#elie girard

[best2daynews]

Cloud is one of the major Digital Trends accelerated by Covid

Technology Trends Elie Girard, CEO at Atos, discusses digital trends amid the pandemic and the company’s new cloud business. Credit[…] The post Cloud is one of the major Digital Trends accelerated by Covid first appeared on Technology in Business.

[nofatclips]

Dans ma main by Jean-Michel Blais, live at Musée D'Orsay for La Blogothèque

[half-a-tiger]

VANESSA WAGNER - “The Heart Asks Pleasure First”, from her LP 'Inland’ out via infine. Live performance with choreography by Yoann Bourgeois at Paris Orly airport.

Directed by Elie Girard

Sound Direction by Guillaume de la Villéon

Produced by Anousonne Savanchomkeo & Philippine Graffard for La Blogothèque

Dancers: Jean-Yves Phuong & Marie Vaudin

[ahb-writes]

Medieval Nicknames, Pet Names & Diminutives — Male

Adam: Adnet, Adenot, Adkin, Ade, Add

Aloysius: Lowis, Lewis, Lewin, Louis

Amyas: Amyot, Amand, Amadis (Fr)

Ancel: Ansel(l), Anselm, Ancelot, Anscelin, Hanselin, Anselin

Andrew: Dandy, Tandy, Dancock

Anketil: Antel, Anker, Antin, Aske Asketil, Askil, Annakin(Yo), Asti

Arnold: Arnaud, Arnot, Arnel

Auberon/Aubrey: Oberon, Avery, Avo, Aves, Auvery, Aubert, Albray, Albert

Bartholomew: Bart, Ba(t)te, Barty (Scots), Batty, Batkin, Bette, Bartelot, Bertelot, Bertelmew

Christopher: Stoffer, Kit(te), Kester, Kitelin, Christal (Scots)

Denis: Dionysus, Den(et), Denzil, Denisel

Egidius: Aegidius, Giles,Gille, Gillard, Gilo, Gisel

Elias: Ellis, Elcock, Helle, Eliot, Elwaud (Scots), Elwat, Eluat, Eluolt, Elkin, Helyas, Hellis, Elyet, Allat, Alard Adalard, Elicoc, Hellcock, Elie

Geoffrey: Jeppe, Geff, Gepp, Jeeves, Jeff, Jefcock, Jeffkin, Jeffrey

Gerald/Gerard: Girard, Garard, Garrald, Garrood, Jarrold, Jarrot, Jerald, Greoud, Jared

Gilbert: Gibb, Gibelin, Gibelot, Gip

Hamo: Hamlet, Hamlin, Hammet, Hamnet, Hamon(d), Haim(o), Hame, Hamon, Aymes, Hamekin, Hawkin

Henry: Hal, Harry, Herry, Hanne, Hen(kin), Hanekin, Halkin, Hawkin

Hilary: Ilarius, Illore, Eularius, Eylarius, Ellery, Hille

Hugh: Hugo, Huiet, Hughelot, Ugo ,Hugelin, Huelin, Hulin, Hudde, Huglin, Hudkin, Hukin, Howe, Hewe, Huget, Hudelin, Huhel, Huwet, Huchon (Fr)

James: Jago, Jacob(i), Jacce, Jack(lin), Jagge, Jakot, Jackett, Jackamin, Jex, Jem(me), Gimelot, Jimme, Jaycock, Jakock, Jankin, Jaques, Cob(et), Jakemin

Joel: Juhel, Jool, Jol, Johol, Joelin, Joylin, jollein

John: Jack, Jankin, Jenkin, Jan(cock), Hank (Flem), Henk(e), Henkin, Hann, Jonet, Jehan, Janin, Janne, Jenin, Hancock

Joscelin/Goscelin: Josse, Joyce, Josset, Gotselin, Gotsone, Jukel, Judoc, Joy, Joshin, Joce, Goss, Got(te), Goslin

Lawrence/Laurence: Larry, Lorenz, Larkin, Lorkin, Laret, Lawrie, Lowrie, Low, Laur

Leonard: Leo, Lyel, Leon, Leunot, Leonides, Lionel, Leoline

Luke: Lucius, Lucian,Ludovic, Luck Lucas, Luket

Matthew: Mayhew, Makin, Masse, Math(e), Mathy, Matkin, Maton

Michael: Mihel, Michel, Miot, Mighell, Miche, Miell, Miles, Milo

Nicholas/Colin: Colcock, Cole, Coll, Colkin, Colet, Nicol, Nicolin, Nicks, Nix

Odo: Odelin, Eudo, Otho, Odinel, Othello

Orlando/Roland: Rollet, Rollin, Rowland, Rowlatt, Rollant, Ruel, Rollanz, Rauland

Paul: Poul, Pole, Pauley, Paulin, Powlis

Peter: Pierce, Piers, Pers, Pell, Perkin, Pirret, Perrin, Perr(el), Pierun, Perron, Peterkin, Petri (Scots)

Philip: Phelp, Philp, Felip, Filkin, Philpot, Phipp, Potkin, Potin

Ralph: Rafe, Rafael, Raff, Radulf, Raul, Raulin, Raulot

Randolph: Randall, Randle, Randulf, Rand(y), Hann, Rann, Ranulf, Rankin, Randekin, Ranel, Rendall

Reginald: Reynold, Reynaud, Reginaud

Richard: Rick, Rich(ie), Digge, Ricot, Richelot, Rickard, Dicel, Dic(con), Dicet, Dicelin, Diggen, Hick, Hicun, Hickot

Robert: Rob(in), Robelard, Dobb(in), Hobb(in), Hobelot, Hobelin, Hopkin, Nobb, Nabb, Nabelot, Bobbet

Roger: Hogg, Rodge, Hodge, Dodge, Dogge, Doggin, Hodgekin

Silas/Silvester: Silvanus, Selwyn, Selvayn, Savin, Salvin, Selwin

Simon: Sim(o)nel, Sim(kin), Simond, Simonet, Simcock

Theobald: Tibalt, Tibbald, Tebbet, Tebb(el), Tybaud, Tepp, Talbot

Theodore: Theodoric, Terry, Todrick, Torrey, Tyrri, Tedric, Therry, Thierry (Fr), Deryk (flem)

Thomas: Tom(lin), Tomkin, Tomcock, Tam(lin), Tommis

Torald: Tory

Vivian: Vidian, Fithian, Fidd, Fidkin, Fiddian, Vidgen

William: Wilmot, Guylote, Will(y), Willet, Wilot, Wilcock, Gilot, Gilmyn

(further reading: female names)

[eliseeney]

Tomorrow it goes down 🗣🗣🗣 drop a🔥🔥🔥 if you popping out 💯💯💯 ———— Eli & Friends A Hip-Hop/R&B/Soul Concert Experience The Fire 412 W Girard Ave Philadelphia, PA 19123 Doors @ 8 PM Performances @ 9 PM $10 advance/$15 at the door Complete details on @eventbrite Follow: @EliSeeney @hypecityshow (at Philadelphia, Pennsylvania) https://www.instagram.com/p/CY-ZcNpLl2c/?utm_medium=tumblr

[renaultportugal]

“Software République”: Um inovador ecossistema aberto para promover a mobilidade inteligente e sustentável com assinatura Renault

O Grupo Renault, a Atos, a Dassault Systèmes, a STMicroelectronics e a Thales combinaram esforços para criar a “Software République”: um novo ecossistema aberto para promover a mobilidade inteligente e sustentável. Cinco líderes nas suas áreas assentaram as fundações para este inovador ecossistema aberto.

Elie Girard, Bernard Charlès, Luca de Meo, Jean-Marc Chery e Patrice Caine, CEO da, respetivamente, Atos, da Dassault Systèmes, do Grupo Renault, da STMicroelectronics e daThales, anunciaram a junção de esforços para criar a Software République, um novo ecossistema para a inovação na mobilidade inteligente. Ao combinarem as diferentes áreas de especialidade, os parceiros pretendem desenvolver e comercializar, em conjunto, sistemas e software que proporcionem uma enriquecida e sustentável oferta de mobilidade para as cidades, regiões, negócios e cidadãos.

A inteligência artificial, a cibersegurança, a conectividade, a eletrónica incorporada e tecnologias virtuais irão contribuir para a excelência destes novos produtos e serviços. Este ecossistema de inovação aberto, fundado por cinco líderes no campo da indústria automóvel e da tecnologia, acolherá de braços abertos, novos membros e promoverá colaborações abertas.

Uma questão de oportunidade

A mobilidade está a mudar e a oferecer novas oportunidades. Segundo o Grupo Boston Consulting, o mercado global da mobilidade vai crescer 60%, até 2035, para os 11 mil milhões de euros. Este crescimento será, maioritariamente, motivado pela chegada de tecnologias disruptivas – veículos elétricos, novos componentes, serviços pós-vendas inovadores e outro tipo de serviços de valor acrescentado – que deverão ver o share no mercado global de mobilidade, passar dos atuais 5% para os 45%.

Os principais atores industriais de outros continentes, com apoio estatal, já estão a posicionar-se para desenvolverem muitas destas tecnologias através de estratégias de integração aperfeiçoadas. Hoje, os membros fundadores da Software Repúblique realçam a urgência de França e da Europa, coletivamente, construírem um ecossistema sustentável, que garanta a soberania neste campo.  

As três principais áreas de cooperação

Para desenvolver e comercializar, em conjunto, sistemas de mobilidade inteligente, permitindo a implementação de uma oferta ágil e adaptada de mobilidade, foram identificadas três áreas de cooperação:

Sistemas inteligentes que promovam uma conetividade segura entre o veículo e o seu meio ambiente digital e físico.

Sistemas de simulação e de gestão de dados para otimizar os fluxos para territórios e empresas.

Ecossistemas energéticos que simplifiquem a experiência de carregamento.

Por exemplo, os seguintes tópicos estão em discussão pelos parceiros da Software République:

Ligação e carregamento

O desenvolvimento de novas tecnologias e serviços que permitam a um automóvel elétrico, que esteja ligado a um ponto de carga compatível, ser automaticamente reconhecido e efetuar o carregamento sem necessidade de o utilizador efetuar qualquer ação.

Otimizar os fluxos de mobilidade para os territórios

Facilitar o acesso a simulações de trocas de informação sobre mobilidade, de forma instantânea e aberta entre cidades e regiões para permitir:

Aos utilizadores escolher sempre a melhor solução de mobilidade, de acordo com o tempo, conforto e gestão de energia.

Aos operadores melhorar os seus serviços.

Às autoridades públicas simular e implementar cenários de mobilidade, como gestão de emergências, eventos, etc...

Aos projetistas urbanos antecipar melhores planos de utilização do solo.

Para promover a inovação, a Software République também pretende criar um fundo de investimento para financiar as start-ups mais promissoras e incubadoras, que alojem starts-ups no campo das tecnologias inteligentes de mobilidade, onde possam ter acesso a um ambiente colaborativo de desenvolvimento e experimentação virtual e de tutoria através de uma rede criadora de valor. Para o lançamento deste ecossistema para as start-ups e universidades, os parceiros da Software République pretendem organizar um desafio de dados que contribua para o desenvolvimento das tecnologias para a mobilidade do amanhã: elétrica, conectada e autónoma.

Luca de Meo, CEO do Grupo Renault

"Nesta cadeia de valor da nova mobilidade, os sistemas inteligentes instalados são a nova força motriz onde toda a investigação e investimento estão concentrados. Perante este desafio tecnológico, optámos por enfrentá-lo de forma coletiva e aberta. Não haverá um centro de gravidade, o valor intrínseco de cada um será multiplicado pelos restantes. A experiência combinada na cibersegurança, microeletrónica, energia e gestão de dados, permitirão desenvolver soluções únicas e inovadoras, made in Europe, para uma mobilidade responsável, partilhada e com reduzidas emissões de carbono.”

Elie Girard, CEO da Atos

“A Atos orgulha-se de ser um dos membros fundadores da Software République. Como criadora de tecnologia e integradora de soluções complexas, tornaremos acessível a este ecossistema único a nossa experiência digital na redução da pegada de carbono e as nossas tecnologias inovadoras em áreas chave, tais como a inteligência artificial, segurança digital, nuvem, IoT ou informática de alto desempenho. Combinando os pontos fortes de cinco dos principais protagonistas mundiais nos setores automóvel e da tecnologia, esta iniciativa promete acelerar a descarbonização da mobilidade".

Bernard Charlès, Vice-Chairman e CEO da Dassault Systèmes

“Muito para lá apenas do setor automóvel, é uma questão de pensarmos em termos de utilização - mobilidade que oferece um ambiente de lazer e de trabalho que é parte de uma economia sustentável.

Esta economia de experiência anda de mãos dadas com um renascimento da indústria a nível mundial: esta nova economia da mobilidade será organizada em novas e colaborativas redes de valor baseadas em plataformas digitais. A Software République é, assim, um ecossistema de várias indústrias e multidisciplinar, que visa acelerar a inovação e potenciar o crescimento das forças motrizes do futuro. Para o conseguir, confiará no ambiente virtual colaborativo fornecido pela plataforma 3DEXPERIENCE da Dassault Systèmes e em experiências virtuais. Beneficiará também do acelerador de start-ups do 3DEXPERIENCE Lab".

Jean-Marc Chery, Presidente e CEO da STMicroelectronics

"A STMicroelectronics juntou-se à Software République para trazer os seus inovadores produtos de semicondutores e soluções para a eletrificação e digitalização de veículos e serviços de mobilidade. O nosso know-how é um facilitador da transformação em curso no caminho para soluções mais eficientes, alinhadas com as expetativas dos acionistas, no que dizem respeito ao impacto ambiental. A parceria que está no coração deste projeto também irá ajudar a fortalecer as ligações ao longo de toda a cadeia de valor, um ponto chave durante a fase de transformação desta indústria.”

Patrice Caine, Chairman e CEO da Thales

“A Software République promove um movimento conjunto e disruptivo que é essencial para o ecossistema de mobilidade. Com base na experiência comprovada de segurança digital em mercados muito exigentes como o dos transportes, banca, defesa e aeroespacial, a Thales irá partilhar os seus conhecimentos em inteligência artificial, cibersegurança e conetividade, para potenciar a proteção dos veículos, dos seus dados e os de todos os envolvidos na mobilidade.”

Como parte da sua vocação de sustentabilidade, a Software République ficará baseada no Technocentre da Renault, em Guyancourt, num edifício chamado Odysse��e, um espaço moderno e eco-responsável com 12 000m2. Tanto a estrutura interior como exterior é integralmente em madeira, o que permitiu poupar uma tonelada de CO2 por cada metro quadrado, quando comparado com um edifício de construção tradicional, e o telhado, com 1000m2 de área, é coberto com painéis fotovoltaicos.

[extrabeurre]

IL PLEUVAIT DES OISEAUX en tête des nominations du Gala Québec Cinéma 2020

En direct du salon de Guillaume Lambert, les nominations du Gala Québec Cinéma (qui ne fera pas l’objet d’un rassemblement télévisuel cette année, confinement oblige) ont été dévoilées cet après-midi.

En cette année dominée par les réalisatrices, 6 des meilleurs films sont réalisés par des femmes et 3 femmes sont en lice pour l’Iris de la Meilleure réalisation.

On parle bien sûr d’Antigone de Sophie Deraspe (Meilleur film, Meilleure réalisation, Meilleur scénario), La femme de mon frère de Monia Chokri  (Meilleur film, Meilleure réalisation), Kuessipan de Myriam Verreault (Meilleur film, Meilleure réalisation, Meilleur scénario), Jeune Juliette d’Anne Émond (Meilleur film, Meilleur scénario), Il pleuvait des oiseaux  et Louise Archambault (Meilleur film, Meilleur scénario, et 13 nominations au total, le record cette année), et du plus inattendu Fabuleuses de Mélanie Charbonneau (Meilleur film).

Ces films réalisés par des femmes sont rejoints dans les catégories de pointe par les « films de gars » Mafia Inc de Podz (Meilleur film), Sympathie pour le diable de Guillaume de Fontenay (Meilleure réalisation, Meilleur scénario), et  Le vingtième siècle de Matthew Rankin  (Meilleur premier film, Meilleure réalisation).

Un grand oublié : Xavier Dolan, qui a lancé deux longs métrages l’an dernier. On ne s’attendait pas à un couronnement du mal-aimé The Death and Life of John F. Donovan, mais l’excellent Matthias & Maxime aurait mérité plus d’honneurs. Il est quand même en nomination dans les catégories Meilleure interprétation féminine dans un rôle de soutien (Micheline Bernard), Meilleure interprétation masculine dans un rôle de soutien (Pier-Luc Funk), Meilleure direction de la photographie (André Turpin), Meilleur montage (Xavier Dolan), Meilleure musique originale (Jean-Michel Blais) et Meilleur maquillage (Erik Gosselin, Edwina Voda).

Du côté des interprètes, je suis soulagé que mon long métrage québécois préféré depuis longtemps, Le rire de Martin Laroche, ait été au moins reconnu pour les brillantes performances de Léane Labrèche-Dor (Premier rôle féminin) et Micheline Lanctôt (Rôle de soutien féminin).

Il faut aussi souligner les deux nominations comme acteur de Robin Aubert, pour Jeune Juliette (Premier rôle masculin) et Merci pour tout (Rôle de soutien masculin).

Et une pensée pour Andrée Lachapelle, qui nous a quittés récemment, nommée comme Meilleure actrice pour Il pleuvait des oiseaux.

Parlant d’Il pleuvait des oiseaux , félicitations à Will Driving West, un de mes groupes préférés, parmi les finalistes de la catégorie Meilleure musique originale. 

Aussi, je suis très heureux pour l’extraordinaire Je finirai en prison d’Alexandre Dostie, en nomination pour l’Iris du meilleur court métrage.

LISTE COMPLÈTE DES NOMINATIONS

MEILLEUR FILM

Antigone - ACPAV - Marc Daigle

Fabuleuses - GO Films - Nicole Robert

La femme de mon frère - Metafilms - Sylvain Corbeil, Nancy Grant

Il pleuvait des oiseaux - Les Films Outsiders - Ginette Petit

Jeune Juliette - Metafilms - Sylvain Corbeil

Kuessipan - Max Films Média - Félize Frappier

Mafia Inc - Attraction Images - Antonello Cozzolino | Caramel Films - Valérie D'Auteuil, André Rouleau

  MEILLEUR PREMIER FILM

Mad Dog Labine - Jonathan Beaulieu-Cyr, Renaud Lessard - 1er scénario de Jonathan Beaulieu-Cyr, Renaud Lessard

Sympathie pour le diable - Guillaume de Fontenay - 1er scénario de Guillaume de Fontenay, Guillaume Vigneault

Le vingtième siècle - Matthew Rankin - 1er scénario de Matthew Rankin

 MEILLEURE RÉALISATION

Monia Chokri - La femme de mon frère

Guillaume de Fontenay - Sympathie pour le diable

Sophie Deraspe - Antigone

Matthew Rankin - Le vingtième siècle

Myriam Verreault - Kuessipan

MEILLEUR SCÉNARIO

Louise Archambault - Il pleuvait des oiseaux

Jean Barbe, Guillaume de Fontenay, Guillaume Vigneault - Sympathie pour le diable

Sophie Deraspe - Antigone

Anne Émond - Jeune Juliette

Naomi Fontaine, Myriam Verreault - Kuessipan

  MEILLEURE INTERPRÉTATION FÉMININE | PREMIER RÔLE

Anne-Élisabeth Bossé (Sophia) - La femme de mon frère

Anne Dorval (Isabelle Brodeur) - 14 jours 12 nuits

Léane Labrèche-Dor (Valérie) - Le rire

Andrée Lachapelle (Gertrude | Marie-Desneige) - Il pleuvait des oiseaux

Noémie O'Farrell (Laurie) - Fabuleuses

MEILLEURE INTERPRÉTATION MASCULINE | PREMIER RÔLE

Robin Aubert (Bernard) - Jeune Juliette

Marc-André Grondin (Vincent «Vince »Gamache) - Mafia Inc

Patrick Hivon (Karim) - La femme de mon frère

Niels Schneider (Paul Marchand) - Sympathie pour le diable

Gilbert Sicotte (Charlie) - Il pleuvait des oiseaux

 MEILLEURE INTERPRÉTATION FÉMININE | RÔLE DE SOUTIEN

Micheline Bernard (Francine) - Matthias & Maxime

Juliette Gosselin (Clara Diamond) - Fabuleuses

Micheline Lanctôt (Jeanne) - Le rire

Eve Landry (Rafaëlle [Raf]) - Il pleuvait des oiseaux

Geneviève Schmidt (France Gauthier) - Menteur

 MEILLEURE INTERPRÉTATION MASCULINE | RÔLE DE SOUTIEN

Robin Aubert (Réjean) - Merci pour tout

Sergio Castellitto (Francesco « Franck » Paternò) - Mafia Inc

Pier-Luc Funk (Rivette) - Matthias & Maxime

Sasson Gabai (Hichem) - La femme de mon frère

Rémy Girard (Tom) - Il pleuvait des oiseaux

 RÉVÉLATION DE L'ANNÉE

Catherine Chabot (Chloé Therrien) - Menteur

Sharon Fontaine-Ishpatao (Mikuan Vollant [16-21ans]) - Kuessipan

Alexane Jamieson (Juliette) - Jeune Juliette

Nahéma Ricci (Antigone) - Antigone

Lilou Roy-Lanouette (Yanna) - Jouliks

 MEILLEURE DISTRIBUTION DES RÔLES

Jacinthe Beaudet, Tobie Fraser, Geneviève Hébert, Myriam Verreault - Kuessipan

Nathalie Boutrie (Casting NB) - Jeune Juliette

Nathalie Boutrie (Casting NB) | Francis Cantin, Bruno Rosato (Casting Cantin Rosato) - Mafia Inc

Sophie Deraspe, Isabelle Couture | Pierre Pageau, Daniel Poisson (Gros Plan) - Antigone

Karel Quinn (Casting Karel Quinn) | Lucie Robitaille (Casting Lucie Robitaille) - Il pleuvait des oiseaux

 MEILLEURE DIRECTION ARTISTIQUE

Éric Barbeau - La femme de mon frère

Dany Boivin - Le vingtième siècle

Marie-Claude Gosselin, Jean Lebourdais - Il pleuvait des oiseaux

Sylvain Lemaitre - Jeune Juliette

David Pelletier - Mafia Inc

  MEILLEURE DIRECTION DE LA PHOTOGRAPHIE

Yves Bélanger - 14 jours 12 nuits

Nicolas Canniccioni - Kuessipan

Josée Deshaies - La femme de mon frère

Mathieu Laverdière - Il pleuvait des oiseaux

André Turpin - Matthias & Maxime

 MEILLEUR SON

Claude Beaugrand, Michel B. Bordeleau, Bernard Gariépy Strobl, Claude La Haye, Raymond Legault - The Song of Names

Sylvain Bellemare, Jocelyn Caron, Bernard Gariépy Strobl - Sympathie pour le diable

Serge Boivin, Olivier Calvert, Samuel Gagnon-Thibodeau - Ville Neuve

Luc Boudrias, Sylvain Brassard, Jean Camden - Mafia Inc

Bernard Gariépy Strobl, Sacha Ratcliffe, Lynne Trépanier - Le vingtième siècle

 MEILLEUR MONTAGE

Geoffrey Boulangé, Sophie Deraspe - Antigone

Monia Chokri, Justine Gauthier - La femme de mon frère

Xavier Dolan - Matthias & Maxime

Myriam Poirier - 14 jours 12 nuits

Matthew Rankin - Le vingtième siècle

 MEILLEURS EFFETS VISUELS

Alchimie 24 - Alain Lachance, Jean-Pierre Riverin - The Song of Names

Mikros - Véronique Dessard, Philippe Frère - The Hummingbird Project

Oblique FX - Benoit Brière, Louis-Philippe Clavet, Kinga Sabela - Sympathie pour le diable

  MEILLEURE MUSIQUE ORIGINALE

Andréa Bélanger, David Ratté (Will Driving West) - Il pleuvait des oiseaux

Jean-Michel Blais - Matthias & Maxime

Jean Massicotte, Jad Orphée Chami - Antigone

Howard Shore - The Song of Names

Peter Venne - Le vingtième siècle

  MEILLEURS COSTUMES

Valérie Lévesque - Mafia Inc

Ginette Magny - Jouliks

Patricia McNeil - La femme de mon frère

Patricia McNeil - Le vingtième siècle

Caroline Poirier - Il pleuvait des oiseaux

  MEILLEUR MAQUILLAGE

Jeanne Lafond - Jouliks

Léonie Lévesque-Robert - Fabuleuses

Marlène Rouleau - Mafia Inc

Adriana Verbert - Le vingtième siècle

Erik Gosselin, Edwina Voda - Matthias & Maxime

MEILLEURE COIFFURE

Michelle Côté - The Song of Names

Stéphanie Deflandre - Mafia Inc

Nermin Grbic - Le vingtième siècle

Daniel Jacob - Fabuleuses

Martin Lapointe - Il pleuvait des oiseaux

  MEILLEUR FILM DOCUMENTAIRE

Alexandre le fou - Pedro Pires | Pedro Pires

Mad Dog & The Butcher - Les derniers vilains - Thomas Rinfret | Divertissement Breakout - Vito Balenzano, Bruno Rosato | Vélocité International - Valérie Bissonnette

Soleils noirs - Julien Elie | Cinéma Belmopán - Julien Elie

Xalko - Hind Benchekroun, Sami Mermer | Les films de la tortue - Hind Benchekroun | Sami Mermer

Ziva Postec. La monteuse derrière le film Shoah - Catherine Hébert | Les Films Camera Oscura - Christine Falco

  MEILLEURE DIRECTION DE LA PHOTOGRAPHIE | FILM DOCUMENTAIRE

Dominic Dorval, Vincent Masse, Thomas Rinfret, Richard Tremblay - Mad Dog & The Butcher - Les derniers vilains

Sami Mermer - Xalko

François Messier-Rheault, Ernesto Pardo - Soleils noirs

Pedro Pires - Alexandre le fou

Pedro Ruiz - Sur les toits Havane

  MEILLEUR MONTAGE | FILM DOCUMENTAIRE

Benoit Côté, Thomas Rinfret - Mad Dog & The Butcher - Les derniers vilains

Sylvia De Angelis, Sophie Leblond, Pedro Pires - Alexandre le fou

Aube Foglia - Soleils noirs

Annie Jean - Ziva Postec. La monteuse derrière le film Shoah

Natalie Lamoureux - Une femme, ma mère

  MEILLEUR SON | FILM DOCUMENTAIRE

Wolfgang Beck, Mustafa Bölükbasi, Kerem Çakir, Huseyin Can Erol, Sonat Hançer, Eric Lebœuf, Bruno Pucella, Ibrahim Tarhan, Yener Yalçin, Tolga Yelekçi - Échos d'Istanbul

Luc Boudrias, Patrice LeBlanc - Une femme, ma mère

Sylvain Brassard, Benoit Leduc, Gaël Poisson Lemay - Alexandre le fou

Shelley Craig, Marie-Pierre Grenier, Luc Léger, Geoffrey Mitchell - La fin des terres

René Portillo - Sur les toits Havane

MEILLEUR COURT MÉTRAGE | FICTION

Je finirai en prison - Alexandre Dostie | Art & Essai - Hany Ouichou

Jojo - Guillaume Laurin | Couronne Nord - Fanny Forest, Julie Groleau, Guillaume Laurin

Juste moi et toi - Sandrine Brodeur-Desrosiers | Les Films Camera Oscura - Johannie Deschambault

SDR - Alexa-Jeanne Dubé | À Deux - Emili Mercier

Une bombe au cœur - Rémi St-Michel | Christal Films Productions - Christian Larouche | Panache Films - Sébastien Létourneau

 MEILLEUR COURT MÉTRAGE | ANIMATION

Le cortège - Pascal Blanchet, Rodolphe Saint-Gelais | Office national du film du Canada - Julie Roy

Le mal du siècle - Catherine Lepage | Office national du film du Canada - Marc Bertrand

Organic - Steven Woloshen | Steven Woloshen

Physique de la tristesse - Theodore Ushev | Office national du film du Canada - Marc Bertrand

Les vêtements - Caroline Blais | Caroline Blais

  FILM S'ÉTANT LE PLUS ILLUSTRÉ À L'EXTÉRIEUR DU QUÉBEC

Antigone - Sophie Deraspe | ACPAV - Marc Daigle | Maison 4:3

La femme de mon frère - Monia Chokri | Metafilms - Sylvain Corbeil, Nancy Grant | Les Films Séville

Genèse - Philippe Lesage | Unité centrale - Galilé Marion-Gauvin | FunFilm Distribution

Kuessipan - Myriam Verreault | Max Films Média - Félize Frappier | Filmoption International

Répertoire des villes disparues - Denis Côté | Couzin Films - Ziad Touma | Maison 4:3

 PRIX DU PUBLIC

La femme de mon frère - Monia Chokri | Les Films Séville | Metafilms - Sylvain Corbeil, Nancy Grant

Il pleuvait des oiseaux - Louise Archambault | MK2 | Mile End | Les Films Outsiders - Ginette Petit

Mafia Inc - Daniel Grou (Podz) | Les Films Séville | Attraction Images - Antonello Cozzolino | Caramel Films - Valérie D'Auteuil, André Rouleau

Menteur - Émile Gaudreault | Les Films Séville | Les Films du Lac - Émile Gaudreault | Cinémaginaire - Denise Robert

Merci pour tout - Louise Archambault | Les Films Séville | Amalga - André Dupuy

  IRIS HOMMAGE

Alanis Obomsawin

[themaggierogers]

blogotheque: We just won the @ukmva award of the best live video for the third time with our intimate session of @maggierogers 'Light On' !! Congratulations to our director Elie Girard ! 🏆

[backstrom]

okay so i got curious about other players we could have drafted because i like pain and what ifs so here goes, and yes i included some people who aren’t the best with points but i love them so i don’t care 🤷🏻‍♀️also this is so long i’m so sorry

2009: We drafted Scott Glennie, Alex Chiasson, and Reilly Smith

We could have drafted Ryan O’Reilly, Kyle Palmieri, Tomas Tatar, Tyson Barrie, Anders Lee, Michael Latta

2010: We drafted Jack Campbell, Patrik Nemeth, Alexander Guptill, Alex Theriau, John Klingberg ⭐️

We could have drafted Vladimir Tarasenko, Evgeny Kuznetsov, Tyler Pitlick (I mean we have him now but still), Brendan Gallagher, Frederik Andersen, Zach Hyman

2011: We drafted Jamie Oleksiak, Brett Ritchie, Emil Molin, Troy Vance, Matej Stransky, Jyrki Jokipakka we made extra bad choices this year

We could have drafted William Karlsson, Nikita Kucherov, Vincent Trocheck, Johnny Gaudreau, Andrew Shaw

2012: We drafted Radek Faksa, Ludvig Bystrom, Mike Winther, Devin Shore, Esa Lindell, Gemel Smith, Branden Troock, Henri Kiviaho, Dmitry Sinitsyn

We could have drafted Tom Wilson, Tomas Hertl, Teuvo Teravainen, once again Frederik Andersen, Alexander Kerfoot, Christian Djoos

2013: We drafted Valeri Nichushkin, Jason Dickinson, Remi Elie, Niklas Hansson, Nick Paul, Cole Ully

We could have drafted Nikita Zadorov, Andre Burakovsky, J.T. Compher, Ryan Graves, fuck Max Domi

2014: We drafted Julius Honka, Brett Pollock, Alexander Peters, Michael Prapavessis, Brent Moran, Miro Karjalainen, Aaron Haydon, John Nyberg, Patrick Sanvido 

We could have drafted Dylan Larkin, Nick Schmaltz, Kasperi Kapanen, David Pastrnak, Christian Dvorak, Brayden Point

2015: We drafted Denis Guryanov, Roope Hintz, Chris Martenet, Joseph Cecconi, Markus Ruusu

We could have drafted Mat Barzal, Brock Boeser, Travis Konecny, Anthony Beauvillier, Sebastian Aho

2016: We drafted Riley Tufte, Fredrik Karlstrom, Rhett Gardner, Colton Point, Nicholas Caamano, Jakob Stenqvist

We could have drafted Alex DeBrincat, Sam Girard, Carter Hart (We had some pretty low spots this year so there wasn’t much leftover for us to choose from tbh)

Okay so I’m not going to bother with the 2017 and 2018 drafts mainly because they were so recent it’s hard to know who is going to be a regret because honestly a lot of them aren’t even playing NHL level yet. I will say though that 2017 we could have drafted Elias Pettersson but we chose Miro Heiskanen instead, which honestly I don’t see as a regret I think it was a good choice but I thought it was something to mention

[copperinland]

Deceit, Desire, and the 1980s

           Excess, greed, and apathy are words that are equally relevant in describing America in the 1980s as well as Girardian concepts persecution and mediated desire. The application of two of Rene Girard’s books, The Scapegoat and Deceit, Desire, and the Novel with American Psycho, Wallstreet, and Henry: Portrait of a Serial Killer, will prove that the core of these films is rooted in significantly older psychologies -- though Rene Girard would contest this term -- than the contemporary interpretations offer. My argument is that beneath the satire, exposure, and portraiture lies novelistic-mediated desire and elements of mythic persecution.

           Definitives are seldom found in nature, and the same is true of a definitive categorization of mediated desire. Several of the implementations by the old masters of the novel, Dostoyevsky; Stendhal; and Cervantes, are different forms of mediated desire and contain idiosyncratic differences among them, but all are demonstrated through the structural model of the triangle (Girard 2).

           Girard offers the triangle because it provides a spatial mode of thinking when comparing and contrasting elements of a story. He acknowledges on the second page of Deceit, Desire, and the Novel that all stories can be described with a straight line, from the subject (protagonist), and the object of desire. The object of desire can be anything, and often, anyone: primarily women. What Girard’s triangular model of mediated desire does is introduce a mediator that hovers over the straight line of subject and object and acts as the interpreter of desire. Only the great novelists can articulate this relation according to Girard.

           Stendhalian vanity is perhaps the most easily recognizable connection to the culture of the 1980s because it is centered around a protagonist that Girard labels the vaniteux (Girard 6). Stendhal demonstrates vanity through terms like “copying” and “imitating” and it is the latter that draws the most attention. “A vaniteux will desire any object so long as he is convinced that it is already desired by another person whom he admires.” (Girard 7). This quote would suffice as a summary of Patrick Bateman’s character profile in American Psycho. The following sentence further connects Bateman as a modern vaniteux by including, “The mediator here is a rival, brought into existence as a rival by vanity, and that same vanity demands his defeat.” (Girard 7). This firmly establishes an idea for Bateman’s mediator, but that will be covered later.

           Firstly, it is essential to detail the aspects of Patrick Bateman that situate him as a vaniteux, despite the description fitting so accurately. Patrick is a vessel; he states in his opening monologue that there is no Patrick Bateman, only an idea. He can only exist as a reflection of others’ perceived desire. He is capable only of wanting and imitating those around him. One of the primary objects that Patrick pursues throughout the film is a reservation at Dorsia, first for the status that comes with being able to get one and secondly because of Paul Allen’s assumed ability to get one. “Humiliation, Impotence, and Shame” are terms that can be interchanged with obstacle (Girard 178). Girard quotes from one of Denis De Rougemont’s books, Love in the Western World, and tells the reader that, “Desire should be defined as a desire of the obstacle.” Patrick desires the obstacle of obtaining the elusive reservation put in place initially by his circle of friends which mention it among their group, but Patrick’s desire is amplified when he discovers that Paul Allen supposedly frequently gets tables at Dorsia and this establishes Allen as a rival to Patrick. Allen as determined the obstacle for Patrick to pursue, it is the most serious obstruction (Girard 179). Passion intensifies throughout the film at this point, even after a modern twist to Stendhalian vanity in which the subject defeats his mediator.

           Two primary forms of mediation exist among all of the novelists’ desires, and they are external and internal. These terms are used to demonstrate proximity between the subject and mediator. External mediation exists when the subject is so far removed from the mediator that their realities cannot or would be unlikely to interact. Metaphysical desire falls into this category because a good example of external mediation is the Muslim and Mohammed or any follower of religion and cult. The novelistic example used by Girard is Don Quixote by Cervantes. The opposing side of the spectrum is internal mediation in which the spiritual distance between subject and mediator is close enough for the two spheres of possibilities to “penetrate” one other (Girard 9). Internal mediation is where rivalry begins and is the type that best describes American Psycho. The entire film revolves around class symbols such as fashion, real estate, and rank; the movie embodies physicality. Patrick is only able to imitate what he sees; he is incapable of reciprocating any emotion. He doesn’t desire to be any particular person, only to possess what others have.

           Girard says that the hero of internal mediation, or anti-hero in Patrick Bateman’s case, is careful not to have his imitations known, he carefully guards them (Girard 10). Patrick’s plots of murder and social climbing are never uttered to anyone; he does not even acknowledge them to himself through monologue. Girard explains why this is:

In the quarrel which puts him in opposition to his rival, the subject reverses the logical and chronological order of desires in order to hide his imitation. He asserts that his own desire is prior to that of his rival; according to him, it is the mediator who is responsible for the rivalry. (Girard 11)

Patrick kills out of hatred only in the murder of Paul Allen. He is subsequently the sole character that Patrick considers to be equal to, or worse, better than. He takes careful note of Allen’s successes and possessions: the Fisher account, the reservation at Dorsia, and his business card. These empty symbols elicit in Patrick two opposing feelings, that of “submissive reverence” and “the most intense malice” which constitute the passion of hatred (Girard 10).

           American Psycho as a film fits neatly within all of Stendhalian vanity because it too works to persuade the viewer that, “the values of vanity, nobility, money, power, [and] reputation only seem concrete.” (Girard 18). Mary Harron works from the source material written by Bret Easton Elis which depicts exceptional vapidity among members of significant affluent status. Patrick Bateman is in possession of all of these things, yet he simply isn’t there. The film shows the audience the danger of a perversely inflated ego, the disassociation between the wealthy and the poor as fellow human beings. There is nothing concrete about Patrick Bateman nor among any of his friends, save for Bryce who seems to have some investment in politics and social issues. It is he who at the end of the film remarks to the group about Reagan’s ability to lie in the face of American people, he is about to make a mention of what is inside Reagan’s false exterior, and Patrick intercedes:

But it doesn’t matter. There are no more barriers to cross. All I have in common with the uncontrollable and the insane, The Vicious and The Evil, all the mayhem that I have caused and my utter indifference to it, I have now surpassed. My pain is constant and sharp, and I do not hope for a better world for anyone. In fact, I want my pain to be inflicted on others. I want no one to escape. But even after admitting this, there is no catharsis. My punishment continues to elude me, and I gain no further knowledge of myself. No new knowledge can be extracted from my telling. This confession has meant nothing.

Sadism is indubitably a large section of Patrick’s character, but the finishing monologue introduces to the audience the closest Patrick could ever come to admitting his role as the masochist. In “Masochism and Sadism,” the eighth chapter of Deceit, Desire, and the Novel, Girard discusses the mediator and subject as Master and Slave respectively (Girard 176). These terms are more in line with external mediation rather than internal, but Girard also explains how a hero of internal mediation can eventually fall into external mediation. Recall that the difference between the two is one of spiritual distance between mediator and subject, therefore, if the mediator grows closer in a story centered in external mediation, then the desire will transform to one of internal mediation and vice versa. American Psycho performs this change at the time of Paul Allen’s murder, which is undoubtedly the most important portion of the film regardless of analysis applied. It is with the death of his rival, the overcoming of the obstacle chosen by his mediator, that Patrick Bateman is able to walk among his own Gods; we will see something similar with Wallstreet later. It is here that Patrick’s mediation is further away, more abstract, and he is even more tortured as a result. “Metaphysical desire always ends in enslavement, failure, and shame.” Patrick elects to be tortured with these tools earlier in the film, he tolerates Paul Allen’s denigration of him, calling Patrick a loser and so on, because has a hero, or rather a victim, of internal mediation, these are the terms that the masochist must accept in desiring objects through a mediator so close in proximity. Patrick deifies Paul, and it is after the acknowledgment of this that Patrick acts. He becomes aware of the connection between his desire and what it truly is, that of Paul’s. Girard says that this is the defining point of the masochist, he is aware of the machinations of mediated desire and endures it (Girard 182). The difference lies in Patrick’s acting upon the structure he assigned himself to rather than the traditional Stendhalian hero who lives to serve his master.

Both the fiction of the film Wall Street and the reality that inspired it are rife with examples that fit into, “Men Become God’s in the Eyes of Each Other.” This chapter focuses on desire as articulated by Proust and Dostoyevsky with the latter’s implementation more relevant to Wall Street. To say that a connection between Dostoyevsky’s Crime and Punishment and Wall Street is a dramatic understatement. Stanley Weiser, the film’s co-writer, and Oliver Stone explicitly said to each other about making, “Crime and Punishment on Wall Street.” (Lewis) It is also interesting to note Weiser’s admission that he did not read the entirety of Dostoyevsky’s book and opted for the Cliff Notes version. He says the paradigm of the book would not translate to the story of the film, but the proof is in the finished product. What this admission says is that Weiser and Oliver read the highlights of what makes Dostoyevsky’s work effective: mediated desire.

…Dostoyevsky’s hero dreams of absorbing and assimilating the mediators Being. He Imagines a perfect synthesis of his mediator’s strength with his own ‘intelligence.’ He wants to become the Other and still be himself. (Girard 54)

Bud fits into Girard’s definition of a Dostoyevskian hero nearly perfect. Bud does not covet only Gekko’s office, cars, and women; he wants to be Gekko, filtered through what he deems his own experience. He has the grand delusion that all protagonists of mediated desire have: that what is desired can be obtained. Many different explanations exist that connect the subject to the object and Girard often goes back in forth between whether the subject truly wants the object, if he wants to want, or if he wants to be humiliated. Bud appears to fit into the masochist role. Wall Street begins in external mediation as opposed to American Psycho in which the desire mutated from internal to external.

           Before the discussion of Men and Gods, it is pertinent to speak of Bud’s fantasies and what his concept of self is. Girard says, “The subject must have placed his faith in a false promise from the outside.” (Girard 56) The false promise is metaphysical autonomy. Bud wants to be at the top, where he thinks that decisions are made. He desires to control the desires of other men as Gekko does unto him.

God is dead. God remains dead. And we have killed him. How shall we, murderers of all murderers, console ourselves? That which was the holiest and mightiest of all that the world has yet possessed has bled to death under our knives. Who will wipe this blood off us? With what water could we purify ourselves? What festivals of atonement, what sacred games shall we need to invent? Is not the greatness of this deed too great for us? Must we not ourselves become gods simply to be worthy of it? There has never been a greater deed; and whosoever shall be born after us - for the sake of this deed he shall be part of a higher history than all history hitherto." (Nietzsche, The Parable of the Madman)

Girard asks, “Why can men no longer alleviate their suffering by sharing it?” (Girard 57) He deems that solitude, a word that predates loneliness, is an allusion just as autonomous desire. A better question more fitting to this paper is, “Why can Bud not realize that his desire is not his own, why can’t he accept that neither he nor Gekko is in intellectual solitude? That they are master and slave?

           The answer is because Bud is trapped in external or metaphysical desire. I included Nietzsche’s declaration of the death of God because it relates to Dostoevsky's work greatly and Bud and Gordon Gekko’s relationship by proxy. Jordan Peterson draws the relationship between Nietzsche and Dostoyevsky as the latter predicting the former. Peterson makes clear that Dostoyevsky was not a nihilist but instead a very astute observer of culture (Peterson 213). He takes time in his argument to speak of Dostoyevsky’s prediction of the horrors of communism and how he was in favor of religion and morals over postmodernism, etcetera; however, what interests me most about this line of thought is the connection back to Wall Street. Gekko is to Nietzsche as Bud is to Dostoyevsky.  

           Gekko grew up in a world abandoned by God, where his father worked himself to an early death and one where he had to become the provider of his own prayers and fill the void. Gekko is revered to by many as a God in many ways, but the best example of praise is when Bud presents to him a cigar as an offering.

…as the gods are pulled down from heaven, the sacred flows over the earth; it separates the individual from all earthly goods… (Girard 62)

Bud sacrifices any possible claim to autonomy by affirming Gekko as his God. Autonomy in the liberal sense is an illusion according to Girard, but the subject does believe it, as many do, as an actuality. Bud cannot look freedom in the face, and as a result, he subjects himself to anguish. (Girard 65)

           Bud’s freedom gradually lessens as he grows closer to his mediator. He is a struggling yuppie in the beginning of the film and is not seeing as much progress as he envisioned. He tries to distance himself from his father and the tradition that he represents, the old Father. The destructive nature of the close interaction between mediator and subject is the driving force of the plot. Bud rises throughout the film to walk along his mediator, hand in hand with God. Bud shows all of the symptoms of a victim of metaphysical desire, much like Patrick Bateman in the latter half of his story. Bud seeks out obstacles which are presented to the audiences as “challenges” and disguise themselves as symptoms of his lust for power. They are instead examples of Bud subjecting himself to humiliation and degradation. He accepts Gekko as his master and God. He grovels beneath him and eats his scraps; he accepts the women he has already used. Girard notes a common theme in Dostoyevsky’s work whose name derives from his novella The Eternal Husband. The eternal husband, Girard’s term, is used in cases such as cuckoldry or latent homosexuality, though it is most commonly in reference to the former. Desire in the Eternal Husband stories is a competitive one, but it also relates back into Sadomasochism and the deifying of man. The story of the novella revolves around a man seeking out the lovers of his dead wife and seemingly befriending one that interests him most. What results is that the seeker finds a new wife and convinces the former lover of his wife to try and take her away from him. The analogy directly traces back to Gekko performing the same kind of play onto Bud. The difference is that the narrator of the novella is actually the mediator of the story, a clever twist. (Girard 46)

             Wall Street is confused when the Eternal Husband is applied. It introduces a symptom of external or metaphysical desire: double mediation. As Bud imitates Gekko and becomes him, Gekko reflects this desire and seeks to build a complete copy of himself. The film makes a point to relay that Gekko sees himself in Bud several times throughout and is the most explicit at the end with Gekko’s immense disappointment at the end of their reciprocated desires. This is common when mediation becomes a rivalry. Bud becomes the equal that he himself pursued from the beginning, but he is not yet the perfect copy made out of vanity by Gekko, and the result is conflict. Darien occupies various roles in the film. She is more of an indirect object, which sounds intensely misogynist but is nonetheless true. Gekko uses her as a gift to Bud, but this is not a gift given out of kindness; Gekko offers her to Bud in a mimetic way as the cigar was offered to him, but with vastly differing intention. The intention can be best described with the following quote from De Rougemont, “One reaches the point of wanting the beloved to be unfaithful so that he can court her again.” The film is a very complex retelling of the Dostoyevskian method. Characters shed and share characteristics without warning and some gain more and more over the course of the plot. Darien begins as an offering made by Gekko so that he can desire her again later and expose Bud as a masochist that is subservient to him, and what complicates her role is that the result of Bud’s awareness of his role is that he persecutes her instead. Girard discusses how mimetic rivalry ends in conflict and how it is resolved in a video interview with Hoover Institution on YouTube. The audience may see Darien as the conflicting object which directs both of the main characters’ desires, but she is instead the scapegoat that is used to resolve, though only momentarily, Bud’s anger with Gekko. She does not appear again in the film, which may suggest that Gekko has also completed his use for her. If this is the case, then she stands as a failed resolution through scapegoating, and this leads to the destruction of the mediator. Girard says that mimetic rivalry is inescapable in society and the only way for communal life to persevere is for the opponents to choose a scapegoat to explain their apparent differences and ardor. If the scapegoat fails, the result is war. Darien was an attempt by Gekko to soften future contempt by Bud in the hopes that Bud would fall blindly into masochistic desire and continue to serve him. The masochistic hero is, however, a much more lucid and dangerous kind of subject. Bud slowly learns over the course of the film that he has been used; he reflects on his humiliation and sees the structure that he had placed himself in and on his freedom that he sacrificed to pursue the ideal.

The masochistic vision is never independent. It is always in opposition to a rival masochism which is organizing the same elements into a symmetrical and inverse structure. (Girard 188)

           Of course, desire in terms of this paper cannot exist without at least two participants, but what Girard calls the masochistic vision works in a different way in contrast to what has been discussed previously. The masochistic vision is desire that is in spite. The masochist, “has a grudge against the very spirit of evil; and yet, he does not want to crush the wicked so much as to prove to them their wickedness and his own virtue; he wants to cover them with shame by making them look at the victims of their own infamy.” To see Bud’s reaction to Gekko’s betrayal as revenge is justified, but the prime motivation is not to hurt or destroy Gekko. Bud wants to shame him, to show Gekko that what he has done has negative side effects. Bud wants to surpass his mediator and teach unto him lessons that derive from his own, apparently higher morality. Hatred is observable in Bud’s actions, but he still thinks of himself as morally superior to Gekko and that his string of bad, or immoral decisions, were a result of Gekko’s manipulation. Bud has at the end come to terms with the limit of his autonomy; he recognizes the imminent destruction that comes from mimetic rivalry. This partially undercuts the primary objective of the film’s creators by trying to expose the greed of Wall Street and the culture of the ’80s, but overall it functions in the same way, just through different means.

           Both films discussed have cultural icons within them and were largely successful commercially. They both have comedic elements that produce satire and expose the immense greed and corruption that was prevalent in the time periods of their worlds. There is nothing new to be said about desire as the primary focus of the 1980s, commercially anyway, but there is more to be investigated into the why. The 1980s was an era that was symbolically in regression; it was a reversion to the 1950s, but also much further. Ancient ideas that centered around religion and tradition also brought back the largest faults of human ancestry. Girard says in his interview with Hoover Institution that mimetic desire is man-made, it does not exist in nature. It does not have to be an inevitability, just as persecution and scapegoating need not also. What both films do accurately describe the harm that comes from intense infatuation with the desire of others. There is no escaping it, as referenced earlier, but the level of interest and disassociation with oneself is up to the individual. Human beings that live within a civilization have the responsibility to become good masochists. Ones that know of the triangular structure that we have to live in and acknowledge that no alternative exists wherein a comfortable mode of living is possible. The choice lies in what and who one is her master. Girard would suggest that an abstract thing, such as a conception of the good (i.e., religion) would be a less problematic imitation because there is no chance of interaction or spiritual proximity to the divine to the rational mind. Philosophy can also occupy this role so long as the individual does not confuse the thoughts of others as their own and seek to compare themselves as equals to those whose thoughts have been stolen. More films like these two should be made so that the public can get a better understanding of what and why they want and believe.

[rhianna]

Hidden Treasures; Or, Why Some Succeed While Others Fail by Harry A. Lewis

Bibliographic Record

Author

Lewis, Harry A.

Title   Hidden Treasures; Or, Why Some Succeed While Others Fail

Contents   Preface -- Introduction -- Quotations -- Daniel Drew -- Russell Sage -- Cornelius Vanderbilt -- Amos Lawrence -- Horace B. Claflin -- William E. Dodge -- Jay Gould -- John Wannamaker -- Alexander T. Stewart -- Nicholas Longworth -- Robert Bonner -- William G. Fargo -- James C. Flood -- John W. MacKay -- James C. Fair -- Horace Greeley -- Thurlow Weed -- George W. Childs -- James Gordon Bennett -- Phineas T. Barnum -- Mathew Vassar -- John Jacob Astor -- Potter Palmer -- James Harper -- Henry Disston -- Peter Cooper -- George Law -- Darius O. Mills -- Stephen Girard -- Moses Taylor -- William C. Ralston -- George Peabody -- William W. Corcoran -- Nathan Mayer Rothschild -- John Adams -- Thomas Jefferson -- John Marshall -- Alexander Hamilton -- James Madison -- James Monroe -- Lewis Cass -- John C. Calhoun -- Robert Y. Hayne -- Daniel Webster -- Andrew Jackson -- Thomas H. Benton -- Henry Clay -- Martin Van Buren -- Stephen Arnold Douglass -- Abbott Lawrence -- Alexander H. Stephens -- Millard Fillmore -- William H. Seward -- Horatio Seymour -- Winfield S. Hancock -- George B. McClellan -- Ulysses Simpson Grant -- Stonewall Jackson -- General Robert E. Lee -- Henry Wilson -- Abraham Lincoln -- Edward Everett -- Edwin M. Stanton -- Andrew Johnson -- James A. Garfield -- Chester A. Arthur -- John A. Logan -- James G. Blaine -- Samuel J. Tilden -- Henry Ward Beecher -- James Watt -- George Stephenson -- Benjamin Franklin -- Eli Whitney -- Robert Fulton -- Elias Howe, Jr. -- Isaac M. Singer -- Richard M. Hoe -- Charles Goodyear -- Prof. S. F. B. Morse -- Cyrus W. Field -- George M. Pullman -- Thomas A. Edison -- Why some succeed while others fail.

Language   English

LoC Class

BJ: Philosophy, Psychology, Religion: Ethics, Social usages, Etiquette, Religion

Subject

Success

Subject

United States -- Biography

CategoryText

EBook-No.20151

Release Date  Dec 20, 2006

Copyright Status   Public domain in the USA.

[nofatclips]

La Blogotheque presents This Wild Willing by Glen Hansard - Directed by Elie Girard

"Nadia" (featuring Don’t Settle)

“The Khoshravesh Brothers“ (featuring Race To The Bottom)

[nouh123]

L’amitié est-elle la solution à la crise du couple ?

Un homme et une femme peuvent-ils être amis, vivre ensemble et faire famille, sans tomber amoureux ? Telles sont les questions que pose Platonique, série créée et réalisée par Elie Girard et Camille Rosset, sélectionnée à CanneSeries et disponible ce mercredi sur OCS. La série suit Yann (Maxence Tual) et Elsa (Camille Rutherford), deux amis qui décident de quitter leurs conjoints respectifs pour…

[champi-pilze]

Les Mauvais garçons - Elie Girard

[eliseeney]

The special guests are bringing out special guests 👀 y’all don’t want to miss this one 🗣🔥🔥🔥🔥 ———- Eli & Friends A Hip-Hop/R&B/Soul Concert Experience Live at @firephilly 412 W Girard Ave Philadelphia, PA 19123 Doors @ 8 PM Performances @ 9 PM $10 advance/$15 at the door Complete details on @eventbrite Follow: @EliSeeney @hypecityshow (at Philadelphia, Pennsylvania) https://www.instagram.com/p/CY7mYD-rJXG/?utm_medium=tumblr

[academiasbodyticket]

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