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This textbook includes all 13 chapters of Français interactif. It accompanies www.laits.utexas.edu/fi, the web-based French program developed and in use at the University of Texas since 2004, and its companion site, Tex's French Grammar (2000) www.laits.utexas.edu/tex/ Français interactif is an open acess site, a free and open multimedia resources, which requires neither password nor fees. Français interactif has been funded and created by Liberal Arts Instructional Technology Services at the University of Texas, and is currently supported by COERLL, the Center for Open Educational Resources and Language Learning UT-Austin, and the U.S. Department of Education Fund for the Improvement of Post-Secondary Education (FIPSE Grant P116B070251) as an example of the open access initiative.
The Little Prince and nbsp;(French: and nbsp;Le Petit Prince) is a and nbsp;novella and nbsp;by French aristocrat, writer, and aviator and nbsp;Antoine de Saint-Exupéry. It was first published in English and French in the US by and nbsp;Reynal and amp; Hitchcock and nbsp;in April 1943, and posthumously in France following the and nbsp;liberation of France and nbsp;as Saint-Exupéry's works had been banned by the and nbsp;Vichy Regime. The story follows a young prince who visits various planets in space, including Earth, and addresses themes of loneliness, friendship, love, and loss. Despite its style as a children's book, and nbsp;The Little Prince and nbsp;makes observations about life, adults and human nature. The Little Prince and nbsp;became Saint-Exupéry's most successful work, selling an estimated 140 million copies worldwide, which makes it one of the and nbsp;best-selling and nbsp;and and nbsp;most translated books and nbsp;ever published. and nbsp;It has been translated into 301 languages and dialects. and nbsp;The Little Prince and nbsp;has been adapted to numerous art forms and media, including audio recordings, radio plays, live stage, film, television, ballet, and opera.
The Jazz Age. The phrase conjures images of Louis Armstrong holding court at the Sunset Cafe in Chicago, Duke Ellington dazzling crowds at the Cotton Club in Harlem, and star singers like Bessie Smith and Ma Rainey. But the Jazz Age was every bit as much of a Paris phenomenon as it was a Chicago and New York scene. In Paris Blues, Andy Fry provides an alternative history of African American music and musicians in France, one that looks beyond familiar personalities and well-rehearsed stories. He pinpoints key issues of race and nation in France’s complicated jazz history from the 1920s through the 1950s. While he deals with many of the traditional icons—such as Josephine Baker, Django Reinhardt, and Sidney Bechet, among others—what he asks is how they came to be so iconic, and what their stories hide as well as what they preserve. Fry focuses throughout on early jazz and swing but includes its re-creation—reinvention—in the 1950s. Along the way, he pays tribute to forgotten traditions such as black musical theater, white show bands, and French wartime swing. Paris Blues provides a nuanced account of the French reception of African Americans and their music and contributes greatly to a growing literature on jazz, race, and nation in France.
"André Bazin (1918–58) is credited with almost single-handedly establishing the study of film as an accepted intellectual pursuit, as well as with being the spiritual father of the French New Wave. Among those who came under his tutelage were four who would go on to become the most renowned directors of the postwar French cinema: François Truffaut, Jean-Luc Godard, Jacques Rivette, and Claude Chabrol. Bazin can also be considered the principal instigator of the equally influential auteur theory: the idea that, since film is an art form, the director of a movie must be perceived as the chief creator of its unique cinematic style.André Bazin, the Critic as Thinker: American Cinema from Early Chaplin to the Late 1950s contains, for the first time in English in one volume, much if not all of Bazin’s writings on American cinema: on directors such as Orson Welles, Charles Chaplin, Preston Sturges, Alfred Hitchcock, Howard Hawks, John Huston, Nicholas Ray, Erich von Stroheim, and Elia Kazan; and on films such as High Noon, Citizen Kane, Rear Window, Limelight, Scarface, Niagara, The Red Badge of Courage, Greed, and Sullivan’s Travels.André Bazin, the Critic as Thinker: American Cinema from Early Chaplin to the Late 1950s also features a sizable scholarly apparatus, including a contextual introduction to Bazin’s life and work, a complete bibliography of Bazin’s writings on American cinema, and credits of the films discussed. This volume thus represents a major contribution to the still growing academic discipline of cinema studies, as well as a testament to the continuing influence of one of the world’s pre-eminent critical thinkers."
First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.
This Report addresses the key issues surrounding traffic speed management and highlights the improvements in policy and operations needed to reduce the extent of speeding.
A multidisciplinary index covering the journal literature of the arts and humanities. It fully covers 1,144 of the world's leading arts and humanities journals, and it indexes individually selected, relevant items from over 6,800 major science and social science journals.
French film in the 1980s might have lacked the invention of the New Wave but gritty police thrillers and nostalgic costume-dramas such as Jean de Florette and Manon des Sources brought French cinema to a wider audience than ever before. This landmark study is not merely a history of French film in the 1980s, but offers a set of critical essays on the crisis of masculinity in contemporary French culture, and its interrelationship with nostalgia. After a brief overview both of the crisis in the French film industry during the 1980s, and of the socio-political crisis of masculinity in the wake of 1970s feminism, the book is divided into three sections: the retro-nostalgic film, the Polar, or police thriller, and the comic film. Films studied in detail include Diva, Subway, Coup de foudre, Vivement dimanche , La Vie est un long fleuve tranquille, and Tenue de soir e, while the volume covers actors from G rard Depardieu, Daniel Auteuil, and Yves Montand to Isabelle Adjani, Isabelle Huppert, and Emmanuelle B art.
Cultural critic Fredric Jameson, renowned for his incisive studies of the passage of modernism to postmodernism, returns to the movement that dramatically broke with all tradition in search of progress for the first time since his acclaimed A Singular Modernity . The Modernist Papers is a tour de froce of anlysis and criticism, in which Jameson brings his dynamic and acute thought to bear on the modernist literature of the nineteenth and twentieth centuries. Jameson discusses modernist poetics, including intensive discussions of the work of Baudelaire, Rimbaud, Mallarmé, Wallace Stevens, Joyce, Proust, and Thomas Mann. He explores the peculiarties of the American literary field, taking in William Carlos Williams and the American epic, and examines the language theories of Gertrude Stein. Refusing to see modernism as simply a Western phenomenon he also pays close attention to its Japanese expression; while the complexities of a late modernist representation of twentieth-century politics are articulated in a concluding section on Peter Weiss’s novel The Aesthetics of Resistance. Challenging our previous understanding of the literature of this pperiod, this monumental work will come to be regarded as the classic study of modernism.