Résumé : Despite the saturation of global media coverage, Osama bin Laden’s own writings have been curiously absent from analysis of the “war on terror.” Over the last ten years, bin Laden has issued a series of carefully tailored public statements, from interviews with Western and Arabic journalists to faxes and video recordings. These texts supply evidence crucial to an understanding of the bizarre mix of Quranic scholarship, CIA training, punctual interventions in Gulf politics and messianic anti-imperialism that has formed the programmatic core of Al Qaeda. In bringing together the various statements issued under bin Laden’s name since 1994, this volume forms part of a growing discourse that seeks to demythologize the terrorist network. Newly translated from the Arabic, annotated with a critical introduction by Islamic scholar Bruce Lawrence, this collection places the statements in their religious, historical and political context. It shows how bin Laden’s views draw on and differ from other strands of radical Islamic thought; it also demonstrates how his arguments vary in degrees of consistency, and how his evasions concerning the true nature and extent of his own group, and over his own role in terrorist attacks, have contributed to the perpetuation of his personal mythology. - Note de l'éditeur

Résumé : Une préparation aux épreuves écrites et orales des deux concours de rédacteur territorial et de rédacteur principal, avec des données d'actualité, des sujets corrigés, un test d'auto-évaluation, les connaissances indispensables, des exercices commentés, des conseils et les pièges à éviter. Un code permet d'accéder à la version numérique gratuite. ©Electre 2021

Résumé : Ce manuel s'adresse à ceux qui connaissent 400 caractères et possèdent déjà des bases de chinois.Il permet de préparer l'examen oral de chinois du baccalauréat. La plupart des 510 mots nouveaux des quinze textes appartiennent aux groupes A et B du test HSK.

Résumé : Lucie Rie (1902 – 1995) is one of the finest modern potters of the twentieth century. Born and trained in Vienna, her successful early career came to a halt in 1938 when forced to leave Austria to escape the persecution of Jewish people. In exile in London, Rie established a new workshop and over five decades created highly individual bowls, vases and tableware which continue to amaze and inspire today.Featuring photographs of over 100 works from private and public collections and six insightful essays, this new book considers afresh the singular nature of Rie’s achievement, and reflects on her remarkable body of work, exceptional in its variety, elegance and experimentation.With texts by Edmund de Waal, Tanya Harrod, Helen Ritchie, Eliza Spindel, Kimberley Chandler and Nigel Wood, and introduction by Andrew Nairne.

Résumé : Wolfgang Laib: The Beginning of Something Else" combines texts that are particularly important for the artist's creative work, together with a variety of selected images. Included are, for example, passages from the "Epic of Gilgamesh", a poem by the Buddhist monk Bodhidharma, and thoughts by Friedrich Nietzsche. The texts and images are combined to create an unusual publication, which reflects Wolfgang Laib's (b. 1950) interest in literature as well as some of the most important sources of inspiration for his sensitive work. This collection reveals Wolfgang Laib in a subtle and personal way. It sheds light on an artist whose work, which dates back to the 1970s, has questioned our treatment of nature, and thus could not be more topical.

Résumé : "The pioneering conceptual artist John Baldessari (b. 1931) began his career as a painter in the 1950s, but in the subsequent decades he expanded his practice in a new and groundbreaking direction by juxtaposing texts with found photography or appropriated images. These texts questioned the nature of art and the art-viewing experience, suggesting new meanings for the images they accompanied. This interaction of words and images remained a critical aspect of Baldessari's work, even as he branched into other media, such as site-specific installations, drawings, video, sculpture, prints, and multiples.The first of a projected four-volume set, this lavishly illustrated book features about 500 works and chronicles an important shift in Baldessari's thinking during these formative years. Included are such landmark works as the Cremation Project (1970), where Baldessari incinerated the "body" of work he had made between the years 1953 and 1966. The ashes of the cremated works were then baked into cookies, and the rest sealed in a book-shaped urn, which he then presented along with a plaque announcing the "life" and "death" dates. Baldessari's work and teaching have been greatly influential on a subsequent generation of artists.The book features an essay by Yve-Alain Bois considering Baldessari's ethos as a generator of his artistic practice. Also included are an interview with Christopher Knight and a detailed chronology of the artist's life and work"-- ; "This heavily illustrated and comprehensive volume brings to light about 500 works produced between 1956 and 1974 by John Baldessari that mark a major shift in his artistic practice"--

Résumé : "For nearly sixty years, Richard Artschwager (b. 1923) has undertaken an unrelenting investigation of art's ability to mediate contemporary experience and perception. Although his work, which includes sculpture, painting, prints, and drawing, is often characterized as having elements of Pop Art, Minimalism, and Conceptual Art, his practice defies easy categorization and his oeuvre is not entirely understood. In Richard Artschwager! the breadth of the artist's idealistic, diverse work, and unconventional materials, such as Formica, rubberized hair, and Celotex, is fully illustrated and explored for the first time.The four essays in this volume illuminate previously unaddressed aspects of Artschwager's work, including his response to life in the age of mechanical reproduction, the relationship of his work to mainstream art, and his recent work's connection with Post-Impressionism. These texts, along with new photographs, previously unpublished archival images, and details of his materials, offer a compelling new look at one of the most singular artists of the 20th century and why he remains a highly influential figure today"--

Résumé : Balkrishna V. Doshi (b. 1927 in Pune) is one of the most influential pioneers of modern architecture in India. His life’s work was honored in 2018 with the prestigious Pritzker Prize. Doshi has realized more than one hundred projects, including administrative and cultural facilities, housing developments, and residential buildings. He has become internationally known for his visionary urban planning and social housing projects, as well as his involvement in education. His most important buildings include the School of Architecture in Ahmedabad (1966 – 68) and the Aranya housing development in Indore (1989). 'Balkrishna Doshi: Architecture for the People' is the first overview of the architect’s work in over twenty years, analyzing his most important works and providing timely context to his oeuvre. In-depth academic texts by outstanding experts in the field, including Kenneth Frampton, Kazi Ashraf, and Juhani Pallasmaa, give insights into the inspiration behind Doshi’s work and background to his projects, as well as his lasting influence on younger generations. The richly illustrated survey comes complete with a detailed biography and new photographs of his buildings, which demonstrate the impressive timeliness of the Indian master’s approach to a wide variety of typologies.Exhibition: Vitra Design Museum, Weil am Rhein, Germany (30.03. - 08.09.2019).

Résumé : "Ursula Schultze-Bluhm, who is known sim­p­ly as Ur­su­la, was one of the most im­por­tant Ger­man artists of the se­cond half of the twen­ti­eth cen­tu­ry. She was born in Mit­ten­walde, Ger­many, in 1921 and died in Cologne in 1999. Mu­se­um Lud­wig's ex­hi­bi­tion Ur­su­la--That's Me. So What?, which is the first com­pre­hen­sive mu­se­um show on the artist in over thir­ty years, of­fers a fresh look at her oeu­vre. The show con­tains 236 works, of which 44 are from the col­lec­tion of the Mu­se­um Lud­wig.Ur­su­la's life and work of­fer an un­con­ven­tio­n­al nar­ra­tive of artis­tic in­de­pen­dence. Her art ex­em­pli­fies the idea that Sur­re­al­ism is not a style, but an at­ti­tude. Ur­su­la sub­vert­ed re­al­i­ty and found the un­can­ny in the ev­ery­day, challenging the au­thor­i­ties of so­ci­e­ty and art by imagin­ing new worlds in which old hi­erarchies are thrown over­board and new ways of life are con­ceiv­able. Ur­su­la shared this utopian imag­i­na­tion with artists such as Leono­ra Car­ring­ton, Leonor Fi­ni, Dorothea Tan­n­ing, and Uni­ca Zürn.It is im­pos­si­ble to un­am­bigu­ous­ly cat­e­go­rize the essence of Ur­su­la's works. Terms such as naive paint­ing, Sur­re­al­ism, or in­di­vi­d­u­al mythol­o­gy on­ly touch on in­di­vi­d­u­al as­pects of her un­ortho­dox vi­su­al ideas, which al­ways con­vey an in­tense­ly sen­su­al ex­pe­ri­ence. As ear­ly as 1954, Jean Dubuf­fet in­te­grat­ed works by her in­to his Musée de l'Art Brut. Like An­dré Bre­ton, Dubuf­fet ap­pre­ci­at­ed the unconven­tio­n­al nar­ra­tive style of her texts and pic­tures, which--at least on first glance--seem to stand out­side of time. While they of­ten re­fer to mythol­o­gy, they usu­al­ly re­flect the artist's own emotional states, fears, and ob­ses­sions. 'I im­pose my vi­sions on re­al­i­ty--I am com­plete­ly ar­ti­fi­cial,' Ur­su­la de­clared, charac­ter­iz­ing her unu­su­al par­al­lel worlds in which ex­tra­v­a­gant char­ac­ters exist and the familiar and the un­can­ny are per­cepti­ble. Beau­ty and tran­sience, the fairy-like and the mon­strous, thrive side by side. One of Ur­su­la's char­ac­teris­tic sub­jects was Pan­do­ra, the woman who was cre­at­ed from clay in Greek mythol­o­gy, in whose sto­ry the most ter­ri­ble evils and the most ex­cel­lent gifts are inse­para­b­ly in­ter­twined. Ur­su­la's scenes are frequently in­habit­ed by fantas­ti­cal hy­brid crea­tures, and the al­lure of trans­for­ma­tion is tan­gi­ble ev­ery­where, challenging time-worn du­alisms such as wo­m­an/man and hu­man/na­ture.This overview ex­hi­bi­tion at the Mu­se­um Lud­wig aims to pre­sent Ur­su­la's cap­ti­vat­ing and self-as­sured work to a new gen­er­a­tion of mu­se­um vis­i­tors. The show re­veals that it is the indi­vi­d­u­al­i­ty of Ur­su­la's work that al­lows it to touch on so many fun­da­men­tal and top­i­cal is­sues, in­clud­ing fe­male self-de­ter­mi­na­tion and the chal­leng­ing of estab­lished gen­der identities, with a world­view in which ev­ery­thing is in­ter­con­nect­ed and mu­tu­al­ly de­pen­dent."--