“I don’t want to gp. I just can’t do it anymore.” "My stomach hurts, and I'm afraid of throwing up." "It sucks. What’s the point.” "I'm tired. I need a break. "I'm just fine where I am, in my room." Since the health crisis, Thierry Delcourt has observed a considerable increase in children who cannot or no longer want to go to school, not only for problems of violence, racketeering and bullying, but rather for much more troubling reasons—hostility, laziness, convenience or opportunism. According to the author, who has cross-checked data from National Education and the CNED, absenteeism at school has increased by 10% over the last 3 years. This book aims to enlighten anxious parents, disoriented teachers, and psychologists who are overwhelmed by these situations, and to provide an approach to understand and overcome these obstacles that lead to school dropout and, in the long run, to school failure. Each chapter refers to a particular situation, analyzes the reason for it and then offers advice on how to combat this scourge. Thierry Delcourt, child psychiatrist, head of continuing education for private psychiatrists, former editor-in-chief of the Revue Psychiatries, is the author of several books on clinical psychiatry, such as La Fabrique des enfants anormaux, La Folie de l'artiste and Je suis ado et j'appelle mon psy, published by Max Milo.
Salvador Dalí sublimated his madness without ever falling into it. Antonin Artaud, confronted with the traumas of childhood, oscillated all his life between an overflowing creation and accesses of madness. Niki de Saint Phalle, thanks to artistic expression, cured herself of a deep depression linked to the trauma of incest. Vincent van Gogh, in order to reach the summit of his art, put himself in danger to the point of committing suicide. Camille Claudel exhausted herself in her creation and ended up being interned and never creating again. Based on the life and work of a dozen artists of genius, Thierry Delcourt tries to understand these artists’ transition from the summits of creation and the artistic abyss. Why do some people fall into madness while others go through life without a hitch? Why do some sick people find healing through creation? Why do many artists have an obsessive need to create relentlessly? To these fascinating questions, this book offers striking answers about creation on the brink of the abyss. Thierry Delcourt, psychiatrist, psychoanalyst, editor-in-chief of the journal Psychiatries, has written Je suis ado et j'appelle mon psychanalyste (Max Milo, 2016) and La fabrique des enfants anormaux (Max Milo, 2021).
Behind appearances, the masterpieces of mythology contain precious secrets. In their work, the authors include timeless messages addressed to History and to all mankind. So it is with the plays which Sophocles devoted to Oedipus more than 2400 years ago, which are still performed today. A new form of analysis, called transgenerational, enables us to penetrate behind the scenes, backstage in Sophocles' theatre. Actually, it is the discovery of a transgenerational structure underpinning Sophocles' work that changes everything. This discovery invites us to reconsider the entire story of Oedipus in a different light. By bringing out the unseen aspects of his work, we come to understand that Sophocles shared with the Ancients a veritable science of the "transgenerational." Through his Oedipus Rex and Oedipus at Colonus, he passes on this knowledge to use in the manner of the great tragedians, philosophers before their time, who played an important role as guides of the collective awareness of their time.
In The Expanding Art of Comics: Ten Modern Masterpieces, prominent scholar Thierry Groensteen offers a distinct perspective on important evolutions in comics since the 1960s through close readings of ten seminal works. He covers over half a century of comics production, sampling a single work from the sixties (Ballad of the Salt Sea by Hugo Pratt), seventies (The Airtight Garage of Jerry Cornelius by Moebius), eighties (Watchmen by Alan Moore and Dave Gibbons), and nineties (Epileptic by David B.). Then this remarkable critic, scholar, and author of The System of Comics and Comics and Narration delves into recent masterpieces, such as Building Stories by Chris Ware. Each of these books created an opening, achieved a breakthrough, offered a new narrative model, or took up an emerging tendency and perfected it. Groensteen recaptures the impact with which these works, each in its own way, broke with what had gone before. He regards comics as an expanding art, not only because groundbreaking works such as these are increasing in number, but also because it is an art that has only gradually become aware of its considerable potential and is unceasingly opening up new expressive terrain.
This edition of Thierry Groensteen’s The System of Comics makes available in English a groundbreaking work on comics by one of the medium’s foremost scholars. In this book, originally published in France in 1999, Groensteen explains clearly the subtle, complex workings of the medium and its unique way of combining visual, verbal, spatial, and chronological expressions. The author explores the nineteenth-century pioneer Rodolphe Töpffer, contemporary Japanese creators, George Herriman’s Krazy Kat, and modern American autobiographical comics. The System of Comics uses examples from a wide variety of countries including the United States, England, Japan, France, and Argentina. It describes and analyzes the properties and functions of speech and thought balloons, panels, strips, and pages to examine methodically and insightfully the medium’s fundamental processes. From this, Groensteen develops his own coherent, overarching theory of comics, a “system” that both builds on existing studies of the “word and image” paradigm and adds innovative approaches of his own. Examining both meaning and appreciation, the book provides a wealth of ideas that will challenge the way scholars approach the study of comics. By emphasizing not simply “storytelling techniques” but also the qualities of the printed page and the reader’s engagement, the book’s approach is broadly applicable to all forms of interpreting this evolving art.
Transgressant le cadre classique des récits sur la prohibition, Cailleteau en donne une vision plus rurale, au coeur de la production d'alcool de contrebande, et crée au passage une héroïne au caractère fort. Très fort. État de Virginie, 1922. En se débarrassant de Doyle Doohan, la mafia pensait en avoir fini avec cet électron libre parmi les autres bootleggers de la région, plus réceptifs aux menaces. C'était sans compter Julie, la fille du macchabée, qu'une bonne connaissance de la chimie associée à un goût prononcé pour la vengeance va projeter dans un jeu de dupes dont elle ne compte pas être la prochaine victime...
Arizona, 1926. Quatre ans après la reprise de la distillerie clandestine de son père, Julie possède aujourd'hui une bonne réserve de bourbon de qualité. Elle compte sur ce trésor pour soutenir la réouverture du Wild Mustang Saloon. Une concurrence insupportable pour Jack Mozza, qui est prêt à tout pour ruiner l'entreprise de Julie et interférer une nouvelle fois dans sa vie... la fois de trop.
Un gouvernement prend son peuple en otage, l'affame, inonde le monde de photos terribles et réclame de l'argent. L'opinion publique mondiale a réagi immédiatement, avec générosité, bravo ! Mais aussi avec aveuglement. André Glucksmann et Thierry Wolton révèlent les dessous de la plus grande opération d'aide et de charité qu'ait connue l'histoire humaine. Comment la dictature éthiopienne a laissé venir la famine, comment elle organisa et mit en scène l'information et pourquoi les institutions internationales, parfaitement au courant, couvrent les scandales et les crimes des autorités communistes locales. Informations, émotions, mobilisations, c'est sur le petit écran que se noue notre rapport à l'autre : un milliard cinq cents millions de Terriens ont regardé en même temps et les terribles images de la famine et la retransmission du plus grand concert pop et charitable. André Glucksmann et Thierry Wolton essaient de définir le principe d'une morale de l'extrême urgence qui fonde la nouvelle solidarité électronique. Dans la guerre des images, les démocraties sont en retard ; elles subissent les mises en scène terroristes sans interroger la stratégie qui les prémédite. L'URSS a pris de l'avance en Afrique, elle fournit les munitions, tandis que l'Occident livre le blé. L'Afrique rouge est bien partie.
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