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[This book is in both English and French language] A light in the darkness . . . Hey, my name is Lily and in this volume the nightmare truly begins. So Alia Reven, the rest of the group and I finally prepare a plan to stop the two worlds from merging. We had everything planned out, or so we thought . . . When the Telepathies sisters did the spell of Senyria, they awakened a hidden dark force that is out to destroy the world, which goes by the name of the black mist, or Devoile. Friends get possessed, new worlds are unlocked, hidden mysteries are discovered, and, worst of all, our friends, the world and realms are all in danger because in this volume the nightmare begins! Une lumière dans le noire . . . Bonjour mon est Lily et dans cette tome le cauchemar a commencé. Alors Alia, Reven, tout le rest du groupe et moi ont finalement trouvé un plan pour arrêter les deux mondes de se réunir. Nous avons prévu chaque étape ou alors nous pensions . . . Quand les soeurs Telepathie ont fait le sortilège de Senyria, elles ont réveillé une nouvelle force du mal qui s'appelle la brume noire aussi appellé Devoile. Nos amis deviennent possedés, deux nouveaux mondes se montrent, des secrets inconnu sont révélés. Mais le plus pire: nos amis, l'univers et tout le monde sont en danger car dans cette tome le cauchemar a commencé!
Ismail Kadare has experienced a life of controversy. In his own country and internationally he has been both acclaimed as a writer and condemned as a lackey of the Albanian socialist dictatorship. Coming of age after occupation and war, Kadare (b. 1936) belonged to the first generation of new Albanians. In a land where writers were routinely imprisoned, Kadare produced the most brilliant and subversive works to emerge from socialist Eastern Europe. His work brings to an end the century whose literary beginnings were marked by the terror to which Kafka gave his name. The inaugural award of the International Man-Booker Prize for Literature in 2005 marked an important milestone in the global recognition of Kadare. Ironic, multi-layered and imaginative, Kadare's writing is profoundly opposed to ideology. Through critical analysis of a representative selection of Kadare's works, Peter Morgan explains for a wide audience how Kadare survived and wrote in the repressive Albanian Stalinist environment. Peter Morgan is Professor of European Studies at the University of Western Australia.
Relational Responses to Trauma in Twenty-First-Century French and Spanish Women's Writing offers new insight into what it means to write relational lives. It broadens the parameters of existing discussions in terms of geography as well as genre, drawing together two literatures whose prominence in life-writing theory to date could hardly be more different: while French women's writing has long been at the centre of international discussions of autobiography, the relative invisibility of Spanish women's writing remains striking. The dialogue that thus underpins this study, between diverse twenty-first-century case studies and broader approaches to life-writing, shines a light on what is gained from inviting different voices into the discussion. These narrative projects challenge longstanding critical assumptions in autobiography studies and trauma theory about how writers can and should represent the multiple perspectives that are at the heart of intergenerational stories. In exploring the narrative solutions that these texts propose in response to the ethical questions they navigate, this book shows that writing relational lives rests on far more than the mere recounting of a shared history. 'Relating' in these texts, it proposes, is an act embedded in the telling of the story. It is a mode of testifying together to traumatic experience, one that reveals a powerful preoccupation in contemporary women's life-writing practice with making more audible the many voices and versions that go unheard.
The Worlds Cause Lawyers Make examines the connections between lawyers and causes, the settings in which cause lawyers practice, and the ways they marshal social capital and make strategic decisions.
This book analyses anthropological debates on “relationism” (referring to methodological and theoretical issues) and sets out to reconsider these discussions with regards to the notion of “substance” (generally associated with the body). Reflecting on the philosophical origins and implications of these two concepts, the author aims to bring them to the heart of contemporary anthropological discourse and addresses the erasure (or blurring) of “substance” in favour of “relation.” The argument put forward is that the conceptual pairing of “substance-relation” should be substituted for the “nature-culture” dualism that has been dominant in structural anthropology. The chapters engage with the work of scholars such as Philippe Descola, Eduardo Viveiros de Castro and Wang Mingming as part of a decentring and questioning of the tradition in which anthropology is rooted. The book also considers the role that the anthropology of China plays in the re-evaluation of the relationship between relation and substance. The concept of “submutance” is introduced with Chinese ethnographic material to explore the possibility of moving beyond the relation-substance dualism of Western heritage. This is valuable reading for scholars interested in the theory and history of anthropology.
Traces the reception of Swedenborg's doctrine of "correspondences" in French literature and culture from the late 1700s to 1870.
In Negotiating the New in the French Novel Teresa Bridgeman applies insights from pragmatic theory to the French novel in order to examine its discourse conventions. Focussing on texts by some of the greatest and most innovative French novelists - Diderot, Balzac, Flaubert, Zola, Celine, Sarraute and Perec - Bridgeman analyses how these authors established their own conventions, challenged reader expectations and drew conventions from other literary and non-literary forms. Negotiating the New in the French Novel shows the development of changing perceptions of genre, author and reader. This book will make fascinating reading for students of French literature - particularly of the nineteenth century novel, students of Stylistics and of Narratology.