Search results for ""author jean"

Jean Prouvé’s Ferembal House was built in Nancy, France, in 1948, as the office for a can factory. Composed of five axial frames clad with wooden panels, set on a tall masonry base and occupying less than 600 square feet in a single raised story, this prefabricated structure was a classic example of Prouvé’s advocacy of mobile architecture. Thirty years later, however, the company went out of business and the factory was demolished. Fortunately a Nancy resident had the wherewithal to dismantle and preserve Prouvé’s innovative building, putting it into storage. In 1991, the well-known Parisian design gallerist Patrick Seguin traveled to Nancy to locate the Ferembal House. Seguin spent the next ten years raising the funds to renovate it, working in tandem with Prouvé experts, and in 2007 invited his longstanding friend, the architect Jean Nouvel, to undertake a creative adaptation of the House. Drawing on contemporary technical resources, Nouvel brilliantly extended and systematized its fundamental modularity with stackable Ductal blocks and a floor of removable slabs. The results were exhibited in the Tuileries Gardens in Paris, in 2010. This comprehensive account of Prouvé’s posthumous collaboration with Nouvel recounts the tale of the Ferembal House with archival photographs and plans of the original structure and a detailed account of Nouvel’s inspired interventions.

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Jean Nouvel, winner of the 2008 Pritzker Prize, is widely regarded as France’s most original and important contemporary architect. From 1967 to 1970, he assisted the influential architects Claude Parent and Paul Virilio before creating his own practice in Paris. His first largely acclaimed project was the Arab World Institute in Paris (1981–87). Since then, he has completed such grand projects as the Fondation Cartier in Paris, the Reina Sofía Museum in Madrid, the Philharmonie de Paris, and the Louvre Abu Dhabi. His recent work includes the 82-story 53W53 Tower in New York, the Duo Towers in Paris, and the Shanghai Pudong Art Museum. Based on the massive XXL monograph from 2008, this widely updated edition brings the architect’s definitive career overview to one volume. The result is a nearly 800-page tome with more than 25 recent projects and new photos commensurate with Jean Nouvel’s inimitable talent, which highlights milestone projects, among them his Serpentine Gallery Pavilion in London, as well as works in progress such as the spectacular Sharaan Desert Resort, a hotel carved into sandstone rock in the Al-'Ula desert in Saudi Arabia. The collection’s graphic design and images were conceived and selected by the architect himself, making this publication a genuine Nouvel by Nouvel, inside and out.

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In order to grasp what it means to call Rousseau an "author" of the Revolution, as so many revolutionaries did, it is necessary to take full measure of the difficulties of literary interpretation to which Rousseau's work gives rise, particularly around such a charged term as "author." On Jean-Jacques Rousseau shows that Rousseau's texts consistently generate a division in their own reading, a division both designated and masked by the fiction of authorship. These divisions can occur successively—as in the narrative reversals and discontinuities characteristic of Rousseau's fictional and autobiographical works—or simultaneously, in the form of incompatible attempts to apply the lessons of a single text to an urgent historical moment. Given the structure of these texts, their "influence" can only occur in an equally paradoxical form. Rousseau's contribution to revolutionary thinking lies in his conceptualization of the constitutive function of misunderstanding and narrative discontinuity, in history and political action as well as in literature. Such misunderstandings and discontinuities are particularly well illustrated by the vicissitudes of the reading of Rousseau's texts during the revolutionary period, a moment when "readings" occurred as political programs. The Revolution enacted Rousseau precisely to the extent that revolutionaries could not agree on what action he called for. He is "one of the first authors of the Revolution" not because he was one of its causes, but because he provided the terms in which the logic of the revolutionary process becomes intelligible.

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In order to grasp what it means to call Rousseau an "author" of the Revolution, as so many revolutionaries did, it is necessary to take full measure of the difficulties of literary interpretation to which Rousseau's work gives rise, particularly around such a charged term as "author." On Jean-Jacques Rousseau shows that Rousseau's texts consistently generate a division in their own reading, a division both designated and masked by the fiction of authorship. These divisions can occur successively—as in the narrative reversals and discontinuities characteristic of Rousseau's fictional and autobiographical works—or simultaneously, in the form of incompatible attempts to apply the lessons of a single text to an urgent historical moment. Given the structure of these texts, their "influence" can only occur in an equally paradoxical form. Rousseau's contribution to revolutionary thinking lies in his conceptualization of the constitutive function of misunderstanding and narrative discontinuity, in history and political action as well as in literature. Such misunderstandings and discontinuities are particularly well illustrated by the vicissitudes of the reading of Rousseau's texts during the revolutionary period, a moment when "readings" occurred as political programs. The Revolution enacted Rousseau precisely to the extent that revolutionaries could not agree on what action he called for. He is "one of the first authors of the Revolution" not because he was one of its causes, but because he provided the terms in which the logic of the revolutionary process becomes intelligible.

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En 1952, el escritor francés André Maurois encontró una caja llena de hojas manuscritas en un guardamuebles de la familia de Marcel Proust. Estudiado el contenido y encontradas referencias epistolares al mismo, Maurois concluye que se trata de una novela de Proust iniciada en 1896 y enriquecida a lo largo de siete años por el escritor con sucesivos textos de índole autobiográfica: el encuentro con el poeta y crítico John Ruskin, su duelo con el escritor bohemio Jean Lorrain, su posición ante el caso Dreyfus, etc. En el prefacio Proust nos presenta a los dos principales personajes de la novela, Jean Santeuil y Henri de Réveillon, que son convocados por un escritor llamado C. a su lecho de muerte para ofrecerles su última novela, que Santeuil se encargará de publicar. Ese juego de la novela dentro de la novela no tarda en disolverse dando paso a la voz del protagonista, Jean Santeuil, cuyo nombre sirvió al primer editor de la novela para darle título, pues carecía de él. La génesi

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Compact and fluid, robust and delicate, Royère’s chairs, lamps, chandeliers, sofas and desks exude a sensuous confidence, suggesting both comfort and alertness In 1931, aged 29, Jean Royère (1902–1981) resigned from a comfortable position in the import–export trade in order to set up business as an interior designer. He learnt his new trade in the cabinetmaking workshops of the Faubourg Saint-Antoine in Paris. In 1934, he designed the new layout of the Brasserie Carlton on the Champs Elysées and found immediate success, embarking upon an international career that was to endure for nearly half a century. Royère tackled all kinds of decoration work and opened branches in the Near East and Latin America; among his patrons were King Farouk, King Hussein of Jordan and the Shah of Iran, who entrusted him with the interior design of their palaces. The Royère style is a wonderful amalgam of bright, cheery colors, subtly organic forms and precious materials. Compact and fluid, robust and delicate, Royère’s chairs, lamps, chandeliers, sofas and desks exude a sensuous confidence, suggesting both comfort and alertness. This superbly produced, linen-bound, two-volume boxed monograph would have made Royère proud. The first volume explores the designer’s work across four themes inspired by his creations: “The Vegetal Realm,” “The Animal World,” The Imaginative Realm” and “Line and Design.” In addition to prefaces by Jacques Lacoste and Patrick Seguin, this volume contains interviews with Lorenz Baümer, Béatrice Salmon, and Christian Lacroix--by art historian and journalist Françoise Claire Prodhon--and a chapter looking back to the Jean Royère exhibition at the Sonnabend Gallery in New York in 2008. The second volume opens with a 1963 interview with Royère by Pascal Renous, and then presents the “Jean Royère Repertoire”: 380 items of furniture and other creations accompanied by detailed references and illustrations of variants. The volume is rounded off by a sketchbook offering 156 hitherto unpublished Royère drawings. This authoritative and sumptuous publication is the last word on this midcentury master.

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This is the story of Jean Galbraith, one of Australia's most influential botanists and writers on nature, plants and gardens. During a writing career that spanned seventy years, she turned botanical writing into a literary art, developed new forms of garden writing in Australia, and was tireless in spreading knowledge of native plants. The magic of her writing delighted her readers. She put her vision of nature into words and helped Australians of all ages to see their own landscapes in new ways. This is also the story of a writer and her place, a valley in Gippsland, Victoria. The valley was fundamental to her being and the source of her inspiration. She celebrated the beauty of all she saw - a peppermint tree by her fence, a drift of wildflowers near a creek - but she was also witness to encroaching industrialisation that transformed her landscapes. Through telling the story of Jean Galbraith's passion for nature and her simple life, of her writing and its farreaching influence, this

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In the course of a lifetime, Jean Bodin aimed at nothing less than to encompass all the disciplines of his age in a huge encyclopedia of knowledge. In many areas, his ideas have been not only original but seminal. He made major contributions to historiography, philosophy of history, economics, political science, comparative public law and policy, religion and national philosophy. This volume brings together a selection of major articles in English, representing almost all of his intellectual interests. It is an essential collection for libraries and scholars in both humanities and social sciences.

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Mäkelä's study brings together German, Nordic and Anglo-American work on Sibelius, and synthesizes these various strands of Sibelius reception into a single coherent critical narrative. This acclaimed study, available in English for the first time, looks at the music of Jean Sibelius in its biographical context. Myths have surrounded Sibelius [1865-1957] and his work, for more than 100 years, often diverting attention away from his creative output. Drawing on many unpublished sources, Mäkelä's study leads us back to Sibelius as a musician and a 'poet' of universal validity. Chapters examine the composer's creativity, inspiration, influence, aspects of genre, as well as the relationship of the artist with nature and homeland. Those who knew Sibelius at an early age tell of a youthful bohemian in the midst of European decadence. This 'age of Carmen'[Eduard Munch] marked Sibelius's formative years. The composer's most important works, dating from a time between his third symphony and Tapiola, reflect the modernistic mainstream. Sibelius's last three decades, known asthe 'Silence of Ainola', have inspired the masculine clichés that this book deconstructs. Sibelius was one of the least political artists of his time who nevertheless became heavily politicized. The first supreme musical talent in the region, he gave his nation a genuine sound. Europeans of the late nineteenth century showed increasing affinity with Nordic culture. Aino, Sibelius's wife, was instrumental in creating the image of her husband as a Nordic icon. The book closely scrutinizes this popular image. In an Anglo-American artistic context his mix of regionalism and modernity remained attractive even when these elements went out of fashion in the art movement of continental Europe. Ideas of Finland and the North vastly influenced the interpretation of meaning in Sibelius's music, a music that until this day remains enigmatic.

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Jean-Luc Persecuted follows the ill-fated life of an unhappily married man. When Jean-Luc’s wife pursues an affair and leaves him with their child, Jean-Luc’s behavior becomes more and more erratic. He falls to drinking, behaving recklessly, and squandering his money. The narrative follows the explosive downfall of a lone man and his unstoppable mental collapse, surrounded by villagers unable to effect real change. This novel, never before translated, exemplifies the earthy, realistic, often allegorical style of iconic Swiss writer Ramuz.

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Two Michelin-starred chef Jean-François Piège divulges more than 300 recipes from his exceptional restaurant, with suggestions for combining key ingredients into inventive menus. Visitors to award-winning chef Jean-François Piège’s gastronomic restaurant—the most-sought after table in Paris—select single key ingredients from his innovative menu, which he presents in exquisite and highly-creative dishes. Similarly, in this master-level cookbook, Piège presents more than 300 building-block recipes that can be combined in countless variations, inspiring the creative chef to compose original menus. Recipes include white asparagus with smoked salmon and horseradish cream, peanut crisp with an aniseed, line-caught Pollock, black truffle scallops, spaghetti carbonara (in which the proportions of bacon and pasta are inverted), beef or chicken with morel sauce, bergamot custard, or cherry tarte tatin. Featuring a cloth binding, three paper stocks, five-color printing, and a detailed index, this fine book from France’s culinary sensation Jean-François Piège is a perfect gift for professional and aspiring home cooks, as well as French culinary fanatics.

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Jean Haritschelhar ha formado parte de la dirección de Euskaltzaindia durante 38 años. Académicos de número, de honor, correspondientes y miembros de la comisión de literatura, presentan diferentes artículos sobre gramática, literatura, poesía, historia...

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Del lápiz de Jean-Paul Gaultier han salido faldas para hombre, prendas unisextransparentes con efecto tatuaje y vestidos corte sirena inspirados en unacamiseta de marinero, además de, cómo no, el célebre corsé con el pechopuntiagudo que Madonna llevó en 1990 en su gira Blonde Ambition, y con el queel nombre del diseñador pasó a ser universalmente conocido. Showman con lookinconfundible (camiseta a rayas, tupé rubio), Jean-Paul Gaultier sigue siendouno de los poquísimos nombres de la moda reconocibles por el público general.En su punto álgido, a mediados de los noventa, su popularidad era mayor que lade ningún diseñador en la historia, una fama y un estilo propio que ha sabido enbuena parte conservar hasta hoy.

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“When she refused me,” Charlie says at his trial. “Well, I had that gun. What else was I to do?” Lawrenceville, Illinois, 1952: Jean De Belle, the new high school librarian, is eager to begin the next phase of her young life after breaking off her engagement to Charlie Camplain. She has no way of knowing that in a few short hours, Charlie will arrive at the school, intent on convincing her to take back his ring. What happens next will reverberate through the lives of everyone who crossed paths with Charlie and Jean: the hotel clerk who called him a cab, the high school boy who became his getaway driver, and the English teacher who was Jean’s landlady, her confidant, and perhaps more. Based on a true crime and ideal for readers of The Heart Is a Lonely Hunter by Carson McCullers and Elizabeth Strout’s beloved Anything Is Possible, Pulitzer Prize finalist Lee Martin's Yours, Jean is a powerful novel about small town manners and the loneliness that drives people to do things they never imagined.

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The groundbreaking sculptor's most comprehensive monograph to date Jean-Michel Othoniel is an artist who creates sculptures that explore themes of fragility, transformation, and ephemerality. Using the repetition of such modular elements as bricks or beads, his work deploys various strategies that hint at loss and despair – cracks in his objects' perfect surfaces, negative spaces and, early in his career, transient materials such as sulfur. The most authoritative study of the artist's work to date, it includes intimate gallery pieces as well as monumental public commissions around the world.

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Introducing Starla Jean! She's full of moxie, clever as a fox, and obsessed with catching a chicken she finds at the park. When Starla first sees the scrawny bird wandering around, she just knows they're destined for each other. Her dad says, 'If you can catch it, you can keep it,' and Starla Jean is not one to back down from a challenge. Printz Honor winner and National Book Award Finalist Elana K. Arnold makes her chapter book debut with this irresistible story of a girl and her chicken.

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A key figure in the Art Deco movement, artist Jean Dunand (1877-1942) stands out for his multiple talents as a sculptor, goldsmith, copper maker, but also lacquerer, bookbinder and decorator. After having excelled in finishing hammer-mounted vases and brassware, he met Seizo Sugawara in 1912 who led him to become passionate about lacquer, which he made his signature on both his vases and his panels, furniture and bindings. At the head of an important workshop, he participated in the major international exhibitions of his time, in Paris in 1925, 1931 and 1937, in New York in 1939, and was regularly exhibited at the Georges Petit gallery and at the Salon des Artistes Décorateurs. His singularity and the quality of his creations lead him to become one of the most sought-after portrait painters, immortalising personalities in fashion and the arts such as Jeanne Lanvin, Louise Boulanger, Joséphine Baker as well as from the world of finance such as the Lazards, Carnegie or Louis-Dreyfus. Jean Dunand also worked on remarkable sets in France and the United States such as the music salons of Solomon R. Guggenheim, the apartments of Madame Agnès or Templeton Croker, as well as on the shipyards of the Atlantic and Normandy liners which will crown a rich career of more than two thousand works, presented in a repertoire at the end of the book. Text in French.

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When she first sees the scrawny bird wandering around, she just knows they're destined for each other. Her dad says, 'If you can catch it, you can keep it,' and Starla Jean is not one to back down from a challenge.

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This volume is the first to examine, in either French or English, the films of Jean-Jacques Beineix, often seen as the best example of the 1980s cinéma du look, with cult films, such as Diva and Betty Blue (37º 2 le matin).. After an introduction which places Beineix in the context of the 1980s and the arguments centering on a postmodern cinema, the volume devotes a chapter to each of Beineix’s feature films, including the film which marked his return to feature film making after a break of a decade, Mortel Transfert (2001). Prefaced by an excellent foreword by the director himself, which includes a broad condemnation of French critics. Includes many illustrations direct from the director's own collection, complementing the interviews Powrie made with him and his collaborators.

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This is the story of Jean Galbraith, one of Australia's most influential botanists and writers on nature, plants and gardens. During a writing career that spanned seventy years, she turned botanical writing into a literary art, developed new forms of garden writing in Australia, and was tireless in spreading knowledge of native plants. The magic of her writing delighted her readers. She put her vision of nature into words and helped Australians of all ages to see their own landscapes in new ways. This is also the story of a writer and her place, a valley in Gippsland, Victoria. The valley was fundamental to her being and the source of her inspiration. She celebrated the beauty of all she saw - a peppermint tree by her fence, a drift of wildflowers near a creek - but she was also witness to encroaching industrialisation that transformed her landscapes. Through telling the story of Jean Galbraith's passion for nature and her simple life, of her writing and its farreaching influence, this

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Jean de La Ville de Mirmont left behind one undisputed classic, self-published a few months before he would meet his fate on the front lines of World War I: an understated, almost humorous tale of urban solitude and alienation that outlines the mediocrity of bureaucratic existence. Jean Dézert is an office worker employed by the ministry, who rounds out his regimented life with snippets of Eastern philosophy, strolls through the city and consumerist efforts at injecting content into his life by structuring his Sundays through a rigorous use of advertising flyers that take him from saunas to vegetarian restaurants to lectures on sexual hygiene. In his mortal boredom, his modernist engagement with the banality of the everyday and his almost heroic resignation to mediocrity, Jean Dézert emerges as something of a French counterpart to Herman Melville’s own rebel bureaucrat, Bartleby the Scrivener—save that when it comes to being an existential rebel, Jean Dézert goes even further in his will to prefer not to. “Jean Dézert is like a brother to me,” wrote Michel Houellebecq, “because of his ability to escape despair by means of emptiness.” Jean de La Ville de Mirmont (1886–1914) was killed by a shell explosion on the World War I battlefront. He left behind a collection of poetry that would be published posthumously, a collection of short stories and the novella for which he is remembered, The Sundays of Jean Dézert.

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The debut monograph on the globally-lauded artist, filled with his joyful, witty paintings, illustrations, collaborations, and more – includes never-before-seen artwork and personal sketchbooks, giving insight into his artistic practiceJean Jullien’s work is instantly recognizable and wide in its scope. Known for his astutely observed and witty depictions of everyday life, his illustrations place expressive characters in relatable environments and act as a visual commentary on life. Organized in three sections – Personal, Collaboration, and Public – this fulsome book explores Jullien’s approach to art and covers his expansive career, from his earliest creative partnerships to his progression into painting, while also offering a first-hand look at his process with sketches and never-before-seen works. Unique and comprehensive in its scope, this is a must-have book for every fan of Jullien's work.

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In 2018 the Fondation Louis Vuitton, Paris, is hosting exhibitons on two of the greatest artists of the 20th century - Egon Schiele, and Jean-Michel Basquiat. Both exhibitions have the same curator, and are taking place at the same time. The shows illustrate exactly what it is that linked the two artists: line, and the use of expressive force.This, the catalogue of the Basquiat exhibition, labelled "the definitive exhibition" by its curator, brings together 120 of the artist's most important masterpieces, sourced from interational museums and private collections. With the astonishing radicalness of his artistic practice, Basquiat renewed the concept of art with enduring impact. This Basquiat retrospective centres on the idea of Basquiat's unique energetic line, his use of words, symbols, and how he integrates collage in his paintings, sculptures, objects, and large-scale drawings.The catalogue includes texts by great authors, including Paul Schimmel who tells of his meeting with Basquiat in California; Francesco Pellizi who knew Basquiat well and has not written about him for a long time; and Okwui Enwezor who talks about the Afro American identity.

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In 1969, the French oil company Total began implementing a mass-production model for its gas stations—large ones for France's freeways, and the smaller roadside units. The company called in Jean Prouvé, who had already amply demonstrated his skills in the field of prefabrication. This volume documents this dimension of Prouvé's "demontable" architecture.

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Now in paperback, The Crime of Jean Genet is a powerful personal account of the influence of one writer on another and one of the most penetrating explorations yet of Genet’s work and achievement. Dominique Eddé met novelist and playwright Jean Genet in the 1970s. And she never forgot him. “His presence,” she writes, “gave me the sensation of icy fire. Like his words, his gestures were full, calculated, and precise. . . . Genet’s movements mimicked the movement of time, accumulating rather than passing.” This book is Eddé’s account of that meeting and its ripples through her years of engaging with Genet’s life and work. Rooted in personal reminiscences, it is nonetheless much broader, offering a subtle analysis of Genet’s work and teasing out largely unconsidered themes, like the absence of the father, which becomes a metaphor for Genet’s perpetual attack on the law. Tying Genet to Dostoevsky through their shared fascination with crime, Eddé helps us more clearly understand Genet’s relationship to France and Palestine, Judaism, Christianity, Islam, the theater, and even death. A powerful personal account of the influence of one writer on another, The Crime of Jean Genet is also one of the most penetrating explorations yet of Genet’s work and achievement.

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With the closure of Jean Muir Ltd. in 2007, interest in the life and work of the Iconic British fashion designer has never been greater. Jean Muir (1928-1995), doyenne of dressmaking, is forever associated with the 'little black dress'. Her signature style married a distinctive purity of line with a soft fluidity on the body, to create the sensuous, deceptively simple clothes that became her trademark, epitomised by her work in matte jersey, and in particular her jersey dresses, which brought her legendary status in an internationally-renowned career that spanned four decades. Working with a range of fabrics, which apart from her matte jersey included wools, silks, suedes, leather, and fine cashmere, she was the first designer on the international stage to apply couture quality and craftsmanship in her collections. Whilst the French accorded her the title 'la nouvelle Reine de la Robe', the actress Joanna Lumley, a Jean Muir house model in the '70s, who has worn Muir designs ever since, famously stated that, 'every woman should have a Jean Muir in her wardrobe'. Her designs were constant favourites with artistic, literary, and dramatic personalities drawn to the discreet luxe and timeless femininity of her clothes: Dame Judi Dench, Dame Maggie Smith, Lady Olivier, Charlotte Rampling, Lauren Bacall, Barbra Streisand, Bridget Riley, Dame Elisabeth Frink, Lady Antonia Fraser, Dame Diana Rigg, whose actress daughter, Rachael Stirling now also wears Muir. This beautifully illustrated book highlights the variety and appeal of a career that covered every aspect of the fashion world, and includes many of Muir's sketches, as well as photography by Norman Parkinson, David Bailey, Eric Boman, Barry Lategan, Sarah Moon, Deborah Turbeville, Helmut Newton and Arthur Elgort. It has written contributions from Lady Antonia Fraser, Sir Roy Strong, Bridget Riley, Suzy Menkes, Fashion Editor of The International Herald Tribune, and Alexandra Shulman, Editor-in-Chief of British VOGUE, amongst others.

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Jean-Michel Basquiat's raw and colourful graffiti style artwork is reproduced here for our museum quality notecard collection. Our best-selling QuickNotes are smaller than notecards but large enough to convey personal greetings, thank-yous and invitations. 20 notecards 5 each of 4 images 20 envelopes Magnetic closure Sturdy, reuseable box, ideal for keepsakes Box measures 120 x 142 x 36 mm.

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Step into Jean Haines’ distinctive, exciting world of watercolour with this, the ultimate guide to her influences, style and work. Jean's loose, expressive paintings are filled with colour and personality, embracing a range of subjects that includes flowers, animals, people and places, all influenced by the countries and cities she's lived in and the people she's met during her life. This beautiful book contains easy-to-follow and inspiring introductory sections such as ‘an artist’s treasure chest’ and ‘the colour gym’, offering practical guidance and in-depth exercises in an innovative and accessible way, and the numerous examples of Jean’s work will inspire and encourage novice as well as experienced artists. After this introductory section, the book shows the reader how to put the skills they've learned into practice with gorgeous step-by-step projects packed full of expert tips and advice, encouraging them to move forward and develop their own style of working. Like her painting, Jean's writing is filled with passion and enthusiasm, transporting the reader through a world of watercolour that will not fail to excite and inspire.

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Using the philosophy of Jean-Luc Nancy as an anchoring point, Jacques Derrida in this book conducts a profound review of the philosophy of the sense of touch, from Plato and Aristotle to Jean-Luc Nancy, whose ground-breaking book Corpus he discusses in detail. Emmanuel Levinas, Maurice Merleau-Ponty, Edmund Husserl, Didier Franck, Martin Heidegger, Francoise Dastur, and Jean-Louis Chrétien are discussed, as are René Descartes, Diderot, Maine de Biran, Félix Ravaisson, Immanuel Kant, Sigmund Freud, and others. The scope of Derrida's deliberations makes this book a virtual encyclopedia of the philosophy of touch (and the body). Derrida gives special consideration to the thinking of touch in Christianity and, in discussing Jean-Luc Nancy's essay "Deconstruction of Christianity," devotes a section of the book to the sense of touch in the Gospels. Another section concentrates on "the flesh," as treated by Merleau-Ponty and others in his wake. Derrida's critique of intuitionism, notably in the phenomenological tradition, is one of the guiding threads of the book. On Touching includes a wealth of notes that provide an extremely useful bibliographical resource. Personal and detached all at once, this book, one of the first published in English translation after Jacques Derrida's death, serves as a useful and poignant retrospective on the work of the philosopher. A tribute by Jean-Luc Nancy, written a day after Jacques Derrida's death, is an added feature.

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A multifaceted engagement with the thought of Jean-Luc Nancy. This book continues passionate conversation that Jean-Luc Nancy (1940–2021) was engaged in throughout his life with philosophers and artists from all over the world. The contributors take up Nancy’s philosophical question of truth as a praxis of a “with”—understanding truth without any given measure or comparison as an articulation of a with. It is a thinking responsible for the world from within the world, a language that seeks to respond to the ongoing mutation of our civilization. Contributors include Jean-Christophe Bailly, Rodolphe Burger, Marcia Sá Calvacante Schuback, Marcus Coelen, Alexander García Düttmann, Juan-Manuel Garrido, Martta Heikkilä, Erich Hörl, Valentin Husson, Sandrine Israel-Jost, Ian James, Apostolos Lampropoulos, Nidesh Lawtoo, Jérôme Lèbre, Susanna Lindberg, Michael Marder, Artemy Magun, Boyan Manchev, Dieter Mersch, Hélène Nancy, Jean-Luc Nancy, Aïcha Liviana Messina, Ginette Michaud, Helen Petrovsky, Jacob Rogozinski, Philipp Stoellger, Peter Szendy, Georgios Tsagdis, Marita Tatari, Gert-Jan van der Heiden, and Aukje van Rooden.

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Lara Jean and her love letters are back in this utterly irresistible third book in the hit series - the first being the NETFLIX feature film, To All The Boys I've Loved Before. Lara Jean is having the best senior year a girl could ever hope for. She is head over heels in love with her boyfriend, Peter; her dad's finally getting remarried to their next door neighbor, Ms. Rothschild; and Margot's coming home for the summer just in time for the wedding. But change is looming on the horizon. And while Lara Jean is having fun and keeping busy helping plan her father's wedding, she can't ignore the big life decisions she has to make. Most pressingly, where she wants to go to college and what that means for her relationship with Peter. She watched her sister Margot go through these growing pains. Now Lara Jean's the one who'll be graduating high school and leaving for college and leaving her family—and possibly the boy she loves—behind. When your heart and your head are saying two different things, which one should you listen to? The third book in the bestselling series by Jenny Han, which has been made into a NETFLIX feature film To All the Boys I've Loved Before is the first book P.S. I Still Love You is the second book in the trilogy.

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A deserted Paris house holds the mystery of a brilliant Viennese modernist who worked alongside Le Corbusier and Adolf Loos before vanishing.Wyeth takes readers on a deeply personal and revelatory journey. This research process, which readers experience vicariously, makes Wyeth’s prose exhilarating as tiny details become breakthroughs of grand proportions. […] For late architect and painter Jean Welz, designs should reflect one’s aesthetic and political commitments. This narrative will resonate with anyone interested in the politics of architecture, or the pursuit of knowledge at large.—Hyperallergic "BEST ART BOOKS OF 2022"Welz’s having been “lost” is indeed a travesty of architectural history to which the book serves as a welcome antidote.—Artforum A leading painter still highly regarded in South Africa, Jean Welz's prior architectural career has been virtually unknown until a string of discoveries unfolded for author and filmmaker Peter Wyeth, allowing him to narrate this amazing true tale of genius. Trained in ultra-sophisticated, but conservative Vienna, Welz was sent to Paris for the 1925 Art Deco exhibition by his influential employer, renowned architect Josef Hoffmann. There he met preeminent modern architects Le Corbusier and Adolf Loos. The latter employed him to assist in building a house for the founder of Dada, Tristan Tzara. They all mixed in avant-garde circles at the Dôme Café in Montparnasse along with Welz’s classmate from Vienna, later Chicago-based architect Gabriel Guevrekian; Welz’s future employer Raymond Fischer, whose archive was mostly destroyed by Nazis; and photographer André Kertész. Through Welz’s South African family archive, author Wyeth retrieves stories, letters, portfolios, and photographs generations after Welz’s death that unravel his heroic designs, his stunning built critique of Corbusier’s “Five Points of Architecture,” a gravestone for Marx’s daughter, and the many ways that Welz disappeared amongst his collaborators, intentionally and not. This account of why Jean Welz did not become a famous name in architecture takes us through his brother’s Nazi-art-dealings, illness, betrayal, emigration, and an uncompromising artist’s vision at the same time sifting through significant, literally-concrete evidence of Welz’s built projects and visionary designs.

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The Ateliers Jean Prouvé built the structure housing the Ferembal offices in Nancy in 1948. At the request of the Galerie Patrick Seguin, in 2010, architect Jean Nouvel undertook a thoroughgoing "adaptation" of the Prouvé building, demonstrating the enduring relevance of the method. This volume documents both projects.

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This volume offers a new interpretation of one of the most innovative directors in the history of cinema. It is the first book to cover the whole of Godard's career, from the French New Wave to the recent triumphs of Histoire(s) du cinéma and Eloge de l’amour. Drawing on a wide range of literary, filmic and philiosophical texts, the book places Godard's work within its intellectual context, examining how developments in French culture and thought since 1950 have been mirrored in - and sometimes anticipated by - Godard's films.Numerous sequences from Godard's films are singled out for close analysis, demonstrating how the director's radical approaches to narrative, editing, sound and shot composition have made the cinema into an analytical tool in its own right.The book will be essential to all students of Godard's films, and of interest to scholars of modern and contemporary French cinema, culture and thought.

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Encuadernación: Rústica.Colección: Filosofía.Tocarlo, por cierto, pero a quién, qué? Tocar a alguien, tocar algo? O incluso tratar el tocar, la cuestión del tocar? A quién, primero, singularmente: he querido esbozar un primer movimiento para saludar a alguien, para saludarlo a él, a Jean-Luc Nancy. A alguien que piensa y escribe hoy como ninguno. Y para saludarlo así, sin faltar a las reglas del tacto tocarlo sin tocarlo, he aventurado el gesto siempre elíptico del saludo.Qué, también: he querido esbozar un primer movimiento para saludar lo que Nancy piensa y escribe hoy, desde hace treinta años (...). Luego, un tema unificador, una problemática o una aporía, un léxico o una retórica. Título, entonces: Le toucher. Qué es tocar? El mejor hilo conductor, el más económico para re-comenzar a leer a Nancy, hoy, de manera a la vez diacrónica y sincrónica, sería, me parece, seguir su cuestión del tocar. Esta cuestión se despliega hasta invadir, parasitar, sobredeterminarlo todo a lo la

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Have you ever walked a chicken on a leash? Well, chicken expert Starla Jean will let you know first-hand, it's not easy. But that doesn't stop her from taking her pet chicken, Opal Egg, and her baby sister, Willa, out on a stroll through the neighbourhood. On their walk, they stumble upon a mysterious bead. And then another! Before they know it, they have a conundrum on their hands, and it's up to Starla and her friends to figure out just who exactly is losing these beads!

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Emulated as the epitome of French style and honoured by international design magazines and editors, Jean-Louis Deniot is in demand. His legacy is already being compared to that of design greats such as Jacques Grange and Alberto Pinto. Deniot is an architect first, ensuring that the interior architecture of his rooms is harmonious before taking a sophisticated neoclassical approach to the decor. He brings education, logic, and design history to his work, with one eye looking at the most refined style of French eighteenth century and one eye on the sophistication of the twentieth and twenty-first centuries. His mix is highly individual, mixing art and custom-made furniture and pieces from different periods with masterful elegance. His rooms always look comfortable and timeless; never overly formal or trendy. In his second book, Deniot highlights his newest work from around the globe, showcasing his urbane and artful interiors from the United States to London, Paris, and Milan, and Moscow, Bangkok and New Delhi. With stunning photography and a series of insightful interviews between the designer and author Pamela Golbin, Destinations highlights a polished and richly layered classical style that is changing the scene for international design and offering inspiration and ideas to decorators, homeowners, and antiques enthusiasts.

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The legend of Jean-Michel Basquiat is as strong as ever. Synonymous with New York in the 1980s, the artist first appeared in the late 1970s under the tag SAMO, spraying caustic comments and fragmented poems on the walls of the city. He appeared as part of a thriving underground scene of visual arts and graffiti, hip hop, post-punk, and DIY filmmaking, which met in a booming art world. As a painter with a strong personal voice, Basquiat soon broke into the established milieu, exhibiting in galleries around the world. Basquiat’s expressive style was based on raw figures and integrated words and phrases. His work is inspired by a pantheon of luminaries from jazz, boxing, and basketball, with references to arcane history and the politics of street life—so when asked about his subject matter, Basquiat answered “royalty, heroism and the streets.” In 1983 he started collaborating with the most famous of art stars, Andy Warhol, and in 1985 was on the cover of The New York Times Magazine. When Basquiat died at the age of 27, he had become one of the most successful artists of his time. This book allows an unprecedented insight into Basquiat’s art, with pristine reproductions of his most seminal paintings, drawings, and notebook sketches. In large-scale format, the book offers vivid proximity to Basquiat’s intricate marks and scribbled words, further illuminated by an introduction to the artist from editor Hans Werner Holzwarth, as well as an essay on his themes and artistic development from curator and art historian Eleanor Nairne. Richly illustrated year-by-year chapter breaks follow the artist’s life and quote from his own statements and contemporary reviews to provide both personal background and historical context.

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Perhaps no twentieth-century composer has provoked a more varied reaction among the music-loving public than Jean Sibelius (1865-1957). Originally hailed as a new Beethoven by much of the Anglo-Saxon world, he was also widely disparaged by critics more receptive to newer trends in music. At the height of his popular appeal, he was revered as the embodiment of Finnish nationalism and the apostle of a new musical naturalism. Yet he seemingly chose that moment to stop composing altogether, despite living for three more decades. Providing wide cultural contexts, contesting received ideas about modernism, and interrogating notions of landscape and nature, Jean Sibelius and His World sheds new light on the critical position occupied by Sibelius in the Western musical tradition. The essays in the book explore such varied themes as the impact of Russian musical traditions on Sibelius, his compositional process, Sibelius and the theater, his understanding of music as a fluid and improvised creation, his critical reception in Great Britain and America, his "late style" in the incidental music for The Tempest, and the parallel contemporary careers of Sibelius and Richard Strauss. Documents include the draft of Sibelius's 1896 lecture on folk music, selections from a roman clef about his student circle in Berlin at the turn of the century, Theodor Adorno's brief but controversial tirade against the composer, and the newspaper debates about the Sibelius monument unveiled in Helsinki a decade after the composer's death. The contributors are Byron Adams, Leon Botstein, Philip Ross Bullock, Glenda Dawn Goss, Daniel Grimley, Jeffrey Kallberg, Tomi Mkel, Sarah Menin, Max Paddison, and Timo Virtanen.

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A Companion to Jean Renoir “An extraordinary collection of essays that more than fulfills the aims of its editors, Alastair Phillips and Ginette Vincendeau. The essays offer exciting, original work from younger scholars as well as long-established authorities, all of which offer invaluable insights into the films, writings, and life of Jean Renoir. Receiving particular attention are questions about the singularity or multiplicity of what the editors call the many ‘Renoirs’ (French, American, Indian; even transnational), especially from the early 1930s through the early 1960s. Whether mining relatively unexplored archive materials, deploying newly current methodological approaches, interrogating one of a wide range of topics and issues, or engaging in close textual analysis, the contributors construct a tantalizing series of innovative ‘road maps’ for future researchers to pursue.”Richard Abel, University of Michigan “Alastair Phillips and Ginette Vincendeau have brought together essays that bring new perspectives to both the best-known and the lesser-known of Renoir’s films. Both French cinema specialists and viewers new to Renoir’s work will find much of interest in this outstanding collection.”Judith Mayne, Ohio State University Dubbed simply “the best director”’ by François Truffaut, Jean Renoir is a towering figure in world film history. This exhaustive survey of his work and life features a comprehensive analysis of his films from the multiple critical perspectives of the world’s leading Renoir scholars. Renoir’s career spanned four decades and four countries and included an extraordinary body of films, some of which – La Grande illusion (1937) and La Règle du jeu (1939) – are universally recognized masterpieces. Fathered by the celebrated painter Pierre-Auguste Renoir, the filmmaker lived through much of the twentieth century, beginning his career in the silent era and ending it in full Technicolor. His films are notable for their paradoxical combination of strong internal coherence and thematic breadth and diversity, and they provide a rich source for today’s scholars of film history and French culture. This handbook, the largest volume on Renoir ever produced in the English language, ranges in scope from extreme close-up analysis of individual films to long-shot explorations of his aesthetics and the social and cultural contexts in which he worked. The most ambitious critical study of Renoir to date, this book will appeal to film enthusiasts as much as scholars and specialists.

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One of the BBC's '100 Novels That Shaped Our World''A sublimely funny book ... it is a book to be read by all ... unforgettable and universal' Candia McWilliamRomantic, heroic, comic and tragic, unconventional schoolmistress Jean Brodie has become an iconic figure in post-war fiction. Her glamour, unconventional ideas and manipulative charm hold dangerous sway over her girls at the Marcia Blaine Academy - 'the crème de la crème' - who become the Brodie 'set', introduced to a privileged world of adult games that they will never forget. Muriel Spark's The Prime of Miss Jean Brodie was adapted into a successful stage play, and later a film directed by Ronald Neame and starring Maggie Smith.

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