Search results for ""Grasset""

What is sex? Has it always existed? What purpose does it serve? Why are there penises and vaginas? These questions are at the very core of Dirty Biology, an erudite (and hilarious) graphic novel that aims to teach you everything you wanted to know about sex—and then some.“Sex” can mean a number of things. It can refer to sex organs, to sex types, to the act of copulation, or to the simple exchange of genetic material. This book explains what we actually mean when we talk about sex and reveals a wealth of astonishing scientific details along the way. For example, did you know that some species can have sex without genitals? And when it comes to genitals, did you know that there’s an amazing diversity of these across species? From the evolution of penises and vaginas to far-fetched mating rituals and the shocking consequences of the sex act, Dirty Biology exposes sex for what it is: a lot more interesting and more complicated than the simplistic image we often have of it.

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These lush floral images, lovingly reproduced from a hard-to-find edition of a Belle Epoque classic, were compiled by a pioneer in Art Nouveau design. The 466 color images feature vibrant, naturalistic motifs, stylized borders, panels, medallions, and more by M. P. Verneuil and other masters of the genre, including Bourgeot, Gaudin, Hervegh, and Schlumberger.

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?Querido amigo, es mi anhelo que me acompañes a lo largode este misterioso camino?.Una voz anónima nos invita a seguirla a través de Midnight, una recopila-ción de seis relatos, seis historias, seis vidas a través del tiempo y del espacio. Son muy dispares pero todos tienen un componente común y Viki Tapada ha tenido a bien que sus hermosos textos no desvelen fácil-mente el secreto de su protagonista.Para ello cuenta con la ayuda de seis dibujantes muy talentosos como son Ana del Valle/Vampirneko, Arantza Sestayo, Sonia Moruno, Omar Díaz, Rafater y Carine Grasset. Cada uno de los autores trae su toque tan personal para realizar una obra plural, hermosa y misteriosa.

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Neuter summarizes H#&233;lène Cixous's early concerns - self, language, meaning, relations, #&233;criture feminine - by laying bare metaphors, incorporating existing material, and developing text by association, fragmentation, and play on signifiers. Its "substance" is nebulous; its woven structure determines the presence and function of all its elements and expresses Cixous's guiding philosophy. Neuter's goal is to transform the narratives, myths, and discourses that mold our selves, provoking a revelation through new juxtapositions of the self with all others or new relations. The title reflects both Cixous's focus on language and her attempt to free us from sexual preconceptions. Neuter was first published by Grasset in 1972 as the third part of a trilogy which includes Le troisi#&232;me corps and Les commencements, published in 1970.

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Encuadernación: RústicaColección: Siglo XXEn un complicado juego entre el ejército y el partido, entre militares y civiles, no exento de roces y percances, Gerhard Heller narra en su diario cómo se integró rápidamente en la vida cultural de la capital parisina. Entre sus recuerdos destacan las relaciones que mantuvo con editores como Gaston Gallimard, Bernard Grasset o Robert Denoël; con personajes singulares del mundo cultural como la millonaria Florence Gould, y con artistas como Picasso o Braque. Pero por encima de todo Heller estuvo en contacto con una serie de escritores tan distintos como Pierre Drieu La Rochelle, Jean Paulhan, Marcel Jouhandeau, François Mauriac, Jacques Chardonne, Paul Léautaud, Jean Cocteau, Abel Bonnard, Louis-Ferdinand Céline, Robert Brasillach, Paul Morand, Pierre Benoit, Ramon Fernandez, Alfred Fabre-Luce, Bernard Groethuysen, André Fraigneau o Jean Giraudoux, e incluso con los militares alemanes más o menos críticos con el nazismo y sobre todo con

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“Paris is the centre of the cult,” wrote Robert Hichens in Felix, his 1902 novel on the rising number of morphine addictions in Europe. In Paris, artists depicted the morphine addict numerous times, yet they disregarded the reality of France’s addiction problem: male medical professionals made up the highest proportion of people who used morphine habitually. In oil paintings, caricatures, and lithographs, artists such as Pablo Picasso, Eugène Grasset, and Théophile Steinlen almost always depicted the morphine addict as a deviant female figure.Artists sensationalized addiction to elicit shock and stand out in the crowded Parisian art market. Their artworks show influences from contemporary medical texts on addiction and artistic depictions of sex workers, lesbians, and other women deemed socially deviant. These images proliferated in French society, creating false narratives about who was or could become addicted to drugs and setting a precedent for the visualization of drug addiction. Hannah Halliwell links the feminization of addiction to broader anxieties in late nineteenth-century France – the defeat by Prussia in 1871, concerns about social decadence, a declining population, and a rising feminist movement.Art, Medicine, and Femininity presents a new understanding of the history of addiction and substance use and its intersection with art and gender.

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