for the Australian International Video FestivalAustralian International Video Festival 1991 and Electronic Media Arts (Australia). He was a director of both organisations and, was also media artist-in-residence for Electronic Media Arts (Australia).
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He also met another student, Henri Roser, whose militant pacifist and internationalist ideas shook French Protestant society of that time. Jacques Martin then became a pacifist himself, and wished to contribute personally to international reconciliation, starting with France and Germany. He crisscrossed Germany walking through the 1925 summer. As a member of the French branch of the World Student Christian Federation (WSCF, which is casually referred to as the “Fédé”), he took part in the 1926 German gathering of the WSCF. The same year he took charge of the editing of “Cahiers de la Réconciliation » (at the time a simple information bulletin which would be taken over and developed by Henri Roser from November 1927 on).
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In 2012 Lulua Publishing launched The Alchemy of Wisdom, a photography book full of wisdom and inspiration. This artistic book features photos and quotes from 46 Kuwaiti personalities, some of which were later nominated for the Kuwait State Achievement Award. The book launched to popular acclaim and was appraised by His Highness the Amir of Kuwait Sheikh Sabah Al Ahmad Al Jabir Al Sabah, and His Highness the Crown Prince Sheikh Nawaf Al-Ahmad Al-Jaber Al-Sabah. Copies of this book were also sent to the Kuwait embassies all over the world where they received many accolades. In 2014 Luluapublished the Arabic version of the wellbeing series entitled Les Petits Cahiers D’exercices originally published by Editions Jouvence.
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Janet Martin, "Les Uškujniki de Novgorod: Marchands ou Pirates?" Cahiers du Monde Russe et Sovietique 16 (1975): 5–18. Scandinavians led international trade in the Baltic area before the Hanseatic League, establishing major trading hubs at Birka, Haithabu, and Schleswig by the 9th century CE. The later Hanseatic ports between Mecklenburg and Königsberg, (present-day Kaliningrad) originally formed part of the Scandinavian-led Baltic trade-system. Historians generally trace the origins of the Hanseatic League to the rebuilding of the north German town of Lübeck in 1159 by the powerful Henry the Lion, Duke of Saxony and Bavaria, after he had captured the area from Adolf II, Count of Schauenburg and Holstein.
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In 2002, Olivier organized the first meeting of Les Estivales de la question animal, an annual meeting of debate and reflection around the "animal question". This gathering of association leaders and theoreticians of the French-speaking animalist movement lead to the launch of the organization L214, the movement towards the legal abolition of meat and the creation of the French Animalist Party. The publication of The Antispeciesist Revolution, by Presses Universitaires de France, containing for one third, a collection of Olivier's articles, met with relative media success. Renan Larue, as well as the critic Thierry Jacquet, consider the book's publication to be symbolic, by doing justice to the work of the editors of Cahiers antispécistes and granting the "animal question" the seriousness it deserves.
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Bob W. White, Congolese Rumba and Other Cosmopolitanisms, Cahiers d'études africaines, 168, 2002 details this process, and Gary Stewart's Rumba on the River (1999) is the definitive English language work on these years, which made Kinshasa the musical capital of the continent. See also the review of the 1996 compilation "Ngoma: the Early Years" at Ntama: Journal of African Music and Popular Culture . African Music Archive at Mainz University (1996) At the beginning of the 1950s, while Wendo remained with Ngoma, Bowane moved on the Jéronimidis' new label, Loningisa. Bowane became the dominant musical influence on the label as he moved out of centre stage and into the role of producer, writer, and owner-impresario of the premier nightclub of Leopoldville, Quint.
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He moved to Paris to pursue his career, frequenting Henri Langlois' Cinémathèque Française and other ciné- clubs; there, he met François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol and other future members of the New Wave. Rivette began writing film criticism, and was hired by André Bazin for Cahiers du Cinéma in 1953. In his criticism, he expressed an admiration for American films – especially those of genre directors such as John Ford, Alfred Hitchcock and Nicholas Ray – and was deeply critical of mainstream French cinema. Rivette's articles, admired by his peers, were considered the magazine's best and most aggressive writings, particularly his 1961 article "On Abjection" and his influential series of interviews with film directors co-written with Truffaut.
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Rossellini suggested that they research the project; shortly afterwards, they received ₣100,000 for their script, entitled La Cité, but Rossellini abandoned the project and went to India to make a film of his own. Rivette and Gruault revised their story based on Rossellini's critique, and wrote Paris Belongs to Us. Its title is a play on Charles Péguy's quote, "Paris belongs to no one." With borrowed equipment, a loan of ₣80,000 from Cahiers du Cinéma and short film-reel ends provided by Chabrol, the silent film was shot in the summer of 1958 and sound was added the following year. Among Rivette's filming locations were the roof of the Théâtre Sarah-Bernhardt, the Rue des Cannettes, the Place Sorbonne and the Arts bridge.
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"Average America" is visualized as "... a tree-lined street, undistinguished frame houses surrounded by modest areas of grass, a few automobiles. For certain purposes, it assumed that all real Americans live in towns like this, and so great is the power of myth, even the born city-dweller is likely to believe vaguely that he too lives on this shady street, or comes from it, or is going to."Dickstein 2010, p. 480. NYU professor Leonard Quart writes: Although Capra's stature as a director had declined in the 1950s, his films underwent a revival in the 1960s: French film historian John Raeburn, editor of Cahiers du cinéma, noted that Capra's films were unknown in France, but there too his films underwent a fresh discovery by the public.
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Răileanu & Carassou, p. 16, 20, 136 Michaël Finkenthal, "Fundoianu și duminica istoriei", in Observator Cultural, Nr. 322, May 2006 According to historian Martin Stanton, Fondane's activity in film, like Jean-Paul Sartre's parallel beginnings as a novelist, was itself a political statement in support of the Popular Front: "[they were] hoping to introduce critical dimensions in the fields they felt the fascists had colonized."Stanton, p. 259–260 Fondane nevertheless ridiculed the communist version of pacifism as a "parade of big words", noting that it opposed mere slogans to concrete German re-armament. Writing for the film magazine Les Cahiers Jaunes in 1933, he expressed the ambition of creating "an absurd film about something absurd, to satisfy [one's] absurd taste for freedom".
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Back in France, where he had become Shestov's assistant, Lucian Raicu, "Posomorâta carte" , in România Literară, Nr. 1/2008 Fondane was beginning work on other books: the essay on 19th-century poet Arthur Rimbaud—Rimbaud le voyou ("Rimbaud the Hoodlum")—and, despite an earlier pledge not to return to poetry, a new series of poems. His eponymously titled study-portrait of German philosopher Martin Heidegger was published by Cahiers du Sud in 1932.Daniel, p. 630 Despite his earlier rejection of commercial films, Fondane eventually became an employee of Paramount Pictures, probably spurred on by his need to finance a personal projectAndrew, p. 139–140; Cernat, p. 287 (reputedly, he was accepted there with a second application, his first one having been rejected in 1929).
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The deputies of each order in every bailliage also brought with them a cahier des doléances, arrived at, for the third estate, by a combination of statements drawn up by the primary or secondary electors. On the assembly of the estates the cahiers of the bailliages were incorporated into a cahier for each gouvernement, and these again into a cahier general or general statement, which was presented to the king, and which he answered in his council. When the three orders deliberated in common, as in 1484, there was only one cahier général; when they deliberated separately, there were three, one for each order. The drawing up of the cahier general was looked upon as the main business (le grand cause) of the session.
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Rohmer was known as more politically conservative than most of the Cahiers staff, and his opinions were highly influential on the magazine's direction while he was editor. Rohmer first published articles under his real name but began using "Éric Rohmer" in 1955 so that his family would not find out that he was involved in the film world, as they would have disapproved. Rohmer's best-known article was "Le Celluloid et le marbre" ("Celluloid and Marble", 1955), which examines the relationship between film and other arts. In the article, Rohmer writes that in an age of cultural self-consciousness, film is "the last refuge of poetry" and the only contemporary art form from which metaphor can still spring naturally and spontaneously.
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Much of the early developmental work was done under the patronage of the King Albert I, who had an early interest in the technology, including his own private laboratory."International Telegraph Monument in Berne", The Marconigraph, December 1911, page 27. In 1909, the king made a tour of the Congo, and determined that there was a need to improve communications throughout its vast territory. There was also a need to establish reliable communication from Belgium to the colony."De la T.S.F. au Congo-Belge et de l'école pratique de Laeken aux concerts radiophoniques" (Wireless in the Belgian Congo and from the Laeken Training School to Radio Concerts) by Bruno Brasseur, Cahiers d'Histoire de la Radiodiffusion, Number 118, October–December 2013.
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Ehresmann has published over a hundred works on Analysis (Differential Calculus and Infinite Dimension Distributions, Guiding Systems and Optimization Problems), Category Theory (with her husband, Charles Ehresmann: sketches and internal categories, multiple categories, closed monoidal structures) and the modeling of complex autonomous systems (Memory Scalable Systems, including the MENS model for neuro-cognitive systems).. She developed, with J.-P. Vanbremeersch a model of Memory Evolutive Systems, which proposes a mathematical model for 'living' systems with a hierarchy of complex components with multiple temporalities, such as biological, neuro-cognitive, or social systems. Based on a theory of 'dynamic' categories, evolving memory systems can analyze complexity, emergence and self-organization. She is the director of the mathematical journal Cahiers de Topologie et Géométrie Différentielle Catégoriques.
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La Fête espagnole was praised as something vital and new in French cinema, although—as observed by Tami WilliamsTami Williams, "Germaine Dulac: A Cinema of Sensations," University of Illinois Press, 2014—the praise was directed toward Delluc, and not Dulac. For Delluc's part, he never avoided praising Dulac's contribution to the success of the film, stating that it was "a rare example of complete cooperation in French cinema. Author, director and actors have agreed, through their specific affinities and willingness to work, to seek the absolute realization of the chosen theme."Louis Delluc, from an article published in Paris-Midi, 4 May 1920, in Ecrits cinématographiques III, Drames de cinéma, Cinémathèque française et Editions de l’étoile/Cahiers du cinéma, Paris, 1990, p.
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The Constitutional Council of France has taken an increasingly hard view against riders, which it considers unconstitutional and contrary to the rules of procedure of the parliamentary assemblies. In 1985 the Council started striking down amendment to laws because they were unrelated to the subject of the law.Services of the Constitutional Council of France, État de la jurisprudence du Conseil constitutionnel sur le droit d'amendement Two special categories of riders merit mention: the "budgetary riders", attached to budget bills, and "social riders", attached to the budget bill for social security organizations,Les Cahiers du Conseil constitutionnel, Cahier n° 22, Commentaire de la décision n° 2006-544 DC du 14 décembre 2006 clauses that have no link to the budget or to the social security budgets, respectively.
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Letter from Canon Huguet to Bérenger Saunière dated 22 January 1917, reproduced in contributions by Abbé Bruno de Monts published in Les Cahiers de Rennes-le-Château, Archives – Documents – Études, Number 11 (Éditions Bélisane, 1996). The epitaph on Saunière's original 1917 gravestone read "priest of Rennes-le-Château 1885-1917". He would be virtually unknown today were he not a central figure in the conspiracy theories surrounding Rennes-le-Château which form the basis of several documentaries and books such as the 1982 Holy Blood, Holy Grail by Michael Baigent, Richard Leigh, and Henry Lincoln. Elements of these theories were later used by Dan Brown in his best-selling 2003 novel The Da Vinci Code, in which the fictional character Jacques Saunière is named after the priest.
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A lyre-guitar depicted here in a painting by Francisco de Goya, c. 1805. Its popularity at the time was encouraged by the revival of classicism Claimed to have been invented in 1780 by Pierre Charles Mareschal, a prominent French luthier, who accused the French musician Phillis Pleyel of stealing his design for what he called the Lira Anacreòntica "Plagiat dénoncé aux musiciens et aux amateurs des lyres nouvelles, inventées par Mareschal, Luthier à Paris", 1780, by P. C. Mareschal. The lyre-guitar enjoyed great popularity as a salon instrument especially in Paris between 1780 and 1820. It became very much in vogue and pervaded the highest levels of society; Marie Antoinette played one" La lyre- guitare" in "Les Cahiers de la Guitare", 1988, by D. Ribouillault.
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Since 1995 he is advisor in the Rijksakademie van Beeldende Kusten in Amsterdam. His publications include several books on art and art theory (and a short stories' volume), and more than 600 articles, reviews and essays have appeared in numerous magazines, including: Art Nexus, Cahiers, Lápiz, Neue Bildende Kunst, Oxford Art Journal, Poliester, Third Text. Among other volumes, Mosquera has edited Beyond the Fantastic: Contemporary Art Criticism from Latin America and co-edited (with Jean Fisher) Over Here: International Perspectives on Art and Culture. His theoretical essays – which have been influential in discussing art’s cultural dynamics in an internationalized world, and contemporary Latin American art – are dispersed in English, but have been collected in books in CaracasContracandela, Caracas, Monte Ávila Editores, 1995.
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"Hijra and Forced Migration from Nineteenth-Century Russia to the Ottoman Empire", by Bryan Glynn Williams, Cahiers du Monde russe, 41/1, 2000, pp. 79–108. Toward the end of the Caucasian Wars, 90% of the Circassians were exiled from their homelands in the Caucasus and settled in the Ottoman Empire.Memoirs of Miliutin, "the plan of action decided upon for 1860 was to cleanse [ochistit'] the mountain zone of its indigenous population", per Richmond, W. _The Northwest Caucasus: Past, Present and Future_. Routledge. 2008. Since the 19th century, the exodus to present-day Turkey by the large portion of Muslim peoples from the Balkans, Caucasus, Crimea and Crete,By the early 19th century, as many as 45% of the islanders may have been Muslim.
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Although never a formally organized movement, New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm, and their films are an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the film magazine Cahiers du cinéma. Auteur theory holds that the director is the "author" of his films, with a personal signature visible from film to film.
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In Soviet Georgia, Sergei Parajanov's The Color of Pomegranates, in which Georgian actress Sofiko Chiaureli plays five different characters, was banned by Soviet authorities, unavailable in the West for a long period, and praised by critic Mikhail Vartanov as "revolutionary"; and in the early 1980s, Les Cahiers du Cinéma placed the film in its top 10 list. In 1967, in Soviet Georgia, influential Georgian film director Tengiz Abuladze directed Vedreba (Entreaty), which was based on the motifs of Vaja-Pshavela's literary works, where story is told in a poetic narrative style, full of symbolic scenes with philosophical meanings. In Iran, Dariush Mehrjui's The Cow (1969), about a man who becomes insane after the death of his beloved cow, sparked the new wave of Iranian cinema.
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The film features an exceptionally large number of film directors in acting roles, including Claude Chabrol, Norman Foster, Gary Graver, Curtis Harrington, Dennis Hopper, Henry Jaglom and Paul Mazursky, mostly playing Hannaford's entourage of journalists and young filmmakers. Other Hollywood celebrities who were friends of Welles were asked to participate, including Jack Nicholson, but either declined or were unavailable.Giorgio Gossetti (ed.), Orson Welles and Oja Kodar, The Other Side of the Wind: scénario-screenplay (Locarno International Film Festival/Cahiers du Cinéma, Switzerland, 2005) The film's script identifies several celebrities such as Jack Nicholson as being present at the party, but Nicholson was not in the final film. Impressionist Rich Little was originally cast as Brooks Otterlake, but his role was recast part of the way through.
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501 Information for the earlier appointments Marcius Dioga held comes from two acephalic inscriptions that had previously identified as referring to the same man, one found in Ostia Antica, = ILS 9501 the other in Rome, which Michel Christol identified as pertaining to Dioga.Christol, "Un fidèle de Caracalla: Q. Marcius Dioga", Cahiers du Centre Gustave Glotz, 2 (1991), pp. 165-188 The earliest appointment known for Dioga was as military tribune assigned to Legio XII Fulminata, stationed at Melitene in Cappadocia; he could have served during the reign of Commodus This was undoubtedly the second step in the tres militiae that equestrians with military commissions advanced through. The first, commander of a cohors of 500 men was described on a lost line on the two inscriptions.
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In the Book of Optics, al-Haytham claimed the existence of primary and secondary light, with primary light being the stronger or more intense of the two. The book describes how the essential form of light comes from self-luminous bodies and that accidental light comes from objects that obtain and emit light from those self-luminous bodies. According to Ibn al-Haytham, primary light comes from self-luminous bodies and secondary light is the light that comes from accidental objects.A detailed study on Ibn al-Haytham's theory of colors is noted in: Nader El-Bizri, 'Ibn al-Haytham et le problème de la couleur', Oriens-Occidens: Cahiers du centre d'histoire des sciences et des philosophies arabes et médiévales, C.N.R.S. 7 (2009), pp. 201–226.
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Citta de São Salvador. Modern scholars such as Estevam Thompson suggest that the war was a response of the Kongo people and other ethnic groups to the stolen children and broken families from the rising slavery, because there is no evidence that any "Jaga kingdom" ever existed, and there is no evidence to support other related claims alleged in the records of that era.Miller, Joseph C. (1973), Requiem for the "Jaga" (Requiem pour les "Jaga"), Cahiers d'Études Africaines, Vol. 13, Cahier 49 (1973), pages 121-149 The 16th and 17th centuries' one-sided dehumanization of the African people was a fabrication and myth created by the missionaries and slave trading Portuguese to hide their abusive activities and intentions, state Thompson and other scholars.
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He became a researcher at Centre National de la Recherche Scientifique in 1968. He mainly did fieldwork in Thailand and Burma (Myanmar) in the 1980s, studying Wa, Lawa, Palaung, Mon and Nyah Kur; in Vietnam and Laos in the 1990s, studying Viet-Muong (also known as Vietic) languages, and the Tai languages and writing systems of northern and central areas of Vietnam, including the Lai Pao writing system of Vietnam, which was close to falling into oblivion.A Vietnamese TV programme about fieldwork on the Lai Pao script by Michel Ferlus and Trần Trí Dõi He has published extensively about his findings on numerous languages of Laos, Thailand, Burma/Myanmar, and Vietnam, in journals such as Mon-Khmer Studies, Cahiers de Linguistique Asie Orientale, and Diachronica.
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In 2004, he received the Grand Prix of the French Competition at the International Documentary Film Festival Marseilles (France) for 1/3 of the eyes which was ranked one of the top ten films of 2005 by the Cahiers du Cinéma. The same year, he participated in the international contemporary art exhibition Manifesta 5 in San Sebastian, the exhibition "Unique But Not the Only: French Contemporary Art" at the Guangdong Museum of Art (China) and the event "The Government" in Vienna (Austria) and Miami (U.S.A). In 2006, he participated in the International Film Festival Prague (Czech Republic); his short film Don’t touch me has been shown in various art spaces, including the South London Gallery and the Bischoff Weiss Gallery (UK).
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The development of his thought can be grasped in the five cahiers (see bibliography) in which, after exposing the weaknesses of traditional Thomism, he evaluated Kant's philosophy (3rd cahier) with whose help he proposes a modernized Thomism in the 4th and 5th cahier. The work of Maréchal had a great influence on such contemporary theologians and philosophers as Andre Marc, Gaston Isaye, Joseph de Finance, Karl Rahner, Bernard Lonergan, Johannes Baptist Lotz, Bernard O'Brien and Richard De Smet. In the same way, he proceeded to study the psychology of the mystics. Until his death on 11 December 1944 he taught philosophy and experimental psychology at the Jesuit House of Studies in Leuven (St Albert of Leuven's Philosophical and Theological College).
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The old diocese of Pamiers was suppressed and a new "Diocese of Ariège" was created, with its center at Pamiers. When the Estates General had been summoned in 1789, the legitimate bishop of Pamiers, Joseph- Mathieu d'Agoult, behaved in such an authoritarian and aristocratic way when the cahiers (Notes of complaints and recommendations) were being drawn up that his own clergy refused to elect him as their representative for the meeting in Paris, and chose Canon Bernard Font instead. Canon Font's brother was one of the members of the Assembly who drew up the plan for the new departments. Font was elected bishop of Ariège in 1791, and consecrated at Toulouse by Constitutional Bishop Antoine-Pascal-Hyacinthe Sermet on 15 May 1791.
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After he was discharged from the army, he joined his friends as a staff writer for Cahiers du Cinéma, who were challenging then-contemporary French films and championing the concept of Auteur theory. As a film critic, Chabrol advocated realism both morally and aesthetically, mise-en-scene, and deep focus cinematography, which he wrote "brings the spectator in closer with the image" and encourages "both a more active mental attitude on the part of the spectator and a more positive contribution on his part to the action in progress." He also wrote for Arts magazine during this period. Among Chabrol's most famous articles were "Little Themes", a study of genre films, and "The Evolution of Detective Films".Monaco. pp. 255–256.
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The original building with verandas was built in French Colonial style from 1917 to 1920 by Victor Henri Sisson. Thierry Bangui, Cahiers d'Outre-mer n°261, L’architecture coloniale du centre-ville de Bangui, janvier 2013 The palace was the residence of the Governor of Ubangi-Shari Stephen Smith, Géraldine Faes, Bokassa Ier un empereur français, Calmann-Lévy, 29 mars 2000 until 1960, when the country gained independence from France and the palace became the seat of the President of the Republic. The palace was reconstructed during the rule of Jean-Bédel Bokassa (1966–1979). During the final three years of Bokassa’s rule, the leader served as the Emperor of Central Africa and the Renaissance Palace served as the imperial palace.
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François Géré was born in Paris on August 28, 1950. In 1975, he became Agrégé in History, PhD in 1991, then in 2000 he obtained post-doctoral research accreditation (Docteur Habilité) in contemporary history at the University of Paris III – Sorbonne Nouvelle, where he was appointed research director in 2003. At the same time, he contributed from 1977 to 1982 to the magazine Cahiers du Cinéma , under the section “Cinéma, Histoire et Guerre” (Cinema, History, and War). As early as 1985, he specialized in analysis of irregular wars (Indochina, Algeria, etc.) and the first developments of the nuclear weapon under the French Fourth Republic, as well as in the study of the different currents of French and American strategic thought since 1945.
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French philosopher Pierre-André Taguieff has argued that the first wave of what he describes as "la nouvelle judéophobie" emerged in the Arab-Muslim world and the Soviet sphere following the 1967 Six-Day War, citing papers by Jacques Givet (1968) and historian Léon Poliakov (1969) in which the idea of a new antisemitism rooted in anti-Zionism was discussed.Pierre-André Taguieff cites the following early works on the new antisemitism: Jacques Givet, La Gauche contre Israel? Essai sur le néo-antisémitisme, Paris 1968; idem, "Contre une certain gauche," Les Nouveaux Cahiers, No. 13-14, Spring-Summer 1968, pp. 116–119; Léon Poliakov, De l'antisionisme a l'antisémitisme, Paris 1969; Shmuel Ettinger, "Le caractère de l'antisémitisme contemporain," Dispersion et Unité, No. 14, 1975, pp.
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Salvioni, Daniella. (Review) Flash Art, September 1986 His first solo exhibition, The David Robbins Show (1986) featured "guest" collaborators such as Richard Prince, Clegg & Guttman, and Jennifer Bolande.de Bruijne, Ellen. "The David Robbins Show," Metropolis M, October,1990 He gained wider recognition for photographic works such as Talent and The Art Dealers' Optical Tests (1987), which treated the art context as material for comedy."On Talent," in Likeness: Artists' Portraits of Artists, CCAC/Wattis Institute, 2004Gasparina, Jill, “Le Cauchemar de Greenberg: Sur la massification de l’art contemporain,” Les Cahiers du Musee National d’Art Moderne, Centre Pompidou, Autumn, 2007Jones, Ronald, review, Artscribe International, November/December 1987 He actively promoted what he termed the "comic object"—an object made with sophisticated comic rather than aesthetic intent.
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Biographical details are drawn for the most part from those appearing in the programme for the Berlin Literature Festival Since then Cisneros taught during 1996 at the University of Virginia and, in addition, grants made possible stays in Paris, London and Berlin. His travels furthered his international reputation. There have been four translations of his work into English in the UK and the USA and more into other languages. These include the Brazilian anthology of his work (Sete pragas depois 2003), as well as collections in Hungarian (Versei, Európa Könyvkiadó, Budapest 1978), Dutch (Commentaren en Kronieken, Marsyas, Amsterdam 1982), German (Gedichte, Vervuert, Frankfurt 1986) and French (Chant ceremonial contre un tamanoir, Editions Unes, París 1989; Les grandes questions celestes, Cahiers de Royamment, París 1990).
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In 1789, he was returned as one of the deputies of the Third Estate in Paris to the Estates-General, and he was instrumental in writing up the cahiers de doléances of Paris. He went on to support revolutionary measures such as the union of the orders, the suspensive veto, the Civil Constitution of the Clergy, the last of which he was one of the principal authors.. He was one of many deputies named to the Constitutional Committee in September 1789, to replace those conservative members who resigned. He presided over the National Constituent Assembly 18 January - 2 February 1790. His excessive obesity, which made him the butt of the Royalist jokes, prevented his practising at the bar for some years before 1789.
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In France Les Cahiers du cinéma listed the film as the best picture of the year 2011. Deborah Young of The Hollywood Reporter called the film "a well-written, surprisingly mainstream comedy" and noted how it was less political than earlier works by Moretti, such as The Mass Is Ended and The Caiman: "Here the storyteller overpowers the moralist in every sense. Not a hint of clerical sex scandals clouds the surreal image of frolicking white- haired Cardinals; the most critical line in the film suggests the Church needs a leader who will bring great change, but even that plays as an offhand remark." Young went on to compliment the production design and cinematography, and called Moretti "one of the most creative filmmakers working in Italy".
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43, n°166-167, December 2006, p. 83-114 # Les États de Languedoc face à la guerre dans la première moitié du XVIe siècle, Les cahiers de la Méditerranée, actes du colloque, Crises et conflits en Méditerranée, Nice, 17–19 March 2005, n°71, June 2006. # Noblesse commingeoise et service armé du roi de France, ', vol.CXXI, 2005/4, p. 523-550 # Éloigner le soldat du civil en temps de guerre. Les expériences de trêve en Midi toulousain dans les dernières années des guerres de Religion, Revue historique, 306/4, December 2004, p. 788-818. # Comprendre une société confrontée à la guerre civile : le Midi toulousain entre 1562 et 1596, Histoire, Économie, Société, n°2, June 2004, p. 261-272. # 'Foules et guerres civiles.
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Thus defined, editorialization seems to go beyond the notion of content curation, but also of conventional edition or digital edition understood in the strict sense. It is not exercised within the framework of a clearly defined publication, but in what Louise Merzeau following Manuel ZackladManuel Zacklad, « Organisation et architecture des connaissances dans un contexte de transmédia documentaire : les enjeux de la pervasivité », Etudes de Communication, 39, 2012, p. 41-63 (DOI : 10.4000/edc.4017, read online) defines as a "support environment"Louise Merzeau, « Entre événement et document : vers l’environnement-support », Les Cahiers de la SFSIC, Société française des sciences de l'information et de la communication, 2014, p. 230-233 (230-233) made of a plurality of spaces and devices in which a multitude of human or mechanical actors, organized by a "pervasive" authority, intervene.
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In February 1968, Henri Langlois was ousted from the Cinémathèque Francaise by Malraux and Minister of Cultural Affairs Pierre Moinot; a government-appointed board of directors assumed control, and Rivette and his old friends reunited to fight for Langlois' reinstatement. With the Cahiers du Cinéma office as their headquarters, current and former staff members, including Rivette, Truffaut, Godard, Rohmer and Chabrol, began mass letter- writing and telephone campaigns to recruit support. Within days, filmmakers from around the world announced that they would halt screenings of their films unless Langlois was reinstated. Journalists from Le Monde and Combat expressed support, and on 12 February several hundred members of the film industry protested outside the Cinémathèque. Two days later, a protest by over 3,000 people was met by club-wielding police.
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Castle of Emperor Fasiledes at Gondar. Tekle Giyorgis II invested greatly on the restoration of Gondar city and its monuments. Donald Crummey comments on Gobeze's motivation for adopting "Tekle Giyorgis" as his regnal name "was unmistakable, and would have been clear to each peasant, let alone the learned. The previous ruler of that throne name had reigned off and on during the last two decades of the 18th century and had entered tradition with the nickname Fatsame Mangest, 'Ender of the Kingdom', or, very loosely, 'Last of the Line'".Crummey, "Imperial Legitimacy and the Creation of Neo-Solomonic Ideology in 19th-Century Ethiopia (Légitimité impériale et création d'une idéologie néo-salomonienne en Éthiopie au XIXe siècle)", Cahiers d'Études Africaines, Cahier 109, Mémoires, Histoires, Identités 2, 28 (1988), p.
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Some critics also pointed out the similarity to the Half-Life video game series, in particular the "Ant-lion" monsters from Half-Life 2, and the constant first-person perspective. Empire magazine named it the fifth best film of 2008. The French film journal Cahiers du Cinéma named the film as the third best of 2008. Bloody Disgusting ranked the film number twenty in their list of the "Top 20 Horror Films of the Decade", with the article calling the film "A brilliant conceit, to be sure, backed by a genius early marketing campaign that followed the less-is-more philosophy to tantalizing effect...much like Blair Witch nearly ten years earlier, Cloverfield helped prove, particularly in its first half hour, that what you don't see can be the scariest thing of all".
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Although the Allied strategy emphasized destroying German forces retreating towards the Rhine, the French Forces of the Interior (the armed force of the French Resistance), led by Henri Rol-Tanguy, staged an uprising in Paris. As the Falaise Pocket battle (12–21 August), the final phase of Operation Overlord, was still going on, General Dwight D. Eisenhower, the Supreme Commander of the Supreme Headquarters Allied Expeditionary Force, was not considering the liberation of Paris to be a primary objective. The goal of the U.S. and British Armed Forces was to destroy the German forces, and therefore end World War II in Europe, which would allow the Allies to concentrate all their efforts on the Pacific front."Les Cahiers Multimédias: Il y a 60 ans : la Libération de Paris" (in French).
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Due to the oppression by the Russian administration and colonial politics of Russian Empire, the Crimean Tatars were forced to immigrate to the Ottoman Empire. Further expulsions followed in 1812 for fear of the reliability of the Tatars in the face of Napoleon's advance. Particularly, the Crimean War of 1853–1856, the laws of 1860–63, the Tsarist policy and the Russo-Turkish War (1877–78) caused an exodus of the Tatars; 12,000 boarded Allied ships in Sevastopol to escape the destruction of shelling, and were branded traitors by the Russian government. Of total Tatar population 300,000 of the Taurida Governorate about 200,000 Crimean Tatars emigrated."Hijra and Forced Migration from Nineteenth-Century Russia to the Ottoman Empire" , by Bryan Glynn Williams, Cahiers du Monde russe, 41/1, 2000, pp. 79–108.
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Jean Marie Maurice Schérer or Maurice Henri Joseph Schérer, known as Éric Rohmer (; 21 March 1920Rohmer was obsessively private and gave out different dates of birth; other dates that appear in sources include 4 April 1920, 1 December 1920 and 4 April 1923.11 January 2010), was a French film director, film critic, journalist, novelist, screenwriter, and teacher. Rohmer was the last of the post-World War II French New Wave directors to become established. He edited the influential film journal Cahiers du cinéma from 1957 to 1963, while most of his colleagues—among them Jean-Luc Godard and François Truffaut—were making the transition from critics to filmmakers and gaining international attention. Rohmer gained international acclaim around 1969 when his film My Night at Maud's was nominated at the Academy Awards.
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It was however the imaginative manner in which he overcame his initial scepticism about the arrival of sound which established his originality, and his first four sound films brought him international fame. Clair's years of working in the UK and USA made him still more widely known but did not show any marked development in his style or thematic concerns. It was in the post-war films that he made on his return to France that some critics have observed a new maturity and emotional depth, accompanied by a prevailing sense of melancholy but still framed by the elegance and wit that characterised his earlier work. However, in the 1950s the critics who heralded the arrival of the French New Wave, especially those associated with Cahiers du Cinéma, found Clair's work old-fashioned and academic.
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He also wrote for the French film magazine L'Écran français, a socialist-leaning magazine founded by the Resistance during the war, which continued after it. The magazine had the backing of French film directors such as Jacques Becker, Marcel Carné, Jean Grémillon, and Jean Painlevé; writer/scenarists Pierre Bost and Jacques Prévert; critics Georges Sadoul and Léon Moussinac; as well as Albert Camus, Henri Langlois, André Malraux, Pablo Picasso and Jean-Paul Sartre. L'Écran français was a "serious publication"; in contrast to other film magazines with their "cheesecake" photos and star gossip, L'Écran français was printed on yellow paper and carried articles on a range of film criticism issues written by critics and notable figures from French cinema.Bazin et cahiers Frank eventually rose to the position of editor-in-chief of L'Écran français.
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The Party decided to keep Garaudy's position as the official one, and even Lucien Sève—who was a student of Althusser at the beginning of his teaching at the ENS—supported it, becoming the closest philosopher to the PCF leadership. General secretary of the party, Waldeck Rochet said that "Communism without humanism would not be Communism". Even if he was not publicly censured nor expelled from the PCF, as were 600 Maoist students, the support of Garaudy resulted in a further reduction of Althusser's influence in the party. Still in 1966, Althusser published in the Cahiers pour l'Analyse the article "On the 'Social Contract'" ("Sur le 'Contrat Social'"), a course about Rousseau he had given at the ENS, and "Cremonini, Painter of the Abstract" ("Cremonini, peintre de l'abstrait") about Italian painter Leonardo Cremonini.
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When Alberto Gout directed Aventurera, the filmmaker already had a solid industrial experience. It is, in fact, in his fourteenth film, for which he was hired by the Calderón studios in order to make a vehicle for showcasing his exclusive actress Ninón Sevilla, who had worked for Calderon studios since Pecadora (1947). Aventurera has the perfect industrial film ingredients that bind to the Rumberas film genre of the 1940s and 1950s: five intermediate sung (with the voices of Ana Maria Gonzalez and Pedro Vargas), three impossible musical numbers (created by Ninón Sevilla), an emblematic story of innocence and perversion. Ninón Sevilla turning crazy all the critics of Cahiers du cinéma, which wrote some of the most ardent pages that have been engaged of any Mexican actress in that journal.
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Having constantly illuminated the source of revealed life, it is right and proper that life should now illuminate him with its sweet and true light.” In 1954, Les Poèmes du fainéant et les poèmes alchimiques, tristes, zen, d'avant, de la résonance, de la connaissance by Louis Cattiaux were published by Le Cercle du Livre. Also in 1954, excerpts from his essay on the Physics and Metaphysics of Painting were published in a Swiss journal, Les Cahiers Trimestriels Inconnues n° 96, as well as an article by Emmanuel d’Hooghvorst entitled “Le Message Prophétique de Louis Cattiaux.” In 1956, the Message Rediscovered was published in its entirety for the first time by Éditions Denoël. Currently, Louis Cattiaux’s literary works total more than twenty editions (with many reprints and translations of The Message Rediscovered).
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David Olivier, Yves Bonnardel and three other French activists in May 1989 published a pamphlet Nous ne mangeons pas de viande pour ne pas tuer d'animaux ("We don't eat meat so we don't kill animals"), in response to debate around vegetarianism in the animal protection movement in France. Soon afterwards, they contacted Paola Cavalieri, an Italian activist and philosopher, about the possibility of creating a journal. The journal was founded in 1991 as Cahiers antispécistes lyonnais, by Olivier, Bonnardel and Françoise Blanchon; they were the first people in France to use the term antispeciesism and speak out against it. The journal's name came from what its first three editors defined as its focus: "to question speciesism and to explore the scientific, cultural and political implications of such a project".
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Amaury de Chaunac-Lanzac was born on 11 February 1942 in Aurignac, Haute-Garonne. Aged 18, he joined the neo-fascist movement Jeune Nation. Early in his political involvement, he took the pseudonym François d'Orcival. In 1960, he was one of the founding members of the Fédération des étudiants nationalistes (FEN). He supported the Organisation armée secrète and was arrested in 1962, then jailed for four weeks. D'Orcival was editor-in-chief of the FEN magazine, Les Cahiers universitaires, from 1961 to 1967. Between 1963 and 1966, he also wrote for the far-right magazines Défense de l’Occident, led by Maurice Bardèche, and Europe-Action, edited by Dominique Venner and Alain de Benoist. In July 1966, d'Orcival joined Valeurs Actuelles, then Le Spectacle du Monde, both edited by Raymond Bourgine.
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Inheritance depends on the nature of the asset being inherited. That is, whether the asset is a maternal (ƭeen yaay) or paternal (kucarla) asset.Kalis, Simone, Médecine traditionnelle religion et divination chez les Seereer Sine du Senegal, La connaissance de la nuit, L'Harmattan (1997), p. 299, Lamoise, LE P., Grammaire de la langue Serer (1873)Becker, Charles: Vestiges historiques, trémoins matériels du passé clans les pays sereer, Dakar (1993), CNRS-ORSTOM Gastellu, Jean-Marc, Petit traité de matrilinarité. L'accumulation dans deux sociétés rurales d'Afrique de l'Ouest, Cahiers ORSTOM, série Sciences Humaines 4 (1985) [in] Gastellu, Jean-Marc, Matrilineages, Economic Groups and Differentiation in West Africa: A Note, O.R.S.T.O.M. Fonds Documentaire (1988), pp 1, 2–4 (pp 272–4), 7 (p 277) Dupire, Marguerite, Sagesse sereer: Essais sur la pensée sereer ndut, KARTHALA Editions (1994).
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Meanwhile, the Byzantines had been reinforced. The Arab Muslim army crossed the Cyrene and Tripoli without opposition, then quickly attacked and captured Carthage. The Berbers, however, continued to offer stiff resistance, then being led by a woman of the Jarawa tribe, whom the Arabs called the prophetess ["al-Kahina" in Arabic]; her actual name was approximately "Damiya".Three citations may be given as follows: Muhammed Talbi, "Un nouveau fragment de l'histoire de l'Occident musulman: l'épopée d'al Kahina" in Cahiers de Tunisie 19: 19–52 (1971);Abdelmajid Hannoum, Post- Colonial Memories. The Legend of Kahina, a North African heroine (2001);Yves Modéran, "Kahena" in Encyclopédie Berbère 27: 4102–4111.By a prior interpretation of Ibn Khaldun (1332–1406), al-Kahina was seen as Jewish; yet this is now being understood as a misreading of his text.
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The Council increasingly has discouraged "riders" (cavaliers) – amendments or clauses introduced into bills that have no relationship to the original topic of the bill; for instance, "budgetary riders" in the Budget bill, or "social riders" in the Social security budget bill. See legislative riders in France.Constitutional Council, État de la jurisprudence du Conseil constitutionnel sur le droit d'amendement ("State of the Constitutional Council case law on the right of amendment")Les Cahiers du Conseil constitutionnel, Cahier n° 22, Commentaire de la décision n° 2006-544 DC du 14 décembre 2006 In January 2005, Pierre Mazeaud, then President of the Constitutional Council, announced that the Council would take a stricter view of language of a non-prescriptive character introduced in laws,Véronique Champeil-Desplats, N'est pas normatif qui peut.
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Gaston Fessard (1897–1978) was a French Jesuit and theologian. Father Fessard was the author of the first issue of Cahiers du Témoignage chrétien in November 1941, titled "France, Beware the Loss of Your Soul," which opposed Nazism in the name of Christian values. He also argued against the obligation to obey the Vichy government, elaborating his theory of the "slave prince," borrowed from Clausewitz: it is useful to obey the prince while he is sovereign and acts in the common interest, but resistance becomes necessary when the sovereignty of the slave-prince is limited and actions are dictated by the occupier. For this reason, the historian Roland Hureaux saw Fessard as "the theoretician of Gaullism" because of the importance that he accorded to the legitimacy of political power.
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Pierre-Georges Jeanniot, Le Calvaire (1901) Mirbeau ghostwrote ten novels,For instance, L'Écuyère, La Belle Madame Le Vassart and Dans la vieille rue. including three for the Swiss writer Dora Melegari. He made his own literary debut with Le Calvaire (Calvary, 1886), in which writing allowed him to overcome the traumatic effects of his devastating liaison with the ill-reputed Judith Vinmer (1858-1951), renamed Juliette Roux in the novel.Cf. Jean-Michel Guignon, « Aux sources du Calvaire – Qui était Judith/Juliette ? », Cahiers Octave Mirbeau, n° 20, 2013, p. 145-152. In 1888, Mirbeau published L'Abbé Jules (Abbé Jules), the first pre-Freudian novel written under the influence of Dostoyevsky to appear in French literature;Pierre Michel, « L'Abbé Jules : de Zola à Dostoïevski », Éditions du Boucher, 2003, p. 3-18.
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Laudenbach began running La Table Ronde in 1945, a publishing company that originated in the Vichy era Cahiers de la Table de Ronde, the organ of a community organization associated with the right-wing Action Française. Laudenbach gained the support of the "Hussards", a movement of right-wing intellectuals who attacked existentialism and its mouthpiece Les Temps modernes. He was also a journalist, writing under the pen-name Michel Braspart, and in 1951 published the novel La Mauvaise carte about Algeria. He was opposed to giving Algeria independence and used La Table Ronde to attack the ideas of General Charles de Gaulle. A new Protestant newspaper, Tant qu'il fait jour was launched in June 1958 in response to the May 1958 crisis in France caused by an unsuccessful coup attempt in Algeria.
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The removal of the fleet to Egypt made the retention of Kalbid Sicily impossible, while Algeria broke away under the governorship of Hammad ibn Buluggin, Buluggin's son. The Zirid realm (dark green) after the secession of the Hammadids (1018) and before the influx of Banu Hilal tribes (1052) The relationship with their Fatimid overlords varied - in 1016 thousands of Shiites lost their lives in rebellions in Ifriqiya, and the Fatimids encouraged the defection of Tripolitania from the Zirids, but nevertheless the relationship remained close. In 1049 the Zirids broke away completely by adopting Sunni Islam and recognizing the Abbasids of Baghdad as rightful Caliphs, a move which was popular with the urban Arabs of Kairouan.Idris H. Roger, L'invasion hilālienne et ses conséquences, in : Cahiers de civilisation médiévale (43), Jul.-Sep.
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Because of her literary influences, and because her work predates the French New Wave, Varda's films belong more precisely to the Left Bank (Rive Gauche) cinema movement, along with those of Chris Marker, Alain Resnais, Marguerite Duras, Alain Robbe-Grillet, Jean Cayrol and Henri Colpi. Categorically, the Left Bank side of the New Wave movement embraced a more experimental style than the Cahiers du Cinema group; however, this distinction is ironic considering that the New Wave itself was considered experimental in its treatment of traditional methodologies and subjects. Left Bank Cinema was strongly tied to the nouveau roman movement in literature. The members of the group had in common a background in documentary filmmaking, a left wing political orientation, and a heightened interest in experimentation and the treatment of film as art.
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The Joos Maternal Dynasty was one of the Serer and Senegambian dynasties in pre-colonial Senegambia. The princess Lingeer Ndoye Demba (founder of this dynasty in Waalo) descended from the maternal line of Lingeer Fatim Beye,Many variations: Fatimata Beye (see BIFAN, 1979, pp 225, 233), Fatim/Fatimata Beye (see BIFAN, 1979, p 234), Fatime Bey (BIFAN, 1979, p 234), etc. The Serer surname Beye or Bèye, following its French spelling in Senegal is also a Serer matriclan. Fatim (proper: Fa tim) in Serer language means "the maternal clan of..." For more on Serer matrilineality, see Jean-Marc Gastellu « 'Petit traité de matrilinarité. L'accumulation dans deux sociétés rurales d'Afrique de l'Ouest', Cahiers ORSTOM, série Sciences Humaines (1985) » , in Jean-Marc Gastellu, "Matrilineages, Economic Groups and Differentiation in West Africa": A Note (O.
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Algebraic Topology and Concurrency L. Fajstrup, E. Goubault, and M. Raussen, Theoretical Computer Science, 357, 2006, 241-278 Roughly speaking, a local pospace is a topological space together with an open covering whose elements are endowed with a partial order. Given two elements U and V of the covering, it is required that the partial orders on U and V match on the intersection. Though local pospaces allow directed loops, they form a category whose colimits—when they exist—may be rather ill-behaved. Noting that the directed paths of a (local) pospace appear as a by-product of the (local) partial order—even though they themselves contain most of the relevant information about direction—Marco Grandis defines d-spacesDirected homotopy theory, I. The fundamental category Marco Grandis, Cahiers Top. Géom. Diff.
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Discussion with David Jisse. In Unison No. 3 Paris, May 1977, p. 14 – 16 1977 Reflections by Luc Ferrari on "Does the Music of Future Have a Future?". In Cahiers Recherche/Musique, INA-GRM, 1977, p. 77 – 79 1978 François-Bernard Mâche: LES MAL ENTENDUS. Composers of the 70s In Revue musicale No. 314, 1978, p. 65 – 69 1978 "Srefacia a... y Reflexion Sobre... por Luc Ferrari" – UN PUEBLO NUMERO 11350 por Luc Ferrari In Arte Nuevo 1, Universidad Veracruzana 1978, p. 10 – 13 1979 Luc Ferrari "Erudite Cultures and Popular Cultures". Interview by Catherine Millet In Art Press International, No. 26, March 1979, p. 18 1981 Luc Ferrari – dossier "En attendant Enée". In Cahier de l'animation musicale, No. 19, June 1981, p. 11 – 12 1981 "Discussion with Luc Ferrari".
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Rossellini's films after his early Neo-Realist films—particularly his films with Ingrid Bergman—were commercially unsuccessful, though Journey to Italy is well regarded in some quarters. He was an acknowledged master for the critics of Cahiers du Cinema in general and André Bazin, François Truffaut, and Jean-Luc Godard in particular. Truffaut noted in his 1963 essay, Roberto Rossellini Prefers Real Life (available in The Films In My Life) that Rossellini's influence in France particularly among the directors who became part of the nouvelle vague was so great that he was in every sense "the father of the French New Wave". His posthumous ex-son-in-law Martin Scorsese has acknowledged Rossellini's seminal influence in his documentary My Voyage to Italy (the title itself a take on Rossellini's Voyage to Italy).
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A dispute made even more furious by > the fact that both directors have been frequent prizewinners at festivals. > Our thanks are due to Jean-José Richer for having cut authoritatively across > the debate: "This double distinction awarded in strict equality (to The > Seven Samurai and Sansho Dayu [Sansho the Bailiff], Venice [Film Festival] > 1954) is unwarranted… There can be no doubt that any comparison between > Mizoguchi and Kurosawa turns irrefutably to the advantage of the former. > Alone among the Japanese film-makers known to us, he goes beyond the > seductive but minor stage of exoticism to a deeper level where one need no > longer worry about false prestige" (Cahiers du Cinéma 40). In the same article, Godard refers to Kurosawa as "merely a more elegant Ralph Habib", referring to a very obscure contemporary French director who (apparently) specialized in adventure films.
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The name is supposed to denote an attempt to revise a generally accepted, proven scientific version of recent Spanish history and is applied to both "historiadores coyunturales" and "historiadores profesionales"; Moradiellos 2009, p. 3, Eduardo González Calleja, La historiografía sobre la violencia política en la Segunda República española: una reconsideración, [in:] Hispania Nova 11 (2013), p. 25 recently the term is applied not only to professionals in historiographic science but also to scholars who until their alleged "enigmatic evolution" had been global icons of scientific Hispanism. Ricardo Robledo, De leyenda rosa e historia científica: notas sobre el último revisionismo de la Segunda República, [in:] Cahiers de civilisation espagnole contemporaine 2 (2015), p. 6 Sometimes in such cases the term is qualified as perfectly respectable scientific "revisionismo amable", Julio Gil Pecharromán, Revisionismo amable, [in:] Revista de libros 11.11.
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On this evolution, notably demonstrated by the stratigraphy of Elam, see in particular A. Le Brun and F. Vallat, "Les débuts de l'écriture à Suse," Cahiers de la DAFI 8 (1978) pp. 11–59. The development of writing, whether or not it derived from accounting practices, represented a new management tool which made it possible to note information more precisely and for a longer-term. The development of these administrative practices necessitated the development of a system of measurement which varied depending on what they were to measure (animals, workers, wool, grain, tools, pottery, surfaces, etc.). They are very diverse: some use a sexagesimal system (base 60), which would become the universal system in subsequent periods, but others employ a decimal system (base 10) or even a mixed system called 'bisexagesimal', all of which makes it more difficult to understand the texts.
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Le Doulos ranks at number 472 in Empire magazine's 2008 list of the 500 greatest movies of all time.Empire: Features: 500 Greatest Movies of all time: #472: Le Doulos The film received strong reviews in France. Claude Beylie wrote in the influential Cahiers du Cinema that Le Doulos possessed “moral reflection” on truth and lies, and demonstrated an “extraordinary craftsman’s precision, a high love of style.” Melville biographer Ginette Vincendeau noted of the critical response in France, “References to masterly technique, sobriety, elliptical style and narrative efficiency graced almost every review, summed up by L’Express as ‘quasi perfection of Le Doulos.’” Jean-Pierre Melville: An American in Paris, p. 142. Contemporary American indifference to Melville’s work was typified by a 1964 review in the New York Times, which called it tiresome, excessively talkative, and cluttered with confusing references to irrelevant events.
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A total of three journal issues was published: the first in May 1981, the second in November 1981 and the third in May 1982. The contents varied from general analyses of issues to promotions of activist events.Nasri, Foued. 2011. "Zaâma D'banlieue (1979-1984): Les Pérégrinations D'un Collectif Féminin Au Sein Des Luttes De L’Immigration". Engagements, Rébellions Et Genre Dans Les Quartiers Populaires (1968-2005), 65-78 This provided Zaâma d’Banlieue with the means to spread their information and to make cultural spaces accessible to everyone; and to also “trigger other similar initiatives: collectives in the cities that directly take charge of their leisure activities, their living spaces, their daily resistance, to cops, controls, militias, arrests and arbitrary convictions”. Second edition of Zaâma d’Banlieue, as quoted in L'Association de la Nouvelle Génération Immigrée. 1984. “Les Cahiers de la Nouvelle Génération”. édition 1.
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Goodbye to Language was one of the most acclaimed films of 2014 and appeared on several critics' year-end best film lists. Critics who listed the film as the best film of the year include Carlo Chatrian, Scott Foundas, J. Hoberman, John Powers, James Quandt, Jean-François Rauger, Jonathan Rosenbaum, Dan Sullivan, Amy Taubin, Armond White, and Blake Williams. The staffs of Cahiers du cinéma, Film Comment and the British Film Institute's Sight & Sound all listed it as 2nd place. Other critics who listed it as one of the year's best films include Kong Rithdee, Michael Atkinson, Richard Brody, David Ehrenstein, Dennis Lim, Richard Corliss, Glenn Kenny, Mathieu Macheret, Jonathan Romney, Molly Haskell, Miriam Bale, Ignatiy Vishnevetsky, Manohla Dargis and Michael Phillips, and the staffs of Reverse Shot, The Village Voice, Indiewire, CineVue and The A.V. Club.
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In a 2010 interview, Assayas stated that his main political influences when growing up were Guy Debord and George Orwell.White, Rob "Interview with Olivier Assayas" pages 74-77 from Film Quarterly, Volume 64, Issue # 2, Winter 2010 page 75. Speaking of the 1968 May uprising to overthrow General de Gaulle, Assayas in the same interview stated: "I was defined by the politics of May '68, but for me May '68 was an anti-totalitarian uprising. People seemed to forget that at the occupied Odéon theater, you had crossed flags-black and red, and I was on the side of the black element."White, Rob "Interview with Olivier Assayas" pages 74-77 from Film Quarterly, Volume 64, Issue # 2, Winter 2010 page 77. He made his debut in 1986, after directing some short films and writing for the influential film magazine Cahiers du cinéma.
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The second novel of this series, Therese and Pierrette and the Little Hanging Angel (Thérèse et Pierrette à l'école des Saints-Anges, 1980), was one of the novels chosen for inclusion in the French version of Canada Reads, Le combat des livres, broadcast on Radio-Canada in 2005, where it was championed by union activist Monique Simard. Tremblay worked also on a television series entitled Le Cœur découvert (The Heart Laid Bare), about the lives of a gay couple in Quebec, for the French-language TV network Radio-Canada. In 2005 he completed another novel cycle, the Cahiers (Le Cahier noir (translated as The Black Notebook), Le Cahier rouge, Le Cahier bleu), dealing with the changes that occurred in 1960s Montreal during the Quiet Revolution. In 2009 The Fat Woman Next Door was a finalist in CBC's prestigious Canada Reads competition.
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Paul Monet According to Monet, Bazin was a graduate of the École coloniale in Paris, who had served as a colonial official before becoming a supervisor of labour recruitment in French Indochina.Thomas Adrian Schweitzer - The French colonialist lobby in the 1930s Volume 2 1971 "Bazin, a former student of the Ecole Coloniale, "had almost monopolized the extremely lucrative job" of recruiter, according to Monet, p."Cahiers du communisme: Volume 56, Issues 9-12 Parti communiste français. Comité central, Parti communiste français - 1980 "11 Le 9 février 1 929, le V.N.Q.D.D. a fait exécuter Bazin, un ancien administrateur des services civils devenu recruteur de main-d'œuvre, notamment pour les... Nouvelles-Hébrides. « L'exécution du négrier Bazin traduisait déjà l'exaspération .." Since 1884 Vietnam had been a colony of France, and along with Laos and Cambodia, was part of French Indochina.
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François Truffaut commented in 1980 in the Cahiers du cinéma that with this film Fassbinder "has broken out of the ivory tower of the cinephiles", and that the film is "an original work of epic and poetic qualities" influenced by Godard's Contempt, Brecht, Wedekind and Douglas Sirk and particularly touching is his idea of a man who looks on men and on women with equal fondness. The French film critic Jean de Baroncelli discussed the allegorical qualities of the film in Le Monde on 19 January 1980 and wrote that the film presents Maria Braun with a "shining simplicity" as an allegory of Germany, "a character, that wears flashy and expensive clothes, but has lost her soul". Roger Ebert added the film to his Great Movies collection. The New York Times placed the film on its Best 1000 Movies Ever list.
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He gained popularity through regulating the government's finances by attempting to divide the taille and the capitation tax more equally, abolishing a tax known as the vingtième d'industrie, (a value-added tax) and establishing monts de piété (pawnshop-like establishments for loaning money on security). Necker tried through careful reforms (abolition of pensions, mortmain, droit de suite and more fair taxation) to rehabilitate the disorganized state budget. He abolished over five hundred sinecures and superfluous posts.Will and Ariel Durant (1967) Rousseau and Revolution, p. 866-867 Together with his wife, he visited and improved life in hospitals and prisons. In April 1778 he remitted 2.4 million livres from his own fortune to the royal treasury.Othénin d’Haussonville (2004) "La liquidation du ‘dépôt’ de Necker: entre concept et idée-force,", p. 154-155 Cahiers staëliens, 55Sur l’administration de M. Necker, p.
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U.S. theatrical release poster by Reynold Brown, featuring a new title and advertising style Vynález zkázy premiered in Czechoslovakia on 22 August 1958, and was featured at Expo 58 in Brussels, where it won the Grand Prix at the International Film Festival. Over the following year, the film also garnered a Silver Sombrero at the First International Film Festival in Guadalajara, a Czechoslovak Film Critics Award, a Crystal Star from the French Academy of Film, and other awards.Karel Zeman filmography In France, André Bazin praised the film in Cahiers du cinéma, and Paul Louis Thirard reviewed it warmly in Positif. The director Alain Resnais named it as one of the ten best films of the year. In 2010, a publication of the Czech Ministry of Foreign Affairs estimated Vynález zkázy as the most successful film in the history of Czech cinema.
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Chrétien was throughout his life a confirmed bachelor,See Nicolas Weill, “Mort du philosophe Jean-Louis Chrétien,” Le Monde (3 July 2019). Accessed 28 October 2019. as well as a luddite with respect to technology: he never used computers, writing his many books and articles by hand, and preferring personal communication wherever possible.See Riquier, “Mort du philosophe et poète Jean-Louis Chrétien”: “il n’eut jamais d’ordinateur et se servait de cahiers d’écolier à la couverture rigide dont, de son écriture fine et serrée, il remplissait entièrement la page de droite, en laissant blanche celle de gauche en vue d’éventuels compléments. Une fois le manuscrit achevé, il sortait une vieille machine à écrire et en faisait un tapuscrit qu’il envoyait sous cette forme à l’éditeur.” This did not preclude his many deep friendships, and decades of mentoring relationships with students.
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The Edict of Châteaubriant issued on June 27, 1551, prohibited possessing any books listed on the University's Index; translating the Bible or works of the Church Fathers; importing books from Geneva and other places not under the Church's control; or printing or selling of any religious books written in the last 40 years. Nemours' cahiers de doléances asking for the end of censorship, 1789. French National Archives The state itself began to take a greater role in censorship over the University and in 1566, the Ordonnance of Moulins was issued, banning the writing, printing or selling of defamatory books attacking individuals' good reputations and requiring that all books published must be approved and include the privilege and the great seal. The state control was strengthened in 1571 by the edict of Gaillon which placed enforcement of the censorship laws in the Chancellor's office instead of the University.
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At the end of the Fronde in 1654, the town was taken by the French royal army of Turenne. The town that was never French becomes it to the great pleasure of the court. The young King Louis XIV received the town as a sacred gift.Anne Blanchard, " Louis Nicolas de Clerville", in Actes du colloque " Vauban et ses successeurs dans les ports du Ponant et du Levant ", Brest, 16–19 mai 1993, publié dans Vauban et ses successeurs dans les ports du Ponant et du Levant, Paris : Association Vauban, 2000, p 123 (également publié dans Les cahiers de Montpellier no 38, tome II/1998, Histoire et Défense, université Paul-Valéry) The town was then put in the hands of a man from Mazarin,JB Colbert, lettres et instructions Talon nicknamed 'of Le Quesnoy' administered the town that officially became French in 1659 under the Treaty of the Pyrenees.
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From the 12th to the 15th century the priory of Saint-Pierre de Canon belonged to the Abbey of Saint-André Villeneuve-lès-Avignon.Guy Barruol, Michèle Bois, Yann Codou, Marie-Pierre Estienne, and Élizabeth Sauze, "List of religious entities related to the Abbey of Saint-André from the 10th to the 13th century", in Guy Barruol, Roseline Bacon, and Alain Gérard (directors of publication), The Abbey of Saint-André de Villeneuve-lès-Avignon, history, archaeology, influence, Inter-regional discussions in 1999 on the one thousand year anniversary of the founding of the Abbey Saint-André de Villeneuve-lès- Avignon, Éd. Alpes de Lumières, Cahiers de Salagon No. 4, Mane, 2001, 448 p. ISSN 1254-9371, , p. 214 Arimondus of Auronis, squire, was Lord of Aurons. He was descended from an old family of knights that participated in the Pélissanne campaign in the 12th and 13th centuries.
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One of the film's original sources is a study of contemporary prostitution, Où en est la prostitution by Marcel Sacotte, an examining magistrate. Vivre sa vie was released shortly after Cahiers du cinéma (the film magazine for which Godard occasionally wrote) published an issue devoted to Bertolt Brecht and his theory of 'epic theatre'. Godard may have been influenced by it, as Vivre sa vie uses several alienation effects: twelve intertitles appear before the film's 'chapters' explaining what will happen next; jump cuts disrupt the editing flow; characters are shot from behind when they are talking; they are strongly backlit; they talk directly to the camera; the statistical results derived from official questionnaires are given in a voice-over; and so on. The film also draws from the writings of Montaigne, Baudelaire, Zola and Edgar Allan Poe, to the cinema of Robert Bresson, Jean Renoir and Carl Dreyer.
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The Mongol army turned back about from the city, not because of the city's strength, but probably because the Mongol commanders did not want to get bogged down in the marshlands surrounding the city. However, the grand princes of Moscow, who acted as tax collectors for the khans of the Golden Horde, did collect tribute in Novgorod, most notably Yury Danilovich and his brother, Ivan Kalita. In 1259, Hordes tax-collectors and census-takers arrived in the city, leading to political disturbances and forcing Alexander Nevsky to punish a number of town officials (he cut off their noses) for defying him as Grand Prince of Vladimir (soon to be the khan's tax-collector in Russia) and his Mongol overlords. In the 14th century, raids by Novgorod pirates, or ushkuiniki,Janet Martin, “Les Uškujniki de Novgorod: Marchands ou Pirates.” Cahiers du Monde Russe et Sovietique 16 (1975): 5-18.
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Among his more notable acquisitions, in 1928 Guérin purchased from Jean Cocteau the original manuscripts for Le Diable au corps and Le Bal du comte d'Orgel by Raymond Radiguet. He subsequently purchased a number of the notebooks containing the hand-written drafts for Proust's iconic seven-volume novel À la recherche du temps perdu (identified sometimes as the "Guérin notebooks" / "Cahiers Guérin") as well as letters from the author to Marthe Amiot (the author's widowed sister-in-law), photographs, and the first set of corrected proofs for "Du côté de chez Swann", the first of the seven volumes. Guérin evidently inherited from both his parents a talent for networking across the artistic beau monde of the times, notably in Guérin's case among leading literary figures. Friends included Erik Satie, Picasso, Maurice Rostand, Madeleine and Marcelin Castaing, Maurice Sachs, Jean Cocteau, Colette, Glenway Wescott and René Béhaine.
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On his third return to Europe in 1921 he was accompanied by his second wife Barbara, who was born in Bavaria and whose father was a wealthy coal merchant. Henry and Barbara settled into a large villa in Ville-d'Avray, a posh suburb of Paris«Church et Barbara Church recevaient magnifiquement dans leur villa augmentée d’une vigne en serre où volaient des mouches à miel, quelque part dans le département de Seine-et- Oise. Sans que personne ne fût malade chez eux, ils avaient des infirmières au lieu de domestiques, et c’était un sentiment bien agréable pour les visiteurs de voir ces infirmières en nombre, prendre soin d’eux déjà sur le gravier lorsqu’arrivaient les voitures. Enfin se faire servir des apéritifs par des infirmières est quelque chose d’unique. Church et Barbara Church réalisaient l’unique» , Voyage de Saint-Gall à Ouchy in Cahiers du Sud, April 1943.
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Sexual Difference as Hospitality: Chantal Akerman's De l'autre côté/From the Other Side. Association of Art Historians Annual Conference, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, 9–11 April 2015. Retrieved 6 February 2019. Edited by Claire Atherton, distributed by and First Run Features, financed by the Ministry of Transport and Communications's Yle TV2-Yle, Special Broadcasting Service, RTBF, and Arte-, and featuring music by Claudio Monteverdi and Frédéric Chopin performed by Natalia Shakhovskaya, it was included (as the fourth place) in the 2002 Cahiers du cinéma annual top ten list, and was also shown at the 2002 , at the 2002 Flanders International Film Festival Ghent (where it was nominated for the Joseph Plateau Award), at the 2002 and 2011 Vienna International Film Festival, at the 2003 International Film Festival Rotterdam, at the 2003 Wisconsin Film Festival, and at the French Institute Alliance Française in 2015.
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He had just published Le Néo- Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne. Csaky's showed a series of works at Rosenberg's gallery in December 1920. For the following three years, Rosenberg purchased Csaky's entire artistic production. In 1921 Rosenberg organized an exhibit entitled Les maîtres du Cubisme, a group show that featured works by Csaky, Albert Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Georges Braque, Auguste Herbin, Gino Severini, Georges Valmier, Amédée Ozenfant and Léopold Survage. Csaky's works of the early 1920s reflect a collective spirit of the time,Joseph Csaky, 1920 Figure (Woman), Action: Cahiers Individualistes de Philosophie et d’art, Volume 1, Number 6, December 1920 > "a puritanical denial of sensuousness that reduced the cubist vocabulary to > rectangles, verticals, horizontals," writes Balas, "a Spartan alliance of > discipline and strength" to which Csaky adhered in his Tower Figures.
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Screenwriter Yoshikata Yoda, Actress Kinuyo Tanaka, and Kenji Mizoguchi visit Paris, 1953 Immediately after the war, Mizoguchi's work, like that of his contemporary Yasujirō Ozu, was regarded by Japanese audiences as somewhat old-fashioned and dated. He was rediscovered, however, in the West - and particularly by Cahiers du cinéma critics such as Jacques Rivette. After a phase inspired by Japanese women's suffrage, which produced radical films like Victory of the Women (1946) and My Love Has Been Burning (1949), Mizoguchi turned to the jidai-geki — or period drama, remade from stories from Japanese folklore or period history — together with long-time screenwriter and collaborator Yoshikata Yoda. It was to be his most celebrated series of works, including The Life of Oharu (1952), which won him international recognition and which he considered his best film, and Ugetsu (1953), which won the Silver Lion at the Venice Film Festival.
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26, The Fulani castes are endogamous in nature, meaning individuals marry only within their caste. This caste system, however, wasn't as elaborate in places like northern Nigeria, Eastern Niger or Cameroon. According to some estimates, by the late 19th century, slaves constituted about 50% of the population of the Fulɓe-ruled Adamawa Emirate, where they were referred to as jeyaɓe (singular jeyado). Though very high, these figures are representative of many other emirates of the Sokoto Caliphate, of which Adamawa formed a part. The castes-based social stratification among the Fula people was widespread and seen across the Sahel, such as Burkina Faso, Niger, Senegal,Marguerite Dupire (1963), Matériau pour l'étude de l'endogamie des Peul du cercle de Kedougou (Sénégal oriental), Cahiers du Centre de recherches anthropologiques, Volume 5, Numéro 3, pages 235-236, 251, 223-297 (in French) Guinea, Mali, Nigeria, Sudan, and others.
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The French plan, known as the Messmer plan, was for the complete independence from oil, with an envisaged construction of 80 reactors by 1985 and 170 by 2000.Les physiciens dans le mouvement antinucléaire : entre science, expertise et politique Cahiers d'histoire, published 2007, accessed 2011-04-11 France would construct 25 fission-electric stations, installing 56 mostly PWR design reactors over the next 15 years, though foregoing the 100 reactors initially charted in 1973, for the 1990s. In 2018, 72% of French electricity was generated by 58 reactors, the highest percentage by any nation in the world. Some local opposition to nuclear power emerged in the U.S. in the early 1960s, beginning with the proposed Bodega Bay station in California, in 1958, which produced conflict with local citizens and by 1964 the concept was ultimately abandoned. In the late 1960s some members of the scientific community began to express pointed concerns.
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Maria resided in Persia at court of Abaqa for a period of 15 years, until her husband - follower of Tengri - died and was succeeded by his Muslim brother Ahmad.Van Millingen (1912), p. 274 According to Orlean's manuscript, Baidu Khan was close to Maria during her time in Persia and frequently visited her ordo (nomadic palace) to hear interesting stories about Christianity. She eventually returned to Constantinople, but in 1307, during the reign of Andronicus II, she was offered again as bride to a Mongolian prince, Charbanda,Teteriatnikov, Natalia, "The Place of the Nun Melania (the Lady of the Mongols) in the Deesis Program of the Inner Narthex of Chora, Constantinople," Cahiers archéologiques 43 (1995), 163–80 the Mongol ruler of the Middle East in order to obtain an alliance against the rising power of the Ottomans, who at that time were threatening the Byzantine city of Nicaea.
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This did not prevent him from promoting its third-world anti-colonialist positions. Thus, in 1960, when his editor Rene Julliard proposed he sign the Manifesto of the 121, he did not hesitate and found himself suspended from the professorship he had held at the Lycée Henri-IV since 1957. He was reinstated after a few months, but this event marked a rupture in his relationship with the teaching profession for which he had always had the utmost respect. His students gave him a great deal of satisfaction, and it was not uncommon to hear the cry of joy "Mom, I've got Bory", as Michel Cournot remembered according to an article published after Bory's death in the Nouvel Observateur. In 1957, he joined the editorial board of the Cahiers des saisons, where he published short literary texts. In 1961, he replaced François Truffaut as a film critic for the weekly Arts.
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When the social and political movements of the French Revolution started in 1789, Honoré Muraire was charged by the municipality of Draguignan to participate in the preparation of the cahiers de doléances, and assisted in writing up a plan for the reform of the courts and a draft regulation concerning the bourgeois militia. In 1790, he went on a mission to the National Assembly to promote his hometown for the coveted designation as chef-lieu for the new department of Var instead of Toulon, as Draguignan was more centrally located. He would return from his mission to take the position of president of the district. It was during this period that he became involved in freemasonry. The voters of the district of Draguignan elected him to the Legislative Assembly on 8 September 1791 (elected second out of eight, by 250 votes on 489 voting).
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Colleen Manassa, : "The seventy-nine line inscription is located on the interior of the east wall of the "Cours De la Cachette," directly north of a copy of the Hittite treaty from the reign of Ramesses II and in conjunction with other reliefs of Merneptah (PM II, p. 131 [486])... Unfortunately, the excavation of the Cours De la Cachette between 1978-1981 by the French expedition at Karnak did not discover any new blocks belonging to the Great Karnak Inscription of Merneptah, although it did demonstrate that the court was filled with many ritual and religious scenes in addition to its known military themes (F. LeSaout, "Reconstitution des murs de la Cours De la Cachette," Cahiers De Karrah VII (1978-1981) [Paris, 1982], p. 214)." Ramesses III defeated the Libyans in the 5th year of his reign, but six years later the Libyans joined the Meshwesh and invaded the western Delta and were defeated again.
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Marshal Philippe Pétain, head of Vichy France, came "to a meeting of working people" in Ambert, near Vichy, visited the paper mill, the oldest in the region, and took possession of a ream of paper watermarked with his emblem. On this occasion Henry Pourrat published "The French Peasant"Cahiers de politique nationale, n°3, Paris, 1941 and "The French leader" articles dedicated to Marshal Petain and his policy of Back to the Earth.Publié par R. Laffont à Marseille en 1942 Subsequently, Henry Pourrat departed from the National Revolution, writing in letters about his change of political affiliation. Founder of the association La Feuille Blanche, Pourrat created the Moulin Richard de Bas, a museum dedicated to paper,Christian Faure, "Paysans et artisans objets de musées - 1940-1944", communication au Colloque sur "L'Environnement matériel paysan", Université Lyon 2, mai 1987, Bulletin du Centre d'Histoire économique et sociale de la région lyonnaise, Lyon, n°2-3, 1987, pp.
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"A Perfect Accord: Music and Gesture in Francis Poulenc's Les Biches", Les Cahiers de la Société québécoise de recherche en musique, 13(1-2), September 2012, pp. 97–104 The form of the piece – an overture followed by a number of unlinked movements – follows 18th- century musical practice, and Poulenc set out to follow classical precedent in his tonal and harmonic writing. He wrote to Milhaud: The analyst Gérald Hugon writes that other influences on the young composer's score are French eighteenth-century song (in the Rondeau), ragtime (in the Rag-Mazurka) and composers ranging from the classical era (Mozart and Schubert) to contemporaries such as Stravinsky and Prokofiev, via Tchaikovsky: Hugon quotes Claude Rostand's comment that according to Poulenc the Adagietto was inspired by a variation from The Sleeping Beauty.Hugon. Gérald. Notes to Naxos CD 8.573170 (2014) Poulenc's biographer Henri Hell finds the score "irresistibly evoking the art of Domenico Scarlatti".
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Although similar terms (i.e., "cubes") have been used before in relation to the works of Cross (1901), Metzinger and Delaunay (1906, 1907) and Braque (1908), the term "Cubism" emerges for the first time at the inauguration of the 1911 Salon des Indépendants; imposed by 'scandal-mongering journalists who wished to create sensational news' (to use the words of Gleizes). The term was used derogatorily to describe the diverse geometric concerns reflected in the paintings of five artists in continual communication with one another: Metzinger, Gleizes, Delaunay, Le Fauconnier and Léger (but not Picasso or Braque, both absent from this massive exhibition).Albert Gleizes Souvenirs, le cubisme 1908-14, Cahiers Albert Gleizes 1 (Lyon, 1957), p. 14 Guillaume Apollinaire, deeming it necessary to deflect the endless attacks throughout the press, accepts the term "Cubism" (the "ism" signifying a tendency of behavior, action or opinion belonging to a class or group of persons (an art movement); the result of an ideology or principle).
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Portrait of Louis-Marie Prudhomme. Prudhomme's signature. Louis-Marie Prudhomme, (1752, Lyon, France - April 20, 1830, Paris, France) was a French journalist and historian. A bookseller in Lyon, then in Paris, Prudhomme settled in Meaux as a bookbinder. He returned in Paris, and was stopped several times for his writings: between 1787 and 1789, he is thought to have written about 1,500 lampoons. Among them, Résumé général, ou Extrait des cahiers de pouvoirs, instructions, demandes ou doléances remis par divers bailliages, sénéchaussées et pays d’État du royaume, written in collaboration with Laurent de Mezières and and published in three volumes in 1789, which was seized by the police. From July 12, 1789 to February 28, 1794, he published a newspaper, Révolutions de Paris (fr) ("Revolutions of Paris"), whose principal writer was Élisée Loustallot (fr), with Sylvain Maréchal, Pierre Gaspard Chaumette and Fabre d'Églantine, and which was a great success. At times imprisoned as a royalist, in June 1793, he moved away from Paris and the political life.
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The cinema of attractions is a thesis formulated by André Gaudreault and Tom Gunning to describe the style of early kinematography.See Wanda Strauven (ed.), The Cinema of Attractions Reloaded, Amsterdam, Amsterdam University Press, 2006. Pictures by Edison, Lumière, Méliès and Urban, and comic scenes by Segundo de Chomón, Émile Cohl, Alice Guy and R.W. Paul, took forms proper to early cinema: the frontality of the mise en scène; the brief, unipunctual nature of the picture, sometimes conceived as a one-act tableau without visible cuts; numerous glances at the camera; the ostentatious nature of comic or fairy-play effects; and an aesthetic of shock, the marvellous or surprise.Tom Gunning, "The Non-Continuous Style of Early Film," in Roger Holman (ed.), Cinema 1900-1906, Bruxelles, FIAF, 1982, pp. 101-112. French translation: "Le style non-continu du cinéma des premiers temps (1900-1906)," Les Cahiers de la cinémathèque, 29, 1979, pp. 24-34.
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For some comments on Iturmendi-sponsored law which banned prostitution see Aurora G. Morcillo, The Seduction of Modern Spain: The Female Body and the Francoist Body Politic, Lewisburg 2010, , p. 122 He was also chief engineer behind the concept of dual citizenship, shared by Spain and Latin American states and gradually implemented throughout the 1950s.Iturmendi claimed that “the Hispanic, a solid and enduring bloc, will provide, in the hour uncertainty in which we live, a guarantee for more peace; this peace anxiously desired by so many”; in the 1950s some 10 dual-citizenship agreements were concluded, Daniel Gunnar Kressel, The Hispanic Community of Nations: the Spanish-Argentine nexus and the imagining of a Hispanic Cold War bloc, [in:] Cahiers des Ameriques Latines 79 (2015), pp. 115-133 Some scholars claim that Iturmendi's Traditionalist leaning contributed to further restrictions on public morality, like the 1956 regulations which officially delegalized prostitution or the 1958 law aimed against homosexuals.
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Albert Gleizes, Souvenirs: le Cubisme, 1908-1914, La guerre, Cahiers Albert Gleizes, Association des Amis d'Albert Gleizes, Lyon, 1957, p. 15. Reprinted, Ampuis, 1997, written during the First World War This unity, and the highly crystalline geometricized materialization consisting of superimposed constituent planes, ultimately referred to by the French poet and art critic Maurice Raynal as Crystal Cubism, would soon be described by Gleizes in La Peinture et ses lois (1922–23), as 'simultaneous movements of translation and rotation of the plane'.Peter Brooke, Painting and Its Laws, Albert Gleizes, La peinture et ses lois, Ce qui devait sortir du Cubisme, Paris 1924 The synthetic factor was taken furthest of all from within the Cubists by Gleizes. Basing himself on his 1915 abstractions, Gleizes sought to clarify his methods further in La Peinture et ses lois, deducing the fundamental principles of painting from the picture plane, its proportions, the movement of the human eye and the universal physical laws.
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Death Proof has received generally mixed reviews, earning a score of 63% on Rotten Tomatoes based on 41 reviews with an average rating of 5.72/10, the site's critical consensus reads: "Death Proof may feel somewhat minor in the context of Tarantino's larger filmography, but on its own merits, it packs just enough of a wallop to deliver sufficiently high-octane grindhouse goods." The French magazine Les Cahiers du cinéma ranked Death Proof second best film of the year 2007. Empire gave the film four out of five stars and a mostly positive review, describing the film as "Tarantino driving wildly under the influence" and "seriously entertaining". The BBC's Anna Smith said that while there was "fun to be had" with the film, "its imitation of a defunct, low-budget style of movie-making is perhaps too accurate when it comes to the genre's flaws", and gave the film three out of five stars.
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A pianist by training and former graduate of the Conservatoire de Paris, Danielle Cohen- Levinas followed a double course in philosophy and musicology at the Université Paris Sorbonne-Paris IV and the Université Paris-1 Panthéon- Sorbonne. She entered Radio France in 1982 (France Musique and France Culture) where she worked as a radio producer until 2005. Danielle Cohen-Levinas defended a thesis (1992) and an authorization to conduct research in philosophy (1994) at the Université Paris-1 Panthéon-Sorbonne. She was called upon to the IRCAM directed by Pierre Boulez and appointed editor in chief of the magazine Inharmoniques then Cahiers de l'IRCAM between 1989 and 1993. She was a resident at the Villa Medicis in Rome in 1992 and returned to the CNRS in 1993 at the "Laboratoire des Arts du spectacle" then the "Laboratoire d'esthétique" of the Université Paris I Panthéon-Sorbonne where she taught as associate professor and remained there until 1998.
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Opaque objects are struck with light and can become luminous bodies themselves which radiate secondary light. Light can be refracted by going through partially transparent objects and can also be reflected by striking smooth objects such as mirrors, traveling in straight lines in both cases. Al-Haytham presented many experiments in Optics that upheld his claims about light and its transmission. He also claimed that color acts much like light, being a distinct quality of a form and travelling from every point on an object in straight lines.Refer to: Nader El-Bizri, 'Ibn al-Haytham et le problème de la couleur', Oriens- Occidens: Cahiers du centre d'histoire des sciences et des philosophies arabes et médiévales, C.N.R.S. 7 (2009): 201–226; see also Nader El-Bizri, 'Grosseteste’s Meteorological Optics: Explications of the Phenomenon of the Rainbow after Ibn al-Haytham', in Robert Grosseteste and the Pursuit of Religious and Scientific Knowledge in the Middle Ages, eds.
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Because Guitry didn't stop writing and playing during the Nazi occupation of France, he had been accused of collaboration with the enemy and imprisoned two months in 1944 by a self-appointed militia; released by the new government and fully discharged in 1947, he had expressed regret at the absence of a formal trial. Thus, rehabilitating the controversial Talleyrand (often considered a traitor for serving five different regimes) was seen as Guitry also trying to rehabilitate himself and strike back at those who had criticised him: on the movie's release, both a negative review by author (in L'Ordre, 1948) and a positive one by author René Barjavel (in France Hebdomadaire, 1948) commented on it from that standpoint. Various later reviews have discussed that aspect of the movie, from TV listings magazine Télérama (1978) to author in Cahiers du cinéma (1988), long after the events. According to French stage director and stage historian in his 800-page monography Sacha Guitry.
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Yves Roucaute (born 1953 in Paris) is a French philosopher (epistemology, political theory, theology), Phd (Law and Political science), Phd (philosophy), writer, professeur agrégé in philosophy, professeur agrégé in political science, teaching at Paris X University Nanterre, Previous President of the scientific Council of the "Institut National des Hautes Etudes de Securité et de Justice" (Security council of Prime minister), director of the review "Cahiers de la Sécurité", counsellor of the "réformateurs" group at the French National Assembly. He has held a number of positions in cabinet ministers of right-wing governments, and is a close friend of Alain Madelin, Jean-Pierre Raffarin, and Nicolas Sarkozy. He is also a journalist and columnist ("Canal +", "Figaro", "Le Monde", "Atlantico") He was editing director of some newspapers ("Evénement du Jeudi", "Alternances") and he is the owner of newspaper in the south of France ("Le Bavar") and minority stockholder of some others. He is the majority stockholder of "Contemporary Bookstore" SAS.
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Sarris is generally credited with popularizing the auteur theory in the United States and coining the term in his 1962 essay, "Notes on the Auteur Theory," which critics writing in Cahiers du Cinéma had inspired. Sarris wrote the highly influential book The American Cinema: Directors and Directions 1929–1968 (1968), an opinionated assessment of films of the sound era, organized by director. The book would influence many other critics and help raise awareness of the role of the film director and, in particular, of the auteur theory. In The American Cinema, Sarris lists what he termed the "pantheon" of the 14 greatest film directors who had worked in the United States: the Americans Robert Flaherty, John Ford, D. W. Griffith, Howard Hawks, Buster Keaton, and Orson Welles; the Germans/Austrians Fritz Lang, Ernst Lubitsch, F. W. Murnau, Max Ophüls, and Josef von Sternberg; the British Charles Chaplin and Alfred Hitchcock; and the French Jean Renoir.
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Metteur en scène (literally "scene-setter") is a phrase that refers to the mise en scène of a particular film director. It suggests that the director has technical competence when it comes to film directing, but does not add personal style to the aesthetic of the film. The term was coined by Cahiers du cinéma co-founder André Bazin, and the expanded meaning of the term was introduced by the French New Wave filmmaker and film critic François Truffaut in his 1954 essay "A Certain Tendency of the French Cinema", in which he contrasted the inferior products of the metteur en scène with the work of the great director or auteur. The term was adopted and given a new meaning by the American film critic Andrew Sarris's writings on 'the auteur theory' in the early 1960s, in which metteur en scène is the second of the three categories that define a director as an auteur.
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The original plans foresaw the completion of the defences by adding a battery in the middle of the goulet, on the Roche Mengant, but this proved impossible due to the tides and currents in the goulet. Around 1875, the naval ministry built a dam up against the lower battery to create a small harbour in which to base motor torpedo boats, in order to adapt the fort to this evolution in warfare.Un port à Mengam pour le stationnement de canots porte-torpilles, Louis Chauris, Les cahiers de l'Iroise, N°193, May 2002 The lower battery houses the annexe to the Centre Nautique des Equipages de la Marine, whilst the upper battery is now used for radar testing. An imposing ramp was built in the 1960s to link the port to the upper battery so that the largest pieces of radar equipment to be tested could be carried up to it from the port.
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He then moved to Moscow where he had a chance to exhibit his work in some group shows. Archipenko moved to Paris in 1908 and was a resident in the artist's colony La Ruche, among émigré Ukrainian artists: Wladimir Baranoff-Rossine, Sonia Delaunay-Terk and Nathan Altman. After 1910 he had exhibitions at Salon des Indépendants, Salon d'Automne together with Aleksandra Ekster, Kazimir Malevich, Vadym Meller, Sonia Delaunay-Terk, Georges Braque, André Derain and others. In 1912 Archipenko had his first personal exhibition at the Museum Folkwang at Hagen in Germany, and from 1912 to 1914 he was teaching at his own Art School in Paris. Untitled, 1912, published in Action, Cahiers individualistes de philosophie et d'art, October 1920 Erster Deutscher Herbstsalon, Berlin, 1913, an exhibition organized by Herwarth Walden (Galerie Der Sturm), including Metzinger, Delaunay, Gleizes, Léger, Marcoussis and Picabia Four of Archipenko's Cubist sculptures, including Family Life and five of his drawings, appeared in the controversial Armory Show in 1913 in New York City.
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Against Venizelos' policies could be found politicians of different political orientation during the 1910s (monarchists, conservatives, part of the clergy, but also socialists/communists of the newly founded SEKE). Some points of disagreement included the Venizelos' extreme pro-Entente stance during the World War I and the National Schism (which led to the division of the country between a venizelist and a royalist government), his policy about the Megali idea and its results (regarding the relations with Turkey and the Greeks who were still under Ottoman sovereignty) and later the Treaty of Lausanne and the population exchange. With antivenizelism sided also the religious minorities in Greece (Muslim, Jewish etc), being in general of conservative political orientation.Isabelle Dépret, "Ioannis Metaxas and Religion (1938-41): Historical Experience and Current Debates in Greece", Cahiers balkaniques, 42, 2014 In french Another common point of the antivenizelists was a criticism about the country's social and economical transformation/modernization, such as critics for political/economical mismanagement.
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196 Nonetheless, the Japanese New Wave filmmakers drew from some of the same international influences that inspired their French colleagues, and as the term stuck, the seemingly artificial movement surrounding it began to rapidly develop into a critical and increasingly independent film movement. One distinction in the French movement was its roots with the journal Cahiers du cinéma; as many future filmmakers began their careers as critics and cinema deconstructionists, it would become apparent that new kinds of film theory (most prominently, auteur theory) were emerging with them. The Japanese movement developed at roughly the same time (with several important 1950s precursor films), but arose as more of a movement devoted to questioning, analyzing, critiquing and (at times) upsetting social conventions. One Japanese filmmaker who did emerge from a background akin to his French colleagues was Nagisa Oshima, who had been a leftist activist and an analytical film critic before being hired by a studio.
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Most of Failevic's films focus on class struggles. He first directed Les Femmes aussi, a television series, in 1967. He directed his first film, Naissance d’un spectacle, un événement ordinaire, in 1968. Three years later, in 1971, he directed De la belle ouvrage; the television film was about the struggle of a factory worker to handle new technology. In 1972, he directed Patrick et Sylvie, 9 ans, a film about a school exchange in a banlieue, or lower-class neighborhood. In 1975, he directed Gouverneurs de la rosée, based on a novel about sugarcane planters by Haitian author Jacques Roumain. In 1976, he directed Le Journal d’un prêtre ouvrier, or the diary of a worker-priest. In 1977, Failevic released 1788, a film about the struggle of villagers before the French Revolution, their awakening with the advent of the Cahiers de doléances, and their disillusionment in the wake of the abolition of privileges on August 4, 1789.
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5, Buenos Aires 1976, Eesti Entsüklopeedia vol. 9, Tallinn 1996, p. 498 though in specialist studies ranging from Americafor the USA compare writings on Traditionalism by Frederick Wilhelmsen and Alexandra Wilhelmsen; for Argentina compare Ruben Calderon Bouchet, Tradición, Revolución y restauración em el pensamiento político de Don Juan Vazquez de Mella, Buenos Aires 1966; for Costa Rica and Jorge Volio Jiménez see Adelita B. Aguílar de Alfaro, Jorge Volio y Juan Vazquez Mella, [in:] Revista de filosofía de la Universidad de Costa Rica 5/18 (1966), pp. 207–13; for Chile compare Lira 1942, see also de Mella's impact on Jaime Guzmán, José Díaz Nieva, Influencias de Juan Vázquez de Mella sobre Jaime Guzmán, [in:] Verbo, 467-468 (2008), pp. 661–70; some scholars point to de Mella as an author who influenced theorists of the Chile regime of general Pinochet, see Jacques Le Bourgeois, La propagande du régime militaire chilien de 1973 à 1989, [in:] Les cahiers de psychologie sociale 17 (2011) to Eastern Europein Poland, compare Bartyzel 2006, Bartyzel 2015 he features prominently.
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The question concerning corporeity connects also with Merleau-Ponty's reflections on space (l'espace) and the primacy of the dimension of depth (la profondeur) as implied in the notion of being in the world (être au monde; to echo Heidegger's In-der-Welt-sein) and of one's own body (le corps propre).For recent investigations of this question refer to the following: Nader El-Bizri, "A Phenomenological Account of the ‘Ontological Problem of Space’," Existentia Meletai-Sophias, Vol. XII, Issue 3–4 (2002), pp. 345–364; see also the related analysis of space qua depth in: Nader El-Bizri, "La perception de la profondeur: Alhazen, Berkeley et Merleau-Ponty," Oriens-Occidens: sciences, mathématiques et philosophie de l’antiquité à l’âge classique (Cahiers du Centre d’Histoire des Sciences et des Philosophies Arabes et Médiévales, CNRS), Vol. 5 (2004), pp. 171–184. Check also the connections of this question with Heidegger's accounts of the phenomenon of "dwelling" in: Nader El-Bizri, 'Being at Home Among Things: Heidegger’s Reflections on Dwelling', Environment, Space, Place 3 (2011), pp. 47–71.
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During the early stages of war, the Romanian leader appointed Smochină his personal adviser on the issue of Transnistria. His work for that year included the brochure Masacrele de la Nistru ("Massacres on the Dniester"), which accused the Soviets of committing various crimes against the Romanian populace. Moldova Nouă was reestablished, with the subtitle Revistă de studii și cercetări transnistriene ("Review of Transnistrian Studies and Research"),Kulikovski & Șcelcikova, p.247. See also Constantin (2010), p.238 publishing Smochină's German-language work Die Rumänen zwischen Dnjestr und Bug ("The Romanians between the Dniester and the Bug"), detailing the activities of Romanian boyars in "New Russia". Matei Cazacu, "Familles de la noblesse roumaine au service de la Russie, XVe-XIXe siècles", in Cahiers du Monde Russe et Soviétique, Nr. 1-2/1993, p.216, 225 (republished by Persée Scientific Journals ) The magazine went out of print in 1942, but was replaced with the anonymously titled Transnistria, published by Smochină until 1944. His son Alexandru N. Smochină also had contributions to the wartime press, writing for Octavian Tăslăuanu's nationalist review Dacia.
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Su portavoz es L'Internazionale con sede en Ancona. La escisión de los GIA prefiguraba, en sentido contrario, el gran debate que pronto había de comenzar en el seno del movimiento"El movimiento libertario en Italia" by Bicicleta. REVISTA DE COMUNICACIONES LIBERTARIAS Year 1 No. Noviembre, 1 1977 In 1968, in Carrara, Italy the International of Anarchist Federations was founded during an international anarchist conference held there in 1968 by the three existing European federations of France, the Italian and the Iberian Anarchist Federation as well as the Bulgarian federation in French exile.London Federation of Anarchists involvement in Carrara conference, 1968 International Institute of Social History, Accessed January 19, 2010Short history of the IAF-IFA A-infos news project, Accessed January 19, 2010 During the events of May 68 the anarchist groups active in France were Fédération anarchiste, Mouvement communiste libertaire, Union fédérale des anarchistes, Alliance ouvrière anarchiste, Union des groupes anarchistes communistes, Noir et Rouge, Confédération nationale du travail, Union anarcho-syndicaliste, Organisation révolutionnaire anarchiste, Cahiers socialistes libertaires, À contre-courant, La Révolution prolétarienne, and the publications close to Émile Armand.
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Literature has an important place in the Kotava-speaking community. There are hundreds of translations of novels (Tolstoy,Anna Karenina, Lev Tolstoy Anna Karenina Zola,Germinal, Emile Zola Germinal Maupassant,Dumpling, Guy de Maupassant Cwekfixuya Mirbeau,The Diary of a Chambermaid, Octave Mirbeau Pone ke mawakwikya, Cahiers Octave Mirbeau n°20, march 2013 Camus,Exile and the kingdom, Albert Camus Divblira is Gazaxo ; Emudenik Molière,Scapin's Deceits, Molière Nhagaceem ke Scapin Sholokhov,And Quiet Flows the Don, Mikhail Sholokhov Don diliodaf bost Saint-Exupéry,The Little Prince, Antoine de Saint-Exupéry Sersikam Hugo,Claude Gueux, Victor Hugo Claude Gueux (Claude Jastrik) etc.), tales (La Fontaine, Perrault, Grimm, Andersen, legends of the world100 legends of the World, in Kotava, 2007. 100 vunda ke tamava) and other literary texts (Machiavelli, etc.). In Les Tétraèdres (The Tetrahedra, big novel in French by Yurani Andergan, Verintuva, , 1274 p.), a wide historical and fantastic fresco, Kotava is the spoken language would have Neanderthals and transmitted in secret to their descendants for many generations and is recited by some heroines as long oracles (additional translations at the end).
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He took advantage of his acquaintances with photographers close to the cinema to improve his skills, among them André Kertész. In 1984, he assisted the photographer during his last series "New Distortions", shot in Hotel Esmeralda in Paris where Kertész made the original "Distortions" series (1933). During this session, the master of photography, André Kertész, aged 90, known for his sense of humor, also made several distorted photos of his female model and young assistant, Philippe Robert. Thanks to the journalist Philippe Garnier working for Libération and the future movie-maker Olivier Assayas working at this time for Cahiers du Cinéma, Philippe Robert met Tom Waits, who was about to release his album One from Heart (and Crystal Gayle), the original soundtrack of the Francis Ford Coppola movie of the same title (1982) and around that time he took a series of photographs of the musician. Waits introduced Robert to Bob Guccione Jr who would later lunch Spin magazine and publish Philippe Robert’s Tom Waits series in the September 1987 issue.
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He has also contributed to Cahiers du Cinema, Video Watchdog, CineAction, The Dark Side (magazine), The Movie Book of the Western, the 2008 edition of The International Film Guide, the Senses of Cinema website and Defining Moments in Movies. He has worked on DVD and Blu-ray releases in various capacities, recording commentary tracks for the Masters of Cinema discs of Nosferatu and Tabu, and (in collaboration with Abel Ferrara) the Arrow discs of The Driller Killer and The Addiction, as well as writing sleeve notes for many films, including The Complete Buster Keaton Short Films, Ms. 45, La Notte, Obsession (1976 film), Thief, White of the Eye, The Long Goodbye, Blue Collar, Hardcore, Castle Keep, Wolf, Knightriders and Les Diaboliques. Stevens has appeared in several documentaries and can be seen interviewing Christopher Lee on VCI's DVD of The City of the Dead. He co- authored the English subtitles for F. J. Ossang's Dharma Guns (2010), and was on the jury at the Oldenburg International Film Festival in 2007.
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Jacques Chailley was Secretary-General (1937), then Assistant Director (1941) of the Conservatoire de Paris. His role during the war has been subject of controverse. Jean Gribenski,Jean Gribenski on Symétrie who taught at the Sorbonne under the orders of Jacques Chailley, mentions in a chapter of the collective book La vie musicale sous Vichy,La vie musicale sous Vichy that in collaboration with Henri Rabaud in 1940, he drew up a list of the Jewish students of the Conservatory of Paris: Jean Gribenski further specifies that the list drawn up by Rabaud and Chailley was not communicated to the Germans, and that the exclusion of Jewish students took place only two years later, under duress, while the Conservatoire was led by Claude Delvincourt.. That a list was used for the exclusion of Jewish students from the Conservatory was challenged by contemporary Jewish witnesses during the symposium where Gribenski first presented the results of his research in 1999.Cahiers Boëllmann-Gigout, , dated 1997-1998, but published in 1999.
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This world war radicalised even more the movement which for the first time speaks about independence ideas, and which will lead to its active participation in the Royal Question in 1950. Then follows a lull long of a decade which ends with the 1960–61 Winter General Strike with at its head André Renard who ally Walloon Movement claims and workers' claims. Gilson Act of 8 November 1962 and the transfer of Fourons (Voeren in Dutch) from Province of Liege to Province of Limburg resulted in political and linguistic strife with some violence during the 1970s and 1980s. The Fourons are still considered by walloon activists as a part of Wallonia occupied by Flanders,Jose Happart inaugurated a twinning board with the commune of Vellerat with the inscription "occupés par la Flandre" (occupied by Flanders) Commune de Vellerat - Les Fourons for example Walloon Minister-President Jean-Claude Van Cauwenberghe during a speech in 2001 described Wallonia 'from Fourons to Mouscron, from Nivelles to Arlon' « de Fourons à Mouscron, de Nivelles à Arlon » Maarten Van Ginderachter, Le Chant du coq, Gand, Acamedia Press, coll. « Cahiers Jan Dhondt, 3 », 2005 , .
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He obtained his Habilitation in the Polish University in Exile in 1964 under Professor General Marian Kukiel, who wrote of him that "he is at this moment one of the best historical experts on diplomacy in the time of the [French] Second Empire." Likewise from 1958 he was a member of the Polish Historical Society in Great Britain (Polskie Towarzystwo Historyczne w Wielkiej Britanii) which society published Teki Historyczne - Cahiers d’Historie - Historical papers, where he published 18 articles from volume 5 (1951–52) to volume 22 (2000–01), mainly on the diplomatic relations of the European powers re Poland in the period of the Crimean War 1854-56 and the January Uprising 1863; in volume 19 he published two articles on the topic of German diplomacy towards the newly restored Poland in the years 1918–1919. He was a long-standing member of the editorial committee of the Teki Historyczne and chairman of that committee for the decade 1981-1991 – and again up to his death in 2001 a member of the committee. He published 44 book reviews in Teki Historyczne, the last of which were sent in just two months before his death.
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The normans Jersey heritage trust According to Dominique Schnapper, "The classical conception of the nation is that of an entity which, opposed to the ethnic group, affirms itself as an open community, the will to live together expressing itself by the acceptation of the rules of a unified public domain which transcends all particularisms".Dominique Schnapper, "La conception de la nation", "Citoyenneté et société", Cahiers Francais, n° 281, mai-juin 1997 This conception of the nation as being composed by a "will to live together," supported by the classic lecture of Ernest Renan in 1882, has been opposed by the French far-right, in particular the nationalist Front National ("National Front" – FN) party which claims that there is such a thing as a "French ethnic group". The discourse of ethno-nationalist groups such as the Front National (FN), however, advances the concept of Français de souche or "indigenous" French. French people in Paris, August 1944 The conventional conception of French history starts with Ancient Gaul, and French national identity often views the Gauls as national precursors, either as biological ancestors (hence the refrain nos ancêtres les Gaulois), as emotional/spiritual ancestors, or both.
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The film appeared on over 70 critics' year-end top ten lists, including 15 first-place rankings. The Tree of Life was voted best film of 2011 in the annual Sight & Sound critic poll, earning one and a half times as many votes as runner up A Separation. The film also topped the critics poll of best released film of 2011 by Film Comment, and the IndieWire annual critics survey for 2011, as well as The Village Voice/LA Weekly Film Poll 2011. In France, Cahiers du cinéma placed it second on its 2011 top ten list, tying it with The Strange Case of Angelica. Keith Uhlich of Time Out New York named The Tree of Life the third-best film of 2011, writing that "it may be the best thing [Malick's] ever done." In 2012, 16 critics, including Roger Ebert, included it as one of their 10 votes for Sight & Sound; this placed it at #102 in the final list (making it the fourth film on the list which had been released since the year 2000, behind Wong Kar-wai's In the Mood for Love, Edward Yang's Yi Yi, and David Lynch's Mulholland Drive).
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They are also featured in some 30 anthologies and textbooks (including at Cambridge UP, Penguin Books, Bordas, Harper & Row, Verlag Volk und Welt, Houghton-Mifflin, Heinle & Heinle). Some were published in periodicals from various countries such as Cleo in Australia, Les Cahiers du Ru in Italy, Puerto del Sol in the US, Steaua in Romania, Knjizevne Novine in Serbia, Magyar Naplozi in Hungary, La Revue générale in Belgium, Brèves, NYX, Jungles, Harfang, Nouvelle Donne in France, Moebius, Possibles, XYZ, Châtelaine, Le Sabord' in Canada. Concerning his works and his vision of literature, education and culture, he has given so far near 200 interviews, whether on television -including recently at Vox Television, Canada-; on radio, such as France-Bleu, Radio Ville-Marie, Radio- Canada on prime-time show by Joël Le Bigot, or on the US popular show Montel Across America; for periodicals, such as Encres vagabondes (France), Quebec Studies and Lingua Romana (USA), Gentlemen Quarterly, Le Petit Journal de Rome and Focus Magazine in Italy, Danas and Dvernik in Serbia, Dialogues francophones in Romania; as well as for scholarly books or Internet sites, including Playboy Magazine. Over the years, Prof.
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Rosa Flores Fernandez (2011), Physical and Spatial Characteristics of Slum Territories Vulnerable to Natural Disasters , Les Cahiers d'Afrique de l'Est, n° 44, French Institute for Research in Africa At their start, slums are typically located in least desirable lands near the town or city, that are state owned or philanthropic trust owned or religious entity owned or have no clear land title. In cities located over a mountainous terrain, slums begin on difficult to reach slopes or start at the bottom of flood prone valleys, often hidden from plain view of city center but close to some natural water source. In cities located near lagoons, marshlands and rivers, they start at banks or on stilts above water or the dry river bed; in flat terrain, slums begin on lands unsuitable for agriculture, near city trash dumps, next to railway tracks,Banerji, M. (2009), Provision of basic services in the slums and resettlement colonies of Delhi, Institute of Social Studies Trust and other shunned undesirable locations. These strategies shield slums from the risk of being noticed and removed when they are small and most vulnerable to local government officials.
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Voltaire encouraged the marriage of her parents. Doctors Jean Baumgartner (died 1790) and Théodore Tronchin (1709–1781) are also among their neighbors. The Constant's, landowners, are linked to the great families of the region such as the Saussure, Chandieu, Charrière, Loys, and were very integrated in the social, cultural and economic life. Samuel and Charlotte had four children: Rosalie, Lisette (1759–1837), Juste (1760–1793) and Charles (1762–1835), later called "Charles the Chinese" because of his travels and stays in China between 1779 and 1793. After the death of Charlotte in 1766, the family was in financial difficulties. Under these circumstances, Rosalie took on the role of elder sister, but broke her shoulder in an accident in 1767, which will leave her disabled all her life. Rosalie will have a half brother born from the second marriage of her father, Victor (1773–1853), who is part of the Swiss Guard of Louis XVI and who narrowly escapes death at the Tuileries during the massacre of 10 August 1792. Rosalie quickly took the habit of writing in notebooks (called Cahiers verts) with very different content: cooking recipes, personal remarks, verses, travel journal etc.
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Place has exhibited work at the MAK Center/Los Angeles; Denver Museum of Contemporary Art; the Boulder Museum of Contemporary Art; The Power Plant, Toronto; the Broad Museum, East Lansing; and Cage 83 Gallery, New York. Performance venues have included the Getty Villa (Los Angeles); Museum of Modern Art, New York; Detroit Museum of Contemporary Art; Andre Bely Center, St. Petersburg, Russia; Kunstverein, Cologne; Whitechapel Gallery, London; Frye Art Gallery, Seattle; the Sorbonne; the De Young Museum, San Francisco; Garage (Berlin); The Hereford Salon (London); Galerie éof (Paris); Poetry & Poetics (University of Pennsylvania); The Poetry Foundation (Chicago); Rönnells antivariat (Stockholm); Renaissance Society Gallery (University of Chicago); Otis College of Art and Design (Los Angeles); Kelly Writer's House (University of Pennsylvania, Philadelphia); Pilot Series (Montreal); Culture, Arts, Media & Education Centre (Toronto); Les Cahiers de Colette (Paris); Double Change (Paris); St. Mark's Poetry Project (New York); Bowery Poetry Club (New York); The Shunt (London); Mercantile Library (New York); KGB Bar (New York); Pierre Menard Gallery (Cambridge, MA); San Francisco Public Library; New College (San Francisco); Small Press Traffic (San Francisco); Oakland Art Gallery; 21 Grand Gallery (Oakland); The Uferhallen (Berlin); The Smell (Los Angeles).
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From 1920 to 1923, he taught Italian and German at Bucharest's Matei Basarab High School. Moving to Italy in 1923, he was a member of the Accademia di Romania for the next two years. In 1929, he became associate professor of Romanian language and literature at Sapienza University of Rome, rising to full professor in 1936. His work appeared in the publications of the Accademia, Ephemeris Dacoromana and Diplomatarium italicum; in Codrul Cosminului, Il giornale di politica e di letteratura, Roma, L’Europa Orientale, Termini, Revista germaniștilor români, Meridiano di Roma, Rassegna Italo-Romena, Revue de Culture, Européenne, Atti dell’Academia degli Arcadi, Le vie d’Oriente, Cahiers „Sextil Pușcariu”, Il libro italiano del mondo, L’illustrazione toscana; in the bound volumes put out by the Romanian Academy, and in various Italian academic publications. A researcher in the traditional mode of cultural and literary relations between Romania and Italy, he published the studies L’Italia e le origini della nuova letteratura romena (1929), La stampa periodica romeno-italiana in Romania e in Italia (1937) and Saggi romeno-italo-ispanici (1943), as well as exegeses on the works of Ion Codru-Drăgușanu and Gheorghe Asachi.
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The oldest institutions of higher education appeared between the 5th and the 2nd centuries B.C. in several major cultural areas of Eurasia. In the Greek world, Plato's Academy, Aristotle's Lycaeum and other philosophical-mathematical schools became models for other establishments, particularly in Alexandria of Egypt under the Ptolemies. In India, the city of Takṣaśilā, later the great Buddhist monastery of Nālandā, attracted students and professors even from distant regions.Radha Kumud Mookerji, Ancient Indian education: Brahmanical and Buddhist (2nd ed.). Delhi, Motilal Banarsidass, 1989 In China, the Han dynasty established chairs to teach the Five Confucean Classics, then in - 124 the Grand School (Taixue) to train cadres for the imperial administration.Étienne Balazs, La Bureaucratie céleste (recherches sur l’économie et la société de la Chine traditionnelle), Paris, Gallimard, 1968Peter Tze Ming Ng, « Paradigm Shift and the State of the Field in the Study of Christian Higher Education in China », in Cahiers d’Extrême-Asie, 2001, n° 12, pp. 127-140 All these higher-learning institutions became models for other schools within their sphere of cultural influence. In 425, the Byzantine emperor Theodosius II innovated as he established the Pandidakterion, with a faculty of 31 professors, to train public servants.
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While living in Germany and France from 1983 to 1990, Fisher worked in film and television, writing on media topics for numerous publications including die tageszeitung,Fisher, William (January 28, 1989) "Viererbande Kontrolliert Euro-TV," die tageszeitung Cahiers du cinéma, The Daily Telegraph,Fisher, William (September 21, 1988) "Pan-European Advertising" The Daily Telegraph, page 26. The Nation,Fisher, William and Schapiro, Mark (January 9, 1989) "Four Titans Carve Up European TV," The Nation, page 1. New Literary History, Sight & Sound,Fisher, William "Let Them Eat Europudding," Sight & Sound, Vol. 59 (1990); "Aki Kaurismäki Goes Business", Sight & Sound, Vol. 58, Vol. 4 (1989); "Brazil: Film Finance in the Age of Hyperinflation," Sight & Sound 59, Vol. 2 (1990); "Ouagadougou: Assessing a New Generation of African Filmmakers," Sight & Sound, Summer (1989); "Germany: a Neverending Story - Aftermath of the New German Cinema," Sight & Sound, Vol. 54, (1985.) and The Wall Street Journal.Fisher, William, The Wall Street Journal, January 21, 1987, page 6; The Wall Street Journal- Europe, April 8, 1987; The Wall Street Journal, August 19, 1987; The Wall Street Journal-Europe, November 26, 1987, page 25; The Wall Street Journal, August 23, 1988, page 9; The Wall Street Journal, March 21, 1989, page A11; The Wall Street Journal-Europe, August 18, 1989.
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"Accordingly, he rose up at once and went to Pharos, which at that time was still an island, a little above the Canobic mouth of the Nile, but now it has been joined to the mainland by a causeway. And when he saw a site of surpassing natural advantages (for it is a strip of land like enough to a broad isthmus extending between a great lagoon and a stretch of sea which terminates in a large harbour), he said he saw now that Homer was not only admirable in other ways, but also a very wise architect, and ordered the plan of the city to be drawn in conformity with this site."Daniel Ogden, "Alexander and Africa (332–331 BC and beyond) : the facts, the traditions and the problems"; Acta Classica supplement 5, January 2014. The earliest text from Alexandria, a hieroglyphic "satrap" stela from the month of Thout in 311 BC, refers to R-qd as the preceding name of the city.Michel Chaveau, "Alexandrie et Rhakôtis: Le Point de Vue des Égyptiens"; in Alexandrie : une mégapole cosmopolite (Proceedings of ninth colloquium at Villa Kérylos, Beaulieu-sur-Mer, 2–3 October 1998); Cahiers de la Villa Kérylos 9); Académie des Inscriptions et Belles Lettres, 1999.
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The Groupement de scientifiques pour l'information sur l'énergie nucléaire GSIEN (Association of Scientists for Information on Nuclear Energy) is a multidisciplinary not-for-profit association of independent scientists who aim to spread information about the nuclear industry in FrancePage d'infos de GSIEN GSIEN, published 1995, accessed 2011-04-11 founded on December 15, 1975.GSIEN - Groupement des scientifiques pour l'information sur l'énergie nucléaire Réseau national de mesures de la radioactivité de l'environnement, accessed 2011-04-11 In addition to providing a structure within which independent evaluations can take place, GSIEN aims to ensure that the French nuclear industry, one of the World's largest, provides open and honest information. In 1977 GSIEN was first to provide an explanation of the causes and consequences of the Three Mile Island accident, while the authorities tried to play-down the incident,Les physiciens dans le mouvement antinucléaire : entre science, expertise et politique Cahiers d’histoire, published 2007, accessed 2011-04-11 however GSIEN came to prominence at the time of the 1986 Chernobyl disaster when the press and public found that their independent information helped to compensate for the shortcomings in the official information. They subsequently became widely recognised after many of their members contributed to various overseas projects.
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Georgi Nikolov Delchev (Bulgarian/Macedonian: Георги/Ѓорѓи Николов Делчев, 4 February 1872 – 4 May 1903), known as Gotse Delchev or Goce Delčev (Гоце Делчев, originally spelled in older Bulgarian orthography Гоце Дѣлчевъ),Гоце Дѣлчевъ. Биография. П.К. Яворовъ, 1904. was an important Macedonian Bulgarian revolutionary (komitadji),Per Julian Allan Brooks' thesis the term ‘Macedo- Bulgarian’ refers to the Exarchist population in Macedonia which is alternatively called ‘Bulgarian’ and ‘Macedonian’ in the documents. For more see: Managing Macedonia: British Statecraft, Intervention and 'Proto- peacekeeping' in Ottoman Macedonia, 1902-1905. Department of History, Simon Fraser University, 2013, p. 18. The designation ‘Macedo-Bulgarian’ is used also by M. Şükrü Hanioğlu and Ryan Gingeras. See: M. Şükrü Hanioğlu, Preparation for a Revolution: The Young Turks, 1902-1908 (Oxford: Oxford University Press, 2001), 244; Ryan Gingeras, “A Break in the Storm: Reconsidering Sectarian, Violence in Ottoman Macedonia During the Young Turk Revolution” The MIT Electronic Journal of Middle East Studies 3 (Spring 2003): 1. Gingeras notes he uses the hyphenated term to refer to those who “professed an allegiance to the Bulgarian Exarch.” Mehmet Hacısalihoğlu has used in his study "Yane Sandanski as a political leader in Macedonia in the era of the Young Turks" the terms Bulgarians-Macedonians and Bulgarian Macedonians; (Cahiers balkaniques [En ligne], 40, 2012, Jeunes-Turcs en Macédoine et en Ionie).
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