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Contents:


  1. Lacroix, Jean-Paul 1914-
  2. Lorrie Moore (auteur de La passerelle) - Babelio
  3. Marcel Proust évoque Flaubert
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Editor s : Nicholas Cronk and Kris Peeters. By: Geraldine F. By: Martin Hurcombe. The Poetry of a Novelist. By: Paul Cooke. By: Maaike Koffeman. Balzac et Sand. Editor s : Lucienne Frappier-Mazur. By: Marc Smeets. By: Alexandra K. By: Martin Calder. By: Matthew MacNamara. Memory and Memorials in Ovid and Marie de France. By: SunHee Kim Gertz. Editor s : Nathalie Morello. By: Franz Hahn. Editor s : Vittorio Frigerio and Corine Renevey. A Festschrift for Peter Rickard on the occasion of his eightieth birthday. By: Catherine Poisson. Birberick and Russell Ganim.

By: Keith Busby. By: Peter Consenstein.

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Lacroix, Jean-Paul 1914-

Editor s : Stella Harvey and Kate Ince. By: Kai Mikkonen. The Ludic body in Querelle. By: Loren Ringer. Lieu et espace dans les cultures francophones du Canada. Place and Space in the Francophone Cultures of Canada.

Cabu, le trait d’esprit

By: Leo H. By: Kimberly Philpot van Noort. Teaching, Research, Performance. Editor s : Philip Tomlinson. A Creative Dynamic. By: Mary Neiland. By: Marshall C. Edited from Paris BNF fr. Editor s : Barbara N. Editor s : Naomi Segal. Editor s : Geoffrey T. Politics and Aesthetics in Nineteenth-Century France. Editor s : Kathryn M. Grossman , Michael E. Editor s : John Campbell and Nadia Margolis.

By: Michael Freeman. The Last Moments of Writers and Philosophers. Editor s : Martin Crowley. Les Liaisons dangereuses. By: Brigitte E. By: Roger W. Dix etudes sur le fait divers dans le roman contemporain. Editor s : Paul Pelckmans and Bruno Tritsmans. Editor s : Elzbieta Grodek.

The Mysticism of Georges Bataille. By: Andrew Hussey. By: Evert van der Starre. Editor s : Sjef Houppermans , Paul J. Smith and Madeleine van Strien-Chardonneau. Patterns and Images in the Old French Fabliaux. By: Brian J. By: Barbara N. Subject and Self in French Literature from Descartes to the present. Editor s : Paul Gifford and Johnnie Gration. Essays in Honor of Norris J.

Lorrie Moore (auteur de La passerelle) - Babelio

Editor s : Keith Busby and Catherine M. Double bind et transculturation. By: Linzy Erika Dickinson. Uitti on His Sixty-Fifth Birthday. Speer and Lori J. By: Martine F. By: Mireille Brioude. Les lieux dans Histoire de ma vie de George Sand. By: Cam-Thi Doan Poisson. Editor s : M. Aurnague , A. Condamines , J. Maurel , Ch. Molinier and Cl. By: Mireille Naturel.

Marcel Proust évoque Flaubert

Editor s : Kathryn Karczewska. Editor s : Catherine Nesci. By: Brigitte le Juez. By: Sahar Amer. Science in the Writing of Queneau and Ponge. By: Chris Andrews. Intertextuality in Four Novels by Boris Vian. By: Alistair Charles Rolls. By: Peter Broome. The Drama of the Text. Editor s : Michael Freeman and Jane H. Editor s : John Parkin. By: Daniel Acke. By: Manet van Montfrans. By: Jacques la Mothe.

Travail du texte et histoires du sujet dans Portrait du soleil. By: Christa Stevens. By: Philippe de Remi. By: Russell Ganim. By: Walter D. By: Luke Bouvier. Editor s : David A. Le plaisir du texte. By: Patricia Hannon. By: Marjolein van Tooren. By: Catherine Attwood. Editor s : Yvette Went-Daoust. Editor s : Martine Debaisieux. By: J. By: Jacqueline Letzter. Lectures plurielles. By: Nathalie Roelens. By: Marc Lapprand. Actes du Colloque de Sheffield, Mars Editor s : David H. Walker and Catharine S. By: C. By: Stella Harvey.

By: Amanda Leamon. By: Brian Gordon Kennelly. By: Peter Dayan. By: Martin Gosman. By: Fieke Schoots. Editor s : Barbara T. Cooper and Mary Donaldson-Evans. By: William Vanderwolk. Editor s : Paul J. Editor s : Maarten van Buuren. By: Phillip Winn. Editor s : Marie-Christine Kok Escalle. Les Advis, ou, les Presens de la Demoiselle de Gournay, Editor s : Jean-Philippe Beaulieu and H. By: Pauline A. Editor s : Jan Baetens and Ana Gonzalez.


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Editor s : Douglas Kelly. By: Peter Wagstaff. Editor s : Michael Bishop. By: Isabelle Constant. By: Anne E. Editor s : John Anzalone. The Old French Roman de Renart. Editor s : Keith Cameron and James Kearns. By: John Campbell. By: Carl Vetters. By: Alan Raitt. Dangeau noticed this custom in the princess de Montauban.

The same ornament that once embellished her youth finally disfigures her and makes the defects of her age more noticeable. She has a pink color and affectation even in sickness and with fever: she dies covered in make-up and colored ribbons. Lise is as old as that; but years have less than twelve months for her and never make her grow older: that's what she thinks, and while she is looking at herself in the mirror, putting rouge on her face and drawing dark spots there, she agrees that after a certain age it is not right to affect youth, and that indeed, Clarice , with her dark spots and her rouge, is ridiculous.

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They have more leisure with people they are indifferent to; they sense the disorder they are in, adjust themselves in their presence, or disappear for a moment and return beautifully made-up. I Un beau visage est le plus beau de tous les spectacles; et l'harmonie la plus douce est le son de voix de celle que l'on aime.

Nearly nothing is said accidentally by men; their caresses are premeditated; they speak, they act, they are eager to please, and they convince someone less of their affection. A certain woman tries not to be a coquette by firmly attaching herself to a single man, but she is considered mad if she persists in a bad choice.


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An old gallant fears or scorns a new rival depending on the character of the person he courts. Often the only thing that an old gallant is missing with regard to the woman he is attached to is the name of husband: this is very much, and he would have lost his position a thousand times if it weren't for this circumstance. A male coquette, on the contrary, is something worse than a gallant man. A male coquette and a gallant woman go together. Un homme coquet au contraire est quelque chose de pire qu'un homme galant. L'homme coquet et la femme galant vont assez de pair. Many women are as well recognized by the name of their lovers as by the name of their husbands.

This one looks to bind someone; that one contents herself with pleasing. The first passes successively from one tie to another; the second has many men to amuse her at once. Passion and pleasure are dominant in the one; vanity and fickleness in the other. Gallantry is a weakness of the heart, or perhaps a vice of someone's complexion; coquetry comes from an ungoverned spirit. A gallant woman makes herself feared and a coquette makes herself hated.

One can imagine someone who would have both of these characters, and who would be worse than either alone. A faithless woman, if she is believed to be so by the person concerned, is only faithless: if he thinks she is faithful, she is treacherous. A man takes this benefit from the perfidy of women, that it cures him of jealousy. Her choice is made: it is a little monster who lacks a spirit. Son choix est fait: c'est un petit monstre qui manque d'esprit. I don't know who is more to be pitied, either a woman advanced in years who needs a cavalier or a cavalier who needs an old woman.

He makes men and women jealous: one admires him, he inspires envy: four miles away from the city, at Versailles, he inspires pity. Un homme de la ville est pour une femme de province ce qu'est pour une femme de ville un homme de la cour. Moreover, Roscius cannot be yours, he belongs to someone else; and when this engagement ends, he is already claimed by another still: Claudie waits for him to become tired of Messaline so that she can have him. Would you like the jumper, Cobus , who, throwing his feet before him, turns once in the air before coming back to the ground?

Did you know that he is no longer young? As for Bathylle, you will say, the crowd around him is too great, and he refuses more women than he can gratify; but you still have Dracon , the flute player: no one else in his profession swells his cheeks as decently as he does when he plays the oboe or the flageolet, because the number of instruments he can play is endless; moreover, he's amusing and even makes children and young women laugh.

He gets a whole company drunk, and himself last. What will you do, since the best men of this type have already been taken? Bronte is still left, who works torturing people on the rack: people can't stop talking about his strength and skill; he is a young man with broad shoulders and brawny, a negroe moreover, a black man. Ignorez-vous qu'il n'est plus jeune? Qui mange et qui boit mieux que Dracon en un seul repas? Il enivre toute une compagnie, et il se rend le dernier.

Everything is a temptation to a person who is afraid to be faced with it. Is it a woman who is more obliging to her husband, kinder to her servants, more devoted to her family and its affairs, more ardent and sincere with her friends; who is less of a slave to her mood, less attached to her own interests, who has less love of the commodities of life; I don't say who gives much money to her children who are already rich, but who, being opulent herself and overwhelmed with superfluities, furnishes them with everything necessary, and gives them what they justly deserve; who is more exempt of self-love and of estrangement from others; who is more free of all human attachments?

VII Qu'est-ce qu'une femme que l'on dirige? D'ailleurs les adverbes, locutions adverbiales, etc. Sans cela je j'aurais jamais pu le transcrire. A mon avis la chose la plus belle de L'Education sentimentale , ce n'est pas une phrase, mais un blanc. Il revint. Sans doute, il est permis de se tromper et la valeur objective de nos jugements artistiques n'a pas grande importance.

Halevy - article remarquable d'ailleurs - me permettrait-il, si je l'avais sous les yeux, de montrer que ce n'est pas seulement la prose que nous ne savons plus lire, mais les vers.