Fabrice Jaumont Boeken

The book provides a detailed analysis of a significant US-led initiative involving seven foundations aimed at enhancing higher education capacity in Sub-Saharan Africa. It explores the effectiveness of philanthropy, the challenges faced by foundations, and the evolving landscape of higher education. The study highlights the critical role of global philanthropy amidst the shifting dynamics of education, emphasizing its importance as a driver of development in an era where knowledge economies are emerging and traditional educational structures are under pressure to adapt.

Exploring bilingualism and its impact on cognitive development, Fabrice Jaumont engages in insightful conversations with leading experts from various continents. Building on his previous work, the author emphasizes the importance of multilingualism in empowering families and communities while promoting cross-cultural understanding. The book advocates for language as a vital life skill, highlighting the need for robust educational programs, diversity promotion, and efforts to combat inequality in language education.

April 2, 2018 was the 50th anniversary of a 1968 premiere screening in Washington, D.C. of Stanley Kubrick's 2001: A Space Odyssey. The film remains the most fascinating cinematographic adventure given to experience. As a tribute to the masterpiece, and to the maestro himself, this essay which was first presented in 1995 as a scholarly paper explores the multiple connections to the Odyssean theme that one may find in Stanley Kubrick's filmography. Kubrick's unweaving and re-weaving of the cinematographic tapestry reflect his attachment to the changeability implied in the Odyssean theme, which has become the theme of questioning, the perpetual questioning of one's possibilities. The camera's shuttling back and forth in time, round and round in space, through the means of dolly movements, shots and reverse shots, circular and spiraling recurrences, equates the director's shuttling between classical and avant-garde techniques, between painting and photography, between musical intensity and spatial silence. A chassé-croisé which the pluricephal director utilizes with a view to producing new angles of view and new parallaxes: a constant Kubrickian experimentation of the cinematographic language.