66,438 research outputs found
Fugue en Hauts-de-Seine
La rĂ©alitĂ© est en Hauts-de-Seine polyphonique, câest donc Ă deux voix et Ă quatre mains que Marie-Christine Chevalier et Catherine Borie ont esquissĂ© cette fugue en Hauts-de-Seine, sur la basse obstinĂ©e du « mĂ©tier de bibliothĂ©caire ». Ce motif en ressort modelĂ© par le contexte, riche de toutes les variations quâil lui impose
Boston University Symphony Orchestra and Boston University Opera Theater, December 3, 1988
This is the concert program of the Boston University Symphony Orchestra and Boston University Opera Theater performance on Saturday, December 3, 1988 at 8:30 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were L'Enfant et les SortilĂšges ("The Bewitched Child") by Maurice Ravel, and Concerto for Orchestra by BĂ©la BartĂłk. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
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Enfants-soldats au Nigeria : les romanciers témoignent
During an interview, Ishmael Beah, conscripted in Sierra Leone when he was 13, testified to the fact that the rights of childâsoldiers were constantly violated. In recent years, the plight of these soldiers defined as âanyone under the age of eighteen who is part of any kind of regular or irregular armed force or armed group in any capacityâ, started attracting the worldâs attention, following the conflicts which have been ravaging most of the African continent for the last century. While former Biafrans and foreigners who experienced the conflict first hand wrote about casualties and the plight of refugees, the stories of young boys conscripted into the Biafran army has so far attracted very little attention. The present study seeks to assess the impact of the recruiting of child-soldiers during the Nigerian civil war on four Nigerian novelists: Abani, Adichie, Iweala and Saro-Wiwa
An Evening of Song, January 30, 1996
This is the concert program of the An Evening of Song performance on Tuesday, January 30, 1996 at 6:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were "Die Liebende Schreibt" from Six Songs, Op. 86, No. 3 by Felix Mendelssohn-Bartholdy; from Lieder aus Wilhelm Meister, Op. 98 by Robert Schumann; "Der Gang zum Liebschen" from Sieben Lieder, Op. 48, No. 1, "Minnelied" from FĂŒnf Lieder, Op. 71, No. 5, and "Meine Liebe ist grĂŒn" from Lieder, Op. 63, No. 5 by Johannes Brahms; "Pantomime" from Quatre Chansons de Jeunesse, "Apparition" from Quatre Chansons de Jeunesse, and "Erstes Lied der Ophelia" from Drei Lieder der Ophelia, Op. 67, No. 1 by Richard Strauss; Suleikas zweiter Gesang, Op. 31, No. 2 by Franz Schubert; "Lied der Suleika" from Myrthen, Op. 25, No. 9 by Robert Schumann; "Suleika" from Six Songs by Robert, Op. 34, No. 4 by Felix Mendelssohn-Bartholdy; Drei Ophelia Lieder by Hermann Reutter; from Quatre Chansons de Jeunesse by Claude Debussy; "StĂ€ndchen" from FĂŒnf Lieder, Op. 106, No. 1 nd "Therese" from FĂŒnf Lieder, Op. 86, No. 1 by Johannes Brahms; La Diva de l'Empire by Erik Satie; from Don Quichotte Ă DulcinĂ©e by Maurice Ravel, and from Sieben FrĂŒhe Lieder by Alban Berg. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
Principe ne bis in idem : d'une cacophonie jurisprudentielle Ă une reconstruction Ă quatre mains
Aquesta ponĂšncia forma part del Workshop internacional de doctorands organitzat pel Programa de Doctorat en Dret de la UAB i la Facultat de Dret de la UAB, amb el suport de l'Ăcole EuropĂ©enne de Droit de l'UniversitĂ© Toulouse Capitol
Spyros Samaras, ScĂšnes Orientales
Spyros Samaras, ScĂšnes Orientales (Quatre suites caractĂ©ristiques pour piano Ă quatre mains).Avec Natalia Miroshnikova et Alexis Miroshnikov (piano).Extraits de lâĂ©dition : ÎÏÏÎœÎżÏ Ï
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ΜΞΔÏÏÎœ ÎłÎčα ÏÎčÎŹÎœÎż 1847-1908 (La lampe sous le boisseau. Ćuvres pour piano des compositeurs grecs 1847-1908), Presses Universitaires de CrĂšte, AthĂšnes 1999.1. No. 1. Marche religieuse 2. No. 2. Danse3. No. 3. Barcarolle4. No. 4. March
Traduire Ă quatre mains : le cas dâAmelia Rosselli
RĂ©sumĂ©Â : Cet article analyse la genĂšse de deux traductions entre italien, anglais et français de lâĆuvre dâAmelia Rosselli rĂ©alisĂ©es avec la participation de lâauteure elle-mĂȘme. LâĂ©tude gĂ©nĂ©tique et philologique des brouillons des traductions et de la correspondance avec les traducteurs permet dâidentifier les dynamiques de cette Ćuvre commune. Plusieurs raisons expliquent le recours Ă un traducteur : la compĂ©tence linguistique de lâauteure, son rapport ambivalent Ă lâautotraduction et sa recherche dâun relais stratĂ©gique. Ce choix implique nĂ©anmoins un contrĂŽle Ă©troit de lâauteure en faveur dâune traduction littĂ©rale. Un tel rappel Ă la lettre du texte peut ĂȘtre interprĂ©tĂ© comme le prolongement de lâautotraduction, mais Ă©galement comme une prĂ©servation du plurilinguisme du texte original. La traduction « à quatre mains » est en rĂ©alitĂ© un processus spĂ©culaire de crĂ©ativitĂ© collective oĂč lâauteure prolonge les choix du traducteur, tandis que le traducteur devient Ă son tour gardien de la lettre du texte.Riassunto : Questâarticolo analizza la genesi di due traduzioni tra italiano, inglese e francese, dellâopera di Amelia Rosselli alle quali la scrittrice stessa ha partecipato. Lo studio genetico-filologico degli scartafacci delle traduzioni, e della corrispondenza con i traduttori, permette dâidentificare le dinamiche di questâopera comune. Varie ragioni spiegano il ricorso a un traduttore : la competenza linguistica dellâautrice, il legame ambivalente allâautotraduzione e la ricerca di un alleato strategico. Questa scelta implica tuttavia un marcato controllo dellâautrice a favore di una traduzione letterale. Un tale richiamo alla lettera del testo puĂČ essere interpretato come il proseguimento dellâautotraduzione ma anche come la salvaguardia del plurilinguismo del testo originale. La traduzione « a quattro mani » Ăš in realtĂ un processo speculare di creativitĂ collettiva nel quale lâautrice prolunga le scelte del traduttore, mentre il traduttore diventa a sua volta guardiano della lettera del testo
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