The Reaper

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...

Surmontant leurs positions respectives de roi et de prêtres, tous deux purent enfin s'unir. Après avoir obtenu celui qu'il aimait tant, le fougueux roi Ragô n'attendait plus que la cérémonie de mariage. L'aimant à en devenir fou, il ne voulait se séparer un seul instant de son précieux Sasha, qui devait maintenant assumer le rôle de reine en plus de celui de prêtre. Mais convoitant eux aussi le messager des dieux, aux yeux et aux cheveux de la couleur sacrée arc-en-ciel, les pays voisins lui déclarèrent la guerre. Ragô, lui, décida alors de partir seul sur le front, sans en parler à Sasha. Alors qu'ils avaient enfin compris et pu exprimer leurs sentiments, le destin tenterait-il encore une fois de les séparer... ! ? L'amour peut-il vraiment tout dépasser... ? Voici la suite d'une histoire d'amour sincère et intense.

On Friday, November 24, 1944 in Cologne, Private Robert Bradley, posted as a scout from the Sixteenth Corps, Third US Army, Twelfth American Army Group, submachine gun in hand, his ears pricked and his eyes alert, discovered the dislocated body of what seemed to be a girl, her waist fixed flat by a wide leather belt to an upside down bed, lying across it, her head thrown back and her arms dangling. Motionless, with hollow eyes. On the first day of the year 2005, there was an unpleasant surprise in store for the inhabitants of the peaceful Provençal village of Les Valats. In one of the houses, the first rays of bright, cold sunshine came in through the southern skylight and lit the living room wall where the blurred and grey shadow of a body was swinging. Alternating between the history of Ukraine and the landscapes of Provence as backdrop, the authors invite the reader to delve into an intriguing destiny where local anecdotes are blended with authentic events, right to the tormented depths of their characters. In this narrative ride through space and time, is it possible to determine who the culprits are the victims of ?

The logistician plays a critical role in the growth of his or her company - in this third edition of Essentials of Logistics, the conceptual framework in which all the stakes and themes of logistics is systematically analyzed, with a strong focus on the role of the supply chain. Indeed, many elements are critical to the successful logistical strategy : customer relation management, interactive information support, production optimization and process development, vision, strategy and operations management, and human resources and resource allocation. Growing out of a successful course given by the International Institute for the Management of Logistics (IML) of the Swiss Federal Institute of Technology (EPFL), in Lausanne, and by the Ecole des Ponts-ParisTech (ENPC), the purpose of this book is to present a methodology allowing the reader to understand and act based on the critical factors embedded in the design of strategy. Concepts are thus combined with practical examples. Transversal vision and detailed case studies highlight the main themes of modern logistics and daily preoccupations of logisticians. The book is addressed to all professionals of logistics : managers, planners and engineers ; as well as to graduate students specializing in the field.

I started writing "Acacia thorn in my heart" after reading the book of a white South African woman about her childhood in the same region as mine but relating a completely different experience. She had maids, her father drove her to school and she played with real toys. I lived in the heart of the country, away from everything and had to walk five miles to go to school. I was born in Natal. My father rented a plot of land from a white owner to do market gardening. Although Indian families tended not to educate daughters, our parents decided that education was a priority for us. Despite financial difficulties, they were able to send us to school. We had to get up at five o'clock in order to catch the school train. In winter, as we were scantily clad, we shivered all the way to the station.

Bien qu'il y ait eu des monographies sur les artistes voyageurs britanniques du XVIIIème et du début du XIXème siècles, il n'existe aucune enquête de ce que l'écrivain Henry Blackburn décrivait de "voyage artistique" un siècle plus tard. A partir de 1900, le "Grand Touriste" est devenu un globe-trotteur muni d'un appareil photo et, malgré le développement de la photographie instantanée, l'enregistrement visuel immédiat en huile et aquarelle reste le plus répandu. Kenneth McConkey's exciting new book explores the complex reasons for this in a series of chapters that take the reader from southern Europe to north Africa, the Middle East, India and Japan revealing many artist-travellers whose lives and works are scarcely remembered today. He alerts us to a generation of painters, trained in academies and artists' colonies in Europe that acted as crèches for those would go on to explore life and landscape further afi eld. The seeds of wanderlust were sown in student years in places where tuition was conducted in French or German, and models were often Spanish, Italian, or North African. At fi rst the countries of western Europe were explored afresh and cities like Tangier became artists' haunts. Training that prioritized plein air naturalism led to the common belief that a well-schooled young painter should be capable of working anywhere, and in any circumstances. At the height of British Imperial power, and facilitated by engineering and technological advance, the burgeoning tourism and travel industry rippled into the production of specialist goods and services that included a dedicated publishing sector. Essential to this phenomenon, the artist-traveller was often commissioned by London dealers to supply themed exhibitions that coincided with contracts for colour-illustrated books recording those exotic parts of the world that were newly available to the tourist, traveller, explorer, emigrant, or colonial civil servant. These works were not, however, value-neutral, and in some instances, they directly address Orientalism, Imperialism, and the Post-Colonial, in pictures that hybridize, or mimic indigenous ways of life. Behind each there is a range of interesting questions. Does experience live up to expectation ? Is the street more desirable than the ancient ruin or sacred site ? How were older ideas of the 'picturesque' reborn in an age when 'Grand Tours' once confi ned to Italy, now encompassed the globe ? McConkey's wideranging survey hopes to address some of these issues. This richly illustrated book explores key sites visited by artist-travellers and investigates artists including Frank Brangwyn, Mary Cameron, Alfred East, John Lavery, Arthur Melville, Mortimer Menpes, as well as other under-researched British artists. Drawing the strands together, it redefi nes the picturesque, by considering issues of visualization and verisimilitude, dissemination and aesthetic value.

The Christian theology of religions at present faces a crisis. What precisely is the task of the theology of religions ? Does it merely consist in interpreting the non-Christian religions as steps, phases or contributions in the light of Christianity ? Has one from the theological side conceded the maximum to the non-Christian religions by acknowledging them as anonymous Christianity (Karl Rahner)? This study is an exploration on how one shall liberate the religion of the other from anonymity : how one shall leave the other with his/her own name. The model of thought employed in this study is gained through an analysis of the intercultural process of understanding, explained with instances from Africa and South America.

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.

This is a study of Singapore pastors' worldview & understanding of the epidemiology, symptomatology and management of possession behaviour. The pastors' accounts are compared with those from the scientific disciplines, and convergences and divergences noted. Factors shaping both the pastors' and the scientific discourses are examined. The pastors are shown to respond to competing scientific paradigms by reinforcing their two-worlds worldview. They either live mainly in the other world, or in each world at a time, or between the two worlds. Based on theological reflection focusing on epistemology, theodicy & cosmology, the author shows that the paradigm of living in both worlds simultaneously is the most appropriate pastoral response. The theological vision of the coexisting worlds and the pastoral task of unmasking and resisting evil in all its varieties and depths are then discussed.

Al Simmons a vu l'avenir... Chaque victoire et chaque défaite change son destin et celui du monde. L'avenir est incertain et l'héritage du Medieval Spawn est en question, Spawn, She-Spawn et le Reaper passent à l'offensive. Quand un allié de longue date révèle son vrai visage, Cogliostro recrute aussi le GUNSLINGER SPAWN !

The geometry of the hyperbolic plane has been an active and fascinating field of mathematical inquiry for most of the past two centuries. This book provides a self-contained introduction to the subject, taking the approach that hyperbolic geometry consists of the study of those quantities invariant under the action of a natural group of transformations. Topics covered include the upper half-space model of the hyperbolic plane, Möbius transformations, the general Möbius group and the subgroup preserving path length in the upper half-space model, arc-length and distance, the Poincaré disc model, convex subsets of the hyperbolic plane, the Gauss-Bonnet formula for the area of a hyperbolic polygon and its applications. The style and level of the book, which assumes few mathematical prerequisites, make it an ideal introduction to this subject and provide the reader with a firm grasp of the concepts and techniques of this beautiful area of mathematics. The Springer Undergraduate Mathematics Series (SUMS) is a new series for undergraduates in the mathematical sciences. From core foundational material to final year topics, SUMS books take a fresh and modern approach and are ideal for self-study or for a one- or two-semester course. Each book includes numerous examples, problems and fully-worked solutions.

This volume recounts the story of an architectural, environmental, and technological adventure. It details the challenges posed by creating the newest addition to the Parisian skyline-a building that was conceived by Frank Gehry as the Fondation Louis Vuitton's premier work of art. Inspired by the new cultural institution, the book's carefully sequenced chapters reflect each episode in the series of challenges that arose. A work of reference on the process of designing and building the Fondation, the book offers solutions for architecture professionals while simultaneously remaining accessible and pertinent to the general reader. Featuring interviews with leading architects such as Frank Gehry and Paul Chemetov, technical explanations by the engineers who designed the building, historical essays, and a flash code to additional online content, the book also includes a diverse range of illustrations-from the Jardin d'Acclimation's archival drawings, to ground plans, elevations, spectacular views of the construction site, and 3-D simulations, as well as formal portraits of the construction workers by Charles Fréger. Together, the rich ensemble of elements demonstrates the vibrant atmosphere of this creative laboratory. The volume unveils itself little by little, just like Frank Gehry's edifice itself, revealing surprise after surprise in accordance with an unwavering, strong, and coherence design principle.

Not satisfied with what nature offered, human beings wanted to go beyond reality and invented mysterious and intriguing creatures populating their world. During Antiquity, every culture had its own strange creatures, that mixed the forms of one or more animal, plant and human species in an infinite number of more-or-less fanciful combinations. Griffins, sphinxes, mermaids, centaurs, satyrs, pygmies, werewolves, winged monsters and unspeakable hybrids, fantastic beasts abound in the imagination of many populations throughout Antiquity. Most of them continue to live, sometimes transformed, through fairy tales, literature, movies and videogames. Faced with the abundance and variety of the ancient fantastic bestiary, the questions that come to mind are : Where do fantastic beasts come from ? How do they appear in different cultures ? What is their history, how did they survive until now ? And above all, what are fantastic beasts ? This book will explore these questions through the lens of archaeology, art history, philology and philosophy. The result is a hybrid book, precisely like the fantastic animals that constitute its object, a book which offers different approaches of analysis while being aware that our means are often vain to capture these elusive figures, which ultimately are more like us than they seem. Man, like Oedipus, will often prove to be more monstrous than the Sphinx...

Mehersthan Memoir (Meher Baba) This book is dedicated to the unique One who has assumed a form and name to lead the play of universal existence. He throbs in our loving heart ; He breathes in our living soul. He sings in our fervent spirit and he thinks in our purified mind. That infinite Ancient One from his supernal height, bends towards us to embrace us in his love, and to feed our soul with the nectar of his bliss. Blessed are they that have the mind to know him, the heart to feel him and the love to live in his consciousness ! He may have been born to human parents in Poona, studied in a college, played cricket, left home, have seen great souls, sat alone silent, spoken in gestures, written books - but that is not his history. Many live such a life ; many scholars write books ; many saints sit in contemplation ; many monks leave home for mountain resorts ; but they cannot be one like him. Millions of bulbs challenge in vain the darkness of night. One sun rises and the night dissolves into his golden light. One sun rises and the night dissolves into his golden light. We have seen monks, yogins and saints. Some live alone for peace. Some open Ashrams and collect donations to run them. Some comercialise their name and form. Some display miracles to surprise human minds ; some offer boons ; some predict the future ; some curse you when you do not offer them what they want. Some seek pleasure and treasure. But who seeks God and finds God in the self to awaken God-awareness in other men and women ? Who says "I am God and you are God too"? Who rises above the prattle of words, the rattle of weapons and battle of ideologies to the lofty peace of supersonic silence and pours his blessings from the dizzy height of the soul in tune with God ? Who is he that embraces all in the heart and awakens the soul which has none of the human creations of caste, religion, race, pedigree nor colour ? Editions ASSA, Christian Piaget

When not familiar with the language itself, most readers over the centuries have had access to the ancient Greek texts only or mostly through (Latin or vernacular) translations. Such an approach is not only indirect and mediated, but also distorted and even impoverishing : meaning then prevails over the linguistic form and substance of the texts themselves. What do later or modern readers read when they read translated texts written in an ancient so-called dead language ? They read a given meaning - sometimes unfaithful, often inaccurate - dictated by a genuine understanding, the blind continuation of tradition, or an untold hidden intention. The complex range of significances conveyed by meaning simultaneously reflects the time and space (called synchrony) of when and where a text has been translated, the historical learning and linguistic skills of the translators, as well as their ideas and style. As a contribution to the perennial debate about translation (mere literary transliteration vs. creative transposition), this volume aims at analyzing some striking cases of various (literary or not) texts translated from ancient Greek showing how much for the seventeenth and eighteenth centuries aesthetics and ideology matter as much as - and often even more than - rigorous philology.

Julien VERMEULEN : Hugo Claus à New York (1959) In 1959-1960, Hugo Claus spent six months in the US, Mexico and Cuba. In the course of his trip he wrote down a number of impressions and experiences which he later turned into a cycle of poems, entitled "Reportage" (1961). In terms of contents and style these poems differ from his previous work. Claus now uses a style which is less hermetical : apart from this remarkable transparency, a wide range of ironic expressions, ambivalent idioms, contrasting registers and playful characterisations constitute a lexicological diversity. The great number of assonances and the use of non-literary text registers also characterize these poems. In this way this cycle anticipates later work in which Claus systematically applies diverse collage techniques. The poems "N. Y. 1" and "N. Y. 2" are also an exceptional testimony of the feelings of isolation and vulnerability of the lyrical "I". In 1959-1960 bracht Hugo Claus zes maanden door in de VS, Mexico en Cuba. Tijdens zijn verblijf noteerde hij enkele indrukken en ervaringen die hij later in de gedichtenreeks "Reportage" (1961) uitwerkte. Inhoudelijk en stilistisch wijkt deze poëzie af van zijn vroeger werk. Claus hanteert hier immers een stijl die minder hermetisch is : naast een opmerkelijke transparantie constateren we ook lexicografische diversiteit met allerlei ironische en ondermijnende dubbele bodems, kritische en contrastieve registers, ludieke en spottende typeringen. Ook het grote aantal assonanties en het gebruik van niet-literaire tekstregisters karakteriseren deze gedichten. In die zin anticipeert deze cyclus op zijn later werk waarin hij talrijke collagetechnieken op een systematische wijze toepast. De openingsgedichten "N. Y. 1" en "N. Y. 2" getuigen ook op een uitzonderlijke wijze van het isolement en de kwetsbaarheid van de ik-figuur. Sarah BEEKS : Masscheroen ou trois messieurs nus. L'engagement artistique de Hugo Claus dans les années soixante In the spring of 1968 Hugo Claus was officially charged with public indecency. The fact that he had staged three naked men in his play Masscheroen, could not be tolerated by to the conservative judiciary in Flanders. The lawsuit caused a great fuss within the artistic milieu : art and literature had regularly been censored and something had to be done. Inspired by the activist élan of May '68, Claus and his colleagues chose to act upon their artistic commitment. Through cheerful happenings and poetic protest evenings they fought for the autonomy of art and literature. In het voorjaar van 1968 werd Hugo Claus aangeklaagd wegens openbare zedenschennis. In zijn toneelstuk Masscheroen had hij drie naakte mannen laten optreden en dat kon volgens de conservatieve rechterlijke macht in Vlaanderen niet door de beugel. De zaak leidde tot veel ophef binnen het artistieke milieu : kunst en literatuur werden eind jaren zestig veelvuldig gecensureerd en dat werd niet langer geaccepteerd. Aangestoken door het activistische elan van mei '68 besloten Claus en zijn collega's zich artistiek geëngageerd te tonen. Door middel van vrolijke happenings en poëtische protestavonden bevochten zij de autonomie van kunst en literatuur. Pieter VERSTRAETEN : Le corps du Christ. Le roman A propos de Dédé et le catholicisme Hugo Claus's short novel Omtrent Deedee [With regard to Deedee], which appeared in 1963, can be read in a variety of ways. In general, two slightly antagonistic interpretative models have been dominant so far : whereas the early literary analysis by Julien Weverbergh focuses on the symbolic dimension of the story, a commentator such as Bert Vanheste emphasizes the novel's connection with contemporary social discussions, such as the debates on the democratization of Catholic faith in the context of Vaticanum II (1962-1965). In this article I want to further develop the latter perspective by reading the book primarily as a commentary on Catholic faith, understood in its institutional as well as its ideological dimensions. In particular, I focus on the kind of priesthood the main character Deedee is embodying, on the relation between the priest Deedee and the young homosexual Claude, who seems to represent an alternative kind of priesthood, and on the process of transubstantiation, which plays a major role in all this. Finally, I relate the motif of transubstantiation to Claus's conception of meaning and symbolism. It appears that the religious sacrament as well as the signifying process are based on the interaction between the concrete and material on the one hand and the abstract and ideal on the other. In the end, in Omtrent Deedee, both categories are unmasked as mere social constructs, failing to do what they promise : restoring an original, sacral union or wholeness. Van Hugo Claus' korte roman Omtrent Deedee, verschenen in 1963, zijn heel verschillende interpretaties mogelijk. Grosso modo staan daarbij twee verschillende lectuurmodellen tegenover elkaar. Terwijl de vroege analyse van Julien Weverbergh vooral inzet op de symbolische dimensie van het verhaal, vraagt iemand als Bert Vanheste expliciet aandacht voor de betrokkenheid van de roman op contemporaine maatschappelijke problemen, zoals de discussies rond de democratisering van het katholieke geloof die plaatsvinden in de context van Vaticanum II. In dit artikel wil ik dat tweede perspectief verder uitwerken door Omtrent Deedee in de eerste plaats te lezen als een commentaar op het katholieke geloof, zowel op de institutionele als op de ideologische dimensie ervan. Ik focus daarbij op de aard van het priesterschap van het hoofdpersonage Deedee, op de relatie tussen de geestelijke Deedee en de jonge homoseksueel Claude, die een alternatieve priesterrol op zich neemt, en op het sacrale proces van de transsubstantiatie, dat bij dit alles een cruciale rol lijkt te spelen. Tenslotte verbind ik het motief van de transsubstantiatie met Claus' visie op betekenis en symboliek. Zowel het religieuze sacrament als het proces van betekenisgeving zijn immers gebaseerd op de interacties tussen het concrete en materiële enerzijds en het abstracte en ideële anderzijds. Finaal worden beide categorieën in Omtrent Deedee ontmaskerd als louter sociale constructies die er niet in slagen hun belofte waar te maken en een oorspronkelijke, sacrale eenheid en heelheid te herstellen. Tom SINTOBIN : Raconter en bafouillant, bafouiller en racontant. Traumatisme et narrativité chez Hugo Claus In this article two novels by Hugo Claus are analysed from the perspective of Trauma theory : Desire (1978) and The sorrow of Belgium (1983). Trauma destroys an individual's life-narrative and results in a Post Traumatic Stress Disorder. In Desire it is Didi that seems to suffer from it : she lost her human identity and her awareness of time, she is barely able to speek - which means that she has lost the plot that can give her life meaning and coherence. The reader is never told what exactly is the matter : all he gets are flashes, which are not sufficient to tell him the whole story. Moreover, he is confronted with the fact that the language of the novel is very ambiguous. These two characteristics - the unability to get to a fullblown story and the loss of language - the reader shares with a PTSD-patient, which suggests that this novel has a performative aspect : the reader lives through the same drama as that of the characters. In The sorrow of Belgium, uncle Omer is confronted with a malfunctioning language and ability to narrate. His problem manifests itself in repetition and in misunderstandings due to the ambiguity of words. The reader encounters exactly the same problem at the end of the novel, when a passage that seemed rather superficial at first sight in reality turns out to be full of meaning. However, there are characters in this novel whom one would expect to be traumatised that nevertheless do not show the typical characteristics. Above all the father, Staf, talks endlessly about the terrible things that happened to him, even so much that the members of his family are no longer interested. The feeling of the "surplus" of narratives, that are as a consequence not healing any more but aim at hiding something, is a feeling shared by the reader while he is reading this strange novel, which gets in its turn a performative aspect. In dit artikel worden twee romans van Hugo Claus, Het verlangen (1978) en Het verdriet van België (1983) bestudeerd vanuit het perspectief van traumastudies. Daarbij wordt een trauma gedefinieerd als datgene wat het levensnarratief van een individu vernietigt, met een Post Traumatic Stress Disorder tot gevolg. In Het verlangen blijkt Didi's pathologie daar nogal wat kenmerken van te hebben : ze is haar menselijke identiteit kwijt, haar tijdsbesef is ontregeld, ze kan amper nog spreken - zij heeft dus niet langer de beschikking over een levensnarratief dat haar bestaan zinvol en coherent kan maken. De lezer verneemt echter nooit precies wat er aan de hand is : hij krijgt slechts flitsen te zien en komt niet tot een sluitend verhaal. Bovendien wordt hij ermee geconfronteerd dat de taal van de roman wel heel meerzinnig wordt. Deze beide kenmerken - het onvermogen om tot een verhaal te komen en het verlies van taal - deelt de lezer met een PTSD-patiënt, zodat het verhaal in overdrachtelijke zin performatief is geworden : de lezer ondervindt het drama van de personages aan den lijve. Ook in Het verdriet van België komt er een personage voor wiens taal en verhalend vermogen hapert : Nonkel Omer. Zijn aandoening uit zich onder meer in herhaling en in misverstanden door dubbelzinnige woorden en blijkt ook de lezer parten te spelen wanneer die zich tegen het einde van de roman met een ogenschijnlijk anekdotische maar in werkelijkheid uitermate beladen passage geconfronteerd ziet. Nochtans zijn er ook personages waarvan men zou kunnen aannemen dat ze getraumatiseerd zijn zonder dat ze de kenmerken van een PTSD vertonen : vooral vader Staf vertelt honderduit over wat hem is overkomen, zelfs in die mate dat zijn verhalen niet meer interessant gevonden worden door zijn huisgenoten. Het gevoel van de overdaad aan verhalen, die niet langer heilzaam zijn maar iets verbergen, maakt zich ook van de lezer meester bij zijn lectuur van deze vreemde roman. Het verdriet van België heeft zodoende op zijn beurt iets performatiefs. Dirk VAN HULLE : Claus et la narratologie exogénétique. La cognition externe (extended mind) et les notes de lecture autour du Chagrin des Belges This article combines genetic criticism with a post-Cartesian approach to cognitive narratology, notably to the examination of literary evocations of the fictional mind. The case study is the genesis of Hugo Claus' novel Het verdriet van België. The exogenetic analysis of two extant notebooks shows how the author's reading notes contribute not just to the fictional cosmology of the novel, but also to the cognitive cosmology of the characters' 'extended' minds. The article argues that for Claus, as for many twentieth-century authors, the materiality of the avant-texte served as a cognitive model for the evocation of the workings of the fictional mind. Dit artikel combineert tekstgenetisch onderzoek met een post-Cartesiaanse benadering van de cognitieve narratologie, in het bijzonder het onderzoek naar vormen van literaire bewustzijnsrepresentatie. De gevalstudie is de genese van Hugo Claus' roman Het verdriet van België. Uit de exogenetische analyse van twee bewaard gebleven notitieboeken blijkt hoe de lectuurnotities bijdragen, niet alleen tot de fictionele kosmologie van de roman, maar ook tot de cognitieve kosmologie van personages en hun "extended mind" . Het artikel argumenteert dat voor Claus, net als voor heel wat twintigste-eeuwse auteurs, de materialiteit van de avant-texte heeft gefungeerd als cognitief model voor literaire bewustzijnsrepresentatie. Malgorzata DUBROWSKA : Die mythische Welt Anna Seghers'. Literarische Bilder aus dem französischen Exil Alongside her journalistic undertakings, literary works by Anna Seghers left trajectories of her residence as an immigrant in France between the years 1933-1941. In her literary works, the writer often depicted in a metaphorical way the world of immigration experiences : Sense of instability, isolation, life intimidations and also consciousness of replication of the immigrant' destiny. She brought a universal literary vision that corresponded to the biblical tradition and the world of the Greek and Roman mythologies. The author of this article, based on the selected literary works of Anna Seghers that were created in France, catalogues the universal experiences of the existence of the human kind, that in Seghers' works become mythical. Les textes littéraires d'Anna Seghers, qui complètent son activité publicistique, où elle décrit d'une manière métaphorique ses expériences d'expatriée, en disent long sur les années de son exil en France (1939-1941). La précarité, l'isolement, le danger de mort et la conscience de réitération de l'existence d'exilé font naître une vision littéraire universelle qui puise tant dans la tradition biblique que dans les mythologies grecque et romaine. A travers les textes littéraires retenus, issus de la période française, l'auteur de la présente contribution tente de concrétiser cette expérience atemporelle de l'existence humaine à laquelle Seghers donne une dimension mythique.

Qu'est-ce qui a bien pu passer par la tête de Gemma d'aller au vernissage d'une exposition d'art contemporain d'Oxford ? Elle déteste toutes ces toiles prétentieuses et elle s'ennuie ferme... Jusqu'à ce que l'une des invitées, après avoir avalé une tasse de thé, se mette à convulser et tombe raide morte. Empoisonnée. Shocking ! Voilà qui fait tache dans cette galerie chic à l'ambiance minimaliste et feutrée. Dare-dare, Gemma flaire l'assassinat. D'autant qu'il y a une ombre au tableau : le propriétaire de la galerie ne pouvait pas voir la victime en peinture ! Aidée d'un charmant inspecteur et de quatre vieilles commères, Gemma plonge dans un mystère plus complexe qu'un plum pudding. Et surtout plus dangereux, car elle pourrait bien être la prochaine sur la liste du tueur...

Seule femme à avoir résisté à un virus catastrophique, Ara n'a pas croisé d'être humain depuis des mois - pas depuis que son père a disparu. La pandémie a ravagé la société, le monde d'Ara est dévasté et hanté par les fantômes de son existence d'autrefois. De sa mère. De sa soeur. Kaden et sa bande ont une règle : rester vigilants pour rester vivants. Quand les garçons surprennent Ara en train de les voler, ils sont furieux et déroutés. Voilà trois ans qu'ils n'ont pas vu de fille. Bien qu'il sache que la garder prisonnière est mal, Kaden se persuade qu'il le fait pour la protéger. Tandis qu'il succombe à la beauté et à la détermination d'Ara, cette dernière est bien décidée à accomplir la mission que son père lui a donnée : remonter la piste et mettre un terme à l'épidémie. Même si cela suppose qu'elle abandonne ceux qu'elle en est venue à apprécier. . . y compris Kaden. Alors que leur environnement ne cesse de s'effondrer, Ara et Kaden sont confrontés à un choix cornélien : être ensemble ou se contenter de survivre.

Jacques Offenbach was not only a composer of inexhaustible imagination, but also a virtuoso cellist. Even after his first years in Paris, he liked to perform as a musician again and again. To mark his 200th birthday in 2019, the Offenbach Edition Keck OEK publishes original compositions by the 'Mozart of the Champs-Elysées' for 'his' instrument plus piano accompaniment. The pieces are suitable for amateur studies and concert performances alike - not only in the anniversary year ! Some of them were already available in older separate editions, some of them have been unpublished until now. In the present edition, they are published in three volumes according to their musical relation, based on the multiple award-winning editorial standards of the OEK. Vol. 1 contains dance-like pieces (Tarantelle / Trois Andante / Marche chinoise), Vol. 2 baroque-style parodies (Musette / Chant des mariniers galants d'après Rameau / Tambourin d'après Rameau) and Vol. 3 Romantic character pieces (La Course en traineau / Introduction et valse mélancolique / Rêverie au bord de mer / Deux âmes au ciel). Instrumentation : cello and piano

An indispensable guide for those who thought they knew the city well or who would like to discover its many other facets. The forgotten café where Fidel Castro and Che Guevara used to meet, a tribute to the city's ghosts, a mammoth in the metro, a cave transformed into a shrine, an underground parking lot with mosaics dating from 1930, a Baroque altarpiece made from papier mâché, a village based on the principles of Thomas More's Utopia, secret masterpieces of colonial art in rooms only open around two hours a week, the largest roof garden in Latin America, the photo on which the Oscar statuette is modelled, the first building in the world faced with a material that can trap urban smog, a road surface designed for praying as you walk ...

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.

La créature qui apparaît devant les yeux de Guido n'est autre qu'Angela, la sorcière qui lui est liée par le destin ! Déjà surpris par la tournure des événements, sa colère monte en flèche quand celle qui lui a jeté la malédiction vient ajouter son grain de sel ! Guido sombre alors dans une colère bestiale poussant Ashaf, acculé, à se remémorer leur toute première rencontre...

Après un retournement de situation inattendu, le joueur star de baseball Easton Wylder en vient à douter de la loyauté de tous les membres de son entourage. Même de celle de Scout Dalton, la femme qui partage sa vie. Mais si Easton pensait qu'être transféré dans un lieu improbable, coupé de ses racines, serait le seul défi que la vie lui réservait, il était loin du compte. Avec une épaule blessée et une carrière sur la touche, sa brusque décision de tout changer le conduit à remettre en question l'amour de Scout, la loyauté des membres de sa famille et sa propre capacité à affronter un obstacle qu'il n'a jamais réussi à surmonter jusque-là. Un secret qu'il n'a jamais partagé avec personne. Acculé à ses limites, il n'en demeure pas moins déterminé à prouver sa valeur, quoi qu'il lui en coûte.

Après l'attaque de la Reine de la Nuit, les deux héros sont séparés. Guido est en captivité mais réussit à s'évader et s'empare d'une arme particulièrement efficace contre les vampires. Pendant ce temps, après avoir échappé de justesse à la mort, Ashaf est résolu à retrouver son partenaire et tente d'obtenir une audience auprès de la Reine aux côtés de Danword. Ce dernier parviendra-t-il à maîtriser ses ardeurs, alors qu'il ne rêve que de vengeance depuis de longues années ? Une rivalité de près d'un siècle s'apprête à resurgir entre la cruelle Reine de Gunir et l'ancien Roi de la Nuit !

Une rencontre va bouleverser tout le quotidien de Lawrence. Romancier à succès, Lawrence s'interroge sur ses choix, son identité, sa vie, après avoir fait la connaissance de Carolanne à un moment crucial de leurs vies. Qui est-il vraiment, que désire-t-il ? Entre doutes et douleur de vivre une vie qu'il n'a pas choisie, un changement s'opère et l'espoir renaît. Commence alors le chemin pour retrouver le bonheur. Une romance atypique

Chiyu est une lycéenne qui croit au grand amour. Dans sa classe, Yomiya fait tourner toutes les têtes. Il est séduisant, intelligent, sportif et... c'est un vampire ! Malgré tout, elle lui propose son sang lorsqu'un beau jour, elle le trouve en train de faire un malaise. Il découvre alors son goût délicieux et n'a pas l'intention de renoncer à d'autres rations...

Il représente tout ce qu'elle déteste, elle est tout ce qu'il désire... Hockeyeur hors pair et fraîchement nommé capitaine de l'équipe, Isaiah se blesse avant le début de la saison. Maddison, nageuse émérite, rêve quant à elle de plonger dans le bain des Jeux Olympiques. Il n'aime pas les histoires d'amour, elle a été blessée et n'a plus de temps à leur consacrer. Elle est rigoureuse et control freak, il est libéré et carpe diem. Pourtant, les deux sportifs passent un marché : devenir sex friends, afin d'éliminer toute frustration avant une performance sportive. Et les effets ne se font pas attendre : à chaque rencontre avec le beau brun, Maddison voit sa confiance en elle grimper. Très vite, et malgré les limites qu'ils se sont imposées, elle comprend qu'il lui en faudra plus. Plus de sexe, plus de passion... et plus du sourire charmeur d'Isaiah. Et merde !

Classique instantané, imperméable à l'air du temps et aux sons synthétiques de l'époque, unanimement acclamé par la critique à sa sortie en 1986, The Queen Is Dead est l'oeuvre d'un groupe en état de grâce. Johnny Marr, déjà brillant et inspiré sur les opus précédents, élargit sa palette jangle-pop tandis que Morrissey y écrit ses textes les plus fondamentaux. Fort d'une carrière prolifique et d'une réputation flatteuse, c'est un groupe animé d'une confiance et d'une ambition colossales qui entre en studio à l'automne 1985. Marr vise très haut et s'impose une pression énorme. Les éloges qui pleuvent sur son groupe le poussent à vouloir égaler sur ce troisième album les formations anglaises qu'il admire, comme les Who ou les Small Faces. Le quatuor de Manchester bastonne l'Angleterre de Margaret Thatcher en visant la Reine, mais c'est bien la grammaire du rock que le guitariste bouscule quand Morrissey en réinvente le lexique et les codes.

On the Mont Saint-Michel, sinister rascals have stolen the milk teeth lost by the children. With the help of privateers from Saint-Malo, the Little Mouse and his companion will try to unmask them and set out to get these unscrupulous pirates.

Plongez dans les coulisses du fascinant Steelrising à travers ce luxueux artbook réalisé en partenariat avec Nacon et le studio Spiders ! Sur plus de 250 pages, cet ouvrage exclusif grand format regroupe plusieurs centaines de documents et illustrations inédites ayant servis à la création du jeu vidéo français Steelrising : décors, personnages, concept arts, musique...