Estienne


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Estienne

(French etjɛn) or

Étienne

n
(Biography) a family of French printers, scholars, and dealers in books, including Henri (ɑ̃ri), ?1460–1520, who founded the printing business in Paris, his son Robert (rɔbɛr), 1503–59, and his grandson Henri, 1528–98
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

Es•tienne

(ɛsˈtyɛn) also Étienne,

n.
a family of French printers, book dealers, and scholars, including Henri, died 1520; his son, Robert, 1503?–59; Henri (son of Robert), 1531?–98.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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References in periodicals archive ?
Published to coincide with Theatre for a New Audience's production of the play in Brooklyn, TCG Books is pleased to release The Prisoner by Peter Brook and Marie-Helene Estienne. In this compelling drama, a man sits alone outside a prison.
Philippe Estienne, who opened Tymad, a creperie and pastry shop, said he couldn't get buckwheat flour so he ended up using ordinary wheat flour, which lacked bite.
A week later, I usually found myself retreating into a more conventional admiration for the best books of the stepson of Colines, Robert Estienne (1503-59).
Among those who began to protest against the intrusion of Italianism in France, particularly with regard to language, a certain Parisian printer, Henri Estienne (1528-1598), distinguished himself by his fervor and for his compelling articulation of the argument in support of the purity of the French language.
Les enjeux de la pratique traductive chez Henri Estienne
In 1586, Henri Estienne found himself, with his family's press, in Calvinist Geneva.
NEW YORK A Theater for a New Audience, New York Theater Workshop presentation of a C.I.T./Theatre des Bouffes du Nord production of a play in one act adapted by Marie-Helene Estienne from "The Brothers Karamazov" by Fyodor Dostoyevsky.
This struggle is exemplified by two exhibitions that took place in the 1950s: Perennite de l'art gaulois, at the Musee pedagogique in 1955, which was organized by the art critic Charles Estienne in association with the surrealist group; and Les Ceremonies commemoratives de la deuxieme condamnation de Siger de Brabant, at the Galerie Kleber in 1957, which was organized by the abstract painters Georges Mathieu and Simon Hantati.
The first thematic section, headed 'Ecritures de l'histoire', focuses primarily on the recording of history, whether by 'professional' historians (Rene de Lucinge), memorialistes (Charlotte de Mornay), polemicists (Henri Estienne, D'Aubigne), or the grands rhetoriqueurs.