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Pourquoi l’Ukraine est en train de perdre la guerre contre la Russie ? Comment les deux camps pensent et mènent leurs opérations ? Quelles ont été les erreurs de part et d’autre ? Comment l’Occident a contribué à la défaite ukrainienne ?... Pour répondre à ces questions et à bien d’autres, Jacques Baud s’appuie sur des informations officielles, des documents américains, occidentaux et russes. Il explique la manière dont la Russie comprend et conduit la guerre. Il montre combien l’incapacité des Occidentaux à comprendre cette réalité et leur détermination à affaiblir la Russie s’est retournée contre l’Ukraine. Après les best-sellers Poutine, le maître du jeu ?, Opération Z et Ukraine entre guerre et paix dont le travail d’analyse a été salué dans le monde entier et dont les ouvrages ont été traduits dans plusieurs pays, l’auteur revient sur la guerre en Ukraine. Il expose la manière dont la Russie l’a menée et comment l’image qu’en ont donné les Occidentaux a conduit l’Ukraine vers l’échec.
This volume gathers over forty papers by leading scholars in the field of the history of rhetoric. It illustrates the current trends in this new area of research and offers a great richness of insights. The contributors are from fourteen different countries in Europe, America and Asia ; the majority of the papers are in English and French, some others in German, Italian, and Spanish. The texts and subjects covered include the Bible, Classical Antiquity, Medieval and Modern Europe, Chinese and Korean civilization, and the contemporary world. Word, speech, language and institutions are addressed from several points of view. One major topic, among many others, is Rhetoric and Religion.
Théorie de la communication et éthique relationnelle montre, à travers des études de cas, que les discours sur la communication sont marqués d'une structure relationnelle qui prend son origine dans la perception de l'espace, dans le langage, dans l'esprit, mais aussi dans les formes graphiques et mises en page textuelles en circulation dans la société. Cet ouvrage met cette matrice relationnelle à l'épreuve, notamment, de la pensée systémique, de la complexité en science, du dialogisme en littérature, du traitement journalistique des conflits, de l'éthique managériale, des méthodes d'apprentissage de la communication, de campagnes de publicité, d'oeuvres d'artistes, de scénographies, de communications par internet.
In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In Disordering the Establishment Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with artists, curators, and cultural figures of the time, Woodruff analyzes the formal and rhetorical methods that artists used to counter establishment ideology, appeal to direct political engagement, and grapple with French intellectuals' modeling of society. Artists and collectives such as Daniel Buren, André Cadere, the Groupe de Recherche d’Art Visuel, and the Collectif d’Art Sociologique shared an opposition to institutional hegemony by adapting their works to unconventional spaces and audiences, asserting artistic autonomy from art institutions, and embracing interdisciplinarity. In showing how these artists used art to question what art should be and where it should be seen, Woodruff demonstrates how artists challenged and redefined the art establishment and their historical moment.
Quarterly accession lists; beginning with Apr. 1893, the bulletin is limited to "subject lists, special bibliographies, and reprints or facsimiles of original documents, prints and manuscripts in the Library," the accessions being recorded in a separate classified list, Jan.-Apr. 1893, a weekly bulletin Apr. 1893-Apr. 1894, as well as a classified list of later accessions in the last number published of the bulletin itself (Jan. 1896)
“France's most famous unknown artist,” the innovative media provocateur Fred Forest, precursor of Eduardo Kac, Jodi, the Yes Men, RT Mark, and the Guerilla Girls. The innovative French media artist and prankster-provocateur Fred Forest first gained notoriety in 1972 when he inserted a small blank space in Le Monde, called it 150 cm2 of Newspaper (150 cm2 de papier journal), and invited readers to fill in the space with their own work and mail their efforts to him. In 1977, he satirized speculation in both the art and real estate markets by offering the first parcel of officially registered “artistic square meters” of undeveloped rural land for sale at an art auction. Although praised by leading media theorists—Vilém Flusser lauded Forest as “the artist who pokes holes in media”—Forest's work has been largely ignored by the canon-making authorities. Forest calls himself “France's most famous unknown artist.” In this book, Michael Leruth offers the first book-length consideration of this iconoclastic artist, examining Forest's work from the 1960s to the present. Leruth shows that Forest chooses alternative platforms (newspapers, mock commercial ventures, video-based interactive social interventions, media hacks and hybrids, and, more recently, the Internet) that are outside the exclusive precincts of the art world. A fierce critic of the French contemporary art establishment, Forest famously sued the Centre Pompidou in 1994 over its opaque acquisition practices. After making foundational contributions to Sociological Art in the 1970s and the Aesthetics of Communication in the 1980s, the pioneering Forest saw the Internet as another way for artists to bypass the art establishment in the 1990s. Arguing that there is a strong utopian quality in Forest's work, Leruth sees this utopianism not as naive or conventional but as a reverse utopianism: rather than envisioning an impossible ideal, Forest reenvisions and probes the quasi-utopia of our media-augented everyday reality. The interface is the symbolic threshold to be crossed with an open mind.
The importance of the daily experience of new information and communication technologies is highlighted by this timely volume. The book is based on work carried out in the European Media Technology and Everyday Life Network and is structured round a series of seven empirical case studies drawn from research within Europe. The application of this perspective draws attention not just to the significance of information and communication technologies for a mature understanding of the conduct of everyday life in contemporary Europe, but also for the significance of that understanding for the development of communication and information policy. The research makes a significant contribution to our understanding of the dynamics and evolution of a core dimension of European society as well as informing on-going and important debates on the nature of the relationship between the social and the technological in the information and communication arena.