Table of contents
They come out strengthened while trading their cumbersome chains for a three-piece suit they return home feeling both soothed and comforted. She pleads for the abandonment of some biases: By eroticizing barbarism and sadomasochists castrate the true executioners through their own weapons, her intellection echoes the philosophical thought of Gilles Deleuze , to whom she pays tribute, in a way that, according to Charles J. After the publication of her story, which, as duly noted by Giovanni Firmian, was "a great success in France ", she was invited to various French talk shows and gave interviews about sadomasochism.
On the occasion of the release of a translation of her book in Italy , Giovanni Firmian described her author as "the queen of dominatrixes and sadomasochistic practices, the most famous one in France, but known throughout the rest of Europe and United States ".
Foucault, Annick. Paris : Mercure de France. El ama: memorias de una dominadora.
La Sonrisa verticale. ISBN OCLC Reprint in , p. La sonrisa vertical, ISBN Pierre Molinier Pierre Molinier was a French painter, photographer and "maker of objects". Born in Agen , France , he lived his life in Bordeaux , he began his career by painting landscapes until his work soon turned towards a fetishistic eroticism. Molinier began to take photographs at the age of 18; as listed in his birth record, he was married on July 7, , at Bordeaux. A homosexual and a transvestite , Pierre Molinier lived the violence and sexual obsessions his fellow surrealists only dreamt about, he sent him photographs of his paintings.
Breton integrated him into the Surrealist group. Breton organized an exhibition of Molinier's paintings in Paris , in January—February In Molinier made contact with the leading surrealist Andre Breton and by was showing at the International Surrealist Exhibition. At this time he defined the purpose of his art as'for my own stimulation', indicating his future direction in one of his exhibits in the Surrealist show - a dildo , he defined eroticism as'a privileged place, a theatre in which incitement and prohibition play their roles, where the most profound moments of life make sport'.
- Pierre Bourgeade?
- Renaud Camus.
- El signe de Saturn (Catalan Edition);
- My Dirty Little Secrets - Steroids, Alcohol & God: The Tony Mandarich Story (Reflections of America).
- Maureen Daly 1921-.
- Tiger Saves Christmas!
- Full text of "Complete French grammar";
Between and his suicide in , he chronicled his exploration of his subconscious transsexual desires in "Cent Photographies Erotiques": graphically detailed images of pain and pleasure now on show in London. It was in this year that Molinier, with the aid of a remote control switch, began to create photographs in which he assumed the roles of dominatrix and succuba taken by the women of his paintings. In these beautifully-made, intimate black and white photographs, either alone with doll-like mannequins or with female models, appears as a transvestite, transformed by his'fetish' wardrobe of fishnet stockings, suspender belt, stilettos and corset.
In montages, an unlikely number of stockinged limbs intertwine to create the women of Molinier's paintings.
Dans L'ombre De Clarisse
For the last 11 years of his life Molinier played out his own most profound moments in the'theatre' of his Bordeaux'boudoir - atelier', he intended his photographs to shock, inviting the viewer to bring to the images his or her own response of excitement or disgust. In the s, Molinier's health began to decline. Like his father before him, Pierre Molinier committed suicide at 76 years of age by a self-inflicted gunshot wound.
Molinier explored connections between religious ritual and sexuality which he believed had been obscured by the post-Renaissance morality he so despised, he was a transvestite Baudelaire who rather than words, chose as his medium the corset, the mask and the chain. He challenged received orthodoxies of morality and, like a jester , seeks to destroy taboos. Molinier echoes the ancient Shamanic tradition and his experiments in sexual transformation can be interpreted as an attempt to regain the primordial, Platonic perfection of the androgyne , it is significant that his biography was to have been entitled His Creatures.
Introduction et notes Editions Monplaisir, , 76 p. Jean Racine Jean Racine , baptismal name Jean-Baptiste Racine , was a French dramatist , one of the three great playwrights of 17th-century France , an important literary figure in the Western tradition. Racine's plays displayed his mastery of the dodecasyllabic alexandrine; the linguistic effects of Racine's poetry are considered to be untranslatable, although many eminent poets have attempted to do so, including Lowell, Richard Wilbur , Ted Hughes , Tony Harrison , Derek Mahon into English, Friedrich Schiller into German.
Racine's dramaturgy is marked by his psychological insight, the prevailing passion of his characters, the nakedness of both plot and stage. Orphaned by the age of four, he came into the care of his grandparents. Port-Royal was run by followers of Jansenism , a theology condemned as heretical by the French bishops and the Pope.
Racine's interactions with the Jansenists in his years at this academy would have great influence over him for the rest of his life. Experimenting with poetry drew high praise from France's greatest literary critic, Nicolas Boileau , with whom Racine would become great friends. Racine took up residence in Paris where he became involved in theatrical circles, his first play, never reached the stage.
- REMY DE GOURMONT!
- Renaud Camus - AbeBooks?
- Yummy Dummies: Food Photo Shoot!
- Logic of Computation (Nato ASI Subseries F:)!
- Finite Element Simulation of Heat Transfer (ISTE).
- Space and Time in the Voyages extraordinaires;
- Diamond Heart: Book One: Elements of the Real in Man.
Thus, Alexandre premiered for the second time, by a different acting troupe, eleven days after its first showing. Amongst his rivals were Pierre Corneille and his brother, Thomas Corneille. Others, including the historian Warren Lewis , attribute his retirement from the theater to qualms of conscience. However, one major incident which seems to have contributed to Racine's departure from public life was his implication in a court scandal of He got married at about this time to the pious Catherine de Romanet, his religious beliefs and devotion to the Jansenist sect were revived, he and his wife had two sons and five daughters.
Around the time of his marriage and departure from the theater, Racine accepted a position as a royal historiographer in the court of King Louis XIV , alongside his friend Boileau, he kept this position in spite of the minor scandals he was involved in. Two years he was bestowed the title of "treasurer of France ", he was distinguished as an "ordinary gentleman of the king", as a secretary of the king; because of Racine's flourishing career in the court, Louis XIV provided for his widow and children after his death.
When at last he returned to the theatre, it was at the request of Madame de Maintenon , morganatic second wife of King Louis. As Prime Minister in a Popular Front government of the left , he provided a series of major economic reforms.
Blum declared neutrality in the Spanish Civil War to avoid the civil conflict spilling over into France itself. Once out of office in , he denounced the appeasement of Germany ; when Germany defeated France in , he became a staunch opponent of Vichy France. Tried by Vichy on trumped-up charges, he was imprisoned in Buchenwald concentration camp. After the war he resumed a transitional leadership role in French politics, helping to bring about the French Fourth Republic , until his death in Blum was born in in Paris to a assimilated Jewish family, his father Abraham, a merchant, was born in Alsace.
Soon he was the party's main theoretician. In he was chosen as chair of the party's executive committee, was elected to the National Assembly as a representative of Paris. Believing that there was no such thing as a "good dictatorship", he opposed participation in the Comintern. In , Blum gave a speech in favour of France's mission civilisatrice arguing that it was "the right and the duty of superior races to attract those who have not arrived at the same degree of culture and to call them to the progress realised thanks to the efforts of sciences and industry We have too much love for our country to disavow the expansion of its thought, of the French civilisation".
Blum was elected as Deputy for Narbonne in , was re-elected in and Political circumstances changed in , when the rise of German dictator Adolf Hitler and fascist riots in Paris caused Stalin and the French Communists to change their policy.
In all the parties of left and centre formed the Popular Front. France had not recovered from the worldwide economic depression, wages had fallen and the working class demanded reforms. The Popular Front won a sweeping victory In June The Popular Front won a solid majority with seats out of For the first time, the Socialists won more seats than the Radicals; as Socialist leader Blum became Prime Minister of the first socialist to hold that office.
Dans L'ombre De Clarisse by Madeleine Robitaille
His first cabinet consisted of 13 Radicals and two Socialist Republicans; the Communists won 15 percent of the vote, 12 percent of the seats. They supported the government. For the first time, the cabinet included three women in minor roles though women were not able to vote; the election of the left-wing government brought a wave of strikes, involving two million workers, their seizure of many factories. The strikes were spontaneous and unorganised, but the business community panicked and met secretly with Blum, who negotiated a series of reforms, gave labour unions the credit for the Matignon Accords ; the new laws: gave workers the right to strike initiated collective bargaining legislated the mandating of 12 days of paid annual leave legislated a 40 hour working week raised wages stipulated that employers would recognise shop stewards.
Ensured that there would be no retaliation against strikers. In general they are more sincere than the courtiers before them, in so far as their matter is of larger — sometimes indeed of national — interest. Prodigal of fine bookish maxims as their predecessors were full of precious sentiments, several of them display the genuine though confused and patchy erudition achieved with an abortive revival of learning under the elder Valois. They are disputatious and didactic, in an age when ver- nacular prose already offered a more effective vehicle for wisdom and enquiry.
They are hypnotised by the example of sustained personifications left by Guillaume de Lorris and Jean de Meung : visions and allegories are an indispensable part of their stock-in-trade. As for their form, they have exchanged the sane if often childish joy in free invention for the pride of a complicated framework — the bare ribs of a starved and juiceless poetry. Tradition is a slippery word : but it is doing no injustice to Charles of Orleans, the ineffectual hope of a national royalty, the not inconsolable prisoner of Windsor and Groombridge, and a prince, when all is said, too suave and too placable for honour, to describe his work and influence, which deviate from the larger destinies of French literature, as a return essentially to the refined tradition of the twelfth and thirteenth conturies.
To be sure he is a master of the fixed forms elaborated by more recent generations, and three quarters of his matter is an analysis of fashionable metaphor, a perfunctory attempt to galvanise the soulless abstractions which fascinated his times. But he is no preacher, his subtleties are all sentimental, his verbal con- scientiousness revolts against the servile excellence accessible to the machinery of iteration, and in a word his work is aristocratic in the most familiar sense.
What is entirely his own is the fluid sweetness-, the disencumbered gait, the nonchaloir which history reads tragically, a delicious language, unpedantic, personal in its novelties and archaisms, and so perfectly apt to evoke the fugitive vision of happy glades and silver brooks — but especially his fortunate gift of lighting upon themes to which their very echo lends an 10 A CENTURY OF FRENCH POETS adventitious value, the illusion of a melancholy meaning. Remembering that his mother was a Visconti of Milan, and that his son was to lead a French host into Italy, we think of him too readily as a precursor of the French Renaissance.
He is much more truly, by virtue of his lovable shallowness, detachment and vague, fanciful gallantry, the last of the feudal patron-poets, and assuredly the worthiest. After him the Southern fever, which had survived the lancet of the Albigensian wars, made no more distinguished efforts, in the guise of chivalry, to capture the national genius.