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Recipes that show you how to turn the classic French dough into modern-day pastries bursting with bold new flavors and bright colors—plus savory delights. Taking the love of French pastries into the kitchen, Mon Cher Éclair shows how rewarding it is to make these delectable treats at home. Using just a couple of simple techniques, home cooks can easily master the basic recipe for pâte à choux dough and use it to make beautiful éclairs with modern flavor combinations such as butterscotch-bourbon or Meyer lemon cream. The dough is also the base for an array of profiteroles and cream puffs, which make great appetizers and desserts. With more than forty recipes ranging from traditional to trendy, savory to sweet, rustic to artistic, this small cookbook will make home cooks look like a very big deal. “Food writer Charity Ferreira’s collection of éclair recipes was influenced by desserts around the world that all translate splendidly into the custard-filled pastry we all know and love. Ever wish your éclair was filled with Nutella instead of plain old regular delicious pastry cream? Now’s the time!” —Food Republic
Giacomo Meyerbeer remains an enigma. Until the First World War he was one of the most famous of all composers. this Reader hopes to reflect something of the immense fame, prestige and love in which this composer was once held, the voices of doubt and dismissal that began to be heard even in his lifetime, and the enduring witness to his fame and worth evinced by those who have continued to believe in him in the face of the encroaching collective disparagement. Since the centenary of his death in 1964, there has been growing rediscovery of his life and re-evaluation of his art. While the revival of his work is not universal, at least a slow but steady process of recovery and exploration has begun.The forty contributions chosen for this Reader follow a chronological course, from the days of Meyerbeer's international acclaim after the premieres of his first two French operas, through the critical discussion of his art that began to take place during the mid-years of the nineteenth century, to the growing hostility induced by the advent of Wagner and his ideological following. The line of enquiry then leads into the dark days after the First World War when critical hostility was at its peak, on to the more reflective mood emerging during the 1950s, to the period of reassessment heralded by the centenary of his death in 1964. Finally, it surveys the critical rediscovery that was initiated by the bicentenary of his birth in 1991, a process that is still developing apace.The Reader also presents a series of portraits of the composer, and some images from his operas, an icongraphical commentary running parallel to the texts.
Why were white bourgeois gay male writers so interested in spies, espionage, and treason in the twentieth century? Erin G. Carlston believes such figures and themes were critical to exploring citizenship and its limits, requirements, and possibilities in the modern Western state. Through close readings of Proust's novels, Auden's poetry, and Kushner's play Angels in America, which all reference real-life espionage cases involving Jews, homosexuals, or Communists, Carlston connects gay men's fascination with spying into larger debates about the making and contestation of social identity. Incorporating readings of nonliterary cultural artifacts, such as trial transcripts, into her analysis, Carlston pinpoints moments when national self-conceptions in France, England, and the United States grew unstable, linking the twentieth-century tensions around citizenship to the social and political concerns of three generations of influential writers. -- Book Jacket.
Les textes qui constituent les vingt-neuf chapitres de ce volume ont été écrits en hommage à Michael Pakenham. Il s'agissait d'exprimer en peu de mots la diversité et la richesse des travaux de Michael Pakenham, de bien délimiter cette période de l'histoire littéraire française à la connaissance de laquelle ils ont tant contribué et, en même temps, d'ouvrir le plus d'horizons possibles. Le 'champ littéraire, 1860-1900', nous semblait le mieux signaler ce lieu où l'indécis au précis se joint. De plus, ce titre avait l'avantage de profiter -- sans scrupules d'ailleurs -- d'un terme que les travaux de Pierre Bourdieu ont mis en valeur, sans donner de consignes trop contraignantes quant à la manière de s'en servir. La première partie du volume s'ouvre sur des questions d'ordre théorique soulevées dans Les Règles de l'art. Genèse et structure du champ littéraire, (1992), mais, par la suite, s'élargit, prend du champ justement, pour s'aventurer dans des domaines où les recherches et l'enseignement de notre collègue ont tant porté le thème parisien, les rapports littérature-peinture, les poètes connus et moins connus, et enfin les chemins les plus divers de la littérature.