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This beautiful and psychologically intense film emerged from the collaboration of writer/artist Jean Cocteau and director Jean-Pierre Melville. A brother and sister immerse themselves in their own private room and their own private world. Beyong this space, which they rarely leave, everything seems to them strange and mysterious as a foreign land. But ultimately they cannot ignore either the people or that attitudes the prevail outside. Director Jean-Pierre Melville Star Edouard Dermithe, Jean C

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Elevate your casual look with this Dsquared 2 black cotton t-shirt featuring a contrast logo print on the front. Made from 100% cotton for ultimate comfort.

The DA-SDI-DE SDI Audio De-Embedder from Apantac supports up to 16 channels of analog audio and 8 pairs of AES audio. This de-embedder supports SDI...

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

The Apantac Digital Audio Impedance Transformer is specially designed for DA-SDI-DE SDI De-Embedder.

Enfant Terrible Hedvig Mollestad Trio - LP 7033660031575

"Tiege was at one and the same time both an agent provocateur and seismograph, at once provoking action and debate and yet simultaneously reacting with the utmost sensitivity to the shifting political spectrum of his time." -- from the introduction by Kenneth FramptonKarel Teige (1900--1951), a leading figure of the avant-garde of the 1920s and 1930s, participated in every important argument and controversy of those turbulent years. He edited the most influential avant-garde journals on Czech and international cultural affairs and wrote profoundly original essays and books on the theory and criticism of art and architecture. He also produced paintings, collages, photomontages, film scripts, book covers, and typefaces and participated in theatrical performances.When the Communists took over Czechoslovakia in 1948, Teige was first hailed as a progressive, then denounced for not toeing the party line -- even though he was never a card-carrying member of the Communist Party. He died a broken man, forbidden to speak out or to publish. Since the recovery of his work after the "velvet revolution" of 1989, his legacy has been revived not only in Prague, but also in Western Europe and the United States.Teige firmly believed in an ars una, free of the artificial separation of one branch of the arts from the other. The concept of ars una is reflected in the essays of this book, which provide intellectual riches without overly compartmentalized attempts at "academic" criticism. Because the only significant writing by Teige to appear so far in English is his well-known argument with Le Corbusier, the "Mundaneum Affair," four essays by Teige have been included.Contributors:Polana Bregantová, Lenka Bydzovská, Rumjana Daceva, Eric Dluhosch, Vojtech Lahoda, Miroslav Petrícek, Jr., Klaus Spechtenhauser, Karel Srp, Rostislav Svácha, Daniel Weiss.Published with the assistance of the Getty Grant Program.

Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects.

As the postwar mass media in France imagined her, the teenage girl was no longer a demure and daughterly jeune fille. Instead, she was an enfant terrible, a "bad girl"―implying that she was unapologetically and unsentimentally no longer a virgin. Focusing on the role of gender in representations of youth in post-World War II France, Susan Weiner traces how, after 1945, young men and women came to symbolize different aspects of social order and disorder in a country traumatized by the Nazi Occupation and Cold War paranoia, seduced by consumerism and Americanization, and engaged in an undeclared war in Algeria. While overtly political discourses about "youth" generally referred to middle-class young men, Weiner argues that it was in media representations of "bad girls" that anxieties over the loss of a morally and socially coherent national identity found their expression.Enfants Terribles looks at French culture from the Liberation to 1968 through images of the teenage girl which appeared in a broad range of texts and institutions: magazines such as Elle and Mademoiselle, newspapers, novels, popular essays, popular music, surveys, and film. Weiner highlights the new importance of youth as a social category of identity in the context of the postwar explosion of the mass media and explores the ways in which girls both defined and disrupted this category.

Née dans le Médan d'Émile Zola en pleine affaire Dreyfus, issue d'une famille d'artistes peintres désargentée, Mireille Havet fascine très jeune tous ceux qui l'approchent : elle n'a pas quinze ans quand Apollinaire publie ses premiers poèmes, et en compte dix-neuf quand paraît son récit La Maison dans l'oeil du chat, préfacé par une Colette enthousiaste. Auteure en 1923 d'un roman acclamé par André Gide et René Crevel (Carnaval), Mireille Havet atteint sa maturité d'écrivain dans son extraordinaire journal intime, exhumé par miracle en 1995. Séduisant hommes et femmes par son charme androgyne et sa liberté d'esprit, elle affirme dès l'adolescence une homosexualité sans tabou, qui lui fait vivre les liaisons les plus torrides. Le goût des drogues et une pauvreté croissante précipiteront hélas la garçonne flamboyante, égérie du Paris des années folles, dans la dépression et l'impuissance. Interprète du rôle de la Mort dans l'Orphée de son ami Jean Cocteau, la «petite poyétesse» d'Apollinaire meurt tuberculeuse et oubliée, à trente-trois ans. Fulgurante, passionnée, son existence illustre de manière exemplaire la trajectoire d'une génération que le traumatisme de la Grande Guerre livra à tous les excès. Petite soeur méconnue de Raymond Radiguet, Pierre Drieu La Rochelle ou Louis Aragon, Mireille Havet eut comme seule boussole l'exaltation d'un moi qui trouva dans le sexe, la poésie, le noctambulisme et les paradis artificiels ses pistes les plus fécondes. Née en 1967, maître de conférences à l'IUT de Tours, Emmanuelle Retaillaud-Bajac est spécialiste de l'histoire culturelle de l'entre-deux-guerres. Elle a publié La Pipe d'Orphée. Jean Cocteau et l'opium (Hachette Littératures, 2003) et Les Drogues, une passion maudite (Gallimard, 2002).

Née dans le Médan d'Émile Zola en pleine affaire Dreyfus, issue d'une famille d'artistes peintres désargentée, Mireille Havet fascine très jeune tous ceux qui l'approchent : elle n'a pas quinze ans quand Apollinaire publie ses premiers poèmes, et en compte dix-neuf quand paraît son récit La Maison dans l'oeil du chat, préfacé par une Colette enthousiaste. Auteure en 1923 d'un roman acclamé par André Gide et René Crevel (Carnaval), Mireille Havet atteint sa maturité d'écrivain dans son extraordinaire journal intime, exhumé par miracle en 1995. Séduisant hommes et femmes par son charme androgyne et sa liberté d'esprit, elle affirme dès l'adolescence une homosexualité sans tabou, qui lui fait vivre les liaisons les plus torrides. Le goût des drogues et une pauvreté croissante précipiteront hélas la garçonne flamboyante, égérie du Paris des années folles, dans la dépression et l'impuissance. Interprète du rôle de la Mort dans l'Orphée de son ami Jean Cocteau, la «petite poyétesse» d'Apollinaire meurt tuberculeuse et oubliée, à trente-trois ans. Fulgurante, passionnée, son existence illustre de manière exemplaire la trajectoire d'une génération que le traumatisme de la Grande Guerre livra à tous les excès. Petite soeur méconnue de Raymond Radiguet, Pierre Drieu La Rochelle ou Louis Aragon, Mireille Havet eut comme seule boussole l'exaltation d'un moi qui trouva dans le sexe, la poésie, le noctambulisme et les paradis artificiels ses pistes les plus fécondes. Née en 1967, maître de conférences à l'IUT de Tours, Emmanuelle Retaillaud-Bajac est spécialiste de l'histoire culturelle de l'entre-deux-guerres. Elle a publié La Pipe d'Orphée. Jean Cocteau et l'opium (Hachette Littératures, 2003) et Les Drogues, une passion maudite (Gallimard, 2002).

"Tiege was at one and the same time both an agent provocateur and seismograph, at once provoking action and debate and yet simultaneously reacting with the utmost sensitivity to the shifting political spectrum of his time." -- from the introduction by Kenneth FramptonKarel Teige (1900--1951), a leading figure of the avant-garde of the 1920s and 1930s, participated in every important argument and controversy of those turbulent years. He edited the most influential avant-garde journals on Czech and international cultural affairs and wrote profoundly original essays and books on the theory and criticism of art and architecture. He also produced paintings, collages, photomontages, film scripts, book covers, and typefaces and participated in theatrical performances.When the Communists took over Czechoslovakia in 1948, Teige was first hailed as a progressive, then denounced for not toeing the party line -- even though he was never a card-carrying member of the Communist Party. He died a broken man, forbidden to speak out or to publish. Since the recovery of his work after the "velvet revolution" of 1989, his legacy has been revived not only in Prague, but also in Western Europe and the United States.Teige firmly believed in an ars una, free of the artificial separation of one branch of the arts from the other. The concept of ars una is reflected in the essays of this book, which provide intellectual riches without overly compartmentalized attempts at "academic" criticism. Because the only significant writing by Teige to appear so far in English is his well-known argument with Le Corbusier, the "Mundaneum Affair," four essays by Teige have been included.Contributors:Polana Bregantová, Lenka Bydzovská, Rumjana Daceva, Eric Dluhosch, Vojtech Lahoda, Miroslav Petrícek, Jr., Klaus Spechtenhauser, Karel Srp, Rostislav Svácha, Daniel Weiss.Published with the assistance of the Getty Grant Program.

Omnidirectional Earset Microphone with Multiple System Adapters - Petite Beige.

Das Land Des Lachelns Ulf Schirmer - CD 761203730322

Expedition Sous 48 H En Suivi La Poste / Emballage Bullepack

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Book is in NEW condition. 2.03

Silvina Ocampo (1903-93), author of seven volumes of poetry and more than three hundred short stories, was a member of Argentina's Sur generation, the extraordinary group of writers who initiated Latin America's literary boom. Like her most distinguished contemporary, Jorge Luis Borges, Silvina Ocampo is known for her interest in the supernatural. In contrast to Borges, however, her characters are frequently women or little girls who challenge notions of female propriety at every turn. Ocampo's stories often portray a world of every-day banality in which violence, sexual transgression, and hints of the supernatural combine to question the reader's expectations of female power, freedom and creativity. The selections in this volume trace the female characters of Ocampo's stories from the entirety of her literary production. They are arranged in chronological order so that the evolution of her style is visible. One can perceive, for instance, that her early interest in surrealism returns later in her life. The uncanny sense that there is something going on beneath the surface of her narratives is a characteristic of all of them. Silvina Ocampo has for too long been a kind of insider secret for the literati of her generation. She deserves to be more widely understood as a significant contributor to the innovations of her circle, that of Borges, Bioy Casares, José Bianco and Julio Cortazar. She also deserves to take her place among the more famous Latin American women writers of her day, María Luisa Bombal (Chile), Armonia Somers (Uruguay), Rosario Castellanos, Elena Garro (Mexico) and Clarice Lispector (Brazil). She is clearly one of the twentieth century's most original voices.

Silvina Ocampo (1903-93), author of seven volumes of poetry and more than three hundred short stories, was a member of Argentina's Sur generation, the extraordinary group of writers who initiated Latin America's literary boom. Like her most distinguished contemporary, Jorge Luis Borges, Silvina Ocampo is known for her interest in the supernatural. In contrast to Borges, however, her characters are frequently women or little girls who challenge notions of female propriety at every turn. Ocampo's stories often portray a world of every-day banality in which violence, sexual transgression, and hints of the supernatural combine to question the reader's expectations of female power, freedom and creativity. The selections in this volume trace the female characters of Ocampo's stories from the entirety of her literary production. They are arranged in chronological order so that the evolution of her style is visible. One can perceive, for instance, that her early interest in surrealism returns later in her life. The uncanny sense that there is something going on beneath the surface of her narratives is a characteristic of all of them. Silvina Ocampo has for too long been a kind of insider secret for the literati of her generation. She deserves to be more widely understood as a significant contributor to the innovations of her circle, that of Borges, Bioy Casares, José Bianco and Julio Cortazar. She also deserves to take her place among the more famous Latin American women writers of her day, María Luisa Bombal (Chile), Armonia Somers (Uruguay), Rosario Castellanos, Elena Garro (Mexico) and Clarice Lispector (Brazil). She is clearly one of the twentieth century's most original voices.