La littérature française est vivante. De jeunes auteurs s’y révèlent, avec une œuvre dont les contours, l’univers, le style s’affirment. « Écrivains d’aujourd’hui » propose de les découvrir dans leur diversité, ou d’apprendre à les percevoir autrement. Réalisé par la rédaction de La Revue Littéraire, ce volume comprend : un grand entretien avec Camille Laurens sur son œuvre en cours d’élaboration ; des notes de lecture sur chacun des livres publiés à ce jour, d’Index à Romance nerveuse, en passant par Philippe ou Dans ces bras-là ; des textes inédits en fin de volume.
This absorbing, heartfelt work uncovers the story of the real dancer behind Degas’s now-iconic sculpture, shedding light on the struggles of late nineteenth-century Parisian life. She is famous throughout the world, but how many know her name? You can admire her figure in Washington, Paris, London, New York, Dresden, or Copenhagen, but where is her grave? We know only her age, fourteen, and the work that she did—because it was already grueling work, at an age when children today are sent to school. In the 1880s, she danced as a “little rat” at the Paris Opera, and what is often a dream for young girls now wasn’t a dream for her. She was fired after several years of intense labor; the director had had enough of her repeated absences. She had been working another job, even two, because the few pennies the Opera paid weren’t enough to keep her and her family fed. She was a model, posing for painters or sculptors—among them Edgar Degas. Drawing on a wealth of historical material as well as her own love of ballet and personal experiences of loss, Camille Laurens presents a compelling, compassionate portrait of Marie van Goethem and the world she inhabited that shows the importance of those who have traditionally been overlooked in the study of art.
This book turns traditional art history inside out. Not styles or forms or movements or artists or art theories are its point of departure, but the reason for being of art in civilization. Since the very beginnings of society art has raised and responded to the existential questions of the human kind. The history of the arts is the history of those questions and from that angle art should be presented: here it is. When reading this book, unfolding like a novel, we think yes, of course, no doubt, why didn’t we think of this before? And we agree that art is not a hobby or a profession or an entertainment; but the very heartbeat of the human race.
This absorbing, heartfelt work uncovers the story of the real dancer behind Degas’s now-iconic sculpture, shedding light on the struggles of late nineteenth-century Parisian life. She is famous throughout the world, but how many know her name? You can admire her figure in Washington, Paris, London, New York, Dresden, or Copenhagen, but where is her grave? We know only her age, fourteen, and the work that she did—because it was already grueling work, at an age when children today are sent to school. In the 1880s, she danced as a “little rat” at the Paris Opera, and what is often a dream for young girls now wasn’t a dream for her. She was fired after several years of intense labor; the director had had enough of her repeated absences. She had been working another job, even two, because the few pennies the Opera paid weren’t enough to keep her and her family fed. She was a model, posing for painters or sculptors—among them Edgar Degas. Drawing on a wealth of historical material as well as her own love of ballet and personal experiences of loss, Camille Laurens presents a compelling, compassionate portrait of Marie van Goethem and the world she inhabited that shows the importance of those who have traditionally been overlooked in the study of art.
Camille has begun divorce proceedings and a new novel. While sitting in a cafe, she falls in love with a man. She follows him and discovers he specialises in marriage guidance. Camille sees this as a slice of good fortune, a promise for the future - with him, she can go straight to the point.
For most of the twentieth century, modernist viewers dismissed the architectural ornament of Louis H. Sullivan (1856-1924) and the majority of his theoretical writings as emotional outbursts of an outmoded romanticism. In this study, Lauren Weingarden reveals Sullivan's eloquent articulation of nineteenth-century romantic practices - literary, linguistic, aesthetic, spiritual, and nationalistic - and thus rescues Sullivan and his legacy from the narrow role imposed on him as a pioneer of twentieth-century modernism. Using three interpretive models, discourse theory, poststructural semiotic analysis, and a pragmatic concept of sign-functions, she restores the integrity of Sullivan's artistic choices and his historical position as a culminating figure within nineteenth-century romanticism. By giving equal weight to Louis Sullivan's writings and designs, Weingarden shows how he translated both Ruskin's tenets of Gothic naturalism and Whitman's poetry of the American landscape into elemental structural forms and organic ornamentation. Viewed as a site where various romantic discourses converged, Sullivan's oeuvre demands a cross-disciplinary exploration of each discursive practice, and its "rules of accumulation, exclusion, reactivation." The overarching theme of this study is the interrogation and restitution of those Foucauldian rules that enabled Sullivan to articulate architecture as a pictorial mode of landscape art, which he considered co-equal with the spiritual and didactic functions of landscape poetry.
Departing from a refreshing look at the ideas of Antonin Artaud, this book provides a thorough analysis of how both Sarah Kane and Samuel Beckett are indebted to his legacy. In juxtaposing these playwrights, De Vos minutely points out how both in their own way struggle with coming to terms with Artaud. A key concept in Lacanian psychoanalytic theories, desire lies at the root of the Theatre of Cruelty; Kane and Beckett prove that desire and cruelty are inextricably linked to one another, but that they appear in radically different disguises. Relying on Kane and Beckett, this book not only sheds a light on the precise intentions behind Artaud's project, it also maps out the structural parallels and dichotomies between the Theatre of Cruelty and the literary genre of tragedy.
This book revitalizes the relevance of the ideas of Henri Bergson (1859-1941) for current developments in exact sciences. It explores the relevance of Bergson's thought for contemporary philosophical reflections on three of the most important scientific research areas of today, namely physics, the life sciences and the neurosciences. It does so on the basis of the three interrelated topics of time, life and memory. Henri Bergson (1859-1941) was one of the most widely read philosophers of his era. The European public was seeking for answers to questions of the soul and the nature of life and fitting within a historical niche between intellectual rationalism and intuitive spiritualism, his writings drew much attention. This work focuses on the relevance of his philosophy for developments in exact sciences today. The discussion of physics in relation to the abstract and the concrete, the life sciences in relation to concepts of life in relation to new and emerging biotechnology, and the neurosciences in relation to the dual nature of human identity, focuses on one main topic: time. Time, isolated from experience, as the measure of the events in the universe in modern physics; time as the measure of emergent systems in evolution as the backdrop of the theory of evolution in biology; time in relation to memory and imagination in neuropsychological accounts of memory. The author thus discusses the ideas of Henri Bergson as a basis to unveil time as a living process, rather than as an instrument for the measure of events. This view forms the basis of a novel approach to the philosophy of technology. An exciting book for academics interested in the interplay between hard sciences and philosophy.
WHEN THE FOX INHERITS THE HEN HOUSE… Infamous rogue Max Rotherbridge unexpectedly inherits a dukedom—and four lovely young wards along with it. Suddenly he has to protect the four ladies from other rakes like him. But it's the eldest sister, Caroline, who is giving him real trouble. Because she's the one he wants for his own… Caroline Twinning's beauty is matched only by her intelligence and shrewdness. She's determined to see her sisters—and herself—well married before the season is through. And no one is more inappropriate for her than the new duke. After all, the whole of London knows he's not the marrying kind. So why is he the only one who interests her? BONUS BOOK INCLUDED IN THIS VOLUME! The Dissolute Duke by Sophia James After circumstances force them to marry, Taylen Ellesmere, Duke of Alderworth, leaves his new wife and disappears. Three years later, he returns with an offer for Lucinda. But after all this time and pain, will she accept it?
Vous achetez un livre au hasard d'un voyage, vous le parcourez sans méfiance quand soudain vous comprenez qu'un auteur indélicat y révèle votre secret le plus intime. Tout vous montre du doigt, c'est votre vie, vous vous y reconnaissez. Mais lui, qui est-il, qui lui a raconté ? Commence alors une enquête dont la rigoureuse progression alphabétique se heurte à la multiplicité des interprétations, où rencontres, souvenirs et affabulations déforment votre vérité. C'est à ce chassé-croisé entre lecteur et auteur que vous invite Index. À travers les interrogations d'une jeune femme confrontée à sa propre histoire est posée avec insolence la question clef du roman, qui est de savoir, en tout récit, qui parle.
La littérature française est vivante. Des auteurs s'y révèlent, avec une oeuvre dont les contours, l'univers, le style s'affirment. Ecrivains d'aujourd'hui propose de les découvrir dans leur diversité, ou d'apprendre à les percevoir autrement. Réalisé par la rédaction de La Revue littéraire, ce volume comprend : un grand entretien avec Camille Laurens sur son oeuvre en cours d'élaboration des notes de lecture sur chacun des livres publiés à ce jour, d'Index à Romance nerveuse en passant par Philippe ou Dans ces bras-là des textes inédits en volume
Est-ce bien raisonnable, lorsqu'on a écrit un roman autobiographique, d'assister au tournage du film qui en est tiré, et, sur le plateau, de s'intéresser à un homme simplement parce qu'il porte le prénom d'un autre ? Ne devrait-on pas plutôt oublier le passé, aller de l'avant ? Personnellement, l'avenir ne m'a jamais tellement réussi ; mais cette fois, j'ai un plan.
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