By the rivers of Babylon
Extraits
Non classé
Studies in Elizabethan Audience Response to the Theatre
The aim of this volume is to give an analytic description of how Elizabethan Spectators in documentary evidence responded to the theatre performances they watched or knew to be about. It also considers why they responded in that way. Opposing dual consciousness to the reification of the character (its 'ideal presence'), the author concludes that Elizabethan spectators were predominantly interested in the characters' 'ideal presence'. Why they were, is explained by relating their statements to the Renaissance theory of visual perception, (demonic) transformation, and ideas on acting.
02/1993
Poésie
Epilepsy: the invisible pain
They say life is a long stretch of a calm river, but not for everyone ! She was for me until the day when everything rocked, the day my destiny was changed dramatically. People do not realize how life can be so sweet and so beautiful. They complain all day long for trivialities. They are not even aware that they have before their eyes the most beautiful wealth : the luck and happiness of living in good health. I was rich before. Now I am poor because my child has an incurable disease, that has currently no hope of being healed. As a parent, how can we accept that ? , How to continue living carrying the bundle of pain in my head ? , How to overcome this feeling of helplessness ? When I started speaking to my heart, I didn't know myself that this was the beginning of a new life : a rebirth as a poet. When I learnt that my 7-year-old daughter was suffering from the Dravet Syndrome, a rare genetic epileptic encephalopathy, this was like an earthquake in my life. Then, I needed to write in order to express my sorrow and my pain. Words and rhymes came naturally to my mind. This was obvious that poetry would be my survival weapon.
01/2019
Mouvements artistiques
Frank Auerbach. The Charcoal Heads
Accompanying an exhibition at the Courtauld Gallery, London, Frank Auerbach : The Charcoal Heads presents a remarkable series of hauntingly beautiful largescale drawings by the artist. The catalogue includes a new piece of writing on one of the drawings from critically acclaimed novelist Colm Tóibín. This catalogue explores one of Frank Auerbach's most remarkable bodies of work - a series of large-scale portrait heads made in charcoal, produced during his early years as a young artist in postwar London. Auerbach (b. 1931) spent months on each drawing, working and reworking them during numerous sessions with his sitters. This prolonged and vigorous process of creation is evident in the finished drawings, which are richly textured and layered. Auerbach would sometimes even break through the paper and patch it up before carrying on. His heads thus emerge from the darkness of the charcoal with burning vitality, born of an artistic as well as a physical struggle with the medium. The process of repeated creation and destruction, of which these images bear the visible scars, speaks profoundly of their times, as people rebuilt their lives after the ruination and upending of the war. The exhibition will be the first time Auerbach's extraordinary drawings, made in the 1950s and early 1960s, have been brought together as a comprehensive group. They will be shown together with a selection of paintings he made of the same sitters ; for the artist, painting and drawing have always been deeply entwined. The accompanying catalogue - by Deputy Head of The Courtauld Gallery, Barnaby Wright, and with an essay by one of the greatest contemporary voices in the English language, Colm Tóibín - is the first publication to explore in depth this magnificent series. Tóibín spent several hours one afternoon in front of Auerbach's Self-Portrait (1958), which features on the front cover of the book, looking closely and taking notes. His essay is an account of his experience and offers new insights into the work and the nature of self-portaiture.
03/2024
Sociologie
Cahiers du LLL n° 12 bis – Telepresence teaching (and learning). From the immersive to the virtual classroom
Hybrid or fully online ? Synchronous or asynchronous ? Unimodal, bimodal, comodal or multimodal ? The all-out development of distance learning has led to the creation of appropriate digital systems, either by using what was already in place (such as video conferencing classrooms and web conferencing software supporting virtual classrooms) or introducing innovative environments (such as immersive telepresence classrooms). To use these versatile, multi-functional technologies, teachers need to take a step back to enable them to adapt their teaching methods and offer learners a suitable environment that overcomes physical and geographical distances. As for students, the need to "be there" and "be together" while learning remotely has to be taken into account to maintain their commitment and ensure they continue to contribute, despite the fact they are apart. The COVID-19 pandemic has shown us the importance of the professional, collegial and friendship connections we have with those we usually meet face-to-face in a traditional classroom. Telepresence systems enable all these people to come together remotely (and synchronously) and make it possible to use active teaching methods, driven by the self-regulation of the learners. But what is telepresence ? Do teachers need any special training ? How do you attend lessons remotely ? How do participants learn in a telepresence setting ? What type of student assessment can be used in such an environment ? The result of international collaboration, this short guide looks at these questions from both a research and a practical perspective, inviting you to explore telepresence teaching and learning.
06/2022
Monographies
Fuseli and the Modern Woman. Fashion, Fantasy, Fetishism
This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741-1825), one of eighteenth-century Europe's most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli's contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puffed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist's wife Sophia Rawlins, the women who populate Fuseli's graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page ; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fifty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.
12/2022
Non classé
Read Ancient African scripts from any current African language. Volume 2
The son of Douaouf, the brilliant, scribe of the early XIIth Dynasty Xty " Khety " said this : "The man continues to subsist after reaching the haven of death and his actions are beside him in a heap. " If regression is the main cause of the alarming situation of Africa and its tails the perceptibles consequences at all levels, the solution to this problem is eminently political. It inevitably involves the constitution of a pan-African State. For men, there is no unity without memory of the past. In fact, the construction of a federal state inevitably involves the restoration of African historical consciousness. There is no national and federal identity without a common language. The unification of Africa will only be possible if it takes the measure of its linguistic unification issue. To a lesser extent but like Cheikh Anta Diop in his book titled the Cultural Unity, I was animated throughout this heuristic by the idea that only the true knowledge of the past can maintain the consciousness and the feeling of a historical continuity essential to the consolidation of a nation for the purpose of building a multinational state in line with its past. Like Cheikh Anta Diop, I build my sureness on the legitimate idea that a people who lost a significant part of their historical memory must engage in the investigation of their past in every possible way. This investigation can take the contours of a reconnection with its past through so-called old languages. But a people can not live only with by merely repeating of what others tell them about themselves. The investigation through its linguistic past allows especially a direct knowledge of oneself. In addition to the fact that this knowledge simply highlights its weaknesses, it allows also to become aware by an introspective and therefore reflective of its real abilities and strengths. It structures being and the consciousness of being to resist any form of servile and degrading ideology. This quest for the past, not founded on blind passion but objectivity, nourishes a healthy ambition for a real universalism. To know one's past is already to project one's future. To know one's past is to give oneself the capacity to be able to bring to others in a perspective of giving and receiving. To know one's past is to refuse intellectual guardianship and wait-and-seeism. To know one's past is to be reborn.
05/2020
Non classé
Read Ancient African scripts from any current African language. Volume 1
The son of Douaouf, the brilliant, scribe of the early XIIth Dynasty Xty " Khety " said this : "The man continues to subsist after reaching the haven of death and his actions are beside him in a heap. " If regression is the main cause of the alarming situation of Africa and its tails the perceptibles consequences at all levels, the solution to this problem is eminently political. It inevitably involves the constitution of a pan-African State. For men, there is no unity without memory of the past. In fact, the construction of a federal state inevitably involves the restoration of African historical consciousness. There is no national and federal identity without a common language. The unification of Africa will only be possible if it takes the measure of its linguistic unification issue. To a lesser extent but like Cheikh Anta Diop in his book titled the Cultural Unity, I was animated throughout this heuristic by the idea that only the true knowledge of the past can maintain the consciousness and the feeling of a historical continuity essential to the consolidation of a nation for the purpose of building a multinational state in line with its past. Like Cheikh Anta Diop, I build my sureness on the legitimate idea that a people who lost a significant part of their historical memory must engage in the investigation of their past in every possible way. This investigation can take the contours of a reconnection with its past through so-called old languages. But a people can not live only with by merely repeating of what others tell them about themselves. The investigation through its linguistic past allows especially a direct knowledge of oneself. In addition to the fact that this knowledge simply highlights its weaknesses, it allows also to become aware by an introspective and therefore reflective of its real abilities and strengths. It structures being and the consciousness of being to resist any form of servile and degrading ideology. This quest for the past, not founded on blind passion but objectivity, nourishes a healthy ambition for a real universalism. To know one's past is already to project one's future. To know one's past is to give oneself the capacity to be able to bring to others in a perspective of giving and receiving. To know one's past is to refuse intellectual guardianship and wait-and-seeism. To know one's past is to be reborn.
05/2020
Archéologie
Etudes sur l'histoire et l'archéologie de Lydie de la période proto-lydienne à la fin de l'Antiquité. Textes en français et anglais
Lydia, lying between the Aegean coast and the Anatolian plateau, has been associated since Antiquity with the Pactolus river, which carried gold from the Tmolus mountain, and with the wealth of Croesus. Populated by Lydians and Maeonians, and marked by the presence of Persians, Greeks, Romans, and Byzantines, it has attracted the attention of researchers since the end of the 18th century. This book aims to cover the chronology of Lydian studies from the protohistoric period to the beginning of the Byzantine period and to bring together the contributions of international researchers and scholars from a wide range of disciplines that includes history, archeology, epigraphy, and numismatics, and from different perspectives. The various studies discuss society, social structures, military aspects, economy, religion, arts, architecture, and material culture. This diachronic approach makes it possible in particular to question continuity and discontinuity between the Hellenistic, Roman, and Byzantine periods, as well as with those that preceded them.
02/2023
Tourisme étranger
Moroccan tracks Volume 11. The sagho djebel
The Sagho djebel is the eastern extension of the Anti-Atlas, a volcanic mountain with granitic mamelons, basaltic organs, chaos of black shales, pink sandstones... at the gates of the Sahara. As far as the eye can see, large wild, arid spaces. A desolate land made for the lonely DPM. And for a thousand miles around, silence is the only companion. Absolute plenitude and the desire to take to the track. From flat expanses to rolling hills, from sharp relief to steep canyons : pure, original nature. The character is strong, rustic but the heart is soft. The colours are soft and gentle. Ochre, pink, brown, violet, the colour chart stretches in a gradation of shimmering pastels, sometimes accompanied by an overwhelming heat. Eldorado in the heart of the desert, rare are the oases ; modest green spots in the infinitely large, they are the reminders that we are on African soil. The wild charm of the Sagho is due to its exceptional geology : high cliffs and steep peaks, tabular escarpments and deep canyons in the middle of which caravans of camels and mules circulate. When you arrive on these immense plateaus, the lunar horizon is so vast that you want to go everywhere at once to see if it is really as beautiful elsewhere ! The Sagho also surprises by the richness of its lights : limpid like those of the nearby Sahara, or sometimes in half-tone, as in the neighbouring Dades valley. The Sagho is also the Morocco of the last Berber nomads, descendants of the ancient lords Aït Atta. In autumn, after leaving the snows of the High Atlas, they set up their dark wool tents on the slopes of the jebel until spring. They can neither read nor write, but they are sure of their way through the Atlas Mountains and the Moroccan desert. In the Sagho, they have built houses of unbaked stone, dug wells, planted almond trees, grown wheat, barley and various vegetables. Others built herds of goats and sheep, and caravans of camels. Most of them are now sedentary, semi-nomadic or nomadic...
08/2022
Sciences de la terre et de la
Theoretical Astrophysics. Volume 1, Astrophysical Processes
Graduate students and researchers in astrophysics and cosmology need a solid understanding of a wide range of physical processes. This clear and authoritative textbook has been designed to help them to develop the necessary toolkit of theory. Assuming only an undergraduate background in physics and no detailed knowledge of astronomy, this book guides the reader step by step through a comprehensive collection of fundamental theoretical topics. The book is modular in design, allowing the reader to pick and chose a selection of chapters, if necessary. It can be used alone, or in conjunction with the forthcoming accompanying two volumes (covering stars and stellar systems, and galaxies and cosmology, respectively). After reviewing the basics of dynamics, electromagnetic theory, and statistical physics, the book carefully develops a solid understanding of all the key concepts such as radiative processes, spectra, fluid mechanics, plasma physics and MHD, dynamics of gravitating systems, general relativity, and nuclear physics. Each topic is developed methodically from undergraduate basic physics. Throughout, the reader's understanding is developed and tested with carefully structured problems and helpful hints. This welcome volume provides graduate students with an indispensable introduction to and reference on all the physical processes they will need to successfully tackle cutting-edge research in astrophysics and cosmology.
01/2000
Non classé
Classics in Cultural Criticism
This collection of essays, to be followed by a companion volume on the classics of American cultural criticism, traces the historical development of cultural criticism in Britain from the early eighteenth to the mid-twentieth century. It devotes separate essays to representative cultural critics whose work is surveyed by scholars from America, Britain and Germany. It ranges from Augustan writers like Swift and Pope through the tradition of British cultural criticism canonized by Raymond Wiliams' seminal Culture and Society. It will be followed by a sequel, Contemporaries in Cultural Criticism, where an overview of the concerns of the immediate present will be attempted. Contributions by Michael Gassenmeier, Dietmar Schloss, Ingrid von Rosenberg, Nigel Leask, Bernd-Peter Lange, David Lathem, Felix Semmelroth, Wolfgang Wicht, Irmgard Maaßen, Rüdiger Hillgärtner, David Margolies, Jürgen Kramer and Christoph Bode.
04/1991
Histoire et Philosophiesophie
Charles Darwin's Zoology Notes & Specimen Lists from H.M.S. Beagle
Two long sets of scientific notes were made by Charles Darwin during the voyage of the Beagle. Those transcribed here are concerned with natural history, and although in 1839 he drew on them quite extensively in writing his famous " Journal of Researches ", neither they nor his geology notes have previously been published. He was a superb observer, and recorded vividly and accurately his first impressions of the appearance and behaviour of the wide range of animals, from ants to ostriches, encountered during his travels. Often he performed little experiments on the creatures that he captured, and he was never happy until he had exhaustively explored the why and wherefore of every one of his observations. During the long periods on board ship, he carried out a thorough analysis of hitherto unrecognised features of the internal anatomy of a variety of marine invertebrates, and made elegant pencil drawings of them under his dissecting microscope. The volume also includes his lists of 1 500 specimens preserved in Spirits of Wine, and some 3 500 not in Spirits, with impeccably accurate cross references to the main notes. Although his notes were made strictly for his own use, and were often highly technical, they were well written throughout, and contain many highly readable passages. Only towards the very end of the voyage were his first doubts about the immutability of species consciously pressed, but here are to be found the first seeds of his theory of evolution, and of the important new fields of behavioural and ecological study of which he was one of the principal founders.
01/2000
Antiquité - Généralités
Egyptian Cults and Sanctuaries on Delos
Renowned to this day for its Sanctuary of Apollo, the island of Delos was a flourishing trading port in antiquity that drew both Greeks and foreigners to its shores for commercial purposes. Many exotic deities - some hailing from the east and others, introduced by the Italian community, from the west - were worshipped on the island. Among these foreign divinities, the Egyptian gods figured prominently, and their first appearance can be dated to the 3rd century BC. The spread of Egyptian-Greek cults beyond the Nile Valley favoured the worship of the goddess Isis. While the goddess was the object of great devotion on Delos as elsewhere, it was actually the god Sarapis who was at the centre of a pantheon forming a triad with Isis and Anubis, joined by Harpocrates, Ammon and Osiris.
11/2021
Cerveau et psychologie
Transcultural Dictionary of Misunderstandings. European and Chinese Horizons
The Transcultural Dictionary of Misunderstandings. European and Chinese Horizons is the result of an initiative which forges a radically new path for promoting transcultural understanding by studying culture-bound keywords. The stimulating idea is to create and address with intention that which is generally held to be by all means avoided : namely, misunderstandings. The experiment starts with a level of communication that is not political per se but cultural. Cultures have no rigid borders like nation-states. They are more dynamic and meandering, open to influence, and translatable. Like cultures themselves, keywords are saturated with history, long-term experience, values, and collective emotions. They carry a load of tacit knowledge and implicit axioms that have the advantage of not having to be unpacked, explained, or spelled out. Working through various semantic layers of keywords on both sides helps to create a more transparent language for transcultural dialogue. The creation of such a language is the effect of producing, exchanging, and working through misunderstandings on both sides. Within the framework of transcultural dialogue, misunderstandings turn out to be an innovative tool for mutual learning by seeing oneself through the eyes of the other. It is high time for researchers in various parts of the world to join forces and translate basic concepts from one language and culture into another. Every translation is a transformation, marking similarities and differences which can lead to an uncovering of new ideas, values, and cultural practices. This unconventional dialogue is a great source of inspiration because it works through hardened assumptions and misrepresentations, unsettles schematic thinking, and leads to unexpected insights and new points of contact. Aleida Assmann Professor of English Literature and Literary Theory, University of Konstanz, Germany
07/2022
Histoire internationale
Manufactories in Germany
In eighteenth century Germany goods were produced in manufactories as well as by independent craftsmen and artisans employed by capitalists. The manufactories using tools and manually operated machines foreshadowed in many respects the factories of the nineteenth century. State and local support for the manufactories was aimed at reducing unemployment, maintaining military strength and securing foreign currency. Although not all manufactories were successful they provided a valuable heritage of industrial and commercial skills which were profitable to later entrepreneurs. However, those who - like Karl Marx - considered the manufactories to be a stage in the process of industrialisation have been proved wrong.
12/1985
BD tout public
Woman on the River
De la douleur, des souffrances que tu leur as causées ? Vient le jour où ta faute est expiée et ton coeur à nouveau léger. Ou bien elle ne s'efface jamais. Elle se propagera éternellement comme les ronds dans l'eau quand un caillou y sombre. Dennis, un ancien tueur à gages, est libéré après une longue détention. II tente, tant bien que mal, de vivre une nouvelle vie paisible. Il s'installe dans un jardin ouvrier, le long des canaux de la zone industrielle, à l'est d'Hambourg. Mais le passé resurgit, sournoisement, dans son univers. Une de ses victimes a survécu.
09/2012
Sciences politiques
Scripture and Midrash in Judaism
The rabbis of late antiquity produced a score of exegesis of the Hebrew Scriptures of Ancient Israel ("the Old Testament"), in which they took various approaches to the study and interpretation of what they called "the written Torah". These exegesis, called collectively "Midrash", form an important part of "the oral Torah", that is, the tradition of Sinai formulated and transmitted for memorization and ultimately written down by the ancient sages in the first six centuries A.D. These three volumes present large selections of the Midrash-documents of ancient Judaism, in the translation of Jacob Neusner, who has now translated into English nearly all of the Rabbinic literature of late antiquity. The selections are organized by type, so that readers see the various ways in which, in form and in intellectual program, the documents of Midrash-compilation were formulated and set forth. In this way, the vast body of biblical exegesis put forth by Judaism in its formative age is made available to the contemporary reader.
03/1994
Sciences de la terre et de la
Coral reef ascidians of New Caledonia
Ascidians are common marine animals present on all types of substrata but abundant and highly diversified in warm oceans. They represent a large portion of the underwater pictures taken by divers of the ORSTOM center in Noumea.
One millimeter to some decimeters in size, cryptic or brightly coloured, motionless, often in the shade, ascidians are not well known, but are present everywhere. They are surprising not only in their variable shapes but also in their unique biological characteristics. They represent the boundary between invertebrates and vertebrates, although the adults look like stones or sponges.
With a beautiful selection of photographs, the authors discuss the essential anatomy, the modes of budding, the pigments, and the spicules. The ecological requirements are detailed and symbionts, parasites and predators are reviewed. The relationship with man concerns fouling species on ships, their use as food end as a source of pharmacological products.
The final section provides a key for the identification of the most common or spectacular species.
08/1991
Généralités médicales
How I stopped snoring.. Exercises to treat snoring and sleep apnea
We don't talk about it and avoid the tension generating subject. Snoring makes us laugh or even cry. We very much want to get rid of it. There are ways to fight it. You will find an inventory of them herein, complete with advice on how to improve them, but that's not all ! This book sets forth a natural and original manner of curing snoring and sleep apnea. It's an actively engaging method as opposed to others which confine the snorer to a passive role (drugs, surgery, etc.), proposing exercises by which the snorer strengthens and activates his oral cavity and refines its sensations. Validated by numerous doctors, physical therapists and practitioners of alternative medicine, this book can be read on different levels : by those who are just discovering their snoring problem as well as by those who are well aware of it but haven't yet found a satisfactory solution.
08/2016
BD tout public
Doctor Gachet's portrait
A picture named "Doctor Gachet's portrait" has been stolen a night from a museum. Immediately, the news offer the event and our heroes start the research after some clue that leads them to the thief. After travelling across some countries following his trace, they realize that a smuggling network is behind the robbery, led by minister Goring. Among their loot is an enormous amount of pictures stolen from private collectors, with the aim of transporting and hiding them beyond their frontiers.
01/2014
Monographies
Arts du Nigéria Central revisités. Mumuye et peuples environnants
In previous studies, Jan Strybol pointed out that sculpture in Northern Nigeria - contrary to what is generally assumed - flourished. Wood sculptures could be found just about everywhere, with the exception of a part of the Far North. In this study, the author first examines the sculptural traditions of a number of peoples in Central Nigeria, in particular from the Jos Plateau and from the valley of the Middle Benue to the source area of the Taraba River. These peoples can be described as non-centralized communities where mainly art in perishable materials was produced by part-time specialists, in contrast to the centralized empires in the South (Ife, Benin) where full-time specialists created complex works of art in durable materials (stone, bronze, iron). Perhaps the most well-known ethnic group in the Middle Benue region among aficionados of African art are the Mumuye. Since the end of the last century, the traditional rites of the Mumuye have rapidly disappeared as a result of the advance of the world religions and with them the Mumuye sculpture so much admired in Europe and America. In addition to wood sculpture, Jan Strybol also pays attention to objects in bronze, iron, terracotta and other materials. Until now, these art forms have been very underexposed and have now almost completely disappeared. Finally, the author also elaborates on some artistic achievements of a number of little-known residual groups within the Mumuye territory, which can boast a rich art tradition.
05/2023
Sciences politiques
Organizing after Crisis. The Challenge of Learning
How do actors organize after crisis ? Do they "simply" return to normal ? The post-crisis phase is anything but a linear process. Actors and their practices may be transformed by learning from crises and by implementing the lessons. In this volume, 19 contributors from 7 countries analyse how learning happens after crisis in a dynamic political environment where framings, strategies, discourses, interests and resources interact. Exploring various policy sectors, they ask whether and in what ways organizations in charge of crisis management perform well. Where political responsibility is located ? What changes do lessons trigger at political, organizational and individual levels ? The book answers these questions by addressing issues like blame and responsibility but also the influence of communication, social dynamics and the institutional environment.
03/1994
Littérature française
READINGS FROM CHINESE WRITERS: TEXTES CHOISIS D'ECRIVAINS CHINOIS 1949-1986, Tome I
Readings From Chinese Writers (1949-1986) presents a selection of Chinese literary works written after the establishment of the People's Republic of China. This book can be used as supplementary reading for teaching Chinese literature in colleges and universities abroad, or as self-teaching material for those students of Chinese literature with some mastery of Chinese. The book includes masterpieces of the main writers of each historical period. Taking into account differences in the level of the reader's Chinese, the works selected are intended to be easily comprehensible. A biographical sketch of each author is provided. Each piece is accompanied by a brief introduction and analysis. To facilitate teaching and reading, difficult words and sentences, dialectal expressions, and idioms are accompanied by pinyin, as well as by English and French translations and by necessary explanations.
01/1989
Monographies
Gustave Moreau. The Fables
Gustave Moreau (1826-1898) is one of the most brilliant and enigmatic artists associated with the French Symbolist movement. This book accompanies an exhibition of some of the most extraordinary works he ever made, unseen in public for over a century. Moreau's watercolours of the Fables of Jean de La Fontaine (1621-1695) were created between 1879 and 1885 for the art collector Antony Roux and their stylistic range encompasses historicism and the picturesque, orientalist fantasies and near-abstract chromatic experiments. They were exhibited to great acclaim in Paris in the 1880s and in London in 1886, where critics compared the artist to Edward Burne-Jones. One critic commented on Moreau's ' keen apprehension of the weird. ' There were originally 64 works in the series, which was subsequently acquired by Miriam Alexandrine de Rothschild (1884-1965), but nearly half were lost during the Nazi era. The surviving works have not been exhibited since 1906 and they have only ever been published in black and white. This book is the first to reproduce them in colour - many shown actual size. Created at the height of the French 19th-century revival of watercolour, the variety of subject matter and technique, their colouristic effects and the sophistication of Moreau's storytelling, will be a revelation to readers. Preparatory drawings for the Fables, including animal studies made from life in the Jardin des Plantes demonstrate the wide-ranging research that informed Moreau's visions. Prints after Moreau's Fables by Félix Bracquemond (1833-1914) translate the jewel-like colours into monochrome in some of the most innovative etchings of the age, while the most delicate effects of the watercolours were also transformed into vitreous enamels. In-depth accounts of each watercolour, explaining the story and exploring Moreau's response to it. The introduction will place the series in the long history of illustrations of La Fontaine's canonical work, whose sources include Aesop's fables and traditional European and Asian tales, as well as considering Moreau in the context of his own, turbulent, times.
08/2021
Monographies
The Gregory Gift
Presenting for the first time the Alexis Gregory Gift to The Frick Collection, this exquisite publication provides illuminating insights into Gregory's magnificently eclectic collection, cataloging his fine and decorative works of art in detail. Twenty-eight works of art bequeathed to the Frick by Alexis Gregory range from Limoges enamels to Saint-Porchaire ware to pastels by the Venetian painter Rosalba Carriera. This remarkable gift has introduced new types of objects to the Frick : works in ivory and rhinoceros horn are the first of their kind to be held in the collection. Gregory's gift includes fifteen Limoges enamels, one of them produced in the workshop of Suzanne de Court, the only woman known to have led an enamel workshop in Limoges. Also part of the gift are a gilt-bronze sculpture, an ivory hilt, a pomander, ewers, saltcellars, and two clocks. Many of Gregory's objects came from such prestigious owners as the French royal collections and the Rothschilds. Included in the publication are commentaries on each gift. This lavishly illustrated publication accompanies an exhibition that will be on view at The Frick Collection February 16 through May 14, 2023.
02/2023
12 ans et +
Les 8 royaumes mortels Tome 1 : La cité de Pierre-de-Vie
Raised as a slave in the Darkoath camps of Aqshy, Kiri dreams of a better life. Of a city of wonders, the place of her birth… Lifestone ! She despairs of ever reaching it until a fateful day arrives when her barbarian captors are attacked by Sigmar's noblest warriors, the Stormcast Eternals. Seizing her chance, Kiri flees through a mysterious realmgate that takes her far from the fiery lands of Aqshy. She arrives in the realm of Ghyran and finds the city of Lifestone. But a curse lies on this place, withering its noble spirit. Her path leads her to a special group of children who, like her, are realm-marked the prophecised saviours of Lifestone. There's Thanis, the fighter ; Alish, the inventor ; Kaspar ; the sneak and Elio, the healer. But dark forces are allying against the children and will do anything to stop them achieving their destiny.
06/2019
Non classé
Fast Darkness III: Moonwords. Sextet for flute, clarinet, piano and string trio. flute, clarinet, piano, violin, viola, cello. Partition et parties.
Fast Darkness III is the last part of the trilogy Fast Darkness, 2020-2022. Written in 2022, it is a 16 minutes long virtuosic, wild, and overgrown exploration. Fast gestures, drawn by a sharp pen and loaded with excited energy inform the listener of a large universe that they are enveloping. Just like an entangled climbing branch may give a sense of the house it is climbing on, the energy-laden gestures in Fast Darkness III, reveal the presence of the universe they are enveloping. This revelation never comes to be heard in the piece, but hopefully, it is an after-effect of it. Chaya Czernowin Instrumentation : flute, clarinet, piano, violin, viola, cello
03/2023
Non classé
The Search for Lyonnesse
Although Mme de Lafayette is acknowledged as the founder of the modern novel, her precise legacy has been understood only in relation to male-authored texts. However, she wrote as a woman, addressing issues that concerned women of her day, particularly the problem of the apparent incompatibility of sexual fulfilment and the institution of marriage. This study seeks to identify how La Princesse de Clèves was interpreted by three of Mme de Lafayette's most talented women successors and to show how their more sombre and subversive view of society was mediated in works of fiction which have strong affinities with the contes de fées for which they are well known. The novels of Mlle Bernard, Mme d'Aulnoy and Mlle de La Force are significant, not simply for what they tell us about themselves as women writers but also for what they reveal about the origins of the eighteenth-century novel.
07/1999
Science-fiction
The aumakua. The great white shark novel
Just as I finished grabbing it, a sharp pain suddenly was erupting on the inside edge of my lair ! Simultaneously, a tension as unbearable as it was horrifying blocked me trying to pull me towards the surface. The kanakäs had just intercepted me through this lethal decoy ! So, with all my mass and was arching my body with all my strength in the opposite direction, I was regained some slack on this terribly resistant link, feeling all the mass of the platform preventing me from probing like the dontokä before. However, I was determined to show them which of us would be most worthy of remaining in the Incompressible, when with a devastating lateral movement, I severed with a sharp blow the lethal and imperceptible tether ! By this counter blow, I was as if immediately ejected : the perfidious artifact still embedded in my lair lying painfully like a relic of this ubiquitous creature of the System.
09/2023
Beaux arts
Italian Maiolica and Other Early Modern Ceramics in the Courtauld Gallery
This is the first catalogue of the collection of early modern ceramics in the Courtauld. The pieces in the collection showcase brilliantly the skill of potters and pottery painters working at the time of Raphael and Titian. Maiolica is one of the most revealing expressions of Renaissance art. Its extraordinary range of colours retain the vividness that they had when they left the potter's kiln. Italian potters absorbed techniques and shapes from the Islamic world and incorporated ornament and subject matter from the arts of ancient Rome. This new approach to pottery making, combined with the invention of printing, woodcut and engraving, resulted in an extraordinary type of painted pottery, praised by Vasari in his Lives of the Artists for 'surpassing the ancient with its brilliance of glaze and variety of painting'. The collection boasts a magnificent group of vessels made during the high Renaissance, the golden age of Italian maiolica. It includes precious and delicate Deruta lustreware with imagery deriving from Perugino and Raphael, as well as vessels painted in a narrative style of pottery painting known as istoriato. Highlights include vessels depicting episodes taken from the first printed Bibles of the Renaissance. Istoriato maiolica flourished particularly in the lands of the Dukes of Urbino, who promoted this craft by sending painted pottery to prestigious patrons across Europe. Emblems and devices painted on the pottery help us understand that they were meant to be used and enjoyed by the elites in Renaissance society, such as the Medici and other great Tuscan families. The catalogue will include two recent gifts to the Courtauld, a rare tile of the famous patroness of the arts Marchioness Isabella D'Este, and a refined dish painted with the story of Diana and Actaeon. All major Renaissance pottery centres are represented in the collection, including Siena, Faenza and Venice, as well as splendid examples of the mysterious pharmacy jars made at the foot of the mountain of Gran Sasso in the town of Castelli d'Abruzzo. These achievements of the art of pottery in the early modern period are completed by fine examples of Ottoman pottery, as well as examples of Valencian lustreware. Sani's introductory essay on the Victorian collector Thomas Gambier Parry will shed new light on the development of this fascinating collection, making links between Gambier Parry's artistic practice and his collecting and revealing new insights into his taste as a collector. Each detailed entry uncovers a wealth of new information on the provenance of the pieces.
03/2023
