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This study of religion and violence “forces us to reexamine some of our most cherished self-images of modern liberal democratic societies” (Charles Taylor). Jean-Pierre Dupuy, prophet of what he calls “enlightened doomsaying,” has long warned that modern society is on a path to self-destruction. In this book, he pleads for a subversion of this crisis from within, arguing that it is our lopsided view of religion and reason that has set us on this course. In denial of our sacred origins and hubristically convinced of the powers of human reason, we cease to know our own limits: our disenchanted world leaves us defenseless against a headlong rush into the abyss of global warming, nuclear holocaust, and the other catastrophes that loom on our horizon. Reviving the religious anthropology of Max Weber, Emile Durkheim, and Marcel Mauss and in dialogue with the work of René Girard, Dupuy shows that we must remember the world’s sacredness in order to keep human violence in check. A metaphysical and theological detective, he tracks the sacred in the very fields where human reason considers itself most free from everything it judges irrational: science, technology, economics, political and strategic thought. In making such claims, The Mark of the Sacred takes on religion bashers, secularists, and fundamentalists at once. Written by one of the deepest and most versatile thinkers of our time, it militates for a world where reason is no longer an enemy of faith. “The Mark of the Sacred is one of those rare books . . . which, in an enlightened well-organized state, should be printed and freely distributed in all schools!” —Slavoj Žižek
Verdi, Wagner, polymorphous perversion, Puccini, Brunnhilde, Pinkerton, and Parsifal all rub shoulders in this delightful, poetic, insightful, sexual book sprung by one man's physical response to the power and exaggeration we call opera. Sam Abel applies a light touch as he considers the topic of opera and the eroticized body: Why do audiences respond to opera in a visceral way? How does opera, like no other art form, physically move watchers? How and why does opera arouse feelings akin to sexual desire? Abel seeks the answers to these questions by examining homoerotic desire, the phenomenon of the castrati, operatic cross-dressing, and opera as presented through the media. In this deeply personal book, Abel writes, ‘These pages map my current struggles to pin down my passion for opera, my intense admiration for its aesthetic forms and beauties, but much more they express my astonishment at how opera makes me lose myself, how it consumes me.’ In so doing, Abel uncovers what until now, through dry musicology and gossipy history, has been left behind a wall of silence: the physical and erotic nature of opera. Although Abel can speak with certainty only about his own response to opera, he provides readers with a language and a resonance with which to understand their own experiences. Ultimately, Opera in the Flesh celebrates the power of opera to move audiences as no other book has done. It is indeed a treasure of scholarship, passion, and poetry for everyone with even a passing interest in this fascinating art form.
The hero, Monsieur, is a successful young executive in Paris whose daily life is examined with precision. He is nothing if not unremarkable. Here, he muses on everything from the night sky to a Rotring pen. And he is very funny.
The present volume contains the papers read at the 54th Colloquium Biblicum Lovaniense (July 27-29, 2005). The general theme of the meeting was "The Death of Jesus in the Fourth Gospel". Part I is comprised of fourteen "Main Papers" delivered by invited speakers. It includes contributions on the sign of the cross (G. Van Belle), the narrative and theological significance of the death of Jesus (J. Frey), the interpretation of the passion in the farewell discourses (J. Zumstein), the characterisation of Pilate (R.A. Piper), a study of God, Jesus, Satan, and human agency (C.R. Koester), two studies on the Lamb of God (R. Bieringer and M. Gourgues), the Markan and Johannine theology of the Cross (U. Schnelle), the anticipations of the death of Jesus (J.-M. Sevrin), the commandment of love interpreted from the perspective of the cross (D. Senior), a diachronical approach to "the lifting up and glorification of the Son of Man" (M. de Boer), a study on tradition, history and theology of the death of Jesus (J. Painter), the meaning of the "laying down" of life in Jn 10,11 and Jn 15,13 (T. Soding), and the role of the Jews in 19,16 (L. Devillers). Part II, "Offered Papers", includes 38 papers with thematic readings or studies on specific passages of the Fourth Gospel.
No stranger to the art of staging and to the act of disclosure, Sophie Caile returns again here to the theme of autobiography and to the notion of the Other, revealing in all their difference and singularity those who have been blind since birth or who have gone blind following an accident. By establishing a dialectic between the testimonies of several generations of blind people and the photographs taken by her on the basis on these accounts, Sophie Caile offers readers a reflection on absence, on the loss of one sense and the compensation of another, on the notion of the visible and the invisible. In this publication, she revisits three earlier works constructed and conceived around the idea ofblindness, setting up a dialogue between them; in Les Aveugles (The Blind), created in 1986, she questioned blind people on their representation of beauty; in 1991, in La Couleur aveugle (Blind Colour), she asked non-sighted people what they perceived and compared their descriptions to artists musings on the monochrome; La Dernière Image (The Last Image), produced in 2010 in Istanbul, historically dubbed the city of the blind, gives a voice to men and women who have lost their sight, questioning them on the last image they can remember, their last memory of the visible world. The work, which is structured as an introspective triptych, uncovers sensibilities, perceptions and events that are painful, sincere. Sophie Calles idea is to underline the permanence and irony of a particular situation, with the aim of redeeming and highlighting the importance of sight.
The International Convention on the Rights of Persons with Disabilities is the first human rights treaty adopted by the United Nations in the 21st century. It seeks to secure the equal and effective enjoyment of human rights for the estimated 650 million persons with disabilities in the world. It does so by tailoring gerneral human rights norms to their circumstances. It reflects and advances the shift away from welfare to rights in the context of disability. The Convention itself represents a mix between non-discrimination and other substantive human rights and gives practical effect to the idea that all human rights are indivisible and interdependent. This collection of essays examines these developments from the global, European and Scandinavian perspectives and the challenge of transposing its provisions into national law. It marks the coming of age of disabilty as a core human rights concern.