Les 81 jours à Saint Michel non seulement nous induit dans une prière constante et persévérante, mais garde aussi votre esprit centré sur la réalisation anticipée de vos désirs .La méthode utilisée est plutôt visuelle et émotionnelle, remplie de foi, d'espérance et d'abandon volontaire. Elle réduit l'ennemi à sa plus faible expression dans ses attaques et lui rend craintif. Vingt trois ans depuis, j’utilisais cette méthode sans même le savoir, dans les prières de libération et exorciste ainsi que dans ma vie personnelle. Une attitude, une façon de faire, une façon d’être qui nous fait côtoyer le miracle à volonté. Tous les miracles qui se font à travers le monde depuis la nuit des temps jusqu'à aujourd’hui. Pas un seul ne s’est produit sans elle. Ce livre vous apprend comment y parvenir sans trop d’effort si vous le désirez. Ce parcours à Saint Michel n’est pas un outil magique pour ceux qui doutent, mais un outil de chevet qui conduit au miracle ou à une vie de pratique de foi de tous les jours. Vous devenez ce que vous pratiquez.

Among the finest examples of European craftsmanship are the clocks produced for the luxury trade in the eighteenth century. The J. Paul Getty Museum is fortunate to have in its decorative arts collection twenty clocks dating from around 1680 to 1798: eighteen produced in France and two in Germany. They demonstrate the extraordinary workmanship that went into both the design and execution of the cases and the intricate movements by which the clocks operated. In this handsome volume, each clock is pictured and discussed in detail, and each movement diagrammed and described. In addition, biographies of the clockmakers and enamelers are included, as are indexes of the names of the makers, previous owners, and locations.

The world-famous French singer Édith Piaf (1915-63) was never just a singer. This book suggests new ways of understanding her, her myth and her meanings over time at home and abroad, by proposing the notion of an 'imagined Piaf.

The Violence of Modernity turns to Charles Baudelaire, one of the most canonical figures of literary modernism, in order to reclaim an aesthetic legacy for ethical inquiry and historical critique. Works of modern literature are commonly theorized as symptomatic responses to the trauma of history. In a climate that tends to privilege crisis over critique, Debarati Sanyal argues that it is urgent to rethink literary experience in terms that recall its contestatory potential. Examining Baudelaire's poems afresh, she shifts the focus of critical attention toward an account of modernism as an active engagement with violence, specifically the violence of history in nineteenth-century France. Sanyal analyzes a literary current that uses the traditional hallmarks of modernism—irony, intertextuality, self-reflexivity, and formalism—to challenge the historical violence of modernity. Baudelaire and the committed ironists writing in his wake teach us how to read and resist the violence of history, and thereby to challenge the melancholy tenor of our contemporary "wound culture." In a series of provocative readings, Sanyal presents Baudelaire's poetry as an aesthetic form that contests historical violence through rhetorical strategies of complicity, counterviolence, and critique. The book develops a new account of Baudelaire's significance as a modernist by dislodging him both from his traditional status as a practitioner of "art for art's sake" and from his more recent incarnation as the poet of trauma. Following her extended analysis of Baudelaire's poetry, Sanyal in later chapters considers a number of authors influenced by his strategies—including Rachilde, Virginie Despentes, Albert Camus, and Jean-Paul Sartre—to examine the relevance of their interventions for our current climate of trauma and terror. The result is a study that underscores how Baudelaire's legacy continues to energize literary engagements with the violence of modernity.