Les Trois Mousquetaires
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Alexandre Dumas Biography Name ______Period _____ Score ______/30
Alexandre Dumas Biography Name ____________________ Period _____ Score ______/30 Early life Alexandre Dumas was born on July 24, 1802 in France. He was the son of a general of the French Revolutionary armies, while his grandfather was from a noble family. Dumas's father died when he was four years old, leaving the family with very little money. Dumas was not a very good student; but, his handwriting was noticeably beautiful so he studied to work as a notary (a public officer who witnesses the signing of important documents and makes them official). As a teen, he discovered his talent for writing. He began with musical comedies and then historical plays in collaboration (working together with others) with a poet friend named Adolphe de Leuven. Historical subjects, as well as his ability to collaborate, were to be permanent elements of Dumas's work during his career. Dumas then found work as a secretary to the Duke of Orléans (later King Louis Philippe, 1773–1850) in Paris, France. He read and attended the theater as much as he could during his time off. He was greatly influenced by the works of William Shakespeare (1564–1616) and wrote his first plays in 1825 and 1826. Others followed, with Henri III (1829) bringing him great success and popularity. The French Revolution of 1830 slowed down Dumas's writing, and he became a strong supporter of the Marquis de Lafayette. His political activities were viewed unfavorably by the new king, his former boss, and he was forced to leave France for a time. -
Alexandre Dumas (1802-1870)
Alexandre Dumas (1802-1870) BLACK EUROPEANS: A British Library Online Gallery feature by guest curator Mike Phillips Thomas-Alexandre Dumas was the son of Marquis Alexandre-Antoine Davy de la Pailleterie, and a slave, Louise-Céssette Dumas, from the Caribbean island colony of Saint Domingue (or Santo Domingo, known as Haiti after 1804). Returning to France in 1780, De La Pailleterie consented to his son joining the army on condition that he did not use his name. Thomas-Alexandre Dumas’ courage and strength became legendary and by 1793 he was a general at 31. Following a successful campaign with Napoleon in Egypt, Dumas seemed set for a brilliant future but, because of his involvement in a republican plot, he was despatched to France, captured during the journey and imprisoned. Freed after 20 months, he was lame, deaf in one ear, partly paralysed and penniless. At the age of 35 he was obliged to retire to Villers-Cotterêts, a quiet village near Paris where he had married Marie-Louise Elizabeth Labouret in 1792. Alexandre was born on 24 July 1802. Madame Dumas was in raptures because of his fair skin and blue eyes. A few days before she had seen a puppet show with a black devil called Berlick, and she had been terrified at the prospect of giving birth to a Berlick. Alexandre adored his father, who died in 1806. Told that his father been taken away by God the four-year-old Dumas angrily declared his intention of going up to heaven and demanding satisfaction. In adult life he was to fictionalise many of his father’s real life exploits in his famous novel The Three Musketeers. -
Indian Streams Research Journal
Vol II Issue IX Impact Factor : 0.2105 ISSN No : 2230-7850 ORIGINAL ARTICLE Monthly Multidisciplinary Research Journal Indian Streams Research Journal Executive Editor Editor-in-chief Ashok Yakkaldevi H.N.Jagtap IMPACT FACTOR : 0.2105 Welcome to ISRJ RNI MAHMUL/2011/38595 ISSN No.2230-7850 Indian Streams Research Journal is a multidisciplinary research journal, published monthly in English, Hindi & Marathi Language. All research papers submitted to the journal will be double - blind peer reviewed referred by members of the editorial Board readers will include investigator in universities, research institutes government and industry with research interest in the general subjects. International Advisory Board Flávio de São Pedro Filho Mohammad Hailat Hasan Baktir Federal University of Rondonia, Brazil Dept. of Mathmatical Sciences, English Language and Literature University of South Carolina Aiken, Aiken SC Department, Kayseri Kamani Perera 29801 Regional Centre For Strategic Studies, Sri Ghayoor Abbas Chotana Lanka Abdullah Sabbagh Department of Chemistry, Lahore Engineering Studies, Sydney University of Management Sciences [ PK Janaki Sinnasamy ] Librarian, University of Malaya [ Catalina Neculai Anna Maria Constantinovici Malaysia ] University of Coventry, UK AL. I. Cuza University, Romania Romona Mihaila Ecaterina Patrascu Horia Patrascu Spiru Haret University, Romania Spiru Haret University, Bucharest Spiru Haret University, Bucharest, Romania Delia Serbescu Loredana Bosca Spiru Haret University, Bucharest, Spiru Haret University, Romania Ilie Pintea, Romania Spiru Haret University, Romania Fabricio Moraes de Almeida Anurag Misra Federal University of Rondonia, Brazil Xiaohua Yang DBS College, Kanpur PhD, USA George - Calin SERITAN Nawab Ali Khan Titus Pop Postdoctoral Researcher College of Business Administration Editorial Board Pratap Vyamktrao Naikwade Iresh Swami Rajendra Shendge ASP College Devrukh,Ratnagiri,MS India Ex - VC. -
Twenty Years After, Volume 1 // 1898 // Alexandre Dumas, Auguste Maquet // T.Y
Twenty Years After, Volume 1 // 1898 // Alexandre Dumas, Auguste Maquet // T.Y. Crowell, 1898 Twenty Years After. Book Three of the Musketeers Cycle. Edited and translated. By lawrence ellsworth. A Note on the Translation: The public appetite for a sequel to The Three Musketeers was so great that the first volumes of Twenty Years After were rushed into book publication before the serial had even finished running in Le Siècle. The first (and unauthorized) edition, published in Brussels in early 1845, was cobbled together by collecting the installments published in Paris and was so hastily compiled that it omitted an entire chapter: that of XXIX, “Good Councilor Broussel†(“Le Bonhomme Brousselâ€) . Twenty Years After is the second of the d'Artagnan Romances, following The Three Musketeers. It is set during the early reign of King Louis XIV in France and the English Civil War in England, leading to Cromwell's victory over King Charles I. The musketeers fight valiantly to protect their monarch, and many previous characters or their children are reprieved from the first novel. After an idle youth, Alexandre Dumas went to Paris and spent some years writing. A volume of short stories and some farces were his only productions until 1927, when his play Henri III (1829) became a success and made him famous. It was as a storyteller rather than a playwright, however, that Dumas gained enduring success. Twenty Years After Communism deserves not only to be remembered in two decades' time, but should be on the shelves of all scholars of the region who need to incorporate an understanding of the role of the past into their analysis of the present." - - East European Politics. -
The Count of Monte Cristo Novel by Dumas Print Cite Share More
The Count of Monte Cristo novel by Dumas Print Cite Share More WRITTEN BY Patricia Bauer See All Contributors Patricia Bauer is an Assistant Editor at Encyclopaedia Britannica. She has a B.A. with a double major in Spanish and in theatre arts from Ripon College. She previously worked on the Britannica Book of... See Article History Alternative Title: “Le Comte de Monte-Cristo” The Count of Monte Cristo, French Le Comte de Monte- Cristo, Romantic novel by French author Alexandre Dumas père (possibly in collaboration with Auguste Maquet), published serially in 1844–46 and in book form in 1844–45. The work, which is set during the time of the Bourbon Restoration in France, tells the story of an unjustly incarcerated man who escapes to find revenge. Count of Monte Cristo, The The count of Monte Cristo, from a 2003 French stamp. © Neftali/Shutterstock.com BRITANNICA QUIZ Name the Novelist Every answer in this quiz is the name of a novelist. How many do you know? Summary The novel opens in 1815 as the Pharaon arrives in Marseille. The ship’s owner, Monsieur Morrel, learns from the young first mate, Edmond Dantès, that the captain died on the journey and that Dantès took over. The ship’s accountant, Danglars, is bothered that the Pharaon stopped at Elba, but Dantès explains that the captain left a package to be delivered to one of Napoleon’s marshals who is in exile with Napoleon on the island. Morrel makes Dantès captain of the ship, to Danglars’s displeasure. On visiting his father, Dantès learns that a neighbour, Gaspard Caderousse, took most of his father’s resources in payment of a debt. -
Early Life His Fiction
Early Life Alexandre Dumas was born on July 24, 1802, near Soissons, France. He was the third child of a Creole general of the French Revolutionary armies. His grandfather was from a noble family, and his grandmother had been a Dominican slave. Dumas's father died when he was four years old, leaving the family with very little money. Dumas was not a very good student, but his handwriting was noticeably beautiful, and he studied to work as a notary (a public officer who witnesses the signing of important documents and makes them official). He also began writing musical comedies and then historical plays in collaboration (working together with others) with a poet friend named Adolphe de Leuven. Historical subjects, as well as his ability to collaborate, were to be permanent elements of Dumas's work during his career. Dumas then found work as a secretary to the Duke of Orléans (later King Louis Philippe, 1773–1850) in Paris, France. He read and attended the theater as much as he could during his time off. He was greatly influenced by the works of William Shakespeare (1564–1616) and wrote his first plays in 1825 and 1826. Others followed, with Henri III et sa cour (1829) bringing him great success and popularity. The revolution of 1830 slowed down Dumas's writing, and he became a strong supporter of the Marquis de Lafayette. His political activities were viewed unfavorably by the new king, his former boss, and he was forced to leave France for a time. A series of amusing travel books resulted from this period of exile. -
The Speed of Plot Narrative Acceleration and Deceleration
Received: 20 September 2019 | Revised: 13 December 2019 | Accepted: 3 January 2020 DOI: 10.1111/oli.12251 ORIGINAL ARTICLE The speed of plot Narrative acceleration and deceleration Karin Kukkonen University of Oslo, Oslo, Norway When characters travel 'at the speed of plot', they need to Correspondence arrive at the conclusion of the story by the time the narra- Karin Kukkonen, University of Oslo, Oslo, Norway. tive comes to its end on the page. This article develops the Email: [email protected] popular notion of 'plot speed' into a conceptual contribution to the study of time in narrative. 'Plot speed' is the concep- tual velocity of movement through plot events, and it can be rooted in the physical speed of the storyworld (where char- acters are in a rush) or the discourse speed (where the writ- ten form of the narrative indicates chapters, instalments, and so on). I investigate configurations of plot speed through Dumas’s The Three Musketeers, its precursor Courtilz de Sandras’s Mémoires de M. d’Artagnan, and the manuscripts in which Dumas collaborated with Auguste Maquet, thus arguing for narratological investigations that are situated in contexts of literary history and media changes. KEYWORDS Alexandre Dumas, Auguste Maquet, narrative speed, plot, situated narratology, The Three Musketeers 1 | Narrative organises our experience of time. Paul Ricoeur (1984–1988) has argued that it 'emplots' our pre-con- scious sense of time in an Aristotelian sequence of beginnings, middles and endings, creating a secondary mimesis. Narrative reorganises the original sequence of story, the fabula, jumping backwards (and sometimes forwards) in time, telling the same events several times from different perspectives, and generally playing fast and loose with This is an open access article under the terms of the Creative Commons Attribution-NonCommercial License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited and is not used for commercial purposes. -
The Author's Name As a Trademark: a Perverse Perspective on the Moral Right of «Paternity»?
Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 2005 Essay – The Author's Name as a Trademark: A Perverse Perspective on the Moral Right of «Paternity»? Jane C. Ginsburg Columbia Law School, [email protected] Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Jane C. Ginsburg, Essay – The Author's Name as a Trademark: A Perverse Perspective on the Moral Right of «Paternity»?, CARDOZO ARTS & ENTERTAIMENT LAW JOURNAL, VOL. 23, P. 379, 2005; COLUMBIA LAW SCHOOL PUBLIC LAW RESEARCH PAPER NO. 05-91 (2005). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/1366 This Working Paper is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. Columbia Law School Public Law & Legal Theory Working Paper Group Paper Number 05-91 ESSAY -- THE AUTHOR’S NAME AS A TRADEMARK: A PERVERSE PERSPECTIVE ON THE MORAL RIGHT OF « PATERNITY » ? (Version of May 10, 2005) BY: PROFESSOR JANE C. GINSBURG COLUMBIA LAW SCHOOL This paper can be downloaded without charge from the Social Science Research Network electronic library at: http://ssrn.com/abstract=724343 Essay -- The Author’s Name as a Trademark: A Perverse Perspective on the Moral Right of « Paternity » ? Jane C. Ginsburg* Abstract The US Supreme Court in its 2003 decision in Dastar v. Twentieth Century Fox, construing the Lanham Federal Trademarks Act, deprived authors of their principal legal means to enforce attribution rights in the US. -
Alexandre Dumas As a French Symbol Since 1870
Alexandre Dumas as a French Symbol since 1870 Alexandre Dumas as a French Symbol since 1870: All for One and One for All in a Global France Edited by Eric Martone Alexandre Dumas as a French Symbol since 1870: All for One and One for All in a Global France Edited by Eric Martone This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Eric Martone and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4600-4 ISBN (13): 978-1-5275-4600-4 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Introduction ............................................................................................... ix Chapter One ................................................................................................ 1 Ovations and Omissions: A Summary of Alexandre Dumas’s Oscillating Literary Legacy Lynne Bermont Chapter Two ............................................................................................. 13 Recasting Alexandre Dumas as a Popular Educator in France during the New Imperialism Eric Martone Chapter Three .......................................................................................... -
Timbres, Autographes Livres Anciens Et Modernes, Estampes, Tableaux Et Dessins
Timbres, Autographes Livres anciens et modernes, Estampes, Tableaux et Dessins Mardi 19 mai 2015, à 14 heures Drouot - Richelieu, salle 11 9, rue Drouot - 75009 Paris Expositions publiques : Le lundi 18 mai, de 11 heures à 18 heures, Le matin de la vente, de 11 heures à 12 heures. Téléphone pendant l’exposition et la vente : 01 48 00 20 11 EXPERTS : Monsieur Richard MENOZZI pour les timbres Tél : 01 47 70 16 90 - [email protected] Monsieur Thierry BODIN pour les autographes Tél : 01 45 48 25 31 - [email protected] Madame Nadine DUBOURVIEUX pour les livres Expert près de la Cour d’appel de Paris Tél : 06 82 68 66 02 - [email protected] Alexandre FERRI Bruno Mauvais Commissaires-Priseurs FERRI & Associés 53, rue Vivienne - 75002 Paris Tél. 01 42 33 11 24 - Fax. 01 42 33 40 00 E-mail : [email protected] www.ferri-drouot.com Retransmission en direct - Enchérir en direct 1 EXCEPTIONNELLE CORRESPONDANCE D’UN OFFICIER EN POSTE AU JAPON EN 1872 En poste au JAPON à partir de 1872, où il y séjourna jusqu’en 1879, il nous fait décou- vrir, outre le caractère exceptionnel de certaines pièces philatéliques, la vie quotidienne de ces militaires, par ses récits et ses photos, partis de FRANCE pour représenter leur Pays. Nous détaillons, ci-après, (lots 1 à 14), la correspondance du Capitaine A. JOURDAN à sa famille, pendant la période de 1870 à 1879. Nous tenons, tout particulièrement, à remercier Messieurs JUN-ICHI MATSUMOTO et AKIRA KOBAYACHI, pour leur participation à la traduction et à la diffusion, au JAPON, de l’ensemble des lots numérotés de 1 à 14. -
Les Trois Mousquetaires Alexandre Dumas (1802-1870)
1/19 Data Les trois mousquetaires Alexandre Dumas (1802-1870) Langue : Français Genre ou forme de l’œuvre : Œuvres textuelles Date : 1844 Note : Roman historique Domaines : Littératures Détails du contenu (13 ressources dans data.bnf.fr) Voir aussi (11) The musketeer : film , Peter Hyams The three musketeers : film , Stephen Herek (2000) (1993) The three musketeers , Richard Lester The four musketeers , Richard Lester (1973) (1973) Le masque de fer : film , Henri Decoin (1890-1969) Les trois mousquetaires : None (1962) film (1953) The three musketeers : film , George Sidney The three musketeers : film , Rowland Vance Lee (1948) (1916-2002) (1935) (1891-1975) Les trois mousquetaires : None The three must-get-theres , Max Linder (1883-1925) film (1922) (1932) Les trois mousquetaires : None film (1921) data.bnf.fr 2/19 Data Table des matières (2) Paris : Marescq , DL 1883 Paris : J.-B. Fellens et L.-P. Dufour , 1846 (1883) (1846) Éditions de Les trois mousquetaires (247 ressources dans data.bnf.fr) Livres (217) Alexandre Dumas. Les , Alexandre Dumas Les Trois mousquetaires... , Alexandre Dumas Trois mousquetaires (1802-1870), Paris, (1802-1870), [Évreux] : le Calmann-Lévy , (s. d.). 2 Cercle du bibliophile , [s.d.] vol. in-12 Les Trois mousquetaires , Alexandre Dumas Les Trois mousquetaires, , Alexandre Dumas (1802-1870), Paris : Nelson par Alexandre Dumas (1802-1870), Paris, impr. de : Calmann-Lévy , s. d. Boule , (s. d.) in-4°. Pièce Les trois Mousquetaires , Alexandre Dumas Les Trois mousquetaires, , Alexandre Dumas (1802-1870), -
The Description of Main Characters in Alexandre
THE DESCRIPTION OF MAIN CHARACTERS IN ALEXANDRE DUMAS’ NOVEL THE THREE MUSKETEERS A PROPOSAL BY HANS POSMA VALENTINO PARDEDE 142202016 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURAL STUDY UNIVERSITY OF SUMATERA UTARA MEDAN 2017 Universitas Sumatera Utara ABSTRACT The paper entitled A Description Of Main Characters In Alexandre Dumas' Novel The Three Musketeers describes the main characters contained in Alexandre Dumas's novel The Three Muskterees. The main characters have different characteristics and have different properties as well. In the preparation of this paper the author uses the method of library research by reading books related to this title and as a source to get some information that can support this title and as a source to get some information that can support this title also searches from the internet . So it can be the characteristics and the nature of each of the main characters contained in the novel. KeyWord: Main Character, Novel. i Universitas Sumatera Utara ACKOWLEDGEMENT Thanks God, all the praise to Jesus Christ for the blessing, mercy, and guidance in giving the writer full strength and patience to complete this paper. This paper is aimed to fulfill one of the requirements to obtain the D3 Associate’s Degree at English Department in Faculty of Cultural Study, University of Sumatera Utara. In accomplishing this paper, the writer has been helped by a lot of beloved people especially for the loyal supporters. Therefore, the writer would like to express her sincere and greatest gratitude to: • Prof. Dr. Runtung, S.H., M.Hum., the Rector of University of Sumatera Utara.