This is a book about the usual teacher-student relationship in composition courses. It disrupts and rewrites the commonplace conception of the relationship by revealing the uneven ways in which power is deployed in and around the classroom. And it offers a responsible alternative. The author not only offers teachers a way of learning about power relations at their own specific sites, but also works towards a more equitable redistribution. Drawing from testimonials about teaching practice published in the journal College Composition and Communication, Helmers explores conventions in this form of writing that portray students in a negative light and show the teacher to be powerfully triumphant in his or her creative pedagogy. Several prevalent modes of representation are discussed in the book, all of which define the students as distinctly different from the teachers, in other words, as an other. The texture of the work is rich because Helmers takes an enormous amount of post-structuralist theory and recasts it in the sphere of the teacher-student relationship, itself an underexplored realm.
Ireland’s Memorial Records, 1914-1918 contain the names of 49,435 enlisted men who were killed in the First World War. Commissioned in 1919 by the Lord Lieutenant of Ireland and published in 100 eight-volume sets, the Records are notable for stunning and elaborate page decorations by celebrated Irish illustrator Harry Clarke. Drawing from published and unpublished sources, Marguerite Helmers’ ground-breaking study provides a fascinating insight into the work of Harry Clarke as an extraordinary war artist and examines the process that led to the Records being commissioned through to the eventual placement of the Records within the Irish National War Memorial at Islandbridge, Dublin. With Harry Clarke’s illustrations taking center stage in the story, the Records and their genesis are of vital importance to our understanding of how art and commemoration can come together in a powerful visual creation.
Ireland’s Memorial Records, 1914-1918 contain the names of 49,435 enlisted men who were killed in the First World War. Commissioned in 1919 by the Lord Lieutenant of Ireland and published in 100 eight-volume sets, the Records are notable for stunning and elaborate page decorations by celebrated Irish illustrator Harry Clarke. Drawing from published and unpublished sources, Marguerite Helmers’ ground-breaking study provides a fascinating insight into the work of Harry Clarke as an extraordinary war artist and examines the process that led to the Records being commissioned through to the eventual placement of the Records within the Irish National War Memorial at Islandbridge, Dublin. With Harry Clarke’s illustrations taking center stage in the story, the Records and their genesis are of vital importance to our understanding of how art and commemoration can come together in a powerful visual creation.
This is a book about the usual teacher-student relationship in composition courses. It disrupts and rewrites the commonplace conception of the relationship by revealing the uneven ways in which power is deployed in and around the classroom. And it offers a responsible alternative. The author not only offers teachers a way of learning about power relations at their own specific sites, but also works towards a more equitable redistribution. Drawing from testimonials about teaching practice published in the journal College Composition and Communication, Helmers explores conventions in this form of writing that portray students in a negative light and show the teacher to be powerfully triumphant in his or her creative pedagogy. Several prevalent modes of representation are discussed in the book, all of which define the students as distinctly different from the teachers, in other words, as an other. The texture of the work is rich because Helmers takes an enormous amount of post-structuralist theory and recasts it in the sphere of the teacher-student relationship, itself an underexplored realm.
In the summer of 1973, the journalist Xavi_re Gauthier interviewed the writer and filmmaker Marguerite Duras for an article in Le Monde. The meeting began a productive friendship between the two women that included the recording of four more interviews. They spoke of writing, literature, criticism, film, madness, sex, desire, alienation, Marxism, the situation of women, and their "oppression by the phallic class." Published in 1974 in France as Les Parleuses, the book became a classic statement of a positive and politically forceful feminist stance and an influential exploration of how Western culture has constructed gender roles and dealt with sexuality.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Including text discovered after the French edition had been published and accompanied by the original French, the first English translation of the writer's memoirs of her last year explores the topics of love, sex, and death. By the author of Hiroshima Mon Amour. IP.
Dedicated to Duras’ companion with whom she spent her last decade of life, Yann Andréa Steiner is a haunting dance between two parallel stories of love and solitude: the love between Duras and the young Yann Andréa and a seaside romance observed – or imagined – by the narrator between a camp counselor and an orphaned camper, a Holocaust survivor who witnessed his sister’s murder at the hands of a German soldier. Memory blurs into desire as the summer of 1980 flows into 1944. An enigmatic elegy of history, creation, and raw emotion.
Marguerite Duras was one the leading intellectuals and novelists of post-war France. She kept four notebooks in a cupboard in her country home in France, but until recently the importance of the material she wrote between 1943 and 1949 was not recognized. These notebooks retrace the formative experiences in Duras' life - her difficult childhood in Indochina; her harrowing wait for her husband's return from concentration camp - and reveal the personal history behind her bestselling novels The Lover and La Douleur. These are intimate documents, chronicling each hope and disappointment with a spontaneity and authenticity that make for an unparalleled sense of closeness with the reader. As an insight into the life and work of a major European writer this is an utterly absorbing volume.
For the first time in English, literary icon Marguerite Duras's foundational masterpiece about a young woman's existential breakdown in the deceptively peaceful French countryside. The Easy Life is the story of Francine Veyrenattes, a twenty-five-year-old woman who already feels like life is passing her by. After witnessing a series of tragedies on her family farm, she alternates between intense grief and staggering boredom as she discovers a curious detachment in herself, an inability to navigate the world as others do. Hoping to be cleansed of whatever ails her, she travels to the coast to visit the sea. But there she finds herself unraveling, uncertain of what is inside her. Lying in the sun with her toes in the sand by day while psychologically dissolving in her hotel room by night, she soon reaches the peak of her inner crisis and must grapple with whether and how she can take hold of her own existence. An extraordinary examination of a young woman's estrangement from the world that only Marguerite Duras could have written, The Easy Life is a work of unsettling beauty and insight, and a bold, spellbinding journey into the depths of the human heart.
A hardcover omnibus edition of the French writer's most famous novel—the basis for the film Memoir of War—alongside her fascinating wartime writings and a collection of intimate autobiographical essays. Marguerite Duras was one of the leading intellectuals and novelists of postwar France, but her wartime writings were not published in full until after her death. The Wartime Notebooks trace Duras's formative experiences—including her difficult childhood in Indochina and her harrowing wait for her husband's return from Nazi internment—revealing the personal history behind her bestselling novels. The Lover is the best known of these; set in prewar Indochina, its haunting tale of a tumultuous affair between an adolescent French girl and her wealthy Chinese lover is based on her own life. In spare and luminous prose, Duras evokes life on the margins in the waning days of France's colonial empire, and the passionate relationship between two unforgettable outcasts. Practicalities is a collection of small and intensely personal pieces Duras dictated near the end of her life. These deceptively simple meditations on motherhood, domesticity, sex, love, alcohol, writing, and more are witty, earthy, outspoken, and surprisingly fresh and relevant today.
A modern classic and international bestseller with more than one million copies in print, The Lover has been celebrated by critics and readers across the globe since its first publication in 1984. Set in the prewar Indochina of Marguerite Duras's childhood, this is the haunting tale of a tumultuous affair between an adolescent French girl and her Chinese lover. In spare yet luminous prose, Duras evokes life on the margins of Saigon in the waning days of France's colonial empire, and its representation in the passionate relationship between two unforgettable outcasts. This edition of The Lover includes a new introduction by Pulitzer Prize-winning author Viet Thanh Nguyen that looks back at Duras's iconic work, winner of France’s Prix Goncourt, as it approaches its fortieth anniversary in print.
Disaffected, bored with his career at the French Colonial Ministry (where he has copied out birth and death certificates for eight years), and disgusted by a mistress whose vapid optimism arouses his most violent misogyny, the narrator finds himself at the point of complete breakdown while vacationing in Florence. After leaving his mistress and the Ministry behind forever, he joins the crew of The Gibraltar, a yacht captained by Anna, a beautiful American in perpetual search of her sometime lover, a young man known only as the Sailor from Gibraltar.
Published for the first time in English, the debut novel of Marguerite Duras—renowned author of The Lover and The War—is the story of a family’s moral reckoning and a daughter’s fall from grace Marguerite Duras rose to global stardom with her erotic masterpiece The Lover (L’Amant), which won the prestigious Prix Goncourt, has over a million copies in print in English, has been translated into forty-three languages, and was adapted into a canonical film in 1992. While almost all of Duras’s novels have been translated into English, her debut The Impudent Ones (Les Impudents) has been a glaring exception—until now. Fans of Duras will be thrilled to discover the germ of her bold, vital prose and signature blend of memoir and fiction in this intense and mournful story of the Taneran family, which introduces Duras’s classic themes of familial conflict, illicit romance, and scandal in the sleepy suburbs and southwest provinces of France. Duras’s great gift was her ability to bring vivid and passionate life to characters with whom society may not have sympathized, but with whom readers certainly do. With storytelling that evokes in equal parts beauty and brutality, The Impudent Ones depicts the scalding effects of seduction and disrepute on the soul of a young French girl. Including an essay on the story behind The Impudent Ones by Jean Vallier—biographer of the late Duras—which contextualizes the origins of Duras’s debut novel, this one-of-a-kind publishing endeavor will delight established Duras fans and a new generation of readers alike.
A career-spanning collection of Marguerite Duras’s genre-bending essays that Kirkus calls “a luminous, erudite exploration of the self and art.” In her nonfiction as well as her fiction, Marguerite Duras’s curiosity was endless, her intellect voracious. Within a single essay she might roam from Flaubert to the “scattering of desire” to the Holocaust; within the body of her essays overall, style is always evolving, subject matter shifting, as her mind pushes beyond the obvious toward ever-original ground. Me & Other Writing is a guidebook to the extraordinary breadth of Duras’s nonfiction. From the stunning one-page “Me” to the sprawling 70-page “Summer 80,” there is not a piece in this collection that can be easily categorized. These are essayistic works written for their times but too virtuosic to be relegated to history, works of commentary or recollection or reportage that are also, unmistakably, works of art.
The award-winning screenplay for the classic film the New York Post hailed as “overwhelming . . . a motion picture landmark.” One of the most influential works in the history of cinema, Alain Renais’s Hiroshima Mon Amour gathered international acclaim upon its release in 1959 and was awarded the International Critics’ Prize at the Cannes Film festival and the New York Film Critics’ Award. Ostensibly the story of a love affair between a Japanese architect and a French actress visiting Japan to make a film on peace, Hiroshima Mon Amour is a stunning exploration of the influence of war on both Japanese and French culture and the conflict between love and inhumanity.
Unseen voices narrate this story of the affair between the haunting Anne-Marie Stretter and the disgraced French vice-consul in Làhore. In the India of 1937, with the smell of laurels and leprosy permeating the air, the characters perform a dance of doomed love to the strains of a dying colonialism. Originally commissioned as a play for Britain’s National Theatre,India Song was made into a film that premiered at the 1975 Cannes Film Festival. American Cinematographer praised it for its “imaginative use of voices creating an echo chamber effect that perpetuates the past,” and Molly Haskell called it “Marguerite Duras’ most perfectly realized film, the most feminine film I have seen, a rarefied work of lyricism, despair, and passion, imbued with a kind of primitive emotional hunger that is all the more moving for its austere setting.”
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.