Lisély

Vous aimez Agatha Christie, le Cluedo et les vieilles demeures anglaises ? Aldermere House n'est pas un manoir comme les autres. Dans les années trente, il a été la propriété d'une très grande dame du roman policier, Lettice Davenport, et le cadre de la plupart de ses ouvrages. Son héroïne, Dahlia Lively, à l'égal de Miss Marple, est encore dans toutes les mémoires. Les trois actrices qui, au fil des décennies, ont interprété à l'écran ce personnage célèbre sont aujourd'hui réunies au manoir à l'occasion d'une grande convention organisée par les fans de la romancière. Mais ce qui s'annonçait comme un week-end d'été des plus agréables dans la campagne anglaise prend un tout autre visage lorsqu'un meurtre est commis, inspiré d'un des romans de Lettice. Pour élucider cette étrange affaire, les trois Dahlia vont devoir mettre de côté leur rivalité. Ce qui est loin d'être gagné... Avec ce premier roman, Katy Watson inaugure une nouvelle série consacrée à ces trois actrices au charme fou. Elle entraîne le lecteur d'un rebondissement à l'autre sans jamais se départir de l'humour qui fait toute la saveur des romans policiers anglais classiques. Surtout, elle nous propose un univers et des personnages jubilatoires que l'on a déjà hâte de retrouver.

Tattoos are everywhere-especially where they are least expected. Once the specialty of bikers and sailors, they now are frequently spotted in art galleries, fashion shows, and even corporate boardrooms. "Mom-in-a-heart" has been replaced by striking monochromatic patterns; intricate reproductions of famous artworks; elaborate mythical beasts and deities; and the oddly unclassifiable (the innards of a video camera, a monolithic black wedge). This sophisticated look at the latest high-style skin decorations, created by the most creative contemporary tattoo artists, is divided into five chapters: Tribal; Paintings, Prints, and Portraits; Imagination and Fantasy; Neotraditional; and All the Rest. A lively introduction provides a cogent history of tattooing through the ages, making clear that the compulsion to personalize the body has characterized humanity throughout recorded history. Concluding the introduction is an informative evaluation of how the tattoo scene has changed since the "tattoo renaissance" that began in the 1960s and has culminated in today's heady mix of inventive old masters and young artschool-trained hotshots. An invaluable appendix gives answers to the questions anyone should ask before getting a tattoo, including: How Is a Tattoo Made? Is It Safe? How Do I Find the Right Tattoo Artist? How Do I Pick the Right Design? How Much Will It Cost? How Long Does It Take? What Maintenance Does a Tattoo Require? Can 1 Get Rid of It?

Fearful Symmetry brings the incredible discoveries of contemporary physics within everyone's grasp. A. Zee, a distinguished physicist and skillful expositor, tells the exciting story of how today's theoretical physicists are following Einstein in their search for the beauty and simplicity of Nature. Animated by a sense of reverence and whimsy, the book describes the majestic sweep and accomplishments of twentieth-century physics. In the end, we stand in awe before the grand vision of modern physics-one of the greatest chapters in the intellectual history of humankind. "Fearful Symmetry tells the story of modem physics and contemporary physicists in a most understandable and vivid way. It makes the 'fearful' symmetry simple and accessible, and the burning tigers lively and human. An excellent rendition and an outstanding achievement." -T. D. Lee, Nobel Laureate in Physics "To a layman like myself, totally unversed in modern theoretical physics, Zee's book comes as an illumination. Once having grasped the idea of symmetry as an aesthetic and intellectual principle, I found myself, under his guidance, contemplating aspects, of the design of the universe of which I never had the faintest glimmer." -John Rupert Martin, Marquand Professor of Art and Archaeology, Princeton University "A small gem we can see deeply into with small effort and great pleasure." -Robert Schrieffer, Nobel Laureate in Physics

Since the 1990s and the 2000s, Western social protection systems have experienced a turn towards activation. This turn consists of the multiplication of measures aimed at bringing those who are unemployed closer to participation in the labour market. These measures often induce a strengthening of the conditions that must be met in order to receive social benefits. It is in this well known context that the authors gathered in this book decided to take a closer look at the relationship between activation policies for the unemployed and the right and the duty to work. If activation measures are likely to increase transitions towards the labour market, we can also make the assumption that they may, particularly when they are marked with the seal of coercion, hinder or dramatically reduce the right to freely chosen work. In such circumstances, the realisation of the "right to work", which is often stated to be the aim of those who promote activation, tends in practice to be reduced to an increasing pressure being exerted on the unemployed. In this case, isn't it actually the duty to work that is particularly reinforced ? After an historical and philosophical perspective on the issue, this assumption is confronted with the developments observed in the United States and in France, and then with the guidelines laid down in international human rights instruments. What follows is a discussion of two alternatives to the dominant activation model : the basic income guarantee and the employment guarantee.

Leokadiya Kashperova (1872-1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. Songs of Love was first published in 1904. No evidence survives of any public performance in Kashperova's lifetime although it is very likely that they were performed at her regular 'musical evenings at home on Tuesdays' mentioned in her Memoirs. The transparency of the piano writing strongly suggests that she would accompany herself singing. Kashperova, by all accounts, possessed a fine voice, and in the summer of 1906 she decided 'to learn from the artistry', as she put it, of the tenor Raimond von Zur-Mühlen who was widely celebrated for having developed (with Clara Schumann) the Lieder-Abend tradition. His summer-schools on the Baltic coast were frequented by aspiring singers from all over Europe, even Japan and India. Kashperova herself was responsible for the poetic lyrics of Songs of Love (in both Russian and German), which may well have emerged from her own bittersweet experience of life and love ; she was not to marry until 1916 at the age of forty-four. That Kashperova is the author of both the music and the lyrics of Songs of Love would suggest that they express very personal sentiments. Instrumentation : soprano (tenor) and piano

Tiepolo in Milan : The Lost Frescoes of Palazzo Archinto brings together preparatory drawings and paintings, as well as documentary photographs, to commemorate an extraordinary fresco cycle by the Venetian painter Giambattista Tiepolo (1696-1770). Painted for Palazzo Archinto in Milan, the frescoes were destroyed in a bombing during World War II. The catalogue accompanies an exhibition at The Frick Collection. In 1730-31, Tiepolo undertook his first significant project outside the Veneto, frescoes for five ceilings in Palazzo Archinto in Milan. The paintings were commissioned by Count Carlo Archinto (1670-1732), likely in honor of the marriage of his son, Filippo, to Giulia Borromeo. Tiepolo's mythological and allegorical scenes-Triumph of Arts and Sciences ; Apollo and Phaëton ; Perseus and Andromeda ; Juno, Fortune, and Venus ; and Nobility-were painted in some of the largest rooms of the palazzo. Unfortunately, the palazzo was bombed during World War II and its interior completely destroyed. Only a series of black-and-white photographs, taken between 1897 and the late 1930s, preserves the frescoes' appearance, but a number of preparatory drawings and paintings provide precious information, including three painted sketches (Triumph of Arts and Sciences, the Museu Nacional de Arte Antiga, Lisbon ; Apollo and Phaëton, Los Angeles County Museum ; and Perseus and Andromeda, The Frick Collection). Three drawings from the British Museum in London, the Museo Civico in Trieste, and the Sinebrychoff Art Museum in Helsinki are the only related graphic works. These-along with other drawings and prints by Tiepolo and some books- have been reunited for the first time in order to bring to life these extraordinary works of art. On view at The Frick Collection from April 16 to July 14, 2019, the exhibition is curated by Xavier F. Salomon, Peter Jay Sharp Chief Curator at the Frick, with Andrea Tomezzoli, Professor at the University of Padua, and Denis Ton, Curator of the Musei Civici in Belluno. Included in the publication are essays on Tiepolo's work in Palazzo Archinto (Salomon), on the role of the frescoes in Tiepolo's career (Tomezzoli), on the intellectual world of the Archinto family (Ton), and on the architectural history of the palace (Kluzer).

The twelve lessons forming this volume were originally issued in the shape of monthly lessons, known as "The Advanced Course in Yogi Philosophy and Oriental Occultism" during a period of twelve months beginning with October 1904, and ending September 1905. We have been told, so often, that we must take certain things "on faith, " and that it was "no use bothering our minds concerning them, " but this is only a partial statement of truth, for the Intellect does give us a reliable report concerning the real nature of things. . ". New Thought proponents at the turn of the twentieth century sought to use mysticism to unleash the forces of the universe in themselves. One of the most influential thinkers of this early "New Age" philosophy promises here, in this 1904 book, to show the reader "to see with the clear vision of the Spirit" and how to "achieve the peace of the awakened and conscious soul". As the yogi reminds us, "No occult teaching is ever wasted-all bears fruit in its own good time". With this significant document of the New Thought movement back in print, now may be the time. Content : Lesson I. Light On The Path Lesson II. Some More Light On The Path Lesson III. Spiritual Consciousness Lesson IV. The Voice Of Silence Lesson V. Karma Yoga Lesson VI. Gnani Yoga Lesson VII. Bhakti Yoga Lesson VIII. Dharma Lesson IX. More About Dharma Lesson X. Riddle Of The Universe Lesson XI. Matter And Force Lesson XII. Mind And Spirit American writer WILLIAM WALKER ATKINSON (1862-1932)-aka Yogi Ramacharaka-was born in Baltimore and had built up a successful law practice in Pennsylvania before professional burnout led him to the religious New Thought movement. He served as editor of the popular magazine New Thought from 1901 to 1905, and as editor of the journal Advanced Thought from 1916 to 1919. He authored dozens of New Thought books-including The Philosophies and Religions of India, Arcane Formula or Mental Alchemy and Vril, or Vital Magnetism-under numerous pseudonyms, some of which are likely still unknown today.

Peut-on feindre l'amour - sans êtres démasqués - devant ses meilleurs amis ? Harriet et Wyn forment le couple idéal : ils vont ensemble comme le pain et le beurre, le gin et le tonic, Blake Lively et Ryan Reynolds. Pourtant cet été, ils vont devoir mentir à leurs amis... Car Harriet et Wyn ont rompu six mois plus tôt, et personne n'est encore au courant. Ce sont leurs dernières vacances dans le cottage où ils retrouvent la même bande de copains depuis dix ans, et ils ne veulent pas gâcher ce moment précieux... alors ils vont jouer la comédie une semaine de plus. A priori, c'est un plan parfait - enfin, si vous le regardez de loin, à travers des lunettes de soleil enduites de crème solaire. Avec ses personnages craquants à souhait et son irrésistible alchimie, Happy Place est un concentré de tout ce qu'on aime chez Emily Henry ! "Emily Henry parle avec tendresse de l'importance de trouver les lieux et les gens que l'on considère comme son chez soi". Taylor Jenkins Reid " Avec beaucoup de sensibilité et de justesse, Emily Henry nous offre une lecture fraîche, à base de douces brises marines et de prosecco, tout en délivrant une réflexion fascinante sur l'amitié, la douleur de la séparation et le passage parfois difficile à l'âge adulte. " Oprah Quarterly " Encore un chef-d'oeuvre d'Emily Henry ! " Hannah Grace " La meilleure manière de partir en vacances, sans bouger de son canapé. " Beth O'Leary " Les romans d'Emily Henry sont toujours de magnifiques best-sellers ; Happy Place ravira ses fans, et tous les lecteurs en quête d'une histoire d'amour exceptionnelle. " Booklist " Comme toujours, Emily Henry nous offre des personnages à la repartie absolument hilarante, mais ajoute également une petite pointe de mélancolie dans son récit. La relation entre Wyn et Harriet, présentée à la fois dans le passé et dans le présent, semble douloureusement réelle. Un regard nostalgique sur les débuts, les fins, et l'amour que l'on a pour les personnes qui sont toujours là pour nous. " Kirkus " Si je pouvais vivre dans un livre, ce serait celui-ci". Culturefly

Learning GLIM will almost certainly change the way you do statistics. The flexibility and generality of the GLIM language encourage a different approach to statistical analysis, which stresses parameter estimation and model criticism rather than hypothesis testing. The GLIM package can handle most of the models that ecologists are likely to fit to their data, including log-linear models of count data using Poisson errors, logistic regression of proportion data using binomial errors, and a wide variety of models for the analysis of survival data. It also allows an extremely general approach to more familiar procedures such as analysis of variance, multiple regression and the analysis of contingency tables. The book provides a practical approach to learning the rationale and methods of linear modelling, starting from absolute basics and progressing in simple steps to cover the critical analysis of experimental and observational data. Minimal background in mathematics or statistical theory is assumed, and the book is aimed at all ecologists front students to experienced researchers. Statistical modelling in GLIM is introduced through an extensive series of ecological examples, where graphical display, model criticism, model simplification, plots of residuals and tests of assumptions about error specification are explained in full. The reader is encouraged to work through examples while sitting at a computer, and all of the necessary data, along with numerous exercises and fully worked answers, are provided on a disk supplied at the back of the book. GLIM for Ecologists is not a statistical recipe book; it informs and educates on the proper use of statistics in ecology, on experimental design and on how to get the most out of your data. Learning GLIM Will certainly bc worth the effort. It's not a question of finding out how to do the same old tests in yet another new statistics package. On the contrary, it involves mastering a powerful set of tools that were originally developed for professional statisticians, but which are now accessible to ecologists through the simple step-by-step approach adopted in this book. The Methods in Ecology Series The aim of this series is to provide ecologists with concise and authoritative books that will guide them in choosing and applying an appropriate methodology to their problem. New technologies are a feature of the series.

Le principal sanctuaire d'Artémis de Délos est associé à celui d'Apollon. Th. Homolle y entreprit des fouilles en 1878 mettant au jour deux temples imbriqués, un autel, un portique coudé et un ensemble de sculptures archaïques comprenant plusieurs korès. Ses travaux furent poursuivis par F. Courby, qui comprit que le temple archaïque était conservé dans le temple hellénistique, et par R. Vallois, qui fut le premier à définir les limites de l'Artémision et à en écarter l'édifice dans lequel fut par la suite reconnu le Pythion. Il découvrit dans le pronaos du temple hellénistique un mobilier exceptionnel daté entre l'époque mycénienne et la seconde moitié du VIIIe s. Les grandes étapes de cette exploration de l'Artémision, qui s'est poursuivie jusqu'à nos jours, sont retracées dans la première partie de l'ouvrage, qui contient aussi le corpus des testimonia littéraires et épigraphiques relatifs au sanctuaire et une présentation de toutes ses composantes. La seconde partie est consacrée au temple hellénistique. Elle commence par une description des fondations et de l'euthyntéria conservées en place et se poursuit par celle des vestiges erratiques qui peuvent être restitués à l'élévation. La krépis, le toichobate, les colonnes, les antes, les murs, l'entablement, les frontons et la couverture sont successivement présentés. Leur analyse fonde la restitution du monument, un édifice hexastyle prostyle ionique dont toute l'élévation était en marbre cycladique. L'intérieur du naos était sans doute orné de colonnes engagées. La construction, qui s'est principalement déroulée entre 190 et 180, fut compliquée à la fois par l'existence de monuments jouxtant le nouveau temple et par la volonté de conserver intact, pendant la première phase du chantier, le naos du temple archaïque, englobé dans la construction hellénistique. L'édifice s'inscrit à la fois dans la lignée des temples athéniens ioniques prostyles hexastyles et dans la koinè hellénistique qui, sans être uniforme, prend le pas au début du IIe s. sur les spécificités du style développé par les Déliens de la fin du IVe et à la fin du IIIe s. av. J. -C. The main sanctuary of Artemis at Delos is associated with that of Apollo. In 1878, Th. Homolle undertook excavations there, unearthing two overlapping temples, an altar, an L-shaped portico and a collection of ancient sculptures including a number of korai. Homolle's work was carried on by F. Courby, who understood that the ancient temple was preserved within the Hellenistic temple, and by R. Vallois, who was the first to outline the boundaries of the Artemision, and to rule out the edifice which was later identified as the Pythion. R. Vallois also discovered exceptional material that dates from between the Mycenian era and the second half of the 8th century in the Hellenistic Temple's Pronaos. This book describes the main phases of the exploration of the Artemision, which continues today, and also contains the corpus of the literary and epigraphic testimonia related to the sanctuary, as well as a presentation of all of its components. The second part is devoted to the Hellenistic Temple. It begins with a description of the foundations and the euthynteria that remain in place, and goes on to describe the various remains that can be attributed to the elevation. The crepidoma, the toichobate, the columns, the antae, the walls, the entablature, the pediments and the roof are all presented one after the other. Their analysis forms the basis for the restitution of the monument, a hexastyle, prostyle, ionic edifice that was built in Cycladic marble. The interior of the naos was most likely decorated with engaged columns. The construction process, which took place mainly between 190 and 180 BC, was hampered by the monuments that adjoined the new temple and by the attempts, during the first phase of the construction process, to preserve the naos of the ancient temple, incorporated into the Hellenistic building. The edifice is very much in line with the Athenian ionic, prostyle, hexastyle temples and the koinè Hellenistic style that emerged at the start of the 2nd century, and to a certain extent, took over from the specific style developed by the Delians that emerged at the end of the 4th and went on until the end of the 3rd century BC.