These translations are a book length selection in English of the poetry of Robert Marteau, a distinguished contemporary French poet, novelist, and art critic. His poems have been admired in France for their richness of language and imagery, and for their densely particular rendering of the actual world. Reflecting M. Marteau's deep preoccupation with the French countryside, the poems often touch on his native Poitou and Charente, a region of woods and salt marshes, small farming villages and Romanesque churches. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Pig Skinning - the actual stripping of the hide of a hog - is the metaphor for a vision of reckless men and women in a landscape of dark moors.It may be medieval, it may be contemporary, but it is always alive with sensual violence and metaphysics as the desires of aristocrats and earth-bound peasants clash.
La classification des signes de C.S. Peirce en icones, indices et symboles est universellement reconnue. Est-ce le resultat d'une heureuse rencontre ou la preuve de la pertinence du système de pensée qui l'a produite? Est-ce l'absence d'une présentation scientifique de la sémiotique de Peirce qui autorise cette interrogation? Cet essai montre précisément, au moyen d'une formalisation qui épouse au plus près le contenu des manuscrits de Peirce, la possibilité d'approcher scientifiquement les phénomènes sémiotiques. Partant d'une formalisation de la perception en termes de structures relationnelles, l'auteur réconstruit l'ensemble des conceptions phénoménologiques et sémiotiques de C.S. Peirce, retrouve et discute toutes ses taxinomies et va au-delà en montrant l'existence de structures d'ordre naturelles (treillis) sur les ensembles de classes de signes. Une méthodologie d'analyse des signes complexes en découle et est appliquée notamment a la théâtrologie, l'idéologie, l'épistémologie, l'ethnométhodologie...La semiosis est décrite comme un processus impliquant des communautés humaines par le biais des institutions et des habitus. Une annexe rassemble 76 textes de Peirce définissant le signe dont un grand nombre sont inedits.
DIVIn the wake of World War II, a Frenchwoman learns to live for vengeance/divDIV In Zurich, a frail young woman sits down in a café. On her arm is a tattooed number—a souvenir from her time in Bergen-Belsen. As far as the French government is concerned, she is a dead woman, a casualty of the concentration camps. But after a narrow escape, Lily de St-Germain is back, and ready to take revenge on everyone who buried her./divDIV /divDIVWhen the war started, Lily fled the countryside for Paris, hoping to convince her husband to abandon his work at the Louvre and help get their children to safety in England. There she found him in the arms of her sister, a betrayal that pushed her into the ranks of the Résistance—that fearful band of partisans who taught her to kill, and forced her to survive. The war may end in 1945, but Lily’s battle will have only just begun./div
Conversations with Igor Stravinsky is the first of the celebrated series of conversation books in which Stravinsky, prompted by Robert Craft, reviewed his long and remarkable life. The composer brings the Imperial Russia of his childhood vividly into focus, at the same time scanning what were at the time the brave new horizons of Boulez and Stockhausen with extraordinary acuity. Stravinsky answers searching questions about his musical development and recalls his association with Diaghilev and the Russian Ballet. There are sympathetic and extraordinarily illuminating reminiscences of such composers as Debussy and Ravel ('the only musicians who immediately understood Le Sacre du Printemps'), while mischievous squibs are directed at others, most notably perhaps against Richard Strauss, all of whose operas Stravinsky wished 'to admit ... to whichever purgatory punishes triumphant banality'. The conversations are by no means confined to musical subjects, ranging uninhibitedly across all the arts: Stravinsky gives unforgettable sketches of Ibsen, Rodin, Proust, Giacometti, Dylan Thomas and T S Eliot. 'The conversations between Igor Stravinsky and Robert Craft are unique in musical history. The penetration of Craft's questions and the patience and detail of Stravinsky's answers combine to produce an intimate picture of a man who has sometimes puzzled, often delighted, and always intrigued ...' The Sunday Times
King Henry III of France has not suffered well at the hands of posterity. Generally depicted as at best a self-indulgent, ineffectual ruler, and at worst a debauched tyrant responsible for a series of catastrophic political blunders, his reputation has long been a poor one. Yet recent scholarship has begun to question the validity of this judgment and look for a more rounded assessment of the man and his reign. For, as this new biography of Henry demonstrates, there is far more to this fascinating monarch than the pantomime villain depicted by previous generations of historians and novelists. Based upon a rich and diverse range of primary sources, this book traces Henry’s life from his birth in 1551, the sixth child of Henri II and Catherine de’ Medici. It following his upbringing as the Wars of Religion began to tear France apart, his election as king of Poland in 1573, and his assumption of the French crown a year later following the death of his brother Charles IX. The first English-language biography of Henry for over 150 years, this study thoroughly and dispassionately reassesses his life in light of recent scholarship and in the context of broader European diplomatic, political and religious history. In so doing the book not only provides a more nuanced portrait of the monarch himself, but also helps us better understand the history of France during this traumatic time.
A CRITICAL NEW APPROACH FOR LEARNING AND THRIVING IN A FIELD OF CHANGE The scope and responsibilities of today's genetic counselors exceed the reasonable capacity of any one educational resource. While the field's first-year curriculum may be relatively fixed, the landscape of what comes after that -- a dizzying mix of practice, ethics, research design, and professional competencies -- is increasingly broad. Advanced Genetic Counseling offers an overdue extension of the field's core curriculum. From navigating ethical dilemmas and potential conflicts of interest to confronting the biases and patterns of thought that can limit counselors' interactions with clients, it prepares readers to face the profession's most challenging aspects with confidence. Drawing on techniques from psychotherapy, social psychology, and health behavior, Advanced Genetic Counseling is an essential resource for trainees and mid-career professionals. It offers a roadmap not just for addressing client needs, but for the future of genetic counseling education.
Focusing on Messiaen’s relation to history - both his own and the history he engendered - the Messiaen Perspectives volumes convey the growing understanding of his deep and varied interconnections with his cultural milieux. Messiaen Perspectives 1: Sources and Influences examines the genesis, sources and cultural pressures that shaped Messiaen’s music. Messiaen Perspectives 2: Techniques, Influence and Reception analyses Messiaen’s compositional approach and the repercussions of his music. While each book offers a coherent collection in itself, together these complementary volumes elucidate how powerfully Messiaen was embedded in his time and place, and how his music resonates ever more today. Messiaen Perspectives 2: Techniques, Influence and Reception explores Messiaen’s imprint on recent musical life. The first part scrutinizes his compositional technique in terms of counterpoint, spectralism and later piano music, while the second charts ways in which Messiaen’s influence is manifest in the music and careers of Ohana, Xenakis, Murail and Quebecois composers. The third part includes case studies of Messiaen’s reception in Italy, Spain and the USA. The volume also includes an ornithological catalogue of Messiaen’s birds, collates information on the numerous ’tombeaux’ pieces he inspired, and concludes with a Critical Catalogue of Messiaen’s Musical Works.
Slander has always been a nasty business, Robert Darnton notes, but that is no reason to consider it a topic unworthy of inquiry. By destroying reputations, it has often helped to delegitimize regimes and bring down governments. Nowhere has this been more the case than in eighteenth-century France, when a ragtag group of literary libelers flooded the market with works that purported to expose the wicked behavior of the great. Salacious or seditious, outrageous or hilarious, their books and pamphlets claimed to reveal the secret doings of kings and their mistresses, the lewd and extravagant activities of an unpopular foreign-born queen, and the affairs of aristocrats and men-about-town as they consorted with servants, monks, and dancing masters. These libels often mixed scandal with detailed accounts of contemporary history and current politics. And though they are now largely forgotten, many sold as well as or better than some of the most famous works of the Enlightenment. In The Devil in the Holy Water, Darnton—winner of the National Book Critics Circle Award for his Forbidden Best-Sellers of Pre-Revolutionary France and author of his own best-sellers, The Great Cat Massacre and George Washington's False Teeth—offers a startling new perspective on the origins of the French Revolution and the development of a revolutionary political culture in the years after 1789. He opens with an account of the colony of French refugees in London who churned out slanderous attacks on public figures in Versailles and of the secret agents sent over from Paris to squelch them. The libelers were not above extorting money for pretending to destroy the print runs of books they had duped the government agents into believing existed; the agents were not above recognizing the lucrative nature of such activities—and changing sides. As the Revolution gave way to the Terror, Darnton demonstrates, the substance of libels changed while the form remained much the same. With the wit and erudition that has made him one of the world's most eminent historians of eighteenth-century France, he here weaves a tale so full of intrigue that it may seem too extravagant to be true, although all its details can be confirmed in the archives of the French police and diplomatic service. Part detective story, part revolutionary history, The Devil in the Holy Water has much to tell us about the nature of authorship and the book trade, about Grub Street journalism and the shaping of public opinion, and about the important work that scurrilous words have done in many times and places.
Sharing Common Ground makes a compelling contribution to an important emerging field that affects a broad swath of humanities. It uses historical, photographic, and literary examples, including an entirely new translation of a little known work by Marguerite Duras, presented here in full, to showcase the ethical capacity of art. Robert Harvey deploys critical tools borrowed from literature, aesthetics, and philosophy to mobilize the thought of several seminal figures in literature and theory including Michel Foucault, Marguerite Duras, Georges Didi-Huberman, and Giorgio Agamben, among a host of others. Construction sites, concentration camps, cemeteries, slums-such are only a few of the spaces that impel our imagination naturally toward what we commonly call “cultural memory.” Sharing Common Ground reveals how the endeavor to think and imagine in common, and especially about the spaces we inhabit together, is critically important to human beings, artistically, culturally, and ethically.
The word ‘addiction’ these days is used to refer to a chronic condition where there is an unhealthily powerful motivation to engage in a particular behaviour. This can be driven by many different factors – physiological, psychological, environmental and social. If we say that it is all about X, we miss V, W, Y and Z. So, some people think addicts are using drugs to escape from unhappy lives, feelings of anxiety and so on; many are. Some people think drugs become addictive because they alter the brain chemistry to create powerful urges; that is often true. Others think that drug taking is about seeking after pleasure; often it is. Some take the view that addiction is a choice – addicts weigh up the pros and cons of doing what they do and decide the former outweigh the latter. Yet others believe that addicts suffer from poor impulse control; that is often true... And so it goes on. When you look at the evidence, you see that all these positions capture important aspects of the problem – but they are not complete explanations. Neuroscience can help us delve more deeply into some of these explanations, while the behavioural and social sciences are better at exploring others. We need a model that puts all this together in a way that can help us decide what to do in different cases. Should we prescribe a drug, give the person some ‘tender loving care’, put them in prison or what? Theory of Addiction provides this synthesis. The first edition was well received: ‘Throughout the book the reader is exposed to a vast number of useful observations...The theoretical aims are timely, refreshing, ambitious and above all challenging. It opens up a new way of looking at addiction and has the potential to move the field of addiction a considerable leap forward. Thus we wholeheartedly would like to recommend the book for students as well as scholars. Read and learn!’ Nordic Studies on Alcohol and Drugs ‘The book provides a comprehensive review of existing theories - over 30 in all - and this synthesis of theories constitutes an important contribution in and of itself... West is to be commended for his synthesis of addiction theories that span neurobiology, psychology and social science and for his insights into what remains unexplained.’ Addiction This new edition of Theory of Addiction builds on the first, including additional theories in the field, a more developed specification of PRIME theory and analysis of the expanding evidence base. With this important new information, Theory of Addiction will continue to be essential reading for all those working in addiction, from student to experienced practitioner – as urged above, Read and learn!
Yves Bonnefoy's writings have won him praise not only from readers and critics of French poetry, but also, thanks to translations into many other languages, from readers and critics of poetry far beyond the francophone world. Indeed, Bonnefoy may be the most admired poet to have emerged in France since World War II. Yet his art criticism, dazzling in its scope, possibly as original as his poetry, is yet to receive the attention it deserves. Searching for Presence: Yves Bonnefoy's Writings on Art undertakes to fill that lacuna. Elusive, skirting the ineffable, the notion of presence has haunted Bonnefoy for decades. Central to the notion for the poet is the fleeting experience of mutuality between self and other, of lightning transaction in a transient world, of a shared mortal destiny, hence a plenitude within finitude. In an age when so many of his contemporaries seem to view any form of art as wallpaper spanning a void, Bonnefoy's faith in presence is all the more welcome. Focusing on his art criticism, the aspect of the poet's oeuvre in which the notion of presence is the most salient, this study tries to do justice to that fidelity.
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