A collection of funny, engaging micro-tales for each of the portions of the Torah and one for each of the Jewish festivals as well. These brightly illustrated tales are told from the perspective of young people who feature in the Biblical narrative, young people who feature in classic Rabbinic commentary on our Biblical narratives and young people just made up for this book. "This is a delightful, accessible, engaging introduction to midrash for kids. I know it'll be in heavy rotation in my home; I imagine yours, too." --Rabbi Danya Ruttenberg, author of Nurture the Wow and other books. "A wonderful compendium of Bible stories that will engage your tween with interesting, imaginative tales followed up with thought-provoking questions." --Rabbi Amy Grossblatt Pessah, author of Parenting on a Prayer
A bold, playful, poetic exploration of sex, gender, and identity. "I am in bed with you. The room varies. But I'm always on the left. I am pulling the pieces of myself into myself. In the winter I left myself behind in the 90s. I'm coming back now. You can see the light touching me. I can see layers of tissue finally making a body. And once I have a body I have a head. And in my head are these thoughts." —From 'I am in bed with you' Playful and fluid but completely serious, Emma Barnes's surreal phantasmagoria I Am in Bed with You leads us through the very personal worlds of sex, gender, and the body. Barnes cracks jokes, makes us uncomfortable, shows us a little tenderness, leaves a lot unsaid, and does it all with language that provokes and confounds. 'I'm a mentally ill, / married, chronically ill, queer woman with two feet underground,' the author reveals. 'I birth Sigourney Weaver's android baby,' they tell us next. This collection is personal and fantastical, funny and excruciating. It's poetry in the process of unravelling most of what you thought you knew.
Much poetic writing in France in the post-1945 period is set in an elemental landscape and expressed through an impersonal poetic voice. It is therefore often seen as primarily spatial and cut off from human concerns. This study of three poets, André du Bouchet, Philippe Jaccottet and Bernard Noël, who have not been compared before, argues that space is inseparable from time in their work, which is always in transition. The different ways in which the provisional operates in their writing show the wide range of forms that modern poetry can take: an insistence on the figure of the interval, hesitant movement, or exuberant impulse. As well as examining the imaginative universes of the poets through close attention to the texts, this book considers the important contribution they have made in their prose writing to our understanding of the visual arts and poetry translation, in themselves transitional activities. It argues that these writers have, in different ways, succeeded in creating poetic worlds that attest to close and constantly changing contact with the real.
Some of the language we come across, in reading other peoples' works or listening to others speak, moves us profoundly. It requires a response from us; it occupies and involves us. Writers, always readers and listeners as well, are fascinated by this phenomenon, which became the subject of the classical treatise On the Sublime , traditionally attributed to Longinus. Emma Gilby looks at this compelling and complex text in relation to the work of three major seventeenth-century authors: Pierre Corneille, Blaise Pascal and Nicolas Boileau. She offers, in each case, intimate critical readings which spin out into broad interrogations about knowledge and experience in early modern French literature.
Descartes's Fictions traces common movements in early modern philosophy and literary method. Emma Gilby reassesses the significance of Descartes's writing by bringing his philosophical output into contact with the literary treatises, exempla, and debates of his age. She argues that humanist theorizing about poetics represents a vital intellectual context for Descartes's work. She offers readings of the controversies to which this poetic theory gives rise, with particular reference to the genre of tragicomedy, questions of verisimilitude or plausibility, and the figures of Guez de Balzac and Pierre Corneille. Drawing on what Descartes says about, and to, his many contemporaries and correspondents embedded in the early modern republic of letters, this volume shows that poetics provides a repository of themes and images to which he returns repeatedly: fortune, method, error, providence, passion, and imagination, for instance. Like the poets and theorists of his age, Descartes is also drawn to the forms of attention that people may bring to his work. This interest finds expression in the mature Cartesian metaphysics of the Meditations, as well as, later, in the moral philosophy of his correspondence with Elisabeth of Bohemia or the Passions of the Soul. This volume thus bridges the gap between Cartesian criticism and late-humanist literary culture in France.
Emma Kennedy's hilarious memoir of wet and windy family trips, NOW ADAPTED FOR THE MAJOR BBC ONE SERIES THE KENNEDYS. For the 70s child, summer holidays didn't mean the joy of CentreParcs or the sophistication of a Tuscan villa. They meant being crammed into a car with Grandma and heading to the coast. With just a tent for a home and a bucket for the necessities, we would set off on new adventures each year stoically resolving to enjoy ourselves. For Emma Kennedy, and her mum and dad, disaster always came along for the ride no matter where they went. Whether it was being swept away by a force ten gale on the Welsh coast or suffering copious amounts of food poisoning on a brave trip to the south of France, family holidays always left them battered and bruised. But they never gave up. Emma's memoir, The Tent, The Bucket and Me, is a painfully funny reminder of just what it was like to spend your summer holidays cold, damp but with sand between your toes.
Based on the views of teenagers across Europe and in the Far East, this book argues that we need to reconsider how we judge schools and what they are for. It shows that the treatment of pupils in schools makes more difference to teenagers' views on society, and on what it means to be fair, than it does to differences in attainment.
In early humanist France two debating traditions converge: one literary and vernacular, one intellectual and conducted mainly via Latin epistles. Debate and Dialogue demonstrates how the two fuse in the vernacular verse debates of Alain Chartier, secretary and notary at the court of Charles VI, and later, Charles VII. In spite of considerable contemporary praise for Chartier, his work has remained largely neglected by modern critics. This study shows how Chartier participates in a movement that invests a vernacular poetic with moral and political significance, inspiring such social engagements as the fifteenth-century poetic exchange known as the Querelle de la Belle Dame sans mercy. Emma Cayley sets Chartier in the context of a late-medieval debating climate through the use of a new model of participatory poetics which she terms the collaborative debating community. This is a dynamic and generative social grouping based on Brian Stock's model of the textual community, as well as Pierre Bourdieu's sociological categories of field, habitus, and capital. This dialectical model takes account of the socio-cultural context of literary production, and suggests the fundamentally competitive yet collaborative nature of late-medieval poetry. Cayley draws an analogy here between literary debates and game-playing, engaging with the game theory of Johan Huizinga and Roger Caillois, and discusses the manuscript context of such literary debates as the materialization of this poetic game. The collaborative debating community postulated affords unique insights into the dynamics of late-medieval compositional and reading practices.
During the French Wars of Religion, the nature and identity of politics was the subject of passionate debate and controversy. Exploring early modern French uses of the word 'politique' and the statesman who practised this art, this book investigates questions of language and of power over the course of a tumultuous century.
« Premier jour chez EDF, première surprise : on me demande de remplir un formulaire sur lequel il faut cocher le jour de la semaine où l'on ne vient pas. Ça commence fort ! »Ingénieur depuis 2003, j'ai eu envie d'écrire ce que je vivais dans mes expériences professionnelles, de mettre en perspective les difficultés de mon métier et de le faire avec distance, un peu d'humour, sans prétendre à autre chose qu'une narration amusée et mi-sérieuse.Cet essai synthétise mes expériences d'ingénieur (chez EDF, chez Microsoft, dans une SSII, en tant qu'indépendant), quelques illustrations et une bonne dose d'anecdotes. À travers ce témoignage direct et sans tabous, c'est une vision inquiète de la profession que j'ai souhaitée transmettre : le métier d'ingénieur est en fait peu valorisé aujourd'hui en France. Plus grave : certains ingénieurs usurpent le pseudo-prestige que d'autres n'osent même plus réclamer.
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