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"The literary in the every day" is a resources for a transdisiplinary approach to reading/writing at the first and second year levels of college French. These will serve as foreign language templates in the form of an OER to bridge the wellknown divide between lower level language courses and upper level literature "content" courses. Language teachers, with the help of these templates, can develop their own reading and writing activities to highlight the metaphorical
Complete Curso de Francês" é um extenso guia sob medida para falantes de inglês com o objetivo de alcançar fluência em francês. Este livro é meticulosamente elaborado para atender a alunos em vários níveis, desde iniciantes até aqueles que procuram polir sua proficiência. Abrange explicações detalhadas da gramática francesa, enriquecida por uma seção abrangente de vocabulário que introduz palavras e frases comumente usadas. O curso é estruturado para melhorar progressivamente a compreensão do leitor sobre o francês, incorporando diálogos práticos e exercícios que espelham situações da vida real. Os insights culturais estão entrelaçados ao longo dos capítulos, proporcionando uma conexão mais profunda com a linguagem. Além disso, o livro inclui recursos de áudio para ajudar no desenvolvimento de habilidades de escuta e pronúncia. É um companheiro ideal para auto-estudo, aprendizagem em sala de aula, ou como um guia de referência, tornando "Complete French Course" um recurso versátil e inestimável para qualquer pessoa apaixonada por aprender francês.
In her Introduction, Tymieniecka states the core theme of the present book sharply: Is culture an excess of nature's prodigious expansiveness - an excess which might turn out to be dangerous for nature itself if it goes too far - or is culture a 'natural', congenial prolongation of nature-life? If the latter, then culture is assimilated into nature and thus would lose its claim to autonomy: its criteria would be superseded by those of nature alone. Of course, nature and culture may both still be seen as being absorbed by the inner powers of specifically human inwardness, on which view, human being, caught in its own transcendence, becomes separated radically in kind from the rest of existence and may not touch even the shadow of reality except through its own prism. Excess, therefore, or prolongation? And on what terms? The relationship between culture and nature in its technical phase demands a new elucidation. Here this is pursued by excavating the root significance of the 'multiple rationalities' of life. In contrast to Husserl, who differentiated living types according to their degree of participation in the world, the phenomenology of life disentangles living types from within the ontopoietic web of life itself. The human creative act reveals itself as the Great Divide of the Logos of Life - a divide that does not separate but harmonizes, thus dispelling both naturalistic and spiritualistic reductionism.
"Report of the Dominion fishery commission on the fisheries of the province of Ontario, 1893", issued as vol. 26, no. 7, supplement.
In the last twenty years the concept of the quotidien, or the everyday, has been prominent in contemporary French culture and in British and American cultural studies. This book provides the first comprehensive analytical survey of the whole field of approaches to the everyday. It offers, firstly, a historical perspective, demonstrating the importance of mainstream and dissident Surrealism; the indispensable contribution, over a 20-year period (1960-80), of four major figures: Henri Lefebvre, Roland Barthes, Michel de Certeau, and Georges Perec; and the recent proliferation of works that investigate everyday experience. Secondly, it establishes the framework of philosophical ideas on which discourses on the everyday depend, but which they characteristically subvert. Thirdly, it comprises searching analyses of works in a variety of genres, including fiction, the essay, poetry, theatre, film, photography, and the visual arts, consistently stressing how explorations of the everyday tend to question and combine genres in richly creative ways. By demonstrating the enduring contribution of Perec and others, and exploring the Surrealist inheritance, the book proposes a genealogy for the remarkable upsurge of interest in the everyday since the 1980s. A second main objective is to raise questions about the dimension of experience addressed by artists and thinkers when they invoke the quotidien or related concepts. Does the 'everyday' refer to an objective content defined by particular activities, or is it best thought of in terms of rhythm, repetition, festivity, ordinariness, the generic, the obvious, the given? Are there events or acts that are uniquely 'everyday', or is the quotidien a way of thinking about events and acts in the 'here and now' as opposed to the longer term? What techniques or genres are best suited to conveying the nature of everyday life? The book explores these questions in a comparative spirit, drawing new parallels between the work of numerous writers and artists, including André Breton, Raymond Queneau, Walter Benjamin, Michel Leiris, Maurice Blanchot, Michel Foucault, Stanley Cavell, Annie Ernaux, Jacques Réda, and Sophie Calle.