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Available for the first time in paperback, the Journals of Andr Gide are remarkable literary works in their own right--they are unfailingly honest, endlessly fascinating, and a feast for the mind, enhanced by a new introduction by the Pulitzer Prize-winning poet, Richard Howard.
Provocative essays on language, literature, and the aesthetics of embodiment.
Stuart Brisley is a pioneering multi-media and performance artist who developed performance art as a form of social action in the 1960s and 1970s. This book assesses his seminal influence on British art through a focus on his lifelong engagement with the histories and imaginaries of revolution. Linking revolutionary history with material from a critical dialogue established with Brisley over the last decade, the book recognises Brisley's corpus as a fascinating stage for addressing important questions about the relationship of art, politics and history. How do we make sense of politically committed art in a contemporary context where revolution has supposedly died or is deemed impossible? What can the afterlives of performance art tell us about the historical past, including the promises and contradictions of revolutionary time?
The renowned biographer offers a tale of intellectual and romantic rivalry in this “dazzling portrait of Sartre and De Beauvoir’s relationship” (The Guardian). Jean-Paul Sartre and Simone de Beauvoir were two of the twentieth century’s most prominent authors and philosophers, and the story of their decades-long relationship is one of the most famous literary romances of all time. From the corridors of the Sorbonne to the cafés of Paris’s Left Bank, Sartre and de Beauvoir were intimate rivals in both intellectual debate and sexual conquest. In A Dangerous Liaison, Carole Seymour-Jones vividly describes how the beautiful and gifted de Beauvoir fell in love with the squinting, arrogant, hard-drinking Sartre. We learn about that first summer of 1929, filled with heated debates and dangerous ideas that led them to experiment with new ways of living. We hear how Sartre compromised with the Nazis and fell into a Soviet honey-trap. And, thanks to recently discovered letters written by the avowed feminist de Beauvoir, Seymour-Jones reveals the full story behind the couple’s philosophy of free love, including de Beauvoir’s lesbianism and her pimping of younger girls for Sartre in order to keep his love.
Paul Klee experienced his 1914 trip to Tunisia as a major breakthrough for his art: ÒColor and I are one,Ó he famously wrote. ÒI am a painter.Ó Kandinsky and Klee in Tunisia sets the scene for KleeÕs breakthrough with a close study of the parallel voyage undertaken in 1904Ð5 by Wassily Kandinsky and Gabriele MŸnter, who would later become Klee's friends. This artist couple, then at an early stage in their celebrated careers, produced a rich body of painting and photography known only to specialists. Paul KleeÕs 1914 trip with August Macke and Louis Moilliet, in contrast, is a vaunted convergence of cubism and the exotic. Roger Benjamin refigures these two seminal voyages in terms of colonial culture and politics, the fabric of ancient Tunisian cities, visual ethnography, and the tourist photograph. The book looks closely at the cities of Tunis, Sousse, Hammamet, and Kairouan to flesh out a profound confrontation between European high modernism and the wealth of Islamic lifeways and architecture. Kandinsky and Klee in Tunisia offers a new understanding of how the European avant-garde was formed in dialogue with cultural difference.
The struggle to write with deep emotion is the subject of this extraordinary book, the previously unpublished credo of one of America's greatest 20th-century writers. "You don't write a novel out of sheer pity any more than you blow a safe out of a vague longing to be rich," writes Nelson Algren in his only longer work of nonfiction, adding: "A certain ruthlessness and a sense of alienation from society is as essential to creative writing as it is to armed robbery." Nonconformity is about 20th-century America: "Never on the earth of man has he lived so tidily as here amidst such psychological disorder." And it is about the trouble writers ask for when they try to describe America: "Our myths are so many, our vision so dim, our self-deception so deep and our smugness so gross that scarcely any way now remains of reporting the American Century except from behind the billboards . . . [where there] are still . . . defeats in which everything is lost [and] victories that fall close enough to the heart to afford living hope." In Nonconformity, Algren identifies the essential nature of the writer's relation to society, drawing examples from Dostoyevsky, Chekhov, Twain, and Fitzgerald, as well as utility infielder Leo Durocher and legendary barkeep Martin Dooley. He shares his deepest beliefs about the state of literature and its role in society, along the way painting a chilling portrait of the early 1950s, Joe McCarthy's heyday, when many American writers were blacklisted and ruined for saying similar things to what Algren is saying here.
Philip Waller explores the literary world in which the modern best-seller first emerged, with writers promoted as stars and celebrities, advertising both products and themselves.
Why are we fascinated by mountains? These outcrops of rock were once considered unsightly, something to be avoided at all costs, but, since Rousseau, they have been contrasted with our corrupt cities and viewed as serene enclaves of beauty and relaxation. But why climb to the summit only to come back down again? Why does the toil of climbing convert into joy? What metaphysics of the absolute is playing out here – what challenge does climbing pose to time and ageing, to fearful panic, to the brush with danger which leads to conquest? It’s not faith that elevates mountains – it’s mountains that elevate our faith in challenging us to overcome them. These hooded majesties crush some people while exalting others. For the latter, climbing means being born again, reaching a state of exhilaration. Being seized by exhaustion upon arriving at the summit is akin to casting your eyes upon paradise. Is it the stinging cold, the wind so strong that it almost knocks you down, or is it higher powers that speak to us in this mixture of terror and beauty? A child of the mountains who spent his youth in Austria and Switzerland, Pascal Bruckner has special ties to the subject of this book: the further he climbs, the more he reconnects to his past. In sparkling and sensual prose, Bruckner’s paean to the majesty of mountains weaves together things seen and things read, childhood memories, literature and philosophy, interlaced with reflections on life, ageing and the unrivalled beauty of an ecosystem that we are in danger of destroying.