L'ambassadrice : opéra comique en 3 actes /

Mode of access: Internet.

Le val d'Andorre :

Mode of access: Internet.

L'éclair; opéra comique en 3 actes.

Mode of access: Internet.

L'effort charitable des États-Unis,

Appendice: Allocution prononcée par M. Boutroux ... Allocution prononcée par M. l'ambassador des États Unis ... le jeudi 23 novembre 1916. A nos amis des États-Unis [par Saint-Georges de Bouhelieri (p. [23]-32)

Discours sur la mort de Narcisse ou l'impérieuse métamorphose--théorie del'Amores.

Mode of access: Internet.

El valle de Andorra : zarzuela en tres actos /

Estrenada en Madrid en el teatro del Circo el 5 de noviembre de 1852.

Tigresse Mort-aux-Rats; ou, Poison et contre-poison, médicine en quatre doses, et en vers,

Mode of access: Internet.

A new and original opera in three acts, preceded by a prologue, entitled The enchantress : as first performed at the Theatre Royal, Drury Lane, Wednesday, May 14th, 1845 /

Libretto by Saint-Georges, translated by Bunn.

Línguas Estrangeiras na Contracorrente da Política Linguística Educativa Nacional: O Ensino do Francês No Amapá

Este trabalho discute os efeitos dos novos direcionamentos da Política Linguística Educativa no Brasil, especialmente sobre o ensino de línguas estrangeiras no estado do Amapá, fronteira com a Guiana Francesa. Propõe-se nesse artigo uma avaliação da política linguística brasileira para o ensino de línguas estrangeiras (LE) a partir das leis que constituem e/ou constituíram o ordenamento jurídico para o ensino de LE nas últimas três décadas, a saber, a LDB 9394/96, a Lei 11.161/2005 e a Lei 13415/2017. Fundamentado em pesquisas de campo, de natureza qualitativa e descritiva (XXX, 2005, 2013 e 2016), o artigo inscreve sua discussão no campo das Políticas Linguísticas (GRIN, 2005; CALVET, 1996; BEACCO, 2004) e aponta os impactos das mudanças promovidas no ensino de LE no Brasil sobre a região fronteiriça e o surgimento de um movimento de resistência promovido pela sociedade civil em favor da manutenção do ensino da língua francesa na região da fronteira franco-brasileira.Palavras-chaves: Ensino de línguas, francês, Política Linguística.

Chronique française des évêques de Metz, depuis saint Clément jusqu'à la mort de Georges de Bade (12 octobre 1484).

Contient : Liste des évêques de Metz, depuis saint Clément jusqu'à Conrad II de Bayer, de Boppard, mort le 20 avril 1459 ; Texte de la Chronique ; Fin : « ... et que quelque jour il ferait miracle come son frère germain, le beau Bernard, fait comme dessus »

In the shadow of the enlightenment : Le Corbusier, Le Faisceau and Georges Valois

On 9 January 1927 Le Corbusier materialised on the front cover of the Faisceau journal edited by Georges Valois Le Nouveau Siècle which printed the single-point perspective of Le Corbusier’s Plan Voisin and an extract from the architect’s discourse in Urbanisme. In May Le Corbusier presented slides of his urban designs at a fascist rally. These facts have been known ever since the late 1980s when studies emerged in art history that situated Le Corbusier’s philosophy in relation to the birth of twentieth-century fascism in France—an elision in the dominant reading of Le Corbusier’s philosophy, as a project of social utopianism, whose received genealogy is Saint-Simon and Charles Fourier. Le Corbusier participated with the first group in France to call itself fascist, Valois’s militant Faisceau des Combattants et Producteurs, the “Blue Shirts,” inspired by the Italian “Fasci” of Mussolini. Thanks to Mark Antliff, we know the Faisceau did not misappropriate Le Corbusier’s plans, in some remote quasi-symbolic sense, rather Valois’s organisation was premised on the redesign of Paris based on Le Corbusier’s schematic designs. Le Corbusier’s Urbanisme was considered the “prodigious” model for the fascist state Valois called La Cité Française – after his mentor the anarcho-syndicalist Georges Sorel. Valois stated that Le Corbusier’s architectural concepts were “an expression of our profoundest thoughts,” the Faisceau, who “saw their own thought materialized” on the pages of Le Corbusier’s plans. The question I pose is, In what sense is Le Corbusier’s plan a complete representation of La Cité? For Valois, the fascist city “represents the collective will of La Cité” invoking Enlightenment philosophy, operative in Sorel, namely Rousseau, for whom the notion of “collective will” is linked to the idea of political representation: to ‘stand in’ for someone or a group of subjects i.e. the majority vote. The figures in Voisin are not empty abstractions but the result of “the will” of the “combatant-producers” who build the town. Yet, the paradox in anarcho-syndicalist anti-enlightenment thought – and one that became a problem for Le Corbusier – is precisely that of authority and representation. In Le Corbusier’s plan, the “morality of the producers” and “the master” (the transcendent authority that hovers above La Cité) is lattened into a single picture plane, thereby abolishing representation. I argue that La Cité pushed to the limits of formal abstraction by Le Corbusier thereby reverts to the Enlightenment myth it first opposed, what Theodor Adorno would call the dialectic of enlightenment.