Our Debt to the French Tradition: “Catastrophes” and Our Search for Structure Today (1978, 1981)

1984 ◽  
pp. 80-94
Author(s):  
C. Truesdell
Keyword(s):  
French Tradition

Understanding prescription in language. A corpus-based approach

2019 ◽  
Vol 41 (2) ◽  
pp. 67-81
Author(s):  
Douglas A. Kibbee ◽  
Alan Craig
Keyword(s):  
Social Context ◽  
French Tradition ◽  
Linguistic Behavior ◽  
The Relationship ◽  
The Way

We define prescription as any intervention in the way another person speaks. Long excluded from linguistics as unscientific, prescription is in fact a natural part of linguistic behavior. We seek to understand the logic and method of prescriptivism through the study of usage manuals: their authors, sources and audience; their social context; the categories of “errors” targeted; the justification for correction; the phrasing of prescription; the relationship between demonstrated usage and the usage prescribed; the effect of the prescription. Our corpus is a collection of about 30 usage manuals in the French tradition. Eventually we hope to create a database permitting easy comparison of these features.

Film Analysis: Image and Movement

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Scientific Practice ◽  
Film Analysis ◽  
Hollywood Film ◽  
Poetic Expression ◽  
French Tradition ◽  
Classical Hollywood

This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.

A Dialectical Response to Levine's “French Tradition”

2001 ◽  
Vol 42 (1) ◽  
pp. 79-84
Author(s):  
Jennifer M. Lehmann
Keyword(s):  
French Tradition

The French Tradition in Education

1924 ◽  
Vol 19 (1) ◽  
pp. 120
Author(s):  
F. C. Johnson ◽  
H. C. Barnard
Keyword(s):  
French Tradition

scholarly journals Concrete Psychology and the Activity Clinic Approach: Implications for Interventionist Research in the XXIst Century

2020 ◽  
Vol 16 (2) ◽  
pp. 42-50 ◽  
Author(s):  
L. Kloetzer
Keyword(s):  
Short Sequence ◽  
Human Psychology ◽  
Xxist Century ◽  
One Step ◽  
French Tradition

This paper discusses the project of concrete psychology, anchored in vital human drama, both for Vygotsky and Politzer, and its methodological implications, especially from within an interventionist, developmental, transformative perspective. How are the concepts of concrete psychology and drama related for Politzer and Vygotsky? How can we push the agenda of concrete psychology foward? What are the methodological implications of a Vygotskian concrete psychology for us today? After discussing both Vygotsky’s and Politzer’s views on concrete human psychology, we will introduce the French tradition of Activity Clinic, and argue that this approach, and its “organized frameworks,” offers the potential to move one step forward in the direction of a concrete human psychology. We will analyze a short sequence of Cross Self Confrontation as a dramatic interaction potentially contributing to development. We conclude by reflecting on the implications of concrete psychology for XXIth century researchers. The paper thus aims at contributing to an urgent need to rethink an epistemology of psychology, which strongly anchors research in practice.

Aïda’s French premiere at the Opéra in 1880

2011 ◽  
Vol 52 (1-4) ◽  
pp. 429-441
Author(s):  
Alessandro Profio
Keyword(s):  
Critical Reception ◽  
Original Version ◽  
French Translation ◽  
Political Dimension ◽  
Performance Traditions ◽  
National Music ◽  
French Tradition ◽  
First Time

Nine years after its creation in Cairo and eight after the European premiere at La Scala, Aida was produced at the Paris Opéra for the first time on 22 April 1880, in a French translation by Camille du Locle and Charles Nuitter. Verdi himself conducted the first performances. This significant derogation, that was refused to Wagner at the time of Tannhäuser (1861), was contrary to the performance traditions of the Opéra, and drew the attention of the habitués. The artistic ocurrence of the premiere became one of the more relevant society events of the year, and its political dimension determined the reception of the work. Verdi himself was conscious of the advantages and the disadvantages of this situation. He knew that he wouldn’t be able to refuse the proposition of the Opéra without causing a diplomatic incident. From the standpoint of the music, the critical reception, too, was oriented by political reflections about the “nation” and “national music.” The question, why did the Opéra open its doors to an Italian work, which kept distant from the French tradition, even though the original version had been translated and modified in some parts, emerged in a few writings. The paper will set the reception of the opera in an aesthetical context that the book by Gustave Bertrand, Les nationalités musicales étudiées dans le drame lyrique (Paris: Didier, 1872) had provided.

Attacking the French Tradition

Tocqueville ◽  
2013 ◽  
Author(s):  
Lucien Jaume
Keyword(s):  
Political Action ◽  
The Public ◽  
The People ◽  
The Social ◽  
Moral Power ◽  
Democracy In America ◽  
French Tradition ◽  
Decentralized Government

This chapter argues that traditionalists fail to realize the fact that for Tocqueville, the power of the people was above all a sociological and moral power, not an institutional one. Democracy in America offered an original conception of His Majesty the Majority, which was still called “the Public.” In Tocqueville's eyes, the various organs of decentralized government—the communes (dominated by great landowners) of which the monarchists dreamed, the associations of families in Lamennais, the “social authorities” exalted by Le Play and his followers—made sense only in this context. The Public was not a phantom conjured up by political dreams—a liberal illusion that in Le Play's view stemmed from “the so-called principles of 1789.” The Public was the new subject of history, or at any rate the quintessential totem of political action.

The Interim II: 1914–1922

Rilke ◽  
2020 ◽  
pp. 304-356
Author(s):  
Charlie Louth
Keyword(s):  
German Literature ◽  
First World War ◽  
World War ◽  
Systematic Fashion ◽  
The First World War ◽  
French Tradition ◽  
First Time ◽  
First World

This chapter continues the examination of Rilke’s ‘interim’ work with a focus on his responses to German literature, which he began to read in a more systematic fashion at this time, moving away from the French tradition which he had virtually made himself part of in Paris. Although the First World War stifled Rilke’s writing, he remained committed to a poetics of experimentation. The chapter looks in detail at his relationship with the poetry of Hölderlin, which was edited fully for the first time in these years and, within the context of the war, goes on to deal with the ‘phallic’ ‘Sieben Gedichte’ and other poems including ‘Der Tod’, ‘An die Musik’ and ‘Laß dir, daß Kindheit war…’ ending with ‘Solang du Selbstgeworfnes fängst…’ as a prelude to the Duineser Elegien.

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