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The Devils Picturebooks a History of Playing Cards
P RE FA C E . “ ’ H E Devil s Book s was the name bestowed upon Playing- cards by the P urita n s and other piou s souls who were probably in h opes that this name would alarm timid persons and so prevent their use . Whether or not his S a tan ic P - Majesty originated laying cards , we have no means of discovering ; but it is more probable he - that only inspired their invention , and placed of who them in the hands mankind , have eagerly o of ad pted this simple means amusing themselves , and have used it according to the good or evil s which predominated in their own brea ts . Many learned men have written books or treatises on P - I for laying cards , and am indebted a large part of the information contained in this histo ry to “ ” Les C a . P C artes Jouer, by M aul la roix ; ” P - Facts and Speculations about laying cards , by h of P - . C T e Mr hatto ; History laying cards , by T The of the Rev . Edward aylor ; and History ” - P . laying cards , by M r Singer out of These books are now print, and some ffi I n what di cult to obtain ; and hope , by bringi g into a small compass the principal features set I to f forth in them , shall be able place be ore a number of readers interesting facts that would be otherwise unobtainable . Hearty thanks are due to the custodians of the o Nati nal M useum in Washington , who have aided t o me in every way in their power, and also the many kind friends who have sought far and wide for o of unique and uncomm n packs cards , and helped materially by gathering facts rel a ting to fo r them me . -
The Penguin Book of Card Games
PENGUIN BOOKS The Penguin Book of Card Games A former language-teacher and technical journalist, David Parlett began freelancing in 1975 as a games inventor and author of books on games, a field in which he has built up an impressive international reputation. He is an accredited consultant on gaming terminology to the Oxford English Dictionary and regularly advises on the staging of card games in films and television productions. His many books include The Oxford History of Board Games, The Oxford History of Card Games, The Penguin Book of Word Games, The Penguin Book of Card Games and the The Penguin Book of Patience. His board game Hare and Tortoise has been in print since 1974, was the first ever winner of the prestigious German Game of the Year Award in 1979, and has recently appeared in a new edition. His website at http://www.davpar.com is a rich source of information about games and other interests. David Parlett is a native of south London, where he still resides with his wife Barbara. The Penguin Book of Card Games David Parlett PENGUIN BOOKS PENGUIN BOOKS Published by the Penguin Group Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, USA Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario, Canada M4P 2Y3 (a division of Pearson Penguin Canada Inc.) Penguin Ireland, 25 St Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd) Penguin Group (Australia) Ltd, 250 Camberwell Road, Camberwell, Victoria 3124, Australia -
Roberto Calasso - Deconstructing Mythology
Lara Fiorani University College London Roberto Calasso - Deconstructing mythology A reading of Le nozze di Cadmo e Armonia I, Lara Fiorani, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. ---------------------------- Lara Fiorani 2 ABSTRACT This thesis reviews Roberto Calasso’s Le nozze di Cadmo e Armonia (1988) and demonstrates that thematic and formal elements of this text allow us to to cast a post- modern and poststructuralist light on his theorization of ‘absolute literature’ – a declaration of faith in the power of literature which may appear to clash with the late twentieth century postmodern and poststructuralist climate responsible for concepts such as la mort de l’auteur. The importance of these findings lies in their going against Calasso’s claim that he never needed to use the word ‘postmodern’ and his complete silence on contemporary literary criticism, as well as on most contemporary authors. Calasso’s self-representation (interviews, criticism and the themes of the part-fictional work-in-progress) acknowledges as influences ancient Greek authors, both canonical and marginal; French décadence; the finis Austriae; Marxism; Nietzsche; Hindu mythology and Aby Warburg. These influences are certainly at work in Le nozze, however they may be employed to subvert Calasso’s self-presentation. I have explored in detail the representations of literature emerging from Le nozze, and shown that they allow the identification in Calasso’s texts of elements confirming his fascination with poststructuralism, in particular with the thought of Jacques Derrida, despite the complete silence on this philosopher throughout Calasso’s work. -
A Dictionary of English Etymology
I LLINO I S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2009. 1,;rrQ!', I 'T K f A6 ". i.vl..-Aim!'TT:"j;,V tV . I it 1fl .. : , , . I. A- P- , , ! 4, .,; '1'4 ii. - ;. - - '.,- -.O'. ;.. i , ..- 1.- - I ... 1,, -I! - .,. .-f rj" . - , ; - o'. - n ., , , , !,: ' , -.. i, , , ji,,: 4 T , . : . I . I I ., .-. 1".I I.. .. - -1.. -1 . , - . 1.. I 1, . '' . I z . .;,..,. ,7. , . I. , . .x AiI ; .. I . , - I- , i. -I . I . II I I I . I I .I 1. I -!,-i . ;,. I . .. I . I I . I . , . i I, . .A I I . : I . I . I . , : - - IV .-. ; - - - . .%: .-::. , . v :1, , --.: - ,-. " . -. ," , '.I - I.....il .. I ., . - .Z, . ., . .. :. , ;. :;! ,;- ,---, %, :' . .. :; ":., ;-. , - , I.. - .t- ,-- , . I "I it '+ 4, . ... t , ; ;: 1 ::. -, j :, . I . , , '., ri ,,,, : t: " -1 - 1 . I I I .1. I . 10, ,o " I, , , . , -! . I I . I- . -- . , , , ,, t; , , ; . i. : . .1. I It :. i. 41. I ; --- - .'.,. ,:. 11-" , . , . ; , , , , , , , , " . ! o 4 : I; .4; * , . , -, , ..,.,. - ,-! ..': .. - - . , ;. , :, :-:. , : --:; .: I;t,V l 5.-,I , '. '.',.,, , -" ., , ," : ,:: r. I:i, - ..." .. 1 ".. - - , A .1 .. ., illl . .11.1, ., . , - ; ;, .t .;'* I't ; ., I .""I 11,, . I-, - i - , %tI I 1.j , -1i, " . , ." , .:; , , .. .; ; -., - ,., - I, ,- I, :" .r .. ' . ':I . I I... - - , i, . .lI , .; :. i i, , - .1; ,. , .. -:1. * ;; . I "; ,- . ;.; I -!, . I - I t :.., I. , " . I: , -,. .%, ::::- .,., ..,. .-.!, , ;.-.. I - i, . ; 1. I . , . '.. .1. 1. .. ,- . I - %, ...I: , I:;, - . ii I 1L.4 ,; , ! , , . !. .. ;. I . I. ,-- ! - , ; ! ,, ,- C.. , ;''.,,, . , .:., , . - . I ; : I ; , , - . ; , ; .:,!, ' . I 1 i 'i 1, "! ;! - , . , I . _j . ! ! !., i.. .I . -, " . t;, .. , " .; - i I . I I. , I :,. ; ., f - 1--., :t, ; , .- I" . .;, : . It .1. , , , . , , .A. All, ". :1 I . " - I ." .I ..l. I . , !t , , , I , - !" .!,- ,,,, r.. ,, , ..: .. ! , . , I . .1 . .. ! I 11.'j, -:, ". ., , ".,i- . - . ;. " . , , I . 1.. :, . :; . f. I : I . -
Fête De La Musique!
Bulletin 8 Sunday, 22 June 2003 Fête de la Musique! Schedule of play Today 10.00-13.15 Open Teams (2nd Qualifying Swiss Rounds:3-4) Senior Teams (Qualifying Rounds:10-11) Women Teams (Qualifying Rounds:9-10) 14.45-19.45 Open Teams (2nd Qualifying Swiss Rounds:5-6-7) 14.45-16.15 Women Teams (Qualifying Rounds:11) 14.45-18.00 Senior Teams (Qualifying Rounds:12-13) Elly Ducheyne celebrating the award Contents to her of the EBL plaque by Gianarrigo Rona Welland v Helling . .2 It's a big day today as France enjoys a musical cele- Trying for two . .5 bration that started last night. Launched in 1982 by the Minister of Culture Jack Dumbovich v Frerichs . .8 Lang, the Festival of Music takes place every 21 June, La Gazette du Palais . .11 day of the summer solstice. Yesterday the music stopped for the powerful teams Cose di casa nostra . .13 captained by Messrs Angelini, Chemla, Chagas & Results . .15 Zimmermann, but they still have a chance to avoid Women, Senior Teams Rosters . .18 the sound of the 'Fat Lady’, by emerging from Swiss B. 1st EUROPEAN OPEN BRIDGE CHAMPIONSHIP Menton - Côte d ' Azur, France OPEN TEAMS Welland v Helling Round 2 With so many interesting matches going on between good Board 17. Dealer North. None Vul. teams at the same time, it is difficult to choose where to go and watch.Anything might happen anywhere. Rumours are, however, [ K Q 4 2 that at Zia's table much more than average is happening most of ] J 10 4 the time.After watching the match Welland v. -
Les Cartes À Jouer, Et La Cartomancie
Vu Les cartes à jouer et la cartomancie Paul Boiteau d'Ambly 1 rü A A ÿ . m - . ?.<#%*'• I'','.* ' £' >** • >jTV a.x k*.. , \SA-«MA^v>i rvV: 3 5 > :,:/ V '“•v - > <. '•• -' V'^;$ë4 • --V- -'V- » >;-v..- 'h '/ ;- : .»• .;v%s rA H (V 1 î ;;v * ' /' ‘ *'y. *£ . V *^.V. w î C I ^î®/i Ni V i--i' ^ J v*^W*v :^v • .. • . ' •• ~ i *>•• » *.:/•, ^v, tr . •< / ,n .+* / / " ’ 1 • '•-•. ' ' &'" Y H 'J’";;’ Yi ’pV &&:? C : m ' **-. A A :,k;: , A If. ' ' • ' : v«( *»• vŸ»««|f]a. ;lw.. f:% • , A '• ' ,' : 10 , ; rî ' ; 1 .• >. •'.-.> ^ {,> .'• .•• •’W ..; '-., '•. • .• •i-f' t •,’u 'i'. i-À. t' ‘.vTvT A -i- ' • • ^ • •• • ;. \ î . N-v. -'U '< • v 3 Wiv-vüi. &«$****• *. -y. »•.,*• ‘S wv. .-^V- 1 ,' fu ' ' ' J • ' «sU? • • V - K -V •'. / • ,v -.-’ v . \ i\v , ^ V î. ' '. " .... sr 4 -r ,< '•-î-'/Æ 1 v'^/ S^SKjP >*‘V ;4 V« ‘O ' '•,• •*.•/: ./. ,»y.)* ' *.‘in k.v^v %Mwî* Vr>i^v'V-A VJf .T ,, <; R?:.'- •," ;.V:'s*V'' :\':'^/.^y ,ït- 'J!\ ji; •trjk’H , ('v ' . /M >jt* V i, ThC • r al iliw w V ; )rf^0P '- MMi - - . VVK.<fc^ ^ Vm . il r .''• r 1*, 1. »•*. « ? - • T j tfl* A a < 2 V t/i f* , : # . »a Sty?*./ * .K î Al 4 «. fv- >o A • ’K.9r w ; JyW| /.W * ‘ •* * ‘ A 1.< \ ML * > \ . 5 e Ÿ imPM ÏJfti, ... ' ' ' • > ' . ." ' ', » î .<• .'•.•* ;-,t. , \\ A V ' /il • fi-. t - 'Vr»* vTWV'V'* ^ /îk* ‘l^ 'V - f * • - ! \ - iV u * ••. • ^ . J^awaP* WÊÊmÊmm--w4«wuMtàj 'îyfa Digitized by Google LES CARTES A JOUER ET LA CARTOMANCIE J- Digitized by Google t Les éditeurs de cet ouvrage se réservent le droit de le faire traduire dans toutes les langues. -
Les Cartes a Jouer Et La Cartomancie
THE HISTORY OF PLAYING CARDS AND CARD-CONJURING. LES CARTES A JOUER ET LA CARTOMANCIE PAR P. BOITEAU D^AMBLY. (ILLUSTRATED WITH FORTY CURIOUS WOODCUTS.) LONDON : JOHN CAMBEN HOTTEN, 9ntii)uaiian fiooftsdler. PICCADILLY. 1859. Digitized by Google s <3- .U'I UNIVEI'lS: i . LIBRAkY O ‘Z ^ y ^ ; i I Digitized by Google , PRÉFACE. LETTRE A BÉRANGER. Mon bien cher et excellent maître Je mets ce volume sous le patronage de votre nom. Ce n’est pas que je l’en croie digne; c’est parce que vous avez bien voulu paraître curieux de le lire. Il faut avouer que je suis content de dire au public que vous avez encouragé l’auteur à l’écrire, et que vous avez jugé intéressant le sujet dont il s’est occupé. Si le public n’est pas de votre avis , me voilà autorisé à lui reprocher son indifférence. Par-dessus le marché, vous êtes un joueur acharné, et, à ce titre, vous devez me servir de parrain. La l’apprendra cette épître : postérité par Béranger , en sa verte vieillesse , a joué un nombre incalculable de piquets à écrire; ce jeu l’ennuyait fort et il revenait , y tous les soirs. Élevé à votre école je sais le prix du bon sens et , de la clarté désir est qu’on s’en aperçoive ici ma ; mon ; crainte qu’on ne s’en aperçoive pas assez. , Digitized by Google , , II PRÉFACE. Je m’excuserai en alléguant la peine que j’ai eue à marcher droit au milieu des broussailles de l’érudi- tion. Et ce n’est pas là une excuse pour la forme. -
The History of Playing Cards
tv THE HISTORY PLAYING CARDS, WITH guttcimits of ijjtir xtst in CONJURING, FORTUNE-TELLING, AND CARD-SHARPING. Ike. hlsiov. EDITED BT THE LATE Rev. Ed. S. TAYLOR, B.A. AND OTHERS. LONDON : JOHN CAMDEN HOTTEN, PICCADILLY. 1865. n/^ /•" TWO CARICATURE CARDS FROM A PACK FORMERLY BELONGING TO THE LATE COUNT d'oRS AY. PREFACE. Five years ago I pin-chased from an eminent French publisher some tasteful wood-engravings, illustrative of the History of Playing Cards. These, with the small work in which they originally appeared, were placed in the hands of the late Rev. Ed. S. Taylor, of Onnesby St. Margaret, Great Yarmouth, as mate rial for a History of Playing Cards, English and Foreign, which he had offered to undertake for me. The readers of Notes and Queries will remember this gen tleman as the valued contributor of many curious articles to that useful periodical. His knowledge was wide and varied, although his tastes were of that peculiar kind which delights in the careful exploration of the bye-ways, rather than the high roads, of learning. The first part of the work was soon in the printers' hands, but ill-health followed, and the book proceeded slowly up to the time of the Editor's decease, two years ago. It was deemed necessary to mention this fact, as some of the references are to matters long since passed, although they are stated as of the present day. IV PREFACE. To tlie French Illustrations have been added several facsimiles of old cards from the Print-room in the British Museum, and other sources. -
Economic View of Goldoni's
PRODUCTIVITY AND WASTE: A SOCIO-ECONOMIC VIEW OF GOLDONI’S THEATER by JACLYN A. BEVACQUA A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partiaL fuLfiLLment of the requirements for the degree of Doctor of Philosophy Graduate Program in ItaLian written under the direction of Professor Alessandro Vettori and approved by ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ New Brunswick, New Jersey May 2014 © 2014 JacLyn A. Bevacqua ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION Productivity and Waste: A Socio-Economic View of GoLdoni’s Theater By JACLYN A. BEVACQUA DISSERTATION DIRECTOR: Professor Alessandro Vettori The purpose of this work is to analyze characters and relationships in GoLdoni’s comedies in terms of their sociaL actions and interactions. I assert that GoLdoni intended for these comedies to be a vehicLe of instruction in order to modeL and reform behaviors he deemed either productive or wastefuL to the progress of society. The success of society as a whole depends on the individuaL behaviors and conduct of its members. GoLdoni recognized the denegration of moraLs and good sense among the various sociaL cLasses. His plays, taken deeper than face vaLue, demonstrate his desire to aid in the renovation of Venetian society and reinstate the honorabLe, virtuous and productive society that he perceived. Through sociaL dynamics and famiLiaL reLationships, various behaviors of the characters and their interactions demonstrate aspects of Venetian society that Goldoni lauded or criticized. Many Goldoni scholars such as Mario Baratto and Franco Fido have noted the sociaL impLications of GoLdoni’s theater. I beLieve that my research takes a different direction and, through the socio-economic Lens, it is possible to note the theory substantiating Goldoni’s intentions. -
CHAN 9613 Book Cover.Qxd 17/10/07 1:19 Pm Page 1
CHAN 9613 Book Cover.qxd 17/10/07 1:19 pm Page 1 CHANDOS Chan 9613(2) S ALIERI Falstaff Alberto Veronesi The Madrigalists of Milan Orchestra Guido Cantelli of Milan Alberto Veronesi CHAN 9613 BOOK.qxd 17/10/07 1:21 pm Page 2 Antonio Salieri (1750–1825) Falstaff or The Three Tricks Comic opera in three acts Libretto by Carlo Prospers Defranceschi Sir John Falstaff ..............................................................................................Romano Franceschetto baritone AKG Mistress Alice Ford ....................................................................................................Lee Myeounghee soprano Mr Ford ....................................................................................................................Giuliano de Filippo tenor Mistress Slender, a friend of Mistress Ford ....................................................................Chiara Chialli soprano Mr Slender ..............................................................................................................Fernando Luis Ciuffo bass Bardolf, servant to Falstaff ..............................................................................................Filippo Bettoschi bass Betty, lady-in-waiting to Mistress Ford..............................................................................Natalia Valli soprano Chorus: Guests, Friends and Spirits The Madrigalists of Milan Orchestra Guido Cantelli of Milan Alberto Veronesi Antonio Salieri 3 CHAN 9613 BOOK.qxd 17/10/07 1:21 pm Page 4 COMPACT DISC ONE 13 Mistress Slender -
André Malraux
<www.malraux.org>, site littéraire André Malraux. André Malraux IL SEGRETO DEI GRANDI VENEZIANI Conférence d’André Malraux à la Fondation Cini, le 17 mai 1958 • Texte italien traduit du français par Liliana Magrini (1959) • Rétroversion en français par Françoise Theillou (1er janvier 2014) Françoise Theillou présente le texte de cette conférence dans son article «Il segreto dei Grandi Veneziani», conférence d’André Malraux à la Fondation Cini (Venise), le 17 mai 1959», suivi de sa traduction de ce texte de Malraux. Voir sur <malraux.org>, Présence d’André Malraux sur la Toile, article 177, avril 2016. Aller à : < http://malraux.org/pamt/>. LA CIVISATION LA CIVILITÀ VENEZIANA VĖNITIENNE NELL’ETÀ BAROCCA À L’ÂGE BAROQUE CENTRO DI CULTURA E CIVILTÀ CENTRE CULTUREL ET DE CIVILISATION DELLA DE LA FONDAZIONE GIORGIO CINI FONDATION GIORGIO CINI Venezia – Isola di San Giorgio Maggiore Venise – Ile de San Giorgio Maggiore SANSONI SANSONI André Malraux : «Le secret des Grands Vénitiens», conférence de Venise du 17 mai 1959. Texte inédit en français. ANDRE MALRAUX ANDRE MALRAUX IL SEGRETO DEI GRANDI VENEZIANI LE SECRET DES GRANDS VENITIENS Traduzione de Liliana Magrini Transcription de Françoise Theillou 3 © www.malraux.org, site littéraire André Malraux, texte mis en ligne le 18 avril 2016. André Malraux : «Le secret des Grands Vénitiens», conférence de Venise du 17 mai 1959. Texte inédit en français. Prima ancora di ringraziare la Fondazione Giorgio Cini del suo invito, Avant de remercier la Fondation Giorgio Cini de son invitation, je tiens à tengo a rivolgere un ringraziamento particolare all’Ambasciatore di Francia adresser un remerciement tout particulier à l’Ambassadeur de France pour sa per la sua presenza. -
Dissertation Achille Castaldo Final Submission
Narrative Experience and Social Conflict. Italy, France, 1943-1977 by Achille Castaldo Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Roberto Dainotto, Advisor ___________________________ Anne-Gaëlle Saliot ___________________________ David Bell ___________________________ Michael Hardt Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2019 ABSTRACT Narrative Experience and Social Conflict. Italy, France, 1943-1977 by Achille Castaldo Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Roberto Dainotto, Advisor ___________________________ Anne-Gaëlle Saliot ___________________________ David Bell ___________________________ Michael Hardt An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2019 Copyright by Achille Castaldo 2019 Abstract This dissertation investigates the relation between narrative forms, in both literature and cinema, and historical moments of deep crisis of the social order: the interregnum between Fascism and First Republic in Italy; the decolonization process in Algeria seen from metropolitan France; and the worker and student struggles of the Sixties and the Seventies. The goal of my analysis is to show how a traumatic reality can fracture the ideological discourse dominant in a specific historical moment, leaving a mark on the structural and formal (rhetorical) construction of the work of art. My analysis begins with Naples immediately after World War II, by focusing on the works of Curzio Malaparte and Anna Maria Ortese. I then move to Paris in the aftermath of the Algerian War, to analyze the early films of Éric Rohmer, Chris Marker, Guy Debord, and Agnès Varda.