parti pris การใช้

• He also began to write for the magazine " Parti pris ".
• "Le parti pris des choses " has been translated into English many times.
• Parti pris is found at Big Idea . talk ) 02 : 22, 1 June 2016 ( UTC)
• After his publication of " Le parti pris des choses ", Ponge was not unnoticed in the literary world.
• Fahnestock's translation of " Le parti pris des choses " is entitled " The Nature of Things ".
• The style shown in " Le parti pris des choses " was Ponge's first foray into what would become his definitive trademark.
• During the 1970s, she published a number of writings in favour of independence within " Le Devoir " and " Parti pris ", while studying philosophy.
• Lee Fahnestock, one of " Le parti pris des choses "  translators, describes the work as " construct [ ing ] a new form of definition-description ".
• It was at this time, in 1942, that he joined the French Resistance and also published what is considered his most famous work, " Le parti pris des choses ".
• Son parti pris pour la science appliqu閑 et curative ainsi que sa connaissance et ses travaux sur les 閘ectrolytes le conduisent vers le traitement de l acidoc閠ose diab閠ique ) ainsi que sur le diagnostic de la mucoviscidose.
• Beth Archer Brombert is a professional translator and author, and her translation of Ponge's " Le parti pris des choses ", titled " The Voice of Things ", is widely recognized.
• A poet in the early 1960s, he was a founding member alongside Paul Chamberland, Andr?Brochu, Pierre Maheu and Jean-Marc Piotte of the political and cultural magazine " Parti pris " in 1963.
• Alfred Cobban, despite being the most respected conservative historian of the events, acknowledged that Burke's pamphlet, in so far as it " deals with the causes of the Revolution & they are not merely inadequate, but misleading " and that its main success is as a " violent parti pris ".
• The style of description and calculated subconscious evocation that Ponge established in his early writings starting with Le parti pris des choses was emulated by later French poets, notably Yves Bonnefoy, Jacques Dupin, and Andr?Du Bouchet, the first two of whom employ the " old master's " techniques of subtle wordplay.
• It has been said of Ponge's recasting of ideas in " Le Parti pris des choses " that it is not merely meant to be another way of thinking about and viewing objects or concepts, but an attempt to redefine how language is used, as human speech is wittily compared to the secretions of a mollusk.
• Are you sincerely interested on discussing the topic, in order to reach a reasonable settlement, which is going to serve the reader rather than anyone's personal prejudice, or are you just " parti pris " interested on bolstering your already given vote for my banning, tardily adding your oh-so-weak, unbaked arguments?
• While she admits that a more exact translation of " le parti pris des choses " would be something more like " taking the side of things " or " the side taken by things " ( implying that the things in the poems speak for themselves without humans ), Fahnestock argues that humanity " is never absent from the page . " She believes that Ponge gives his subjects human qualities, and she incorporates this idea into her translations.
• Indeed, his attitude toward the depiction of objects is neatly summed up by the saying " Parti Pris des Choses = Compte Tenu des Mots, " which translates loosely to " taking the side of things = taking into account the words . " Indeed, where pure description is inadequate to truly capture the spirit of an object, Ponge employs auditory effects ( e . g . assonance, sibilance, and paronomasia ) as well as images that delight all the senses.
• "Snails " is a prototype poem for Ponge, as it displays many distinct aspects of his style : Ponge likes to use scientific language, referring to snails by their species name, Gastropoda ( although some critics like Allain Robb-Grillet, author of " Pour un nouveau roman ", point out scientific inaccuracies in " Le Parti pris des choses ", and deem the role of science in Ponge's work as " negligible " ).
• Son impatience du joug en pr閟ence des imperfections de notre mat閞iel musical est caract閞istique : Il d閠end jusqu'au si l'arc de son violoncelle, il invente un " pizzicato-glissando " qui arrache ?la corde un petit sanglot presque humain, il r閏lame de la voix f閙inine des vocalises ?bouche ferm閑 et lui impose parfois le doux nasillement voil?d'une sourdine invisible, et tout cela sans 閠ranget?laborieuse, sans parti pris et pour ainsi dire sans recherche } } " }}