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La France de Profil is a tribute to a way of life that still exists in the French countryside, revealing the essence of rural life in post-war France.
Son yıllarda Fransız sanat sahnesi ne durumda? Bu sahnenin ayırdedici özellikleri, ağır basan eğilimleri neler? Görünüşünü dönüştüren önemli değişiklikler oldu mu? “Panorama”sını çıkartmaktan çok “profil”ini çizme düşüncesinin ortaya koyduğu sorular bunlar. Panorama ve profil sözcükleri arasındaki anlamsal farklılık, burada yadsınmaz bir ağırlık taşır. Panorama kavramı, duruma genişletilmiş bir bakış yöneltildiğini düşündüren bir yoğunluk, bir kapsam içerir; oysa profil kavramı konuya aynı yönde bakmaz ve daha çok, bir toplu bakış düşüncesini vurgular. Bir özet düşüncesini. Tıpkı modelinin ana hatlarını yakalamak için taslaklar çiziktirmeye koyulan sanatçının yaptığı gibi. Fransa’da son yılların gelişim biçimiyle sanatsal üretimin durumunu öne çıkarmayı hedefleyen ve ‘Fransız Baharı’ etkinlikleri kapsamında gerçekleştirilen “Profiller” sergisi küratörü Philippe Piguet serginin “hiç bir okulun, hiç bir grubun manifestosu olmadığını amacının çoğulcu bir yaratım özgürlüğünün açık fikirliliğini yansıtmak” olduğunu belirtiyor. -- Where does the French artistic scene stand in regard to the last fifteen years? What are its eminent character traits? What are its dominant trends? Did nay notable change come about to transform its physiognomy? These are so many questions brought into play by this idea of sketching a “profile” and not a “panorama” of its present status. The semantic differentiation between these two words is quite imposing here. If the notion of panorama supposes a scope and an extent which imply a broadened vision of the situation, that of profile does not make out the same meaning and sooner accentuates the idea of an overview, a digest, following the example of an artist who endeavours to give a thumbnail sketch of his model in an attempt to express its essential traits. The famous art critic Philippe Piguet put it, this exposition “which intended to highlight a present state of art production as it developed in France more or less in the last fifteen years and what is more insomuch as it is sifted though sieves of public collections” blew like a spring breeze wafting a gentle air from France into the halls of Pera Museum, and gave the contemporary artistic panorama of a country that has always been amongst the vanguards of European Art.
In 1922, following a decade of political ferment and much bloodshed, the Irish Free State was established, became stabilised, and developed along conservative lines. During these years the prevailing impulse was to reprove the actions of republicans who had rejected the Anglo-Irish Treaty, and many significant revolutionary voices were left unheeded. One mind, more agile than most of his contemporaries, belonged to Ernie O’Malley. It was through his vastly popular ‘clipped lyric’ memoirs, especially On Another Man’s Wound in 1936, that many of the complexities of the republican mindset were brought to light for readers worldwide. In Modern Ireland and Revolution, leading Irish and American historians and academics deliver critical essays that consider the life, writings and monumental influence of Ernie O’Malley, and the modern arts that influenced him. After his involvement in the War of Independence and the Civil War, O’Malley developed a modernist approach while living abroad for ten years; he was devoted to the arts, moved in circles that included Georgia O’Keeffe and Paul Strand, and through his probing mind counteracted any notion that republicans of his era were dull, inflexible idealists. In this fascinating collection, art and revolution coincide, enriching every preconception of the minds that supported both sides of the Treaty, and revealing untoward truths about the Irish Free State’s process of remembrance.
En pleine congruence avec l’ambition du Groupe Européen pour l’Administration Publique d’encourager les échanges interculturels, ce livre constitue une entreprise originale, mi-anglophone mi-francophone. Cet ouvrage issu du Congrès du GEAP 2010 a pour objet de combler un déplorable fossé et de donner une visibilité internationale au « cas français ». Dès lors ce livre, en 18 chapitres rédigés en français par une équipe interdisciplinaire (politistes, sociologues, historiens, socio-historiens, juristes) avec plus de 150 pages en anglais et une vaste bibliographie unifiée, entend offrir à tous les spécialistes de l’administration publique de par le monde un point d’accès unique au plus récent état des savoirs sur l’administration en France – ce pays où le mot État s’écrit avec un E majuscule. ============================================ In full compliance with the ambition of the European Group for Public Administration to encourage cross-cultural exchanges, this book is a genuinely original undertaking. It is a hybrid Anglophone-Francophone product. This book from EGPA 2010 Conference purpose to bridge a regrettable gap and to give international visibility to the “French case”. Thus, this book, in 18 chapters written in French by an interdisciplinary team (political scientists, sociologists, historians, sociohistorians, jurists) with more than 150 pages in English and a vast unified bibliography, offers to all students of public administration in the world a unique entry gate to the latest state of the art of administrative studies in France – this country where the State is to be spelled with a capital S.