In writing these two ardently romantic and turbulent tales, Stendhal delved deep into old Italian narratives and into his own impassioned heart. “Vanina Vanini” and “L’abbesse de Castro” abound in the qualities for which the French author remains enduringly popular: his strong-willed, impulsive characters; his dry wit and keen irony; and the sweeping drama of his historical settings. Originally published in the Revue de Paris in 1829, “Vanina Vanini” traces the fortunes of an aristocrat’s daughter who falls in love with a wounded soldier, and prefigures Stendhal’s superb novel, The Red and the Black, which appeared two years later. “L’abbesse de Castro,” published in 1839 under a pseudonym in the prestigious Revue des Deux Mondes, was reputedly derived from Roman and Florentine source manuscripts. Consisting chiefly of Stendhal’s own invention, it recounts the illicit liaison and subsequent trial of an abbess. The only dual-language edition of these stories, this book features an informative introduction and ample footnotes, making it not only a pleasure to read but also a valuable learning and teaching aid for students and teachers of French literature.
Gérard n'en peut plus de voir son pote Gabriel errer comme une âme en peine à la Sainte-Scolasse. Aussi l'envoie-t-il se dégourdir les tentacules entre Nord et Belgique, avec pour mission d'en apporter quelques bières locales... A peine arrivé, le Poulpe est confronté à deux faits divers un peu spéciaux : le cadavre d'un homme est retrouvé dans les immenses tas de ferraille de l'usine sidérurgique, tandis qu'à quelques mètres de distance, un autre corps bloque une écluse de l'Escaut. Le sang de notre héros ne fait qu'un tour, et le voilà reparti sur le sentier de la guerre contre les profiteurs de tout poil. Quinze ans après La Petite Écuyère a cafté, Jean-Bernard Pouy, créateur de la série, reprend brillamment la plume et du service. Parce que, de Juppé à Sarkozy, ça n'est pas seulement du pain que le Poulpe a sur la planche, c'est une boulangerie entière. Et 5 bières, 2 rhums, c'est bien le minimum pour le mettre en appétit et lui donner du coeur à l'ouvrage !
"An insightful read from one of the ballet world’s most beloved married couples!"--Melinda Roy, former principal dancer, New York City Ballet "Wonderfully complete and instructive, written by two artists who have lived what they write about and are sharing their life experience from a deep and very human viewpoint. Bravo!"--Donald Mahler, former director, Metropolitan Opera Ballet "Perfect for inspiring dancers who want to learn more about the art of partnering."--Lauren Jonas, cofounder and artistic director, Diablo Ballet "An effective and lively resource to add to a dancer and teacher’s partnering skills toolkit."--Dean Speer, author of On Technique Traditionally, the pas de deux was designed as an interlude during longer ballets and showcased a ballerina’s skills. The male was a guide to her movements and steps, an unwavering extension of the ballerina. Today the pas de deux occupies a central role in dances and the reliance on a male’s strength has given way to endless modifications. Respect, patience, intuition, and awareness are just as significant as technique and the best partners communicate through breath, eye contact, and musical cues. In Experiencing the Art of Pas de Deux, professional dance couple Jennifer Carlynn Kronenberg and Carlos Miguel Guerra demystify the physical, emotional, and artistic intricacies that allow two to dance as one. They examine key components often overlooked in classes and textbooks, such as how to build and maintain the connections necessary for a trusting and successful team. Illuminating pas de deux work from both male and female perspectives, they detail the specific responsibilities of each partner. Step-by-step instructions are provided for proper posture, lifts, promenades, turns, and even dance conditioning--and QR code–accessible videos provide brief demonstrations of new and complex movements. Each chapter also includes personal anecdotes, offering a rare and intimate look at how partners can support one another and discover the inner workings of the finest and most memorable dances. Jennifer Carlynn Kronenberg is a former principal dancer with the Miami City Ballet. She has conducted master classes for Ballet Chicago and Ballet de Monterrey, among other companies and schools. She is the author of So, You Want to Be a Ballet Dancer? Carlos Miguel Guerra is a former principal dancer with the Miami City Ballet. He studied and worked with Fernando Alonso in Cuba, Ivan Nagy in Chile, and Edward Villella in Miami.
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