Author: Florence Cochet
Loren Ascott, détective au sein de l’Agence de Recherche Paranormale, n’a a priori rien d’extraordinaire si ce n’est un don pour s’attirer des ennuis. Lorsqu’un certain Anderson demande à la rencontrer et lui propose une mission pour le compte du riche collectionneur Sir Andrew Telmoore, elle hésite. Pourquoi elle ? L’homme sait se montrer convaincant. Et puis, traquer un esprit dans un vieux château en rénovation n’a rien de bien compliqué... Alors pourquoi pas ? C’est avec l’espoir de rapidement régler l’affaire que Loren quitte la grisaille parisienne pour les vertes forêts du Gévaudan. Mais une fois sur place, elle déchante vite. Car les murs du château de Baldassé semblent renfermer de nombreux et terribles secrets. Des secrets que son nouvel employeur s’est bien gardé de lui révéler...
This novel titled The Enchained Spirits, is written by Sidiki Akossi Yomboto. The author tells us in his work the story of two very respectable families and great believers who thus opposed the marriage of their son and daughter because they were not of the same religion. But both, for the sake of a deep love, decided to go into exile, cutting every hole and marrying against all odds. Their journey was very difficult and challenging as described in the novel.
C'est un vrai petit bijou que ce livre ! Ecrit avec beaucoup de clarté et de simplicité, dans un style qui touche immédiatement par sa sincérité, La mort et le lâcher-prise est une mine d'or d'informations sur ce qui se passe au moment du décès et après. Il traite aussi bien du deuil que de l'attachement, des âmes en peine que de la façon de dissoudre des énergies résiduelles négatives, de la préparation à la mort comme de l'art du lâcher-prise et de la façon de bien vivre sa vie quotidienne.
These fifteen essays by former doctoral students, now distinguished seiziemistes, of Francois Rigolot, Meredith Howland Pyne Professor of French Literature at Princeton University, represent a tribute to his qualities as professor, scholar, and person who embodies both a Montaignian esprit genereux and a Rabelaisian pantagruelisme . They pay homage to his renowned erudition and publications on all aspects of French Renaissance literature, his pedagogical skills, his support of students and colleagues, his leadership at Princeton University, and his inspirational personality. The balanced mixture of creative imagination, rigorous explication de texte, and delightful personal rhetoric that characterizes Professor Rigolot's scholarly works still forms a source of inspiration for his students, as is clear in this volume. Regrouping the major fields of interest in which the minds of magister and discipuli produced the most fruitful dialogues (poetry, the Renaissance au feminin, Rabelais, and Montaigne), spanning a wide variety of authors (Petrarch, Sceve, Ronsard, Cretin, Marguerite de Navarre, Louise Labe, Rabelais, Montaigne, La Boetie, and Pascal), these studies for a tribute to the extraordinary breadth of Professor Rigolot's research interests.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
Daniel-François-Esprit Auber (1782-1871), the composer of La Muette de Portici (1828) and Fra Diavolo (1830), was once regarded as one of the great figures of music, a staple of the operatic repertoire in France, and indeed around the world. It is now almost impossible to understand the extent of his once universal fame, his influence on contemporary composers. His operas were in the theatre repertories of the world until the 1920s, and innumerable arrangements of them were published and sold everywhere. The ubiquity of his overtures—Masaniello, Fra Diavolo, The Bronze Horse, The Black Domino, The Crown Diamonds—once as popular as those of Rossini and Suppé, and the influence of his melodies and dance rhythms on piano and instrumental music, and on Romantic comic opera, was overwhelming. In his operas Auber avoided any excess in dramatic expression; all emotion and expressiveness, any vivid depiction of local milieu, were realized within his discreetly nuanced tones, always stamped with a Parisian elegance. His operas were loved in his native France until the years before the First World War, with Fra Diavolo and Le Domino noir last performed at the Opéra-Comique in 1909. Auber’s career was a record of this success and appreciation. His appointment to the Institute (1829) was followed by other prestigious posts: as Director of Concerts at Court (1839), director of the Paris Conservatoire (1842), Musical Director of the Imperial Chapel (1852), and Grand Officer of the Légion d’Honneur (1861). During his lifetime, six biographies appeared contemporaneously, with another six appearing posthumously in the period up to 1914. In the late nineteenth and early twentieth centuries, however, reactions to Wagner, Impressionism and the Neo-Classicism of the Ballet Russe resulted in a growing lack of interest in the ancient traditions of opéra-comique, with its charming plots, melodic directness and rhythmic élan. Boieldieu, Hérold, Adam and Auber were relegated to the dustbin of history. Only in Germany did the genre continue to flourish; Auber’s most enduring work is still performed there. His death in pitiful conditions during the Siege of Paris (1871), in the city he always loved, marked the end of an era. Auber now occupies a shadowy niche in the general consciousness as the name of the metro station nearest the Palais Garnier, and remains unknown and neglected (apart of course from Fra Diavolo), although his impact on the nineteenth-century operatic theatre was just as great as Rossini’s. The time has surely come for Auber’s life and work, especially in association with his life-long collaborator Eugène Scribe (1791-1861)—master dramatist and supreme librettist, a determining force in the history of opera—to be reassessed. Perhaps then the world will begin to hear more of Auber’s elegant gracious, life-affirming music, written to Scribe’s words. The aim of the present study is to offer an overview of the life and work of Auber by close examination of his forty operas, with consideration of origins, casting, plot, analysis of dramaturgy and musical style, and reception history. This is presented in the context of Auber's relationship to the dominant genres of early nineteenth century French culture, opéra comique and grand opéra. The three evolving periods of Auber's unique involvement with opéra comique are of principal concern. This analysis of the operas is made in the context of Auber's crucial working relationship with Scribe, who provided 38 of his libretti. Their cooperation is unique and of great importance on several literary, musical and cultural levels. The nature of their interaction and personal friendship is assessed by a translation of the extant correspondence between them, some 80 letters that have not appeared in English before. The presentation of each opera is illustrated by musical examples from all the scores, prints from the complete works of Scribe and other theatrical memorabilia. The study also contains bibliographies of Auber’s works and their contemporary arrangements, studies of Auber’s and Scribe’s life and work, their artistic and historical milieux, and a discography.