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Dans la conjoncture des choses observables sur l'état de la relation entre les diverses catégories ou entités sociales et internationales qui fondent les sociétés et les nations, il n'est de place, et il n'en a presque jamais eu dans toute l'Histoire, pour aucun discours, aucune pensée qui ne s'articule pas autour de la nécessité d'une combativité guerrière. Cet ouvrage, baptisé Poétique de la Nécessité, propose une vision qui fera taxer son auteur de bien d'épithètes désobligeantes ; on l'affublerait même de prêcher la résignation ou la lâcheté. Mais y a-t-il un seul modèle de pensée antagonique à l'ordre établi qui ait jamais réussi à reverser l'Ordre des relations ?
This book contains the memoirs of Stendahl or in his own words the 'chatter about his private life' between 1821 and 1830. It was between these dates that he moved to Paris and here looks back on his life as an eccentric bachelor. 'As well as Beyle the clairvoyant self-investigator, the sardonic analyst of Parisian salon society and deliberate cultivator of wit, here emerges Beyle the despairing lover, the shakespearean enthusiast, whose romantic sentiment run always parallel with his eighteenth-century logic'. Marie-Henri Beyle - better-known by his pen name, Stendhal - was born in Grenoble, France in 1783. He turned to writing after the final defeat of Napoleon in 1815, notable works include A Life of Rossini (1824), A Life of Napoleon (1929) and The Red and the Black published in 1830. A number of works were published posthumously, including Lamiel (1889), Memoirs of an Egotist (1892) and Lucien Leuwen (1894). Stendhal is now regarded as one of the earliest and foremost practitioners of literary realism.
"When her long-estranged daughter disappears in Quebec, famous actress Flora Fontanges returns home from Paris and experiences a devastating confrontation with the past."
Through a careful allusive poetic composition process, the poet takes on the aberrant oppression that a mad egocentric individual at the helm of a train forces upon his passengers and not without their complicity, and who while boarding the train are fully aware the train is one of doom. The poem comes across as the poet's reconstruction of the wrong turn in world politics from the wreckage and random distemper of a particular irate ruler with neither political modicum/wit nor understanding of the true functioning of democracy. The poem memorializes the chaos and contemporizes America in a bid to arm the oppressed with the powerful weapon that is memory.
This collective project by Erik Bordeleau, Toni Pape, Ronald Rose-Antoinette and Adam Szymanski is not simply 'about' Apichatpong Weerasethakul, though it does engage his work in detail. It is a book that deeply questions what else might be at stake in setting up the conditions for collaboration across two genres - cinema and writing.
Because of the climate crisis and declining ocean health, humans are increasingly in a liminal space between this world and imaginary, alien worlds to come. The poems raise the issue of climate change by foregrounding the centrality, beauty, and significance of the ocean, and of marine life to humanity. They suggest that all species live 'between worlds': between fantasy and reality, dreaming and wakefulness, intuition and consciousness, water and air. We need all worlds to survive. Serendipitously, the poems were composed between dusk and dawn. They are both part-thoughts and whole thoughts that come to inspire my ethnographic writing.
Tides of Fancy is a collection of forty-two poems which derides prevailing behavioural patterns which all, from the learned to the man on the street, are supposed to eschew. The content reflects humanity as a whole, and the poet discards the myth that poetry is not for the ordinary man! She draws from ordinary experiences and articulates her thoughts and vision in free verse, occasional structural inversion, visible rhythm, rhyme and concrete images. As a whole, Tides of Fancy (Poems) is a milestone prescription for a rethinking of attitudes and perceptions.
This is the first translation into English in its entirety of Marcel Proust's Pastiches et Mélanges, published by Gaston Gallimard in 1919. The first part, Pastiches, contains nine literary parodies about a fraudster, Henri Lemoine, who claimed to be able to manufacture diamonds. The pastiches are in the manner of Balzac, Flaubert, Sainte-Beuve, Henri de Régnier, Michelet, Émile Faguet, Renan and the Goncourt brothers. The second part, Mélanges, consists of four sections: the destruction of cathedrals in the First World War, the separation of church and state, a drama about madness, and Proust's love of reading. Proust is best known for writing À la recherche du temps perdu (variously translated as Remembrance of Things Past and In Search of Lost Time), widely considered to be the greatest novel of the twentieth century. The Melody beneath the Words is the first translation into English in its entirety of Marcel Proust's Pastiches et Mélanges, published by Gaston Gallimard in 1919. The first part, Pastiches, contains nine literary parodies about a fraudster, Henri Lemoine, who claimed to be able to manufacture diamonds. The pastiches are in the manner of Balzac, Flaubert, Sainte-Beuve, Henri de Régnier, Michelet, Émile Faguet, Renan and the Goncourt brothers. The second part, Mélanges, consists of four sections: the destruction of cathedrals in the First World War, the separation of church and state, a drama about madness, and Proust's love of reading. Proust is best known for writing À la recherche du temps perdu (variously translated as Remembrance of Things Past and In Search of Lost Time), widely considered to be the greatest novel of the twentieth century. The Melody beneath the Words is the first translation into English in its entirety of Marcel Proust's Pastiches et Mélanges, published by Gaston Gallimard in 1919. The first part, Pastiches, contains nine literary parodies about a fraudster, Henri Lemoine, who claimed to be able to manufacture diamonds. The pastiches are in the manner of Balzac, Flaubert, Sainte-Beuve, Henri de Régnier, Michelet, Émile Faguet, Renan and the Goncourt brothers. The second part, Mélanges, consists of four sections: the destruction of cathedrals in the First World War, the separation of church and state, a drama about madness, and Proust's love of reading. Proust is best known for writing À la recherche du temps perdu (variously translated as Remembrance of Things Past and In Search of Lost Time), widely considered to be the greatest novel of the twentieth century.