oalib
Search Results: 1 - 10 of 100 matches for " "
All listed articles are free for downloading (OA Articles)
Page 1 /100
Display every page Item
Avant Propos  [PDF]
Hervé Guillou
Synergies Turquie , 2012,
Abstract:
Avant propos sur le statut coutumier Kanak  [cached]
Régis Lafargue
Droit et Cultures , 2009,
Abstract: En ce début d’année 2006, avec la réédition de l’ouvrage d’Eric Rau qui constitue la première étude juridique concernant le monde kanak, la question du statut coutumier kanak conna t un regain d’actualité.Cette actualité est marquée par un avis de la Cour de cassation rendu le 16 décembre 2005, dans des circonstances qui, à elles seules, justifieraient d’en souligner l’intérêt. En effet, il n’est pas si fréquent – c’est même la première fois – que l’on voit un juge du premier degré saisir la ...
The Conservative Avant-Garde  [cached]
Richard Schechner
Revista Brasileira de Estudos da Presen?a , 2012,
Abstract: This article discusses the so-called artistic avant-garde in the twenty-first century, particularly in regard to theatre and performance art; in other words, this text brings into question the current state of those forms of expression. It discusses the concepts of avant-garde, nicheguard and conservatism in order to deal with the conservative status of the avant-garde in the group of artistic expressions mentioned above, that actually merely repeats previous achievements rather than proposing new forms of transgression and disruption of the established order, including the one that running the art system. The article is based on the idea that the avant-garde exists in three realms simultaneously – as a living tradition, as a brand, and as the echo or ghost of the provocation it once was.
à propos du lexique juridique en ancien fran ais avant le 13e siècle : la Règle de saint Beno t et le Perceval de Chrétien de Troyes  [cached]
Schauwecker Yela
SHS Web of Conferences , 2012, DOI: 10.1051/shsconf/20120100117
Abstract: La plus ancienne traduction de la {em Règle} de saint Beno t en franc{c}ais, rédigée en dialecte picard-wallon, date de la première moitié ou du milieu du {sc xii}$^{ m e}$~siècle. On veut montrer que son auteur, pour qui le changement de langue, n'est pas le premier objectif s'efforce de transférer le texte de son milieu originel de l'Antiquité tardive dans le monde chevaleresque-féodal du {sc xii}$^{ m e}$~siècle. Même sans nécessité apparente, quand il a eu à sa disposition l'équivalent du mot employé dans la {em Regula}, il substitue aux mots latins des termes juridiques et féodaux franc{c}ais. par Son texte, en tant que document de droit pour les moines, devient ainsi une source de vocabulaire juridique franc{c}ais avant le {sc xiii}$^{ m e}$~siècle, c'est-à-dire dans un temps où les documents juridiques en langue vulgaire sont extrêmement rares. Cela est d au fait que la justice, dans le Nord, fondée sur des coutumes, utilisait la langue vernaculaire à l'oral. La terminologie juridique franc{c}aise est bien enracinée dans la langue courante de l'époque~: leur insertion dans les Lais et les Chansons de geste en fait preuve. Mais cette terminologie est souvent méconnue par la lexicographie traditionnelle de l'ancien franc{c}ais, en raison des contextes littéraires et figurés. par
The noon of Serbian avant-garde  [PDF]
Milenkovi? Pavle
Zbornik Matice Srpske za Drustvene Nauke , 2008, DOI: 10.2298/zmsdn0824053m
Abstract: This paper deals with artistic and social ideas of the founder and representative of zenithism in the Kingdom of Yugoslavia, i.e. Serbia Ljubomir Mici , in the light of history of ideas, i.e. sociology of knowledge. Activities of this writer and his fellows published in the journal Zenith are seen as representative for the period of the 1920s for the Serbian avant-garde between the two world wars. Special attention is paid to the ideas of Balkan barbarism, i.e. barbarogenius, to ideological ambivalence of Mici and the zenithists between the western ideas and Slavic and pro-Russian ideas, and to their views on Balkan identity and its relation to Europe and European values. .
9/11 as Avant-Garde Art?  [cached]
Richard Schechner
Revista Brasileira de Estudos da Presen?a , 2011,
Abstract: Can the attacks of 9/11 be considered an avant-garde artistic event? This article aims to discuss, from the point of view of the intentionality of the act and of its reception, the performative character of that historical fact. To carry forward this intent, it presents a historical overview of avant-garde art, and discusses some of the historical and cultural conditions that supposedly operated as triggers of such an event. The text also focuses on the spectacular character of the event and the conditions for its appreciation in a society greatly delimited by the media.
L’utopie avant l’heure : La République de Platon  [cached]
Beno?t Quinquis
m@gm@ , 2012,
Abstract: La frontière entre ce que la modernité distinguera sous les dénominations d’utopie pratique et d’utopie théorique n’étant pas étanche dans La République de Platon, il peut être tentant de comparer ce dialogue aux Lois afin de voir quelles propositions relèvent du pratique ou du théorique, mais c’est mal poser la question : en effet, le dialogue étant premièrement théorique d’un point de vue politique, il est plus intéressant de le prendre comme tel et de rechercher ensuite comment une cité existante peut prendre en compte cet idéal régulateur que la philosophie lui propose. Il faut aussi tenir compte du fait que la dimension pratique du dialogue s’exerce surtout à l’égard de l’ame humaine et qu’il est tout aussi intéressant de déterminer dans quelle mesure le propos de La République recoupe l’enseignement éthique dispensé à l’Académie, dont le Phédon offre un aper u saisissant : si l’on peut parler d’utopie avant l’heure concernant La République, c’est moins au nom de cette interpénétration du théorique et du pratique, qui est également le fait de bon nombres d’utopies modernes, qu’au nom de cette interpénétration du politique et de l’éthique que la modernité a souvent tendance à oublier ; Platon n’invite nullement à faire violence à la cité pour la rendre parfaite malgré elle, comme ont pu le faire les totalitarismes modernes, mais plut t à se faire violence à soi-même pour devenir sage et juste : ce précurseur de l’utopie qu’était Platon n’avait pas pour but ultime le meilleur des mondes mais d’abord le meilleur des hommes.
Serbian Literary Magazine and avant-garde music  [PDF]
Vasi? Aleksandar N.
Muzikologija , 2005, DOI: 10.2298/muz0505289v
Abstract: One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevi , the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovi was more tolerant, and Dragutin oli and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.
John Zorn: Autonomy and the Avant-Garde (excerpt)  [PDF]
Ted Gordon
Avant : Journal of Philosophical-Interdisciplinary Vanguard , 2012,
Abstract: This essay is an excerpt for a larger paper exploring the concept of autonomy as it emerges in the life and work of the composer, performer, record label executive and club-owner John Zorn. Zorn’s activities over his wide-ranging career span from performing at jazz lofts in the 1970s to winning the MacArthur “genius” grant in 2008, while maintaining his status as a prolific composer and producer of avant-garde music. In interviews, documentaries, and in his music, Zorn often comments on his status as an avant-garde producer, specifically within the context of the record industry and within New York City’s so-called “Downtown” scene. Economics take the forefront in determining artistic attitudes towards both production of music and the music itself, as Zorn has, seemingly, been forced by the “mainstream market” to create a parallel, vertically-integrated economic system to support the livelihood of himself and his collaborators. This excerpt, from the first third of the essay, unpacks Zorn’s relationship with Downtown scene, his conception of the avant-garde, and his attitude towards artists who have set precedents for Zorn’s version of autonomous cultural production. It also notes the idiosyncratic way that both Zorn and his critics have placed Zorn’s music both within and without two distinct traditions: Avant-Garde composition and free Jazz.
The Avant-Gardist, the Male Genius and the Proprietor
Martin Fredriksson
Nordlit : Tidsskrift i litteratur og kultur , 2007,
Abstract: As the title suggests, this article will deal not only with the avant-garde and the romantic idea of geniality but also with the much more mundane concept of literary property. Even though the law might seem alien to the lofty ideals of the avant-garde artist, the construction of the creative genius and the birth of copyright will eventually prove to be quite closely connected. But before I move on to the legal part I would like to start with the essentials: with the author, or the artist. The American artist John de Andreas sculpture The Artist and his model from 1980 is probably one of the most revealing pictures of the avant-gardist selfconception ever made. This is a picture of the artist at work, but I will argue it can also be regarded as a legal character. What meets the eye is however very far from the law as we know it. de Andreas sculpture is a self-portrait of the artist at work: a highly naturalistic full-scale portrait of two people. One of them is a naked woman, resting casually on a white socket and looking down on the other who is a fully dressed man. As the title clearly states, the sculpture depicts the classical relation between The Artist and his Model, and it is no coincidence that the artist has a male pronoun and the model a female body. The roles of the artist and his model are traditional stereotypes which we can find in most books on art history - one is an artist and the other is a model; one is a man and the other is a woman; one is dressed and the other one is undressed.
Page 1 /100
Display every page Item


Home
Copyright © 2008-2017 Open Access Library. All rights reserved.