faux – -Translation – Keybot Dictionary

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Keybot 17 Results  www.museevirtuel-virtualmuseum.ca
  Bienvenue à des plantes...  
Vrai ou faux?
Fact or Fiction?
  Version HTML - Casse-tê...  
Vrai ou faux
True or False
  Bienvenue à des plantes...  
VRAI OU FAUX?
FACT OR FICTION
  Bienvenue à des plantes...  
Comment s'y retrouver et séparer le vrai du faux?
Which are fact and which are fiction?
  RCIP - Détective Intera...  
Faux pistolets
Fake pistols
  Version Flash - Casse-t...  
Dites si l'énoncé ci-après est vrai ou faux en cliquant sur le bouton de votre choix.
Click on the true or false button to answer each question
  Version HTML - Casse-tê...  
Évaluez vos connaissances sur le Musée de la Banque des fermiers. Dites si les énoncés ci-après sont vrais ou faux. Cliquez sur votre choix et voyez si vous avez raison.
Test your knowledge about the Farmers’ Bank Museum story. Try to determine whether the statements below are true or false. Click on your choice and see whether you are correct.
  Vivre en prison : Gloss...  
Faux monnayage : fabrication de fausse monnaie.
Jacket: An article of clothing worn as part of a uniform.
  Vue d'ensemble - Casse-...  
Évaluez vos connaissances en jouant à vrai ou faux
Test your knowledge with a true or false game
  HOMMAGE AUX GENS : LA S...  
À l’arrière du char se dressait une statue de Cérès, la déesse romaine de l’agriculture, tenant une corne d’abondance. Les côtés du char sont décorés d’outils agricoles, tels que faux, râteaux, binettes, fourches, ainsi que de bottes de paille.
The floats that everyone gathered to see represented various industries and occupations. For example, the agricultural car from the 1880 St. Jean parade was shaped like a Roman car with very heavy wheels and had a slanting front, resembling the prow of an old fashioned ship (fig. 4).25 In the rear of the float is a statue of Ceres, the Roman goddess of agriculture, holding a horn of plenty. On the side of the float are trophies of agricultural instruments like reapers, scythes, rakes, hoes and pitchforks as well as sheaves of grain. In the center vegetables surround a large plough and in the front of the float are a basket of fruits. Not only were the floats theatrical, but also had a historic character, representing events like the arrival of Jacques Cartier to Canada.26 The tradition of celebrating St. Jean-Baptiste day and its parades continues to this day. In fact, 2009 marked the 175th anniversary of the National Holiday.
  RCIP - Détective Intera...  
Cette section des sciences judiciaires traite surtout des documents fabriqués de toutes pièces, entre autres des lettres de suicide, de chantage, de menaces ou d'extorsion. La plupart des faux qui sont créés cherchent à camoufler l'écriture de l'auteur et ont pour but de tromper.
Documents may contain vital clues to solving a case. This section of forensic science deals mainly with fraudulent documents. Such documents may include suicide, blackmail or extortion notes to name a few. Most fraudulent documents are created to disguise the handwriting and ultimately to fool people. The documents are analyzed by eye, by hand lens and several methods including microscopy and chemical analysis of the paper and ink. The most common clue of fraudulent handwritting is the poor line quality of the handwriting (it loses the smooth lines and becomes uneven). The most common methods of trying to disguise the handwriting are using the reverse slant of writing, changing capital letters or using the opposite hand. A good way to tell if a document is disguised is by looking toward the end of a document to see if the style remains the same. Try using the methods above to conceal your handwriting in a letter. You will see at the end that it gets harder to keep the same style of writing throughout.
  La journée d'un moine t...  
2."La seule véritable joie sur terre est de se libérer de la prison du faux soi et de s'unir par amour à la Vie qui habite et chante au coeur de toute créature et au plus profond de notre âme". Thomas Merton, New Seeds of Contemplation.
2. "Love seeks no justification outside itself. Love is sufficient to itself, is pleasing in itself and for its own sake. Love is its own merit and its own reward. Love seeks no cause outside itself and no results other than itself. The fruit of love is love." St. Bernard
  Vues douteuses - Souve...  
Jin Me Yoon utilise la photo touristique stéréotypée pour examiner le vrai et le faux dans les représentations touristiques des lieux. Mitch Robertson utilise le format carte postale pour montrer l'extrême banalité de la représentation sanctionnée d'un lieu.
Jin-me Yoon uses the stereotypical tourist photo to examine the truths and lies behind tourist representations of place. Mitch Robertson uses the postcard form to reveal the ultimate banality of the sanctioned representation of place. Roger Minick uses the inane and ubiquitous souvenir to show how misleading souvenir culture is. Louise Noguchi uses cultural stereotypes-like the "wild west cowboy"-to reveal their own absurdity. Shelly Niro combines stereotypes and souvenirs to question both. N.E. Thing Co. appropriates the form of the guided tour to demonstrate the myopia of the institutional gaze.
  Vues douteuses - Souve...  
Là où il y a un désert, les touristes voudraient voir des cowboys, et s'il n'y a plus de cowboys à cet endroit, ils en inventeront. Les faux cowboys sont les fantômes conjurés du passé qui confirment nos notions collectives de ce que signifie un endroit.
Louise Noguchi explores a notion of the iconic characters that inhabit the tourist's landscape. Noguchi's images depict the myth of the Wild West as it is perpetuated in theme parks throughout the United States. Her documentation of these modern curiosities investigates the tourist's need to find the myth intact-the tourist wants to see the Wild West he or she knows from Hollywood and other institutional portrayals, regardless of how the Wild West may have appeared in actuality. Noguchi investigates the idea of the cultural stereotype as a tourist attraction in itself, and plays directly to the notion that often, though tourists profess to seek the "real thing," they are evidently satisfied by imitations or images that already exist in their minds. Where there's a desert, tourists would like to see cowboys, and if cowboys don't exist anymore in that place, they'll create some. The fake cowboys are the conjured ghosts of the past that support our collective notions of what a place means. Noguchi's work poignantly reveals the fallacies that form when an institutional representation is all we have, and how these fallacies eventually stand in for reality.
  Vues douteuses - Intro...  
Les conseils du tourisme, en faisant de leur mieux pour améliorer l'économie et aider le monde à s'éprendre des lieux qu'ils représentent, finissent parfois par simplifier à l'extrême et à présenter ces lieux sous un faux jour.
Tourism boards serve rhetorically as "the institution" in this discussion because they often present a one-sided or very subjective view of a place. For example, it is the zeal of the provincial tourism boards that are responsible, to a great degree, for the general portrayal of Canada's Prince Edward Island as a green-gabled island wilderness untouched by progress or time, and of Alberta as a land of rodeos, nonstop barbecues, and wholesome ranch-style living. Surely, there are ocean vistas and pigtails to be found in the Maritimes, and certainly the Canadian west has its share of beef and ten-gallon hats. But these are reductive stereotypes that do two things: they lure visitors and they misrepresent places. While tourists might be charmed by the palatable two-dimensionality of these brochure ideals, the intricate realities of Charlottetown and Red Deer are overlooked or, worse, Photoshopped away. Tourist boards, doing their best to improve the economy and help the world fall in love with the places they stand for, sometimes commit the incidental folly of oversimplifying and misrepresenting these places as well. They are "the institution" in this argument, then, because they present a singular view of place, and because they have the money, resources, and global profile to obscure alternative views.