Catalogue 2010 Par Genre
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Médiathèque De Beyrouth
MÉDIATHÈQUE DE BEYROUTH Nouvelles acquisitions – avril 2018 http://beyrouth.opac3d.fr Romans : rentrée 2018 Espace des lettres, rue de Damas, Beyrouth – Tél.01-420257 / 01-420267 1 www.http://institutfrancais-liban.com Adam, Olivier Chanson de la ville silencieuse / Olivier Adam. - Paris : Flammarion, 2018. Résumé : Ce roman musical, dont l'héroïne est la fille d'un chanteur, raconte une enfance passée dans l'ombre d'un homme célèbre et sonde le secret d'une relation particulière, celle d'une fille à son père. ©Electre 2018. Cote: R ADA. http://beyrouth.opac3d.fr/id_beyrouth_X73155.html Almendros, Vincent Faire mouche / Vincent Almendros. - Paris : Minuit, 2018. Résumé : A l'occasion du mariage de sa cousine, le narrateur revient à Saint-Fourneau, alors que presque rien ne le relie à sa famille. ©Electre 2018. Cote: R ALM. http://beyrouth.opac3d.fr/id_beyrouth_X73221.html Assouline, Pierre Retour à Séfarad / Pierre Assouline. - Paris : Gallimard, 2018. Résumé : Le narrateur, descendant de Juifs expulsés d'Espagne en 1492 par les rois catholiques Ferdinand d'Aragon et Isabelle de Castille, est invité par le roi Felipe VI à revenir au pays. Il accepte et remplit le dossier pour obtenir la naturalisation. Mais si tout le monde semble bien l'accueillir, le traitement de son dossier rencontre toujours plus d'obstacles dans les bureaux des administrations. ©Electre 2018. Cote: R ASS. http://beyrouth.opac3d.fr/id_beyrouth_X73193.html Auster, Paul 4 3 2 1 / Paul Auster. - Arles (Bouches-du-Rhône) : Actes Sud ; Montréal (Canada) : Leméac, 2018. Résumé : Isaac Reznikoff, devenu Ferguson en posant le pied à Ellis Island, incarne toutes les figures du destin proposées à l'individu par le monde et l'Amérique des années 1950, de l'enfance à l'âge adulte. -
The Sounds of Paris in Verdiâ•Žs La Traviata
University of New Orleans ScholarWorks@UNO Foreign Languages Faculty Publications Department of English and Foreign Languages 4-2014 The Sounds of Paris in Verdi’s La Traviata (book review) Juliana Starr University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/fl_facpubs Part of the French and Francophone Language and Literature Commons, and the Music Commons Recommended Citation Starr, Juliana. "The Sounds of Paris in Verdi’s La Traviata." (book review) H-France Review 14 (April 2014): 1-4. http://www.h-france.net/vol14reviews/vol14no65starr.pdf This Book Review is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in Foreign Languages Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. H-France Review Volume 14 (2014) Page 1 H-France Review Vol. 14 (April 2014), No. 65 Emilio Sala, The Sounds of Paris in Verdi’s La traviata. Cambridge and New York: Cambridge University Press, 2013. xv + 206 pp. Figures, notes, bibliography, and index. $95.00 U.S. (hb). ISBN 978-1-107- 00901-1; $60.80 U.S. (eb). Kindle digital file. Review by Juliana Starr, University of New Orleans. How did Paris and its musical “soundscape” (p. 11) influence Verdi’s La traviata? In this volume, Emilio Sala breaks fresh ground in the fields of ethnomusicology, music history, and sound studies by re- examining the famous opera in the cultural context of the French capital in the mid-nineteenth century. -
Ebook Download Madame Du Barry and Her Quite Interesting Origins
MADAME DU BARRY AND HER QUITE INTERESTING ORIGINS PDF, EPUB, EBOOK Sean Caruana Webster | 66 pages | 01 Nov 2020 | Independently Published | 9798674255734 | English | none Madame du Barry and her Quite Interesting Origins PDF Book Joan Haslip's classic biography shares the extraordinary and ultimately tragic story of du Barry's life and, in turn, illustrates the dazzling world of the eighteenth century royal court of France and the horrors of the Revolution. Lyra Lyra is passionate about dancing, reading and drifting through the city's streets. Including wigs. Designed for intensive technical use, such as through equestrian use, these slim fit jeans are designed to last a lifetime of usage while looking damn good doing it. She was known to have a beautiful voice. Fame is where you find it. Jan 26, Sylvia Zedler rated it really liked it. We respect your privacy. This post originally appeared on F Yeah History and is reprinted here with permission. It was a fact that Marie Antoinette had rather close relationships with some of her male admirers. I just started reading the book a few days ago but what got me a bit confused about the facts is the D. What made this even worse was the fact that her son was indoctrinated by the revolutionaries and made to believe that his mother was all wrong. Marie Antoinette by Joseph Ducreux. Well, that would certainly be fitting for a French Queen. James McKinney rated it really liked it Mar 11, There you have it, all about the life of Marie Antoinette! Convents, not the natural home for teenage sass…. -
La Traviata March 5 – 13, 2011
O p e r a B o x Teacher’s Guide TABLE OF CONTENTS Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
Study Guide for La Traviata, 2016.Pub
What’s all the About? Screaming , r, 2014, r,License Creative Commons Walker and1983 Company, TITLEFake CREDIT: headline, banner Roger Englander Photo by Cliff Oliver Hubbardfor Theate Hall Opera Opera Vancouver at Tim Matheson by Photo Production Misguided Society Belle Succumbs After Too Many Parties by Jill Leahy Music by Giuseppe Verdi La traviata Some speculate that the opera La traviata could be called the original Pretty Woman , recalling the story of the 1990 film. One of the movie’s famous scenes depicts Edward (Richard Gere) and Vivian (Julia Roberts) at the Libretto by Francesco Maria Piave opera, watching a performance of La traviata, and Vivian is brought to tears. As the viewers, we’re meant to see the similarity between the movie and the opera—a courtesan falling in love with a wealthy suiter. But in Verdi's day, fiery romances at the opera often didn't turn out so well. It’s useful to remember that in 18th- and 19th- century Europe, operas were a popular form of entertainment, similar to our movies today. Verdi based his oper a on the play, The Lady of the Camellias, a thinly-veiled autobiographical account by Alexandre Dumas fils, about his love affair with a Parisian courtesan in the mid 1800s. Verdi fought the Italian censors to set the opera in his present day and was also willing to take on Italian conservatives who disapproved of his living with a woman he had not married. However, opera Giuseppe Verdi companies insisted on setting the story in the early (1813 –1901) 1700s and, famously, the 1853 premiere was not Giovanni Boldini's 1886 successful, partly due to bad singing, and partly portrait of Verdi hangs in due to audience reaction to the change in setting. -
H-France Review Volume 18 (2018) Page 1
H-France Review Volume 18 (2018) Page 1 H-France Review Vol. 18 (March 2018), No. 52 René Weis, The real Traviata. The Song of Marie Duplessis. Oxford and New York: Oxford University Press, 2015. xvi + 416. Preface, figures, notes, references, picture credits, index. £25.00 UK, $39.95 U.S. (hb). ISBN 978-0-19-870854-4. Reviewed by Dr Alessandra Palidda, Cardiff University. Weis’s book constitutes the latest and most comprehensive outcome of the interest already surrounding the figure of Marie Duplessis for quite a number of years. As the title suggests, Marie (or, better, Alphonsine) embodies the rather rare case of a real-life character inspiring not only a major writer’s work, but also what the author himself considers “probably the best loved opera in the world” (p. 1). In the case of an operatic work that has almost completely displaced its literary sources, the interest towards the real “fallen woman” has already produced quite significant fruits, both in English and, most notably, in French. Weis’s book not only operates a comprehensive summary of the existing literature produced around the figure of Duplessis in her links to both Dumas and Verdi (see the extensive bibliography), but also supplements it with what can be considered the most extensive research ever carried out specifically on this figure. The amount and variety of sources used is astonishing, from spa police records in Baden-Baden to cartographical documents of mid-nineteenth-century Paris, from the detailed descriptions of the places visited by Duplessis herself to a varied palette of precious iconographical sources (see also the detailed acknowledgements at the beginning and the references and index at the end). -
The Remediation of Dumas Fils' La Dame Aux Camélias
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English Summer 8-12-2014 The Remediation of Dumas Fils' La Dame aux Camélias Brandi Guined Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Recommended Citation Guined, Brandi, "The Remediation of Dumas Fils' La Dame aux Camélias." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/english_theses/168 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE REMEDIATION OF DUMAS FILS' LA DAME AUX CAMÉLIAS by BRANDI L. GUINED Under the Direction of Emily Bloom ABSTRACT Alexandre Dumas fils’ La Dame aux Camélias has existed in various media for more than 150 years, originating from life events that were mediated through the novel and remediated via theater, opera, and film. I examine in my thesis how this particular narrative has survived the centuries and how each depiction relates the social expectations, desires, and fears of the time period in which the revised story is generated. The relationship between Dumas and the famous courtesan Marie Duplessis and its fictional recreations in Dumas’ novel La Dame aux Camélias, his play Camille, Giuseppe Verdi’s opera La Traviata, and Baz Luhrmann’s film Moulin Rouge! reflects a human compulsion to create narratives in order to grasp daily events and to potentially escape those events or comment upon those which do not fit concisely into their socially expected codes of understanding. -
Alinéa 20. Espace Romans
Alinéa 20. Espace Romans Extrait du Médiathèque Jacques BAUMEL http://www.mediatheque-rueilmalmaison.fr/spip.php?article1544 Liste de nouveautés Alinéa 20. Espace Romans - Les collections - Bibliographies - Littératures & Langues - Alinéa, les nouveautés - Date de mise en ligne : samedi 11 octobre 2008 Description : Les nouveautés de l'espace Romans, Science-fiction et romans policiers (octobre 2008). Médiathèque Jacques BAUMEL Copyright � Médiathèque Jacques BAUMEL Page 1/118 Alinéa 20. Espace Romans Claudie GALLAY Les Déferlantes Rouergue (La Brune) - R GAL Un jour de grande tempête sur la pointe de la Hague, Lambert revient quarante ans après sur le lieu du naufrage de ses parents et de son petit frère. La narratrice, intriguée par cet homme, va peu à peu découvrir le mystère et les secrets de cette noyade et mettre au jour les liens complexes unissant certains habitants du bourg. Romans français Agnès ABECASSIS Toubib or not toubib Calmann-Lévy - R ABE Yohanna Béhar, mariée, deux enfants, est médecin généraliste dans un cabinet médical parisien. Souffrant de manque de confiance en elle, elle consulte un neuropsychiatre réputé qui lui propose une thérapie par l'hypnose. Mais l'expérience dérape et la voilà soudain dotée de superpouvoirs : télépathie, télékinésie, mémoire prodigieuse... Un roman d'humour et d'aventure rocambolesque. Philippe ADAM Ton petit manège Verticales-Phase deux - R ADA Douze nouvelles dans lesquelles les personnages courent ou ont quelque chose à fuir : départ en voyage, en boîte, des filles qui trottinent, un déménagement et la peur de son nouvel appartement, etc. Jean-Pierre AGUER LA SAGA DES QUATRE RIVIERES 2. Buffalo Le Cherche Midi (Romans) - R AGU Second opus de "La saga des quatre rivières", Lorcan Larlaith O'Neill se retrouve en Afrique du Sud, suite au désastre de la bataille de la Little Bighorn dont il sort indemne. -
2015 Opera Insider (Pdf)
Opera Insider Central City Opera If you are reading this in PDF format, all blue/ underlined text links to additional content. 2015 Opera Insider 2 Central City Opera Anschutz Foundation | The Colorado Health Foundation Virginia W. Hill Foundation | Mabel Y. Hughes Foundation Magnolia Music Studio | Schramm Foundation Henry R. Schwier Charitable Fund Galen and Ada Belle Spencer Foundation Anonymous | Earl D. and Julia A. Banks| Nancy Benson | Mr. and Mrs. Douglas A. Comstock Mr. and Mrs. Mark Hellerstein | Carl and Deborah Morrow | Emily Murdock Marcia Ragonetti | Mr. and Mrs. Dale Reed | Andrew and Karen Ritz | Mr. and Mrs. Marlis E. Smith Erin Joy Swank | Pam and Sonny Wiegard Opera Insider 3 Central City Opera So what IS opera? Opera is telling a story. Take some interesting people, add in a little adventure, some love, or even some hate; put it all in an interesting place, and maybe an interesting time, and you’ve got a story fit for an opera. Opera is drama. Take the story you’ve chosen and put the words into dialogue for actors to say. Tell the story in a creative way and add in some heroes and heroines or queens and kings. Maybe a monster—or four. Make sure there is a clear conflict in the story that the characters must overcome. Put your actors in costumes and makeup, and put them on a stage with some great scenery in order to illuminate the characters. Opera is music. Write some fantastic music for your play. Instead of having the actors speak, have them sing…everything! When they get really happy or mad, have them sing high and loud! When they are trying to express an important emotion, let them sing something longer to show off a little. -
De Giuseppe Verdi
Direction du Théâtre Le Dôme et des Affaires Culturelles Médiation culturelle et Développements des Publics Anne PIERRE et Delphine FAZI Tel : 02 53 93 50 08 [email protected] Saison culturelle 2017-2018 La Traviata Guiseppe Verdi / Opéra Côté Chœur Samedi 3 février 2018 à 20h30 Théâtre Le Dôme - Saumur DossierDossier d’Accompagnementd’Accompagnement © Daniel Friedman DOSSIER PEDAGOGIQUE de LA TRAVIATA Opéra en 3 actes de Giuseppe Verdi Création 2015 d’Opéra Côté Choeur Direction musicale : Frédéric Rouillon Mise en scène : Bernard Jourdain Responsable du projet culturel : Janie Lalande 1 Passeurs de lumière Philosophie de l’initiation à l’opéra Depuis 25 années, comme directrice du théâtre d’ Herblay (Val d’Oise – France) puis à Rabat et aux côtés d’Opéra Côté Choeur, je mène un travail d’initiation à l’opéra destiné aux élèves de 5 ans à 11 ans. Cette longue expérience qui a déjà touché près de 45 000 enfants, m’a permis de mettre en lumière l’importance essentielle de cette transmission culturelle. Parce que je suis intimement persuadée que, dans la vie, tout est affaire de hasard ou d’opportunité, parce que je sais que certaines rencontres seront décisives, qu’elles pourront infléchir le cours d’une destinée et agir comme une véritable révélation, je me suis attachée à mettre en place les meilleures conditions pour que le rendez-vous entre l’œuvre et l’enfant ait lieu. La formation à l’opéra que je propose, en collaboration étroite avec les enseignants vise à développer l’intelligence sensible des enfants. L’opéra, ce domaine élitiste et réputé difficile d’accès, devient alors pour eux aussi évident et merveilleux que les contes des mille et une nuits. -
Bibliographie Courante De La Littérature Luxembourgeoise 2012
MINISTÈRE DE LA CULTURE Daphné BOEHLES Bibliographie courante de la littérature luxembourgeoise 2012 (25e année) et compléments des années précédentes CENTRE NATIONAL DE LITTÉRATURE MERSCH 2013 Impressum: Editeur: Centre national de littérature 2, rue E. Servais L-7565 Mersch 2013 Tirage: 450 exemplaires Imprimerie: Hengen ISSN 1016-328X Sommaire Avant-propos p. 5 Photographies et abréviations p. 6 1 Linguistique et politique linguistique p. 7 2 Anthologies et bibliographies p. 30 3 Histoire et critique p. 36 3-1 Essais et articles généraux p. 36 3-2 Auteurs luxembourgeois p. 43 3-3 Auteurs étrangers p. 56 4 Littérature d'expression luxembourgeoise p. 124 4-1 Livres p. 124 4-2 Contributions p. 128 4-3 Critiques p. 140 5 Littérature d'expression française p. 147 5-1 Livres p. 147 5-2 Contributions p. 155 5-3 Critiques p. 172 6 Littérature d'expression allemande p. 183 6-1 Livres p. 183 6-2 Contributions p. 194 6-3 Critiques p. 229 7 Littérature d'expression diverse p. 242 7-1 Livres p. 242 7-2 Contributions p. 249 7-3 Critiques p. 154 8 Traductions p. 259 8-1 Traductions par des auteurs luxembourgeois p. 259 8-2 Critiques p. 260 9 Cabaret et théâtre p. 263 9-1 Cabaret p. 263 9-2 Théâtre – généralités p. 264 9-3 Théâtre par des Luxembourgeois p. 276 9-4 Théâtre par des troupes étrangères p. 306 10 Aspects divers de la littérature p. 319 10-1 Bandes dessinées p. 319 10-2 Congrès, colloques et foires p. 327 10-3 Concours et prix littéraires p. -
Le Contraire De Un Erri De Luca
Aide Une nouvelle à découvrir Extraite du recueil Le contraire de un COLLECTION FOLIO Erri De Luca Le contraire de un Traduit de l’italien par Danièle Valin Gallimard Titre original : IL CONTRARIO DI UNO © Erri De Luca, 2003 et 1993 pour I Colpi dei sensi. © Giangiacomo Feltrinelli Editore Milano, 2003. © Éditions Gallimard, 2004, pour la traduction française. © Éditions Payot & Rivages, 1996, pour la traduction française de Les coups des sens. Erri De Luca est né à Naples en 1950 et vit aujourd’hui près de Rome. Venu à la littérature «þpar accidentþ» avec Pas ici, pas maintenant, son premier roman mûri à la fin des an- nées quatre-vingt, il est depuis considéré comme un des écri- vains les plus importants de sa génération, et ses livres sont traduits dans de nombreux pays. En 2002, il a reçu le prix Fe- mina étranger pour Montedidio. Aux mères, parce qu’être deux commence par elles AIDE « Vous avez besoin d’aide ? — De quelqu’un qui me tue. » À cette réponse, je m’arrête. Elle est plus accroupie qu’assise par terre sur le bord du sentier. Sa position contractée, comme si elle souffrait de l’estomac, a tiré de moi l’offre d’une aide. Et puis en montagne ça se fait. Et puis elle est attirante, mais ça je l’ai vu à sa réponse quand elle lève vers moi un visage de mariée laissée sur l’autel. Je m’arrête, mon sac à dos léger d’une journée en balade sur les sommets sans corde ni ferraille d’escalade ne pèse pas lourd.