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The flowering of Gothic architecture depended to a striking extent on the use of drawing as a tool of design. By drawing precise "blueprints" with simple tools such as the compass and straightedge, Gothic draftsmen were able to develop a linearized architecture of unprecedented complexity and sophistication. Examination of their surviving drawings can provide valuable and remarkably intimate information about the Gothic design process. Gothic drawings include compass pricks, uninked construction lines, and other telltale traces of the draftsman's geometrically based working method. The proportions of the drawings, moreover, are those actually intended by the designer, uncompromised by errors introduced in the construction process. All of these features make these drawings ideal subjects for the study of Gothic design practice, but their geometry has to date received little systematic attention. This book offers a new perspective on Gothic architectural creativity. It shows, in a series of rigorous geometrical case studies, how Gothic design evolved over time, in two senses: in the hours of the draftsman's labor, and across the centuries of the late Middle Ages. In each case study, a series of computer graphics show in unprecedented detail how a medieval designer could have developed his architectural concept step by step, using only basic geometrical operations. Taken together, these analyses demonstrate both remarkable methodological continuity across the Gothic era, and the progressive development of new and sophisticated permutations on venerable design themes. This rich tradition ultimately gave way in the Renaissance not because of any inherent problem with Gothic architecture, but because the visual language of Classicism appealed more directly to the pretensions of Humanist princes than the more abstract geometrical order of Gothic design, as the book's final chapter demonstrates.
In the last two decades, research on spatial paradigms and practices has gained momentum across disciplines and vastly different periods, including the field of medieval studies. Responding to this ’spatial turn’ in the humanities, the essays collected here generate new ideas about how medieval space was defined, constructed, and practiced in Europe, particularly in France. Essays are grouped thematically and in three parts, from specific sites, through the broader shaping of territory by means of socially constructed networks, to the larger geographical realm. The resulting collection builds on existing scholarship but brings new insight, situating medieval constructions of space in relation to contemporary conceptions of the subject.
"Up South in the Ozarks: Dispatches from the Margins is a collection of essays from Brooks Blevins that explore southern history and culture using [the] author's native Ozarks region as a focus. From migrant cotton pickers and fireworks peddlers to country store proprietors and shape-note gospel singers, Blevins leaves few stones unturned in his insightful journeys through a landscape 'wedged betwixt and between the South and the Midwest - and grasping for the West to boot"--
The C-ORAL-ROM book and DVD provide a unique set of comparable corpora of spontaneous speech for the main Romance languages, French, Italian, Portuguese and Spanish. The corpora are accompanied by comparative linguistic studies, models and standard linguistic measures of spoken language variability. Each corpus is built to the same design using identical sampling techniques, and each corpus is presented in multimedia format, allowing simultaneous access to aligned acoustic and textual information. Texts are headed with information about provenance, participants, etc. and the transcriptions show changes of speaker. Speech acts are tagged according to the evidence of prosodic criteria. Each corpus totals 300,000 words and presents formal and informal speech in a variety of contexts of use, dialogue structure and text genres, semantic domains and speech act typologies. The corpora have great statistical relevance for spoken language structures and can address key issues in human language technology such as speech recognition in unrestricted discourse, the suitability of speech synthesis in natural prosody, and multilingual applications of the spoken language interface. The work provides new data and innovative theoretical perspectives that are relevant for corpus linguistics, romance linguistics, syntactic theory, speech and prosody research, and second language acquisition.
A one-semester intermediate-high to advanced-level French textbook designed for French for Specific Purposes courses such as Business or Professional French, Affaires globales uses an interdisciplinary, multiliteracies approach to help students develop the cultural knowledge and language skills necessary for a career in the francophone world.
The "European Yearbook" has expanded over the years in keeping with the role played by European institutions compared with national ones. It is an indispensable work of reference for anyone dealing with these institutions, which have become so numerous and varied that no-one can possibly memorise all their acronyms or functions. The "European Yearbook" provides aids for finding one's way through the labyrinth of these organisations which coordinate a variety of activities in over 20 countries. One of the aids is an 'organisation chart' at the beginning of the documentary section, giving a clear picture of the general situation. A perusal of the many contributions in the volume organisation by organisation, shows the full diversity of the activities which Europe is gradually taking over from national governments, with their consent and financial support. Written in both of the Council of Europe's official languages, English and French, the "European Yearbook" also contains a general index by subject and name which constitutes a very valuable list of articles and provides direct access to the work's subject matter, regardless of the particular organisation concerned, offering a kind of cross-section of the activities of European organisations.
Maurice Merleau-Ponty is the giant phenomenologist of his time in the entire French-speaking world. He is not an epistemologist nor a moralist. For him, the beginning of the beginning is human flesh; the flesh becomes word, the word becomes flesh, and both die. There is science, and there is experience/perception. The mother is the latter. They aren't contradictory, but complete and depend on each other. With regard to language, for him, there are words, and there is grammar. A word is never empty, but carries its own weight; even a lie is full of meaning. Liberty resides in grammar, an individual function and independent from books. It's in the grammar where singularity lives. Thinking and talking are the same. Wherever there is human life, there is meaning, and that is irrespective of age, culture, religion, education or social position. Merleau-Ponty is not a Marxist nor a communist. According to him, history is blind; it has no mind. He also finds a flaw in Freudianism. Flesh is an infinite universe full of stars and black holes. Following Merleau-Ponty, verity is devoiler, and devoiler is verity, but verity is never absolute. One must take a step back. There is light and there is shadow; they never coincide in human life. The shadow is always first, and no matter how one tries to run, he will never catch his shadow.