Hokuto no Ken - Fist of the North Star Tome 9

For futures studies and environmentalism the late 1960s and early 1970s were a heyday period of great publicity, and much scientific interest was devoted to them. The study 'Limits to Growth', commissioned by the Club of Rome, has played an important role for the further advancement of these fascinating fields. Each of them in its own way deals with the long term prospects of humankind and desirable future paths of humanity and the globe. This investigation illustrates a very important phase in the development of these two areas and writes a history of ideas and a history of impact of the Limits to Growth debate and other activities of the Club of Rome. It includes information that has so far only been known to a very limited number of directly involved individuals and looks into very recent stages of the sustainable development debate and newest developments of more pragmatic and critical futures studies. For the purpose of this study some 100 interviews have been made worldwide with very well known and often influential individuals. Among them are : Sicco Mansholt, Alexander King, Jan Tinbergen, Robert Jungk, Saburo Okita, Lord Kennet, Johan Galtung, Barry Commoner and Philip de Seynes.

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.

The year 1897 was marked by two important mathematical events: the publication of the first paper on representations of finite groups by Ferdinand Georg Frobenius ( 1849-1917) and the appearance of the first treatise in English on the theory of finite groups by William Burnside (1852-1927). Burnside soon developed his own approach to representations of finite groups. In the next few years, working independently, Frobenius and Burnside explored the new subject and its applications to finite group theory. They were soon joined in this enterprise by Issai Schur (1875-194 1) and some years later, by Richard Brauer (1901-1977). These mathematicians' pioneering research is the subject of this book. It presents an account of the early history of representation theory through an analysis of the published work of the principals and others with whom the principals' work was interwoven. Also included are biographical sketches and enough mathematics to enable readers to follow the development of the subject. An introductory chapter contains some of the results involving characters of finite abelian groups by Lagrange, Gauss, and Dirichlet, which were part of the mathematical tradition from which Frobenius drew his inspiration. This book presents the early history of an active branch of mathematics. It includes enough detail to enable readers to learn the mathematics along with the history. The volume would be a suitable text for a course on representations of finite groups, particularly one emphasizing an historical point of view.

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.

Some mysterious graffiti on the walls of the Castillet, a crowned reptile in Saint Jean Cathedral, the Campo Santo defiled : these are some of the bizarre clues in Lieutenant Dominique d'Astié's latest investigation. Is there a link between their symbolism, the enigmatic poems strewn all over the streets of Perpignan and the bloody assassination of "King Arthur Pendragon" ? The young Parisian police officer, newest member of La Police Judiciaire de Perpignan, will need to brush up on the old Arthurian legends if she is to solve this very non-Catalan murder !

This is the first modern translation of Moses Mendelssohn's classic work of 1767, the Phädon. It includes Mendelssohn's own introduction and appendix, as well as footnotes and explanatory introduction by David Shavin. (Charles Cullen's translation of 1789 is the only other extant translation.) The "modern Socrates" of the German classical period, Mendelssohn has created a beautiful translation and elaboration of Plato's Phädo led to a revolution in thought, and a subsequent renaissance in Germany. The debt of the German classical period to ancient Greece is embodied in Mendelssohn's Phädon, as is the promise of the American Revolution. The translation and accompanying notes recapture Mendelssohn's unique marriage of depth of thought and breadth of appeal.

Oriented matroids are a very natural mathematical concept which prescrits itself in many different guises and which has connections and applications to many different areas. These include discrete and computational geometry, combinatorics, convexity, topology, algebraic geometry, operations research, computer science and theoretical chemistry. This is the first comprehensive, accessible account of the subject. It is intended for a diverse audience: graduate students who wish to learn the subject from scratch, researchers in the various fields of application who want to concentrate on certain aspects of the theory; specialists who need a thorough reference work; and others at points in between. A list of exercises and open problems ends each chapter. For the second edition, the authors have expanded the bibliography greatly to ensure that it remains comprehensive and up-to-date, and they have also added an appendix surveying research since the work was first published.

Le XXe siècle aurait inscrit une seule innovation au répertoire des pratiques sexuelles : le fist fucking. Fallait-il en rester à cette doxa popularisée par nombre d'intellectuels et de chercheurs ? Combinant érudition historique, réflexions théoriques, récits à la première personne, quasi-poèmes en prose, Fist peut se lire au choix comme une apostille à Histoire de la sexualité de Michel Foucault ou comme un roman queer. La singulière généalogie érotique qu'il nous propose s'ouvre sur des photographies de Robert Mapplethorpe et se clôt par une relecture du Cantique des cantiques. Entretemps, on aura visité Les Catacombes, mythique club privé du San Francisco des années 1970 ; relu Koltès, Sade, Homère, Ovide, Ronsard et Henry James ; croisé Amerifist, acteur star de ce sousgenre du cinéma porno ; compulsé des traités de médecine du XIXe siècle pour y découvrir d'étranges prescriptions ; passé des petites annonces sur des sites spécialisés ; fait quelques rencontres et pris rendez-vous chez un proctologue… Réduire le fist fucking à la violence du « poing » est un contresens. Le plaisir civilise la main pour mieux réinvestir les puissances imaginaires du corps, dans une union improbable qui pourrait bien aussi s'appeler « amour ».

With its simplicity in presentation, this new book makes the difficult concepts of soil mechanics and foundations much easier to understand! The author explains basic concepts and fundamental principles in the context of basic mechanics, physics, and mathematics. From Practical Situations and Essential Points to Practical Examples and Questions to Guide Your Reading the book is packed with helpful hints and pedagogy that make the material crystal clear. This book also includes a CD-ROM that offers readers hands-on learning. The CD contains interactive animations of basic concepts, interactive problem solving, electronic quizzes, interactive computer programs for special topics, virtual labs and much more. With the help of this CD and text, anyone can quickly master the key principles behind soil mechanics and foundations. KEY FEATURES * A What you should be able to do list at the beginning of each chapter alerts readers to what they should learn after studying each chapter. * The author maintains a solid level of technical rigor despite the simplicity in presentation. * A large number of examples are worked out step-by-step to illustrate problem-solving techniques. * The CD-ROM includes The Virtual Soils Laboratory, which allows readers to do sophisticated soil testing at their own convenience.

Colorie tes héros préférés grâces aux modèles en couleurs. Amuse-toi à décorer les pages de ton livre avec tes super stickers !

Le WANDERING STAR TAROT est une boussole pour les rêveurs à la recherche des trésors du coeur, de l'âme et de l'esprit. Dans ce jeu unique et intuitif, chaque carte active des énergies et vibrations positives à travers de magnifi ques illustrations réalisées à la main. Le guide qui accompagne les cartes off re une plongée plus profonde dans le monde fantaisiste des archétypes et de la découverte de soi. Cat Pierce est une chanteuse, autrice-compositrice et artiste plasticienne passionnée d'évolution spirituelle. Connue principalement pour sa musique, elle fait partie du groupe Th e Pierces, et a également du succès en tant qu'artiste solo. Ses chansons ont été présentées dans de nombreux fi lms et séries.

Un grand livre de coloriages avec les héros de l'univers Le Mandalorien ! - Un cahier de 30 coloriages avec des illustrations soignées et modernes, à coloriser selon ses envies : des détails en couleurs pour favoriser l'envie de créativité. - Un papier épais qui autorise le coloriage au crayon de couleur ou au feutre, sans transpercer. Dès 4 ans.

Written in 1579 as an imitation of the Mirror for Magistrates, Munday's Mirrour of Mutabilitie is a collection of complaints by biblical characters whose unfortunate downfalls illustrate the vanity and mutability of human affairs. This work echoes the profound scepticism of its age, a legacy of the medieval contemptus mundi tradition. It underpins the view that Time is a destroyer, that human actions cannot be calculated positively, because life is temporal and full of accidents.This edition, the first one after the editio princeps of 1579, offers a text with the original spelling based on critical study of the 1579-edition, together with an introduction, textual notes, commentary and bibliography, designed to give scholars and students as much editorial assistance as they are likely to require.

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...

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

In his own time, the court wit Sir Charles Sedley (1639-1701) was praised for his poetic skill rather than for his dramatic talent. Yet, as this old-spelling critical edition of his two comedies shows, Sedley was also a satirist whose plays are worth reading along with the ones of his more celebrated fellow-artists Etherege, Wycherley, and Shadwell. After a biographical introduction, a detailed analysis of the plays and characters concentrates on Sedley's satiric strategies which lambaste the marriage of convenience as well as the conduct of a hypocritical and materialistic society.

Elisabet Delbrück (1876-1967) was one of a number of Germans who came to New Zealand in the late 1930s. Unlike most, she had not intended to emigrate but was touring the country when World War II broke out. She was at first forbidden to leave and then chose to remain in Wellington. Her thirty years in Mahina Bay on Wellington harbour had a profound effect on all who knew her. This study aims to discover why she was so remarkable. It explores her early life, her marriage into a prominent German family and her qualification as an artist. She turned this into a profession, teaching and exhibiting on five continents in the 1920s and 1930s. She always travelled alone, observing the customs and beliefs of the people she met. In Australia and New Zealand in 1938 and 1939 she was wrongly suspected of spreading Nazi propaganda. Her story is also the story of a heroic group of Wellingtonians who helped her in the 1940s and valued her friendship till her death.

C'est dimanche et comme souvent Louise et Arthur viennent rendre visite à leur grand-mère. Ils aiment bien y aller, elle joue avec eux et leur raconte plein d'histoires. Mais aujourd'hui, elle n'a pas le temps et les deux cousins s'ennuient. Alors, ils décident de grimper dans le grenier où sont entreposés de vieux souvenirs et objets abandonnés. Ils y ont déjà été, mais maintenant ils sont plus grands et peut-être trouveront-ils un trésor qu'ils n'avaient pas aperçu, lors de la dernière visite. Après un long moment de recherche, dans un coin, Louise découvre une malle poussiéreuse. Les deux cousins, l'ouvrent et entrevoient un sabre avec une inscription. Une trouvaille qui va les mener jusqu'à l'école militaire de Saint Cyr de Coëtquidan, sur les traces de leur grand père. It's a Sunday and often as not, Louise and Arthur go and visit their grandmother. They like to go there, she plays with them and tells them lots of stories. But this Sunday she does not have the time, so the two cousins are bored. They decide to climb up into the attic, where old memorabilia and abandoned objects are stored. They have been there before, but now that they are taller, maybe they will find a treasure they did not see during their last visit. After a long moment of searching, in a corner, Louise discovers a dusty trunk. The two cousins open it and see a sword with an inscription. A discovery that will lead them to the military school at Saint Cyr de Coëtquidan, in the footsteps of their grandfather.

Lando Calrissian est un pilote aussi talentueux que prétentieux. Quand il se fait prendre en flagrant délit de contrebande sur la planète Hynestia, il a le choix entre faire ce qui est juste, et faire ce qui est le mieux pour lui. Avec un peu de chance, il réussira peut-être à concilier les deux à bord du légendaire Faucon Millénium...

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.

This beautifully illustrated catalogue presents a selection of exceptional seventeenth-century Dutch drawings from the Peck Collection in the Ackland Art Museum at the University of North Carolina at Chapel Hill. Featuring many previously unpublished and rarely exhibited works, the catalogue brings together examples by some of the best-known artists of the era such as Rembrandt, Jacques de Gheyn II, Samuel van Hoogstraten, and Frans van Mieris. The collection was donated to the museum in 2017 by the late Drs. Sheldon and Leena Peck. The transformative gift is comprised of over 130 largely seventeenth- and eighteenth-century Dutch and Flemish drawings, establishing the Ackland as one of a handful of university art museums in the United States where northern European drawings can be studied in depth. Drawn to Life presents around 70 works from this exceptional and diverse group of drawings amassed by the Pecks over four decades. Featuring new research and fresh insights into seventeenth-century drawing practice, the catalogue and accompanying exhibition celebrates the creativity and technical skills of Dutch artists who explored the beauty of the natural world and the multifaceted aspects of humanity. The catalogue features a broad selection of scenes of everyday life, landscapes, biblical and historical scenes, portraits, and preparatory studies, forming a dynamic and representative group of Dutch drawings made by some of the most outstanding artists of the period, including Abraham Bloemaert, Jacob van Ruisdael, Esaias van de Velde, Bartholomeus Breenbergh, Pieter Molijn, Aelbert Cuyp, Adriaen van Ostade, Ferdinand Bol, Nicolaes Maes, Jan Lievens, Gerard ter Borch, Adriaen van de Velde, Nicolaes Berchem, and Cornelis Dusart. Key sheets of remarkable quality by lesserknown artists such as Guillam Dubois, Herman Naiwincx, Willem Romeyn, and Jacob van der Ulft, also comprise a core strength of the collection, and serve as a testament to the visual acuity of the Pecks as collectors. At the heart of the Peck Collection are several sheets by Rembrandt, including the sublime Noli me Tangere ; a beautifully rendered late landscape, Canal and Boats with a Distant View of Amsterdam ; and the superbly charming Studies of Women and Children, which was the last of Rembrandt's seventeen known drawings with an inscription in his own hand to reach a public collection. Meticulously researched and written by Robert Fucci, Ph. D. , Drawn to Life introduces both scholars and drawings enthusiasts to the depth and beauty of the Peck Collection at the Ackland Art Museum.

Tous les protagonistes cherchent à remporter le Flower of Maize, la bataille qui oppose les représentants des dieux. Les shamans combattent en utilisant des esprits qui les possèdent et qui se matérialisent sous la forme d'Over Souls. La troisième itako Alumi Numbirch affronte Kaizô Oume qui a pris l'apparence du cuirassé Yamato. La bataille pour le coffre-fort inviolable a débuté...

La nouvelle lignée des shamans mise à l'épreuve !

La nouvelle lignée des shamans mise à l'épreuve !

La nouvelle lignée des shamans mise à l'épreuve !

Il n'y a pas d'arme plus puissante que le savoir. Le coffre-fort que Kaizô Oume défendait a été ouvert. A l'intérieur se trouvaient des pistolets rouillés, des documents et d'innombrables âmes de soldats tombés durant la guerre. Mais, afin de mieux comprendre ce qui se passe, il faut replonger dans la Seconde Guerre mondiale pour y voir Sakurai, l'organisation qui a précédé celle des X-Laws et les actions secrètes de l'équipe de Yavis...

La nouvelle lignée des shamans mise à l'épreuve !

La cité mystique de K'un-Lun est en ruines. Le chi, source du pouvoir de Danny Rand, s'affaiblit. Dans ces conditions, que réserve l'avenir à Iron Fist ? Pour trouver la réponse, le héros doit s'aventurer sur une île perdue et défier sept maîtres du kung-fu.

You are walking through the streets of London. It is getting dark and you want to gel home quickly. You enter a narrow side-street. Everything is quiet, but as you pass the door of a large, windowless building, you hear a key turning in the lock. A man tomes out and looks at you. You have never seen him before, but you realize immediately that he hales you. You are shocked to discover, also, that you hale him. Who is this man that everybody hates ? And why is he coming out of the laboratory of the very respectable Dr Jekyll ?

Alasdair Gray is one of the most innovative and imaginative writers to have appeared on the Scottish literary scene for many years. Gray radically challenges the vision of Glasgow and Scotland as defined by the traditional Glasgow novel. This study first looks back into the past of Glasgow writing to locate some specific novelistic models which Gray echoes in his fiction. The main part of the study then illustrates that Gray's literary attitude of looking beyond Glasgow (or Scotland) is much more helpful in "imagining Glasgow" than to follow the established and trodden paths of Scottish urban writing. In this sense, Gray proves that the narrative techniques characteristic of postmodernist writing are not only helpful in expressing the often quoted Scottish experience of fragmentation, but also in overcoming the artistic stalemate of the Glasgow novel.