Recherche multi-critères

William Hogarth - The Gate of Calais (The Roast Beef of Old England) par Vincent Brault, publié le 23/05/2013

Reproduction commentée de l'oeuvre "The Gate of Calais (The Roast Beef of Old England)" du graveur anglais William Hogarth.

William Hogarth - Mr. Ranby's House at Chiswick par Vincent Brault, publié le 22/05/2013

Reproduction commentée de l'oeuvre "Mr. Ranby's House at Chiswick" du graveur anglais William Hogarth.

William Hogarth - Hymen and Cupid par Vincent Brault, publié le 22/05/2013

Reproduction commentée de l'oeuvre "Hymen and Cupid" du graveur anglais William Hogarth.

The Essential David Shrigley par Johanna Felter, publié le 21/05/2013

"David Shrigley is a multidisciplinary artist who started his career in the early nineties self-publishing art books containing cartoon-like drawings for which he is mainly famous. Their trademarks, which are also recognizable in his varied artistic productions – clumsy execution, sloppy handwriting, disturbing or puzzling text, dark humour and uncanny atmosphere – helped Shrigley to gradually shape a clearly distinctive personality in his work which brought him out as one of the current key figures of British contemporary art scene."

Victorian printing and William Morris’s Kelmscott Press par Laura Mingam, publié le 09/05/2013

During the Victorian period, the Industrial Revolution reached the field of printing, and profoundly altered book production in England. Even though technical innovations led to the creation of dazzling volumes, the artist designer William Morris denounced the corruption of traditional printing methods. As a reaction against the standards of his time, William Morris decided to open his own printing press, with the aim of “producing [books] which would have a definite claim to beauty”. The Kelmscott Press was to become a new landmark in the history of English printing.

William Hogarth - Industry and Idleness par Vincent Brault, publié le 07/05/2013

Reproductions commentées des douzes oeuvres de la série "Industry and Idleness" du graveur anglais William Hogarth.

William Hogarth - A Country Inn-Yard par Vincent Brault, publié le 07/05/2013

Reproduction commentée de l'oeuvre "A Country Inn-Yard" du graveur anglais William Hogarth.

William Hogarth - Garrick in King Richard III par Vincent Brault, publié le 06/05/2013

Reproduction commentée de l'oeuvre "Garrick in King Richard III" du graveur anglais William Hogarth.

William Hogarth - Simon Lord Lovat par Vincent Brault, publié le 06/05/2013

Reproduction commentée de l'oeuvre "Simon Lord Lovat" du graveur anglais William Hogarth.

William Hogarth - Marriage à-la-mode par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Marriage à-la-mode" du graveur anglais William Hogarth.

William Hogarth - Characters and Caricaturas par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Characters and Caricaturas" du graveur anglais William Hogarth.

William Hogarth - Martin Folkes, Esq. par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Martin Folkes, Esq." du graveur anglais William Hogarth.

William Hogarth - Bishop Hoadly par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Bishop Hoadly" du graveur anglais William Hogarth.

William Hogarth - Battle of the Pictures par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Battle of the Pictures" du graveur anglais William Hogarth.

William Hogarth - Taste in High Life par Vincent Brault, publié le 19/04/2013

Reproduction commentée de l'oeuvre "Taste in High Life" du graveur anglais William Hogarth.

Kate Chopin as a Vocal Colourist: Vocalscapes in “Beyond the Bayou” par Manuel Jobert, publié le 16/04/2013

Authors sometimes pepper their writings with features of orality. Charles Dickens, Emily Brontë, Thomas Hardy or George Bernard Shaw have become household names renowned for this propensity to rely on the vocal medium. Orality, however, is an umbrella term that covers a wide range of possible meanings. In this paper, I shall mainly be concerned with direct speech and the way it represents spoken discourse proper.

Amending Mariana in Measure for Measure par Michael Dobson, publié le 11/04/2013

With all of this provocative and intriguing play to choose from, complete with a beguiling cast list that includes figures as complex and compelling as Angelo, Isabella, and the Duke, I have chosen to discuss the person who may seem in her own right the least interesting of the six newly-married, betrothed-and-expecting, or potentially betrothed characters who dominate Measure for Measure’s final tableau: Mariana.

Introduction à Measure for Measure par Estelle Rivier, Delphine Lemonnier-Texier, Isabelle Schwartz-Gastine, publié le 11/04/2013

Mettre en scène une pièce, dit Jean-François Sivadier interrogé sur le processus de création, c’est poser une hypothèse, et la mettre à l’épreuve du plateau, poursuivre le rêve que l’on a sur la pièce, et franchir le pas de son adaptation, accepter d’être confronté à l’écart entre le rêve et le plateau, tout en réussissant à ne pas perdre son rêve. Mettre en scène une pièce de Shakespeare, comme toute autre pièce de répertoire, c’est aussi se confronter à ses fantômes : ceux, manifestes, de ses mises en scène antérieures, et ceux, implicites, que l’on porte en soi en tant qu’artiste, les traversées que l’on a faites, les créations, les rôles antérieurs, l’histoire d’un parcours esthétique où cette pièce vient s’inscrire dans un cheminement, y (d)écrire un moment, une étape, une boucle peut-être...

William Hogarth - The Enraged Musician par Vincent Brault, publié le 26/03/2013

Reproduction commentée de l'oeuvre "The Enraged Musician" du graveur anglais William Hogarth.

Aux origines de Twelve Years a Slave (Steve McQueen, 2013) : le récit d’esclave de Solomon Northup par Michaël Roy, publié le 20/03/2013

Aux origines du film de Steve McQueen, Twelve Years a Slave (2013), il y a le récit de l’esclave américain Solomon Northup (1853). Cet article présente d’abord le récit d’esclave et situe cette forme littéraire dans le paysage idéologique de l’Amérique d’avant la guerre de Sécession ; il détaille ensuite l’histoire éditoriale de Twelve Years a Slave ; il donne enfin quelques repères dans l’œuvre et évoque son devenir critique.

Care: A New Way of Questioning our Societies par Joan Tronto, publié le 15/03/2013

"In the United States, care became a focus of feminist research in the early 1980s. As “second wave” feminists realized that mere formal equality was insufficient, they began to think more deeply about what was required for the genuine inclusion of women."

William Hogarth - Strolling Actresses Dressing par Vincent Brault, publié le 12/03/2013

Reproduction commentée de l'oeuvre "Strolling Actresses Dressing" du graveur anglais William Hogarth.

A global open-circuit television system going live? par Jeffrey Rosen, publié le 11/03/2013

I was at a conference at Google not long ago, and the head of public policy, said he expected that before long, Google and Facebook will be asked to post online live feeds to all the public and private surveillance cameras in the world, including mobile cameras mounted on drones. Imagine that Facebook responds to public pressure and decides to post live feeds, so they can be searched online, as well as archiving the video in the digital cloud.

William Hogarth - Four Times of the Day par Vincent Brault, publié le 11/03/2013

Reproductions commentées des quatre oeuvres de la série "Four Times of the Day" du graveur anglais William Hogarth.

William Hogarth - The Lecture par Vincent Brault, publié le 01/03/2013

Reproduction commentée de l'oeuvre "The Lecture" du graveur anglais William Hogarth.

William Hogarth - The Distressed Poet par Vincent Brault, publié le 01/03/2013

Reproduction commentée de l'oeuvre "The Distressed Poet" du graveur anglais William Hogarth.

William Hogarth - The Pool of Bethesda and The Good Samaritan par Vincent Brault, publié le 01/03/2013

Reproductions commentées des oeuvres "The Pool of Bethesda" et "The Good Samaritan" du graveur anglais William Hogarth.

William Hogarth - Company of Undertakers par Vincent Brault, publié le 21/02/2013

Reproduction commentée de l'oeuvre "Company of Undertakers" du graveur anglais William Hogarth.

After Obamacare: The New Stakes of US Healthcare Policy par Alondra Nelson, publié le 21/02/2013

The new stakes for healthcare policy in the U.S. are apparent in what Obamacare concretized — the further privatization and stratification of healthcare—and what it left unsaid—the assertion of a right to health. Solutions lie outside of the formal domain of policy and in the realm of ethics and human rights. Yet, it is hard to imagine the application of these remedies at a time when life can be taken with impunity and in a world in which the US kills through drone warfare with each bomb carrying not only the threat of death but also the message that some lives matter less than yours or mine.

Going Solo par Eric Klinenberg, publié le 19/02/2013

About five years ago I started working on a book that I planned to call ALONE IN AMERICA. My original idea was to write a book that would sound an alarm about a disturbing trend: the unprecedented rise of living alone. I was motivated by my belief that the rise of living alone is a profound social change – the greatest change of the past 60 years that we have failed to name or identify. Consider that, until the 1950s, not a single human society in the history of our species sustained large numbers of people living alone for long periods of time. Today, however, living alone is ubiquitous in affluent, open societies. In some nations, one-person households are now more common than nuclear families who share the same roof. Consider America. In 1950, only 22 percent of American adults were single, and only 9 percent of all households had just one occupant. Today, 49 percent of American adults are single, and 28 percent of all households have one, solitary resident.

William Hogarth - Sancho at a Magnificent Feast par Vincent Brault, publié le 19/02/2013

Reproduction commentée de l'oeuvre "Sancho at a Magnificent Feast" du graveur anglais William Hogarth.

William Hogarth - The Sleeping Congregation par Vincent Brault, publié le 19/02/2013

Reproduction commentée de l'oeuvre "The Sleeping Congregation" du graveur anglais William Hogarth.

William Hogarth - Woman Swearing a Child par Vincent Brault, publié le 19/02/2013

Reproduction commentée de l'oeuvre "Woman Swearing a Child" du graveur anglais William Hogarth.

Entretien avec Adel Hakim - Mesure pour Mesure de William Shakespeare, une écriture du présent par Adel Hakim, Estelle Rivier, publié le 18/02/2013

Mesure pour Mesure a été créé pour les Fêtes Nocturnes de Grignan en 2007. Quarante représentations y ont eu lieu devant la façade du palais. Le spectacle a été ensuite repris en 2009 au Théâtre des Quartiers d’Ivry dirigé par Adel Hakim puis est parti en tournée.

William Hogarth - The Rake's Progress par Vincent Brault, publié le 18/02/2013

Reproductions commentées de la série "The Rake's Progress" du graveur anglais William Hogarth.

Livery, liberty, and the original staging of Measure for Measure par Andrew Gurr, publié le 17/02/2013

We know that Shakespeare lived in Bishopsgate through his first years in London, in the parish of St. Helens. Located just to the north of the Tower, he is on record as paying his dues in this parish. Not far from St. Helen’s was St. Botolph’s in Aldgate, another local church where Shakespeare had neighbourly connections. Not far from there, slightly to the east and north of the Tower, in the parish of St. Aldgates Without (meaning outside the city walls) there had once been the greatest of the three English Franciscan nunneries, known as the Minories, the London nunnery of the Order usually called the Poor Clares. This site, though no longer a nunnery, was still there when Shakespeare came to live nearby in 1590 or so...

Measure for Measure in Performance par Estelle Rivier, Delphine Lemonnier-Texier, Isabelle Schwartz-Gastine, publié le 17/02/2013

Ce dossier a été réalisé à partir des interventions de la journée d'étude "Measure for measure in performance", consacrée à l'oeuvre de William Shakespeare

William Hogarth - Rich's Triumphant Entry par Vincent Brault, publié le 15/02/2013

Reproduction commentée de l'oeuvre "Rich's Triumphant Entry" du graveur anglais William Hogarth.

William Hogarth - Midnight Modern Conversation par Vincent Brault, publié le 15/02/2013

Reproduction commentée de l'oeuvre "Midnight Modern Conversation" du graveur anglais William Hogarth.

William Hogarth - The Man of Taste par Vincent Brault, publié le 15/02/2013

Reproduction commentée de l'oeuvre "The Man of Taste" du graveur anglais William Hogarth.

Can Religion Make you Free? A Sermon on Diabolical Happiness par Simon Critchley, publié le 15/02/2013

"What is it that makes human beings happy? In a word, bread. And here we return to Jesus’ answers to the Devil’s desert temptations. In refusing to transform miraculously the stones into loaves, Jesus rejected bread for the sake of freedom, for the bread of heaven."

Neoliberalism, De-Democratization, Sacrifice par Wendy Brown, publié le 11/02/2013

Neoliberalism, of course, is not unified or constant but differs across its geographical instantiations and transmogrifies over time. In the Euro Atlantic world today, two different and quite contingent forces are giving neoliberalism a new shape: on the one hand, financialization is configuring states, firms, associations and subjects in terms of capital valuation or credit worthiness (as opposed to productivity, efficiency, cost-benefit or interest maximization), and on the other hand, austerity regimes are effecting enormous shrinkages in human well being through cuts in jobs, pay, benefits and services.

Reclaiming space in New York City par ENS Lyon La Clé des Langues, publié le 11/02/2013

Ce dossier sur les questions d'urbanisme et d'aménagement à New York regroupe trois ressources accompagnées d'exercices de compréhension et de production orales et écrites, ainsi que d'analyse d'image.

The Political Future of Religion and Secularism par Craig Calhoun, publié le 08/02/2013

Secularism has long been seen as a solution to problems of religion. Yet today, secularism (laïcité) itself is a political problem alongside religion. In some versions, secularism has become an obstacle to political and social projects potentially shared among members of different religions and the non-religious. It has been politicized in relation to migration, insurgency, and religious renewal. As ideology, it is sometimes the basis for new forms of intolerance. Both secularism and religion are sometimes made the bases for prescriptive demands on others as well as self-understandings. A central issue is the transformation of secularism and laïcité – in some versions – from formulations focused on freedom to ideologies mobilized to impose cultural values. Yet this need not be so. The problems are not with religion and secularism as such, but with how “fundamentalist” versions of each are deployed.

William Hogarth - Southwark Fair par Vincent Brault, publié le 22/01/2013

Reproduction commentée de l'oeuvre "Southwark Fair" du graveur anglais William Hogarth.

How Healing Are Books? par Pierre Zaoui, publié le 22/01/2013

The idea that novels, theater, or poetry often help us live, that they help us feel cleansed or feel stronger, more energized, more alive, or that they at least help us survive by giving us the boost we need to hang on a little longer, is not simply a constant topos of literature, be it western, eastern, or universal. It is an indisputable truth for those who make use of it, whether they write it, read it, comment on it, or transform it into a first-aid kid of maxim-prescriptions and citation-medicines to use as needed.

William Hogarth - A Chorus of Singers par Vincent Brault, publié le 22/01/2013

Reproduction commentée de l'oeuvre "A Chorus of Singers" du graveur anglais William Hogarth.

The Intensive Care Unit: A Place of Technology and Myth par Cécile Guilbert, publié le 22/01/2013

If we follow Giorgio Agamben, who defined “religion as that which subtracts things, places, animals and persons from common use to transfer them into a separate sphere,” the intensive care unit seems to be a sacred place within the hospital because it is special, separate, and governed by specific protocols, whether we’re talking about reduced visiting hours or its bunker-like nature (like the operating room and the morgue). And because it’s the place of suspension between life and death, a passageway between the conscious and the unconscious, or between presence and absence, intensive care is the place for all sorts of metaphysical questions, in the form of oxymora. What’s at stake here, for the patient—a dying life? A living death? What then is life? and death?

The Young Lords par Johanna Fernandez, Claire Richard, publié le 22/01/2013

The Young Lords were the children of the first large wave of Puerto Rican migration to the North East of the United States, in cities like New York, Chicago, Philadelphia and Hartford. The Young Lords was begun not in New York, interestingly enough, but in Chicago. And it was initiated by the efforts of the leader of the Young Lords, who initially in Chicago had been a gang. Cha Cha Jimenez, who was the leader of that gang, worked with a leader of the Black Panther Party, Fred Hampton, to transform this gang into a political organization.

William Hogarth - The Laughing Audience par Vincent Brault, publié le 22/01/2013

Reproduction commentée de l'oeuvre "The Laughing Audience" du graveur anglais William Hogarth.

William Hogarth - Boys Peeping at Nature par Vincent Brault, publié le 21/01/2013

Reproduction commentée de l'oeuvre "Boys Peeping at Nature" du graveur anglais William Hogarth.

William Hogarth - Sarah Malcolm par Vincent Brault, publié le 21/01/2013

Reproduction commentée de l'oeuvre "Sarah Malcolm" du graveur anglais William Hogarth.

William Hogarth - King Henry VIII and Anna Bulleyn par Vincent Brault, publié le 21/01/2013

Reproduction commentée de l'oeuvre "King Henry VIII and Anna Bulleyn" du graveur anglais William Hogarth.

William Hogarth - Examination of Bambridge par Vincent Brault, publié le 21/01/2013

Reproduction commentée de l'oeuvre "Examination of Bambridge" du graveur anglais William Hogarth.

William Hogarth - The Indian Emperor par Vincent Brault, publié le 21/01/2013

Reproduction commentée de l'oeuvre "The Indian Emperor" du graveur anglais William Hogarth.

Power – which powers? par Mathieu Potte-Bonneville, publié le 21/01/2013

To read, thirty-five years later, the essay that Jean Baudrillard published on Michel Foucault’s The Will to Knowledge is an odd experience : not only because many aspects of this intellectual fight are now litteraly archeological, in the usual sense of this word (if we haven’t forgotten Foucault, we hardly remember that time, when sexual liberation was a motto so important that interpreting it was a path to understand the whole society) ; but also because the two authors were talking and thinking in the name of a future that is now our past, or at least the shadow of our present.

Time Square - Before and After par ENS Lyon La Clé des Langues, publié le 18/01/2013

A partir d'un montage de deux photographies de Time Square, cette page propose des exercices de compréhension générale et d'analyse d'image.

Some Thoughts on Identity par Claude Arnaud, publié le 18/01/2013

It is the topic par excellence, the enigma that is impossible to solve. This puppet that we call somewhat pompously “The Self,” what is it in the end? An actor who resigns himself, around the age of thirty, to play only one role, or a born clown who struggles to understand himself, having changed so often?

Some Thoughts About Memory, Identity, and the False Family Narrative par Mira Bartók, publié le 15/01/2013

Identity and family legacy are partially formed by the family “memory narrative”—a family member, usually our mother or father, tells us stories about what happened before we were born or when we were too young to remember momentous events. But what happens when that narrator in the family is mentally ill, or a compulsive liar? In my case, my schizophrenic mother was the unreliable narrator of our family history. And my alcoholic father, a gifted writer who left when I was four, told my mother’s family grandiose lies about his own past.

Becoming No One par Gwenaëlle Aubry, publié le 15/01/2013

"The writing project came as the answer to a question that can, in retrospect, be formulated as follows: How can we grieve for a melancholy person, a person who was grieving himself? How can we get to grips with the absence of someone who was never really present?"

The black community in New York, past and present par Alondra Nelson, Clifford Armion, publié le 15/01/2013

Alondra Nelson tells us about the history of the black community in New York; where they came from, where they settled and why. She also explores issues related to the urban development in Manhattan and to the gentrification of Harlem.

Paul Auster, The Brooklyn Follies par Paul Auster, publié le 15/01/2013

A partir d'un extrait du roman "The Brooklyn Follies" de Paul Auster, cette page propose des exercices de compréhension générale et détaillée, ainsi qu'un exercice de grammaire.

The 9/11 memorial, an ambitious renunciation par Clifford Chanin, ENS Lyon La Clé des Langues, publié le 15/01/2013

A partir d'une interview de Clifford Chanin, directeur de l'éducation et des programmes au 9/11 museum de New York, sur le mémorial du 11 septembre 2001, cette page propose des exercices de compréhension générale et détaillée, ainsi qu'un exercice de phonétique.

Reclaiming the streets, public space and quality of life in New York par Janette Sadik-Khan, Clifford Armion, publié le 11/01/2013

Mayor Bloomberg’s PlaNYC initiative was a thirty year plan to say ‘what do we need to do to ensure that a 9.4 million New York City works better than an 8.4 million New York City works today?’ so that when you open the door in the year 2030 you like what you see. That long term planning view, understanding the growth that’s going to happen, meant that we needed to change some fundamental things. One of the first things we needed to do was to look at our transport systems differently and use the lever of growth to modernise those transport systems.

Understanding the social media: an interview with Jeffrey Rosen par Jeffrey Rosen, Clifford Armion, publié le 10/01/2013

Now that we’re living most of our lives online, all of us are vulnerable to the internet. The difficulty with young people is that they may not have experienced the dangers of not being able to escape your past until it’s too late. I like to tell the story of Stacy Sneider, the young 22 year old teacher in training who posted a picture of herself on Myspace wearing a pirate’s hat and drinking from a plastic cup that said drunken pirate. Her supervisor at the school said she was promoting drinking and she was fired. She sued and was unable to get her job back and she had to pick an entirely different career. That’s a very dramatic example on how vulnerable all of us are to being judged out of context by a single image or ill chosen picture and once you do that it may be very hard to escape your past.

For a public service of human augmentation par Thierry Hoquet, publié le 04/01/2013

Thinking about humanity begins with the myth of Epimetheus and Prometheus: forgotten during the distribution of efficient organs, humans remained naked. While Epimetheus gave claws to some, shells to others, speed or cunning to still others, humans were neglected and ended up the poorest of creatures. To help them provide for the necessities of life and to repair as best he could his brother’s fundamental and foundational omission, Prometheus came to the rescue.

William Hogarth - Beggars' Opera Burlesqued par Vincent Brault, publié le 21/12/2012

Reproduction commentée de l'oeuvre "Beggars' Opera Burlesqued" du graveur anglais William Hogarth.

William Hogarth - The Beggars' Opera par Vincent Brault, publié le 21/12/2012

Reproduction commentée de l'oeuvre "The Beggars' Opera" du graveur anglais William Hogarth.

William Hogarth - Just View of the British Stage par Vincent Brault, publié le 21/12/2012

Reproduction commentée de l'oeuvre "Just View of the British Stage" du graveur anglais William Hogarth.

William Hogarth - Large Masquerade Ticket par Vincent Brault, publié le 20/12/2012

Reproduction commentée de l'oeuvre "Large Masquerade Ticket" du graveur anglais William Hogarth.

William Hogarth - Twelve prints of Hudibras par Vincent Brault, publié le 20/12/2012

Reproduction commentée de la série des "Hudibras plates" du graveur anglais William Hogarth.

For another Hysterature par Emilie Notéris, publié le 17/12/2012

Since the question of women’s freedom in writing, or “Why stories of transgression or women’s assertions of freedom are less tolerated than those of men?” only highlight ordinary male chauvinism (the answer to the question is undeniably related to cultural issues), I prefer to focus on the counter strategies that can be deployed in response to the insults made to women, like the one Eileen Myles describes in her introduction to I love Dick by Chris Kraus, What about Chris?: “She’s turned female abjection inside out and aimed it at a man.” In other words, rather than identifying the reasons for the violent reception of women’s transgressive writing, I prefer to think about the strategies that can flow from them.

Not Looking for Love par Chris Kraus, publié le 17/12/2012

As women, we are often identified through our choice of sexual partners. When an “attractive” woman has sex with an ugly man, it is a descent into “abjection.” But why? Clearly, it is because as women, we are still believed to attain most of our identities through sexuality. In the present assimilationist climate, any non-monogamous, non-relational sexual act is read as a symptom of emotional damage. Our culture persists in believing that sex holds the magic key to a person’s identity — which is, of course, wrong — and in behaving as if female writers are uniquely charged with upholding the sacred intimacy of the sexual act.

Declaration of Disinclinations par Lynne Tillman, publié le 11/12/2012

I like the theoretical ideal of neutrality, of non-hierarchical thinking. I’d like to be a writer, a person, but I am not. None of this naming is my choice. I’m a woman, “still” or I’m “only a woman.” “A good, bad woman, a silly, frivolous woman, an intelligent woman, a sweet woman, a harridan, bitch, whore, a fishmonger, gossipy woman. A woman writer.” What is “a woman writer”? Does “woman” cancel or negate “writer”? Create a different form of writer? Or does “woman” as an adjective utterly change the noun “writer”? “Man writer”? Not used. “Male writer,” rarely employed. Are there “man books” being read in “man caves?” OK, I declare: I’m a woman who writes, a person who writes. But how am I read?

The Words of the Flesh par Wendy Delorme, publié le 11/12/2012

There are people who write from the place that they have been assigned. Some of them with rage so as to get away from it; others, by contrast, who follow the path that has been mapped out for us. There are those who would rather stay on the margin of that space, away from the feminine, off-centered, but are then dragged back to it, kicking and screaming. Their words are women's words, words that are situated. The masculine remains the universal reference. Feminine words stay in the realm of the singular, indexed to the gender of who said them.

Some thoughts on silence and the contemporary “investigative memoir” par Marco Roth, publié le 06/12/2012

Critics and readers, at least in the United States, seem to be slower to recognize the investigative memoir as a narrative mode deserving of attention as such. The American memoir comes burdened with a history of survivor’s tales and evangelical Protestant redemption stories: the writer is usually delivered from bondage: slavery or captivity in the 19th century, Communism, Nazi Europe, or “substance abuse” in the 20th, and into freedom or the light of truth. THE END. Testifying, in both legal and religious senses, is important. Important too is the sense that the author can be written into a social order, given a normal or productive life...

Video game theory par Liel Leibovtiz, Claire Richard, publié le 05/12/2012

TV requires you to interpret, to find meaning, to reject meaning, to make up new meaning, to negociate. Video games aren’t like that. Video games require you to do something else. You turn on a video game, and immediately you exist in three separate forms : you are that self on the couch, sitting in the physical space, watching the TV, holding the remote in your hand, you are the avatar on the screen, the character which you control and manipulate, and you’re a sort of third entity, an amalgamation of the two of you, of real and unreal, person and avatar, of gamer and character.

Questions d'urbanisme à New York par Michel Lussault, Clifford Armion, publié le 29/11/2012

Michel Lussault, professeur de géographie et directeur de l'Istitut Français d'Education, répond aux questions de Clifford Armion, responsable de La Clé des langues, dans le cadre d'une rencontre organisée par la Villa Gillet dans les locaux newyorkais du Guardian, le 13 octobre 2012. Il évoque les changements opérés dans le paysage urbain de New York ces dernières années aux travers d'exemples comme la reconfiguration de Time Square, la transformation de la High Line en promenade ou bien encore le mémorial du 11 septembre.

William Hogarth - Masquerades and Operas, Burlington-gate par Clifford Armion, publié le 27/11/2012

Reproduction commentée de l'oeuvre "Masquerades and Operas, Burlington-gate" du graveur anglais William Hogarth.

William Hogarth - "An emblematic print on the South Sea" and "The Lottery" par Vincent Brault, publié le 27/11/2012

Reproductions commentées de deux oeuvres du graveur anglais William Hogarth.

William Hogarth - Royalty, Episcopacy, and Law par Vincent Brault, publié le 27/11/2012

Reproduction commentée de l'oeuvre "Royalty, Episcopacy, and Law" du graveur anglais William Hogarth.

William Hogarth - Altar-Piece at St. Clement's par Vincent Brault, publié le 27/11/2012

Reproduction commentée de l'oeuvre "Altar-Piece at St. Clement's" du graveur anglais William Hogarth.

William Hogarth - The Harlot's Progress par Vincent Brault, publié le 23/11/2012

Reproductions commentées de la série des "Harlot's progress" du graveur anglais William Hogarth.

Title page of the Nichols edition par ENS Lyon La Clé des Langues, publié le 23/11/2012

Reproduction de la page de titre de l'édition Nichols des oeuvres du graveur anglais William Hogarth.

Portraits of Hogarth par ENS Lyon La Clé des Langues, publié le 23/11/2012

Reproductions commentées de deux autoportraits du graveur anglais William Hogarth.

Reportage sur Martin Parr par ENS Média, publié le 20/11/2012

Un reportage réalisé par ENS Média à l'occasion de l'exposition "Life's a beach" à la Bibliothèque municipale de Lyon.

The cultural perception of the American land: a short history par Mireille Chambon-Pernet, publié le 20/11/2012

The importance of land and nature in the American culture is widely known. The Pilgrim Fathers who landed on the coast of the Massachussetts in 1620 were looking for freedom which was both spiritual and material. The latter derived from land ownership, as a landowner called no man master. Yet, in 1893, Jackson Turner announced that: “the American character did not spring full-blown from the Mayflower” “ It came out of the forests and gained new strength each time it touched a frontier”.

What Does a New Yorker Think When He Bites into a Hamburger? par Caroline Heinrich, publié le 20/11/2012

What do you think of when you bite into a hamburger? Mmm, how delicious? Oh boy, this is bad for me? Or: I hope I won’t make a mess. Or perhaps you don’t want to think about anything at all? Maybe you are just thinking, “What a crazy question!”? Or are you trying to figure out what this crazy question has to do with philosophy and, particularly, with Baudrillard’s thought?

The 9/11 memorial - Interview and footage of the WTC site par Clifford Chanin, Clifford Armion, publié le 30/10/2012

The original World Trade Centre site was 16 acres which if my calculations are correct is about 10 hectares in French geographical terms. So it was a very large space in the centre of the downtown Wall Street business district in New York. Those two buildings were each 110 stories tall. Each floor was an acre square. So you had 10 million square feet of floor space in those buildings. It really was an attempt to build the largest buildings in the world and bring companies from around the world to do business in those buildings. Once the attacks came and the buildings collapsed, it emerged very quickly in the planning process that the actual footprints of the buildings, those places were the they stood, were considered sacred ground.

Prosodie et correction phonétique par Stephan Wilhelm, publié le 23/10/2012

Selon le cadre dans lequel chacun évolue, on peut avoir diverses conceptions de la correction phonétique. Pour l’enfant qui acquiert sa langue maternelle, cette notion (bien imprécise, sans doute) sera différente de celle qu’entretient celui qui découvre l’anglais en tant que langue étrangère. Pour l’apprenant de niveau avancé (notamment pour les candidats aux concours de recrutements de professeurs ou les enseignants d’anglais d’origine non-anglophone), un degré élevé de correction phonétique est essentiel et constitue souvent l’objet d’une quête opiniâtre. À divers niveaux de l’enseignement, la correction phonétique est d’ailleurs étroitement associée à l’« authenticité » de l’anglais oral, c’est-à-dire à un haut degré de conformité avec la langue parlée par les locuteurs natifs.

Biographical essay on the genius and works of Hogarth (Part II) par John Nichols, publié le 05/10/2012

So much has already been written respecting the illustrious Artist who is the subject of the present memoir, that, were it not intended as a necessary accompaniment to this Edition of his works, a sketch of his life might seem to require some apology. It is not here professed to bring forward additional facts, but rather to examine generally his peculiar merits as an Artist, and to exhibit, within a moderate compass, the opinions of his various Commentators; connecting this criticism with such a brief outline of his life as may serve to give a biographical form to the whole.

Phénomènes accentuels et rythmiques par Natalie Mandon, publié le 03/10/2012

Cette partie du précis d'anglais oral, consacrée à la chaîne parlée, aborde la question des phénomènes accentuels et rythmiques.

Principes fondamentaux de l’intonation par Natalie Mandon, publié le 03/10/2012

Cette partie du précis d'anglais oral, consacrée à la chaîne parlée, explicite les principes fondamentaux de l'intonation.

Biographical essay on the genius and works of Hogarth par John Nichols, publié le 27/09/2012

So much has already been written respecting the illustrious Artist who is the subject of the present memoir, that, were it not intended as a necessary accompaniment to this Edition of his works, a sketch of his life might seem to require some apology. It is not here professed to bring forward additional facts, but rather to examine generally his peculiar merits as an Artist, and to exhibit, within a moderate compass, the opinions of his various Commentators; connecting this criticism with such a brief outline of his life as may serve to give a biographical form to the whole.

"Life's a Beach" de Martin Parr - Préambule de David Gauthier par David Gauthier, publié le 25/09/2012

Dans le cadre de l'exposition Life's a Beach à la Bibliothèque municipale de Lyon et du festival "Rencontres 2012 de la photographie Lyon sur la Méditerranée", Martin Parr s'est rendu à l'ENS à l'invitation de David Gauthier, chargé de Mission Images et responsable des Affaires culturelles de l'école.

Regard sur un cliché de Martin Parr, The Great Indoors, 1996 par Maxime Roccisano, publié le 21/09/2012

"Elle nous parle de nous parce que nous avons tous des images déjà faites de plage, vues dans des magazines chez son dentiste, vues à la télé, vues en "vrai". Son côté bizarre, le fond peint et le faux promontoire avec son palmier en plastique (même la lumière fait fausse!), nous interpelle et nous met dans une position d'attente. Que se passe-t-il? Pourquoi est-ce que ces gens regardent tous dans la même direction? Peu importe finalement, ce qui compte, c'est ce que cette image nous fait, individuellement."

"I’m the antidote to propaganda": A conversation with Martin Parr par Martin Parr, Marie Gautier, Aurore Fossard, publié le 21/09/2012

"Well I like bright colours. I took the palette that was used for commercial photography, especially in advertising and fashion, and I applied that to the art world because I’m fundamentally trying to create entertainment in my photographs. The idea is to make them bright and colourful but if you want to read a more serious message in the photographs then you can do it as well. But my prime aim is to make accessible entertainment for ‘the masses’. So it’s a serious message disguised as entertainment."

Biographie/bibliographie de Martin Parr par Bibliohtèque municipale de Lyon, publié le 18/09/2012

Né en Angleterre en 1952, Martin Parr est originaire d’Epsom, dans le Surrey. Son intérêt pour la photographie se manifeste dès l’enfance, sous l’aune de son grand-père George Parr, lui-même photographe amateur accompli. Martin Parr étudie la photographie à l’École polytechnique de Manchester, de 1970 à 1973. Pour subvenir à ses besoins tandis qu’il travaille comme photographe indépendant, il occupe divers postes d’enseignement entre 1975 et l’ouverture des années 1990...

Dystopia in the plays of Samuel Beckett : Purgatory in Play par Eleanor Bryce, publié le 14/09/2012

The literary genre of dystopia remains popular in the English-speaking world, particularly in young adult fiction. In this age of rapid technological advances, and the threat (or indeed reality) of political and media control, works of literature which question the benefits of these developments are thriving.

Kate Colquhoun on the blurred boundaries between fiction and non-fiction par Kate Colquhoun, publié le 11/09/2012

Truman Capote called his 1966 book In Cold Blood the first non-fiction novel. Since then, the boundaries between fiction and non-fiction have become increasingly blurred. Are these false definitions? At least we could say that novelists are able to articulate the internal worlds – the thoughts and feelings – of their characters while non-fiction relies entirely on evidence.