USD Sign in to Purchase Instantly. Product Details About the Author. About the Author. Widely esteemed as the greatest writer in the English language, William Shakespeare was an actor and theatrical producer in addition to writing plays and sonnets. Date of Death: Average Review. Write a Review. Related Searches. X - A Midsommer Nights Dreame by This book is a reproduction of the original book published in and may have some imperfections such as marks or hand-written notes.
View Product. As You Like It. This children's version is created Shakespeare's last tragedy explores the career and death of a brilliant and arrogant Roman general. Le jour de ses noces. Margaret Kelly a disparu en Novembre En 20 mois, il effectue missions de combat en heures de vol.
Ou Pierre Paulot, sergent-chef au 8e? Tous fils de France. On ne leur demandait pas de faire la guerre — ou seulement de ne faire rien que la guerre —, mais aussi de construire. Ils se sont battus. Et bien battus. Alors leur histoire. Et voici Tintin.
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Et heureux. Format : 21 cm x 29,7 cm. Il respire Venise. Il exalte Venise. Il est de Venise. En usant la semelle de ses souliers. Venise ne se donne pas au premier venu. La fin du Vietnam libre Alain Sanders. Fin avril Un journaliste occidental les interpelle. Nous allons faire Camerone. En tenant compte de ce que dit la Loi. Qu'il ne faut jamais ignorer, faut-il le rappeler.
Format : 14 cm x 20cm. Dans tous ses aspects. Farouchement anticatho-lique. Le massacre des Cristeros est un exemple de cette haine. Mort au mauvais gouvernement! Format : 16 cm x 24cm. Une rencontre. Rwanda Sur le terrain. Pour la France.
On ne devrait jamais quitter son enfance. Un jour, Foulques a mis le cap sur la Patagonie. Des survivants. Une tranche de vie. De la sociologie? Tout y est. Format : 17 cm x 17cm. Des hagiographies saint-sulpiciennes. Le 9 mars , les Japonais attaquaient nos garnisons. En France. Et dix, vingt, trente autres encore. Mais aussi des sportifs, des acteurs, des chanteurs, des musiciens. Des femmes de sa famille. Une jeunesse de soleil et de rires.
Des joies simples. Tendre et solide. Boxe de rue. Une Guiness Un plaid Bal l ades irlandaises. Les hommes y sont debout. Les femmes y sont belles. Pour le reste?
Oubliez tout. L'Homme de Malte. Miggiani, ambassadeur de Malte en France. L'Olive, le doum et l'orange Bernard Hoerni. So why did novels about universities suddenly start to appear in both countries at about the same time, and quickly develop into a quite popular and still thriving genre of literary fiction?
In both Britain and America the period after the Second World War saw great expansion in university education. Many new universities were built, and old ones expanded. In short, university teaching, with its generally agreeable conditions, flexible hours, and long vacations, became a favoured second occupation for writers, a source of steady income while they wrote their books in their spare time.
And since novelists tend to get their ideas from the milieux they inhabit, it is not surprising that this produced in both countries a steady stream of campus or academic novels. These novels, it is worth noting, are invariably concerned with teachers in the Arts or Humanities, because that is where most university-based novelists work.
More recently, novelists whose education was basically literary have become interested in the sciences and explored this side of academic life in fiction. The fact that universities are institutions dedicated to the disinterested pursuit of truth and the preservation of high culture, but staffed by human beings with ordinary human weaknesses and often more than ordinary eccentricities, no doubt explains why the campus novel is a predominantly comic or satiric genre.
Stuart Sutherland, one-time professor of psychology at the University of Sussex, in England, wrote a courageous book called Breakdown about his own mental illness, in which he observed that in any other social context people would have recognized much sooner that he was going mad but that in a university his symptoms were tolerantly regarded as mere eccentricities. He was obsessed with saving time for his research to the extent of shaving while driving to work and dictating letters to his secretary through the door of the toilet.
I know from personal experience that there is a good deal of interest in it among Continental European teachers and students of modern English and American literature, because I am frequently solicited for assistance by students in France, Germany, Italy and other European countries who are writing theses on the campus novel. And yet there have been very few campus novels produced by native writers in these countries, and those few, I am told, have not made much literary impact.
I think there are two possible reasons for this. First, until relatively recently, Continental European universities were not designed as campuses, territorially defined and self-contained; they were made up of faculties randomly distributed through the cities to which they belonged. Most of the students who attended them lived at home, and for them and their teachers there was no clear boundary marking off academic life from the life of the city at large. The enclosed, often isolated, residential university or college on the Anglo-American model is a very different environment, and more readily productive of the kind of behaviour that is the raw material of fiction.
The Anglo-American campus novel fascinates Europeans precisely because it seems so transgressive, in mocking and exposing the follies and misdemeanours of the academic profession, especially when the novelist is, as is usually the case, a member of that profession. But a continental European professor would risk the deep disapproval of his colleagues if he wrote such a novel as Small World.
Indeed, a female lecturer in a Polish university in the days of communist rule who proposed merely to translate Small World was told by her Head of Department that if she did so she would never be promoted. I am glad to say that she defied, and survived, the threat. He was thinking of the Catholic Church, but the saying applies equally to academia.
It has to be admitted that there is something transgressive in writing a satirical novel about an institution to which you belong, and campus novelists have learned various ways of dealing with this problem. One is to get out of the institution as soon as you can—but not every campus-based novelist wishes or is able to do that. Another is to take care that your novel is received as a work of fiction.
The American Professor Elaine Showalter, who recently published a critical study of the academic novel, Faculty Towers: the academic novel and its discontents , claims that she encountered three characters in different novels based on herself—not altogether flatteringly—in the course of her researches. Perhaps because academia is such small world, novels about it will always be read with this kind of curiosity, which has more to do with gossip than literary criticism. And then there is always the risk of life imitating art. I have myself twice invented universities which a few years later, to my embarrassment, came into existence in the real world: University College, Limerick in Small World and the University of Gloucester in Thinks….
His life story up to that point was a dramatic one. He was born in into a patrician Russian family who were driven into exile by the Bolshevik revolution of In his father was murdered in Berlin by an assassin while trying to shield Milyukov. After studying at Cambridge University in England, Nabokov scraped a living as a writer in Berlin, and later in Paris, publishing novels in Russian some of which were translated into English, German and French without making any great impression on the literary world.
In he made urgent attempts to obtain a university post in England, and it is interesting to speculate what kind of novels in English he might have eventually written if he had succeeded.
La Guerre des boutons by Louis Pergaud (2 star ratings)
We might have had a Nabokovian Lucky Jim A good task for a literary competition would be to write the first paragraph of that hypothetical book. In the event it was to the United States that the little family escaped from Nazi-occupied France in , virtually penniless refugees. Over the same period he began to rebuild his career as a writer of fiction, now in the medium of English. It was one of the most extraordinary linguistic feats in modern literature. But the essays and stories he published over the same period attracted the attention and admiration of editors and fellow writers, and in The New Yorker magazine , which at that time enjoyed a uniquely prestigious position in the American literary world, acquired the right to first consideration of his work.
At this time Wilson was married to Mary McCarthy, a generation younger than himself, then at the beginning of what would become a brilliant literary career as novelist and critic. The Wilsons and the Nabokovs became friends; they visited each other and the two men corresponded regularly. In fact I am quite flabbergasted — if that is the right word. They were both feisty, strong-willed characters, and in Mary left him after a violent quarrel, taking their son with her. They divorced, and in due course she married again, but for a few years she was obliged to earn a precarious living by her writing and occasional teaching jobs.
In the fall of she took a one-year appointment at Bard College, small liberal arts college for women in the Hudson Valley of New York State. Not long afterwards she began to write a novel based on these two experiences, The Groves of Academe, set on a fictional college campus in a pastoral setting called Jocelyn. Edmund Wilson recommended Nabokov to read it; though estranged from Mary he still took an appreciative interest in her writing. It is very amusing and quite brilliant in parts. Nevertheless, he was impressed, and I believe The Groves of Academe may have planted in his mind, if only unconsciously, the thought of making similar fictional use of his own academic experience.
But whereas in most of those novels the central character is the hero or heroine, and sympathy is generated by putting their hopes of achieving tenure in jeopardy, in The Groves of Academe the central character is an antihero, a thoroughly unsympathetic and undeserving character who unscrupulously manipulates all the others for his own ends. This is how the narrator describes him:. The background to the novel is the campaign of Senator Joe McCarthy no relation to Mary in the late s and early s against alleged Communists in public life.