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Books on the topic 'Genus parisia'

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Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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1

Eiffel: The genius who reinvented himself. Stroud: Sutton, 2004.

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2

Jardin, Alexandre. Des gens très bien. Paris: Grasset, 2010.

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3

Des gens très bien. Paris: Grasset, 2010.

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4

Simenon, Georges. Maigret et les braves gens. Barcelona: Presses de la Cité, 2004.

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5

Simenon, Georges. Maigret et les Braves Gens. Paris, France: Presses de la Cité, 1990.

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6

Grange, Cyril. Les gens du Bottin mondain: Y être, c'est en être. Paris: Fayard, 1996.

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7

Harvie, David I. Eiffel: The Genius Who Reinvented Himself. History Press Limited, The, 2006.

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8

Eiffel: The Genius Who Reinvented Himself. The History Press, 2006.

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9

Goodman, Jessica. The Mémoires and Their Legacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.003.0008.

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This chapter considers how the whole Parisian period is presented in the Mémoires. It examines which elements of Goldoni’s French career are discussed, and identifies a refrain of failure despite the grand claims of the preface; a refrain that seems to stem from a blinkered focus on the weight of Comédie-Française success, born of the misunderstandings identified in Chapter 6. It then considers plays written about Goldoni since his death, and by analysing their relationship to the Mémoires, suggests that the genius myth he set out to create was unsuccessful in the French context due to a lack of published evidence of successful authorship to counterbalance his misdirected autobiographical writings.
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10

Drake, Alicia. Beautiful Fall: Fashion, Genius, and Glorious Excess in 1970s Paris. Little Brown & Company, 2009.

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11

Drake, Alicia, and Bernadette Dunne. The Beautiful Fall: Fashion, Genius, and Glorious Excess in 1970s Paris. Blackstone Audio, Inc., 2012.

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12

Drake, Alicia. The Beautiful Fall: Fashion, Genius, and Glorious Excess in 1970s Paris. Back Bay Books, 2007.

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13

Morton, Jonathan. Inconsistent Philosophy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816669.003.0002.

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The chapter considers the philosophical implications of the Rose’s literary style, showing how it relates to the institutional context of the University of Paris in the 1270s. It examines figurative language’s potential for discussing the irrational subject of love or desire, analysing how Jean de Meun draws on the earlier poetry of Andreas Capellanus and Alain de Lille to produce a paradoxical style that plays definition against indefinition. The prologue of Bishop Etienne Tempier’s condemnation of 1277 is interpreted as an attempt to restrict philosophical utterances to definite propositions simpliciter and not allowing hypothetical statements secundum quid. The Rose signals its opposition to Tempier by reworking Andreas Capellanus’s De amore (condemned in 1277) and by parodying Tempier in the figure of Genius. The result is a mode of philosophical proceeding that is anti-authoritative even as it depends on the utterances of earlier authors.
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14

Zola, Émile. The Masterpiece. Edited by Roger Pearson. Translated by Thomas Walton. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199536917.001.0001.

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The Masterpiece is the tragic story of Claude Lantier, an ambitious and talented young artist from the provinces who has come to conquer Paris and is conquered by the flaws in his own genius. While his boyhood friend Pierre Sandoz becomes a successful novelist, Claude's originality is mocked at the Salon and turns gradually into a doomed obsession with one great canvas. Life - in the form of his model and wife Christine and their deformed child Jacques - is sacrificed on the altar of Art. The Masterpiece is the most autobiographical of the twenty novels in Zola's Rougon-Macquart series. Set in the 1860s and 1870s, it provides a unique insight into his career as a writer and his relationship with Cézanne, a friend since their schooldays in Aix-en-Provence. It also presents a well-documented account of the turbulent Bohemia world in which the Impressionists came to prominence despit the conservatism of the Academy and the ridicule of the general public.
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15

Michel, Popoff, ed. Prosopographie des gens du Parlement de Paris (1266-1753): D'après les ms Fr. 7553, 7554, 7555, 7555 bis conservés au Cabinet des manuscrits de la Bibliothèque nationale de France. Saint-Nazaire-le-Désert: Références, 1996.

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16

McAllister, Rita, and Christina Guillaumier, eds. Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.001.0001.

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More than sixty-five years after the composer’s death and almost thirty years since the demise of the Soviet Union, it is high time not only to take a fresh, balanced look at the output of Sergei Prokofiev, but also to probe some of the important but less studied aspects of his music. Many of his works are twentieth-century classics, but some are less familiar; others still, because of the times in which he lived, are controversial, or misunderstood, or simply unexplored. Commissioned from both established experts and younger researchers in the field, Rethinking Prokofiev is a new compendium of essays that examine the background and context of Prokofiev’s music: his relationship to nineteenth-century Russian traditions; to the Silver Age and Symbolist composers and poets; to the culture of Paris in the 1920s and 1930s; and to his later Soviet colleagues and younger contemporaries. It investigates his reception in the West and his return to Russia, and analyzes the effect of his music on contemporary popular culture. His early, experimental piano and vocal works are explored, as well as his piano concertos, his operas, the film scores, the early ballets, and the late symphonies. The main focus of the book is the nature of the music itself. Prokofiev’s work is utterly distinctive, yet it defies easy analysis. By uncovering the contents of his sketchbooks, however, and through an empirical examination of his characteristic harmonies, melodies, cadences, and musical gestures, these chapters reveal much of what makes Prokofiev an idiosyncratic genius, his music intriguing, often dramatic, and almost always beguiling.
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