Après avoir été victime d'une fausse prophétie qui a failli nuire à sa réputation et détruire sa famille, l'auteur a alors réalisé avec amertume la dangerosité des fausses révélations en générale, des fausses prophéties et des faux prophètes en particulier, au-delà de ce que la Bible enseigne. De cette expérience malheureuse est née ce livre qui donne une vue globale du monde spirituel de Dieu. II donne des voies facilement applicables pour que la promesse de Dieu que nous recevons par révélation ne reste pas lettre morte mais produise du fruit dons nos vies.

This book, written by the celebrated nineteenth century French economist propagating free trade, reads as it was written yesterday.

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.

A young writer has his heart set on his aunt's large apartment. With this seemingly simple conceit, the characters of The Planetarium are set in orbit and a galaxy of argument, resentment, and bitterness erupts. Telling the story from various points of view, Sarraute focuses below the surface, on the emotional lives of the characters in a way that surpasses even Virginia Woolf. Always deeply engaging, The Planetarium reveals the deep disparity between the way we see ourselves and the way others see us.

Ethics and Aesthetics of Translation engages with translation, in both theory and practice, as part of an interrogation of ethical as well as political thought in the work of three bilingual European authors: Bernardo Atxaga, Milan Kundera and Jorge Semprún. In approaching the work of these authors, the book draws upon the approaches to translation offered by Benjamin, Derrida, Ricœur and Deleuze to highlight a broad set of ethical questions, focused upon the limitations of the monolingual and the democratic possibilities of linguistic plurality; upon our innate desire to translate difference into similarity; and upon the ways in which translation responds to the challenges of individual and collective remembrance. Each chapter explores these interlingual but also intercultural, interrelational and interdisciplinary issues, mapping a journey of translation that begins in the impact of translation upon the work of each author, continues into moments of linguistic translation, untranslatability and mistranslation within their texts and ultimately becomes an exploration of social, political and affective (un)translatability. In these journeys, the creative and critical potential of translation emerges as a potent, often violent, but always illuminating, vision of the possibilities of differentiation and connection, generation and memory, in temporal, linguistic, cultural and political terms.

In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.