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Pierre und Jean ist einer der berühmtesten Romane von Maupassant neben Bel Ami (it 280), Stark wie der Tod und Ein Leben. Es ist die Geschichte zweier rivalisierender Brüder vor dem Hintergrund der normannischen Küstenlandschaft.Die Brüder Pierre und Jean sind von Kindheit an auffallend verschiedenartig – in ihrem Temperament nicht weniger als in ihrem Äußeren: Pierre, ein scharfer Analytiker mit höchsten Ansprüchen an sich und andere, Jean, eine allseits beliebte Frohnatur. Als ein Freund der Familie eines Tages Jean zum Alleinerben seines Vermögen bestimmt, regen sich in Pierre Mißtrauen und Neid …
Assisted suicide has been the subject of much passionate debate in many societies. The philosopher and theologian Jean-Pierre Wils does not deny autonomy, but asks – on the basis of his profound historical and ethical knowledge – about the social consequences. Does the right to assisted suicide not in the long run lead to the obligation to decide for or against it? And does not the pressure towards a supposedly reasonable decision increase, as soon as the causation of one‘s own death is seen as a final act of self-realisation and emancipation, or even commended as such? Wils makes a strong plea for the debate to be held in a broader context, to remove our finiteness from cultural amnesia – and in doing so, lays the foundation for a contemporary discussion on assisted suicide.
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Chaos flourishes beneath the surface – a deep fissure runs through our society Inside the pressure-cooker of the coronavirus pandemic, we see more clearly the volatile status of how we live together. Why were we unprepared, in spite of the numerous warnings over the years? Jean-Pierre Wils speculates that our society, which is already marked by tension and hectic stalemate, is riven by a deep division. In this case, the reality of the crisis triggered by the pandemic is only the prelude to a much deeper crisis: climate change. But how can we manage it? To do so Wils advocates for a “culture of interim solutions” – a culture of thoughtfulness, soul-searching, slowing down and reorienting towards social and ecological sustainability ...
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— The accompanying book to the Kassel exhibition "Trost" ("Comfort") in spring 2023 — A book to counter desolation in these challenging times — What comfort is and why people need it "Comfort" is one of those words that has a somewhat tarnished reputation: cold comfort, false comfort, consolation prize, someone is not to be comforted ... "Action instead of comfort" is the maxim; "therapy instead of resignation" the variant. There is something old-fashioned about comfort. And still we long for it; people have always looked for "sources of comfort". In the midst of the climate and global political upheavals of our time, in the middle of a Ukraine war, a play recently celebrated at the Salzburg Festival is called, "Crazy for Consolation". People seek comfort because just helping is no longer helping; they are at the end of their abilities. "Comfort" would appear to be a gift in both senses of the word. But "comfort" is a mystery. Jean-Pierre Wils attempts to solve it in this essay.
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Elisabeth Weber im Gespräch mit Pierre Vidal-Naquet, Jacques Derrida, Rita Thalmann, Emmanuel Lévinas, Léon Poliakov, Jean-François Lyotard, Luc Rosenzweig.
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For nearly half a century Anne Lake Prescott has been a force and an inspiration in Renaissance studies. A force, because of her unique blend of learning and wit and an inspiration through her tireless encouragement of younger scholars and students. Her passion has always been the invisible bridge across the Channel: the complex of relations, literary and political, between Britain and France. The essays in this long-awaited collection range from Edmund Spenser to John Donne, from Clément Marot to Pierre de Ronsard. Prescott has a particular fondness for King David, who appears several times; and the reader will encounter chessmen, bishops, male lesbian voices and Roman whores. Always Prescott's immense erudition is accompanied by a sly and gentle wit that invites readers to share her amusement. Reading her is a joyful education.
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This is a comprehensive, original and accessible account of all aspects of Jean Cocteau's work in the cinema. It is the first major study in English to appear for over forty years and casts new light on Cocteau's most celebrated films as well as those often neglected or little known. Jean Cocteau is not only one of French cinema's greatest and most influential auteurs whose work covered all the major genres but also an experimenter, collaborator, theorist and all-round ambassador of film. This lucid account provides a complete introduction to Cocteau's cinematic project in the context of his entire oeuvre, detailed analysis of individual films, and a thematic engagement with all his cinema from a range of interdisciplinary perspectives. The Cocteau that emerges is at once a materialist filmmaker and visionary who is committed to realism in all its guises and reveals the wonder and mystery of what he called 'the cinematograph'. ;
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Accessible and original analysis of all Jean Renoir's sound films, including those he made in Hollywood - this is the first major study to appear for a number of years and brings new light on some of the director's most celebrated films.. Illuminating account of critical debates concerning Renoir, and focusing on hitherto neglected areas such as gender, nation and ethnicity the book asks us to rethink our understanding of Renoir's political commitment.. Traces his output from the silent period to the age of television, tying his work into a fast-shifting, socio-historical context.. Detailed analyses of his sound films map his evolving style while individual chapters cover Renoir's career and writings, critical debates, the silent and early sound films, the Popular Front period, Renoir amèricain and the later films.
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We live in an age of upheaval and crisis; our existence is at the threshold of a new epoch that leaves nothing as it was before. It became clear that the natural materials of our world in transformation were a finite and exhaustible resource. The ambitious projects of humankind were already beset by doubts and the optimism of something better in store for us in the future became ever more subdued. An era of sceptical thinking dawned. What was only recently celebrated as an achievement is today placed in question: democracy, human rights and the bond of solidarity between the generations. But the art of dialogue must always be preserved. The capacity for critical reflection must be repeatedly practised and the sensitivity of our perception deepened.
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Questions of identity trigger controversial and highly emotional discussions in the political and social debate. The positions range from radically emancipatory perspectives to authoritarian and restorative efforts on the far right wing of politics. Liberal democracies are now opening up – slowly – as identity- and gender-sensitive forums. Opposite them are the 'new ethics' of illiberal democracies and totalitarian states that are aimed at ethnic homogeneity and gender uniformity. But that's not to say that there is unity in the liberal settings on the necessary degree of identity politics. Both language and gender politics are deeply controversial. Do we need an 'identity' and, if so, which one or how many? Can the identity debate be extended by means of other concepts?
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Pierre Bourdieus Werk hat die französische und deutsche Soziologie nachhaltig beeinflußt. Obgleich kein Großtheoretiker im deutschen Sinne, haben seine Konzepte und Theoreme rasch Eingang in Philosophie, Geschichts-, Kultur- und Sozialwissenschaften gefunden. Seine zahlreichen empirischen Studien gelten als Paradigma soziologischer Analyse diesseits und jenseits des Rheins. Wie kaum ein französischer Soziologe vor ihm hat er immer wieder das Schnittfeld von Philosophie und Soziologie problematisiert wie auch das Verhältnis von Wissenschaft und Politik reflektiert. Anläßlich seines 75. Geburtstages setzen sich renommierte Philosophen und Sozialwissenschaftler aus Frankreich und Deutschland mit diesem facettenreichen Werk auseinander.
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Die junge Marion erfüllt sich einen Traum: Sie eröffnet in Chamonix, dem Ferienort ihrer Kindheit, einen Buchladen. Umgeben von der prachtvollen Bergwelt der französischen Alpen, ist der Himmel zum Greifen nah. Ihr Glück scheint perfekt, als sie den Bergführer Pierre kennenlernt. Marion glaubt, in ihm den Richtigen gefunden zu haben, und die beiden heiraten. Doch die Harmonie währt nicht lange. Pierre verschwindet oft ohne ein Wort und bleibt tagelang fort. Mehr und mehr zieht sich Marion in die Einsamkeit zurück. Die Berge werden für sie zum Ort der Geborgenheit, die Ehe hingegen zu einem unsicheren Gelände … bis eines Tages eine Nachricht eintrifft, die Marion zu einer konsequenten Entscheidung treibt. Sensibel, zart und mit einer durchdringenden Klarheit erzählt Jean-Philippe Mégnin die berührende Geschichte einer tiefen Liebe – zu den Bergen, zu einem Mann und zu sich selbst.
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Godard erfindet hier die Gattung des Essays im Medium des Videos neu: Er nimmt Schlüsselbilder der Filmgeschichte aus ihrem Zusammenhang, konfrontiert sie mit Werken der bildenden Kunst, überblendet, spult vor und zurück und kommentiert – nicht nur mit Worten, sondern auch mit Musik. Godard benutzt den Schneidetisch als Zeitmaschine, in acht Kapiteln erzählt er die Geschichte des 20. Jahrhunderts und die des Kinos, eine Geschichte, die für ihn mit der Videotechnik an ihr Ende gekommen ist.
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Michel Foucault und seine Mitarbeiter sind im Zusammenhang von Untersuchungen zur Geschichte der Beziehungen zwischen Psychiatrie und Strafjustiz auf den Fall Rivière gestoßen, über den 1836 eine ungewöhnlich umfangreiche Dokumentation publiziert worden war, u. a. ein Memoire Pierre Rivières über die Beweggründe zu seiner Tat: der Ermordung seiner Mutter, seiner Schwester und seines Bruders. Warum hat sich über diese Dokumentation – und insbesondere über das Memoire Pierre Rivières –, nachdem sie einmal das lebhafte Interesse der Ärzte erregt hatte, alsbald wieder absolutes Schweigen gebreitet? Die Autoren der »Anmerkungen« zu den im ersten Teil des vorliegenden Bandes abgedruckten Dokumenten analysieren einige auf den ersten Blick verdeckte Funktionen der vielfach sich überlagernden, sich kreuzenden und gegeneinander gerichteten Diskurse, die scheinbar alle von derselben Sache sprechen – einem Fall von Verwandtenmord –, gleichzeitig aber Gefechte sind. So kämpfen die Ärzte gegeneinander, gegen die Justiz und gegen Rivière; so kämpft die Justiz u. a. um die Anerkennung medizinischer Gutachten und die Zuerkennung mildernder Umstände; so sind die Zeugenaussagen von Dorfbewohnern auch Versuche, mit dem in ihrer Mitte begangenen Verbrechen fertig zu werden … Das Dossier wurde zusammengestellt, bearbeitet und mit Anmerkungen versehen im Rahmen einer Kollektivarbeit am Collège de France von: Blandine Berret-Kriegel, Gilbert Burlet-Torvic, Robert Castel, Jeanne Favret, Alexandre Fontana, Michel Foucault, Georgette Legée, Patricia Moulin, Jean-Pierre Peter, Philippe Riot, Maryvonne Saison.
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This is the first introduction of its kind to an important cross-section of postcolonial African filmmakers from the 1950s to the present. Building on previous critical work in the field, this volume will bring together ideas from a range of disciplines - film studies, African cultural studies, and, in particular, postcolonial studies - in order to combine the in-depth analysis of individual films and bodies of work by individual directors with a sustained interrogation of these films in relation to important theoretical concepts. Structurally, the book is straightforward, though the aim is to incorporate diversity and complexity of approach within the overall simplicity of format. Chapters provide both an overview of the director's output to date, and the necessary background - personal or national, cultural or political - to enable readers to achieve a better understanding of the director's choice of subject matter, aesthetic or formal strategies, or ideological stance. They also offer a particular reading of one or more films, in which the authors aim to situate African cinema in relation to important critical and theoretical debates. This book thus constitutes a new departure in African film studies, recognising the maturity of the field, and the need for complex yet accessible approaches to it, which move beyond the purely descriptive while refusing to get bogged down in theoretical jargon. Consequently, the volume should be of interest not only to specialists but also to the general reader.
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This third edition of 'Tourism Information Technology' provides a contemporary update on the complexities of using information technology in the tourism industry. It examines IT applications in all sectors including airlines, travel intermediaries, accommodation, foodservice, destinations, attractions, events and entertainment. Fully updated throughout and organised around the stages of the visitor journey, the book reviews how tourists are using technologies to support decision making before their trip, during their travels and at the destination. It: · Provides comprehensive and up to date coverage of all key topics in tourism information technologies · Covers new areas such as (among others) augmented and virtual reality, robotics, smart destinations, disruptive innovation and the collaborative economy, crowdsourcing for sustainability, online reputation management and big data · Incorporates a wealth of pedagogic features to aid student learning, including key models and concepts, research and industry insights, case studies, key terms, discussion questions, and links to useful websites. Accompanied online by instructor PowerPoint slides, multiple choice questions and further case studies, this book provides a comprehensive and learning-focused text for students of tourism and related subjects.
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This volume is the first to examine, in either French or English, the films of Jean-Jacques Beineix, often seen as the best example of the 1980s cinéma du look, with cult films, such as Diva and Betty Blue (37º 2 le matin) .. After an introduction which places Beineix in the context of the 1980s and the arguments centering on a postmodern cinema, the volume devotes a chapter to each of Beineix's feature films, including the film which marked his return to feature film making after a break of a decade, Mortel Transfert (2001). Prefaced by an excellent foreword by the director himself, which includes a broad condemnation of French critics. Includes many illustrations direct from the director's own collection, complementing the interviews Powrie made with him and his collaborators.
