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Despite being among the most expensive and time-consuming items that records professionals deal with, audio-visual archives remain under-appreciated and underused by historians. The legacy of difficult-to-access screen material has combined with a long-standing reluctance to deal with AV as complex texts, meaning that documents continue to dominate in historical work.
Film, video, broadcast television and the cinematic screen have nonetheless been indispensable in the biological, medical and social sciences for training, promoting and debating on issues of the body and mind in the twentieth century. But although time-based screen media are unmatched in their facility to simultaneously convey complex intersections of the corporeal, the psychological, and the practical, the value of historic AV for empirical work is only just beginning to garner serious icona botox committed attention.
Carie dent temps - an ERC - funded research project specialising in the use of AV material as a primary source for investigating the history of health, health concepts and healthcare — has thereby convened a knowledge exchange between archivists working in the fields of science and medicine, and researchers from the project.
Core research questions will be; what is the research value of the medico-scientific AV archive? Where and why should AV archive be utilised as an object of investigation?
What are the pitfalls and benefits of working with AV material within the specific remit of the BodyCapital themes, and in also in the practical undertaking of further research?
These topics will be addressed through the direct screening and discussion of AV archive, as selected by participants.
By allowing for the free discussion of AV objects of interest, it is hoped that this event will provide both archivists and researchers alike a rare opportunity to debate within a research forum outside of their usual, respective remits. The threat posed by infectious diseases was receding, to be replaced by chronic conditions linked to lifestyle and individual behaviour.
Public health professionals were enthusiastic about how this new technology and mass advertising could reach out to individuals in the population with the new message about lifestyle and risk. TV offered a way to reach large numbers of people with public health messages; it symbolised the post war optimism about new directions in public health.
But it could also act as a contributory factor to those new public health problems. Watching TV was part of a shift towards more sedentary lifestyles, and also a vehicle through which products that were damaging to health, such as alcohol, cigarettes and unhealthy food, could be advertised to the public.
Population health problems could be worsened by TV viewing. How should we understand the relationship between TV and public health? What are the key changes and continuities over time and place?
How does thinking about the relationship between public health and TV change our understanding of both? How did the enthusiasm develop for TV within public health? How were shifts in public health, problems, policies and practices represented on TV?
How was TV used to improve or hinder public health? What aspects of public health were represented on TV, and what were not? How did the public respond to health messages on TV? What were the perceived limitations of TV as a mass medium for public health? In what way was TV different from other forms of mass media in relation to public health? The conference brought together scholars from different fields such as, but not limited to, history, history of science, history of medicine, communication, media and film studies, television studies working on the history of television in Great Britain, France and Germany West and East the focus of the ERC BodyCapital projectbut also other European countries, North and South America, Russia, Asia or other countries and areas.
EUScreen blog report on the conference! A two-day workshop on the history of the internet and history through the internet, co-organised with INA Grand-est.
ERC BodyCapital is a research project centred on audio-visual representations of the body in the twentieth century, up to the birth of YouTube in The Internet has foregrounded both the broad potential of multimedia and the logic of networking practices for the mass audience.
In this sense, Internet has established a mode of interactivity, inspiring individual initiatives through the creation of personal sites. For the historian, however, the Internet as a channel for communications and thereby the historical record represents a new and largely uncharted landscape with no overriding, established mode of empirical navigation.
Where and how does the historian begin to locate evanescent sources of data that have rotted or disappeared with barely a trace? Rather than creating a history of the Internet per se, this BodyCapital workshop is concerned with situating and characterizing audiovisuals that portray the body mise-en-scene of the body contained within it. This BodyCapital workshop is therefore comprised of a series of presentations and of teaching sessions with interactive participation. The contributions will first familiarise participants with the history of the Internet and the logic of multimedia.
Then they will focus on techniques and methodologies that might be used by historians specialising in the body, medicine and health looking to mine primary source material contained within the historic web. Overall, this workshop aims to establish a chronology of the history of the Internet and to outline appropriate methods of analysis.
Overall, the aim of the workshop is to equip historians with the knowledge to begin interrogating the internet as an object of historical investigation. What multimedia resources were then in use i. What modes of configuration were used or preferred text and image, hypertext uses? In building the historical foundation of the Internet era in the BodyCapital perspective, we will encounter new modes of representations of the body that the internet favoured: webcam uses cf.
Fred Forestfirst artist creations, reuse of traditional contents photographs and films. The concept of excess is ambivalent: It can signify phenomena ranging from certain religious practices to drug abuse to aspects of consumer culture; it can be an empowering self description or a stigmatizing judgment.
It aims to explore how images of the body, health, morality and emotions varied over history, across cultures, and how the media themselves have contributed to the ways in which the concept of excess has been shaped and used.
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A defining feature of excess is its liminality: It generally denotes some kind of transgression and is in this sense a relational term, referring to a normative order that has been exceeded. Often excess evokes negative associations like abundance and waste. In terms of the body and health, exhaustion, burn-out, addiction and overconsumption are phenomena that usually come to mind.
Nevertheless, the transgressive dimension of the excessive, like the related concept of ecstasy, has also been seen in a positive light, viewing overflow and boundlessness as productive, enabling forces that can release unexpected potentials and bodily resources.
Defining what constitutes excess is thus itself a matter of measurement, bound up with the negotiation of social limits and norms. As a cultural practice, excess and how it is defined are closely connected to changing ideas about the body, health, and emotions. Nevertheless, moral panics about practices like new styles of dancing, forms of collective leisure or party cultures labeled excessive have often been based on similar discourses that can be traced back to pre-modern times. What do diverse images and practices of excess tell us about the cultural formation of health norms and how these norms are intertwined with moral norms and emotional practices?
In which historical and cultural contexts has excess been portrayed as a figure of growth, overgrowth, or regeneration? Which sciences and fields of knowledge have historically informed images of excess? The two-day workshop seeks to explore these questions. It places a special focus on the media through which excessive practices are portrayed and how images of excess vary or circulate across different media, such as printed texts, photographs, different film genres and television.
Cellulite through history
How have these mediums themselves shaped and re negotiated concepts of body, health and emotions? In what ways was the medium itself part of or seen as constituting an excessive practice? Considering visual media played an increasingly important role in the run of the twentieth century, analyses of visual material are particularly welcome.
A central goal of the workshop is to open up an international exchange and to connect perspectives from the history of science, the history of emotions, the history of the body and media history in order to shed new light on a history of health as a cultural history. Le XXe siècle est le siècle au cours duquel, pour la première fois, presque tous les champs de la politique et de la société ont été pénétrés et transformés par les médias de masse modernes.
Les médias de masse audiovisuels reflètent et façonnent en permanence les changements de représentations, de perceptions et de pratiques liées au corps et à la santé, ces changements étant fréquemment sous-tendus par des considérations économiques.
De ce point de vue, une histoire du corps, de sa perception et des émotions au XXe siècle est toujours aussi une histoire des médias de masse.
Images in medicine
En comparant la situation de trois pays Allemagne, France et Grande-Bretagneles chercheur. Les sources de ce travail sont les médias de masse audiovisuels : films non-fictionnels historiques, émissions de télévision et vidéos diffusées sur Internet. Afin de fournir un contrepoint à la logique des médias de masse et leur opposer une logique potentiellement différente, les films amateurs et à usage privé sont également intégrés dans ces études.
Quels sont les contextes sociétaux, politiques et économiques qui ont contribué à ces développements et les ont suscités? Les participant. Même si ces émissions étaient contemporaines les unes des autres et similaires, le contexte national de leur diffusion diffère. Table ronde 3. Montrer et mettre à disposition les films amateurs : partage, diffusion, protection et droits. Un film de Magali Magne France, 52 minutes, In ihm wimmelt es nur so von Figuren, die zerrüttende psychologische Störungen infolge des Kriegs ausagieren bzw.
Er touchiert sexualwissenschaftliche Debatten zu erodierenden Geschlechterverhältnissen Mutter-Sohn, Mann-Frau sowie christologische Implikationen in einem säkularisierten Zeitalter. Auf diese Weise reflektiert der Film historisches, historiographisches sowie soziopolitisches Wissen ebenso wie kultur- philosophie- medizin- und psychiatriegeschichtliche Diskursfacetten. Gegossen sind diese Diskursepartikel in eine expressionistisch anmutende hyperästhetisierte Filmsprache, die eine linear-gebrochene Montage, Überblendungen, Nahaufnahmen und Tiefendimensionen der Filmbilder favorisiert, die in der auch musikalisch restaurierten Fassung neu getintet wurden.
Christian Bonah und Dr. Anja Laukötter Konzept und Organisation: Prof. Hinterhof, 2. OG Konferenzsprache: Deutsch. The BodyCapital project aims at a European 20th fitness et minceur history of changing healthy-self perceptions and practices conceived as economic history as cultural history including science and technology.
Transforming our bodies into a capital and in generating individual receptiveness to the economization of health to the extent that individuals have come to internalize the adoption of such practices and devices, body labor and goods appear to be a particularly stable and valuable vantage point from which to address twentieth-century changes concerning health conceptions and practices, national health policies and politics and liberalizing market economies in Europe in an approach that may be termed as an economic health history from below.
Visuals do not merely mirror or express what is observed but as media are endowed with their own distinct, interactive performative power. La conférence abordera et explorera le champ très large du programme du projet en suivant quatre axes distincts mais qui se recouvrent néanmoins partiellement :. Elle étudiera en outre des configurations formées localement comme le mouvement du film amateur et la façon dont ces groupes ont utilisé le matériau audiovisuel pour exprimer une nouvelle compréhension individuelle et collective de la santé.
En outre, en se concentrant sur des points de vue individuels, cette session étudiera non seulement comment des individus ont réagi à ces efforts étatiques mais également comment ils sont devenus acteurs de leur santé. Selon quels choix éditoriaux, quelles mises en scène? Par une étude des contenus qui ont déterminé une décision de censure, nous verrons également par quels choix de sujet, par quels types de traitements la télévision a cherché à repousser les limites éditoriales qui lui ont été assignées.
Sous surveillance des autorités militaires les prises de vues alimentent les actualités des producteurs. Dans le contexte allemand on constate une évolution similaire et un peu plus tardive avec la création de la Universal Film Aktiengesellschaft UFA.
Dans le cadre de cette documentation cinématographique de la guerre les films à sujet médical et sanitaire sont nombreux et concernant tant des films cliniques au sujet des troubles nerveux des commotionnés shell-shock que des prises de vue des hôpitaux de front et des transports de malades.