Take two American teen chefs, add one heaping cup of Paris, toss in a pinch of romance, and stir. . . . Rosie Radeke firmly believes that happiness can be found at the bottom of a mixing bowl. But she never expected that she, a random nobody from East Liberty, Ohio, would be accepted to celebrity chef Denis Laurent’s school in Paris, the most prestigious cooking program for teens in the entire world. Life in Paris, however, isn’t all cream puffs and crepes. Faced with a challenging curriculum and a nightmare professor, Rosie begins to doubt her dishes. Henry Yi grew up in his dad’s restaurant in Chicago, and his lifelong love affair with food landed him a coveted spot in Chef Laurent’s school. He quickly connects with Rosie, but academic pressure from home and his jealousy over Rosie’s growing friendship with gorgeous bad-boy baker Bodie Tal makes Henry lash out and push his dream girl away. Desperate to prove themselves, Rosie and Henry cook like never before while sparks fly between them. But as they reach their breaking points, they wonder whether they have what it takes to become real chefs. Perfect for lovers of Chopped Teen Tournament and Kids Baking Championship, as well as anyone who dreams of a romantic trip to France, Love à la Mode follows Rosie and Henry as they fall in love with food, with Paris, and ultimately, with each other.

In the last twenty years the concept of the quotidien, or the everyday, has been prominent in contemporary French culture and in British and American cultural studies. This book provides the first comprehensive analytical survey of the whole field of approaches to the everyday. It offers, firstly, a historical perspective, demonstrating the importance of mainstream and dissident Surrealism; the indispensable contribution, over a 20-year period (1960-80), of four major figures: Henri Lefebvre, Roland Barthes, Michel de Certeau, and Georges Perec; and the recent proliferation of works that investigate everyday experience. Secondly, it establishes the framework of philosophical ideas on which discourses on the everyday depend, but which they characteristically subvert. Thirdly, it comprises searching analyses of works in a variety of genres, including fiction, the essay, poetry, theatre, film, photography, and the visual arts, consistently stressing how explorations of the everyday tend to question and combine genres in richly creative ways. By demonstrating the enduring contribution of Perec and others, and exploring the Surrealist inheritance, the book proposes a genealogy for the remarkable upsurge of interest in the everyday since the 1980s. A second main objective is to raise questions about the dimension of experience addressed by artists and thinkers when they invoke the quotidien or related concepts. Does the 'everyday' refer to an objective content defined by particular activities, or is it best thought of in terms of rhythm, repetition, festivity, ordinariness, the generic, the obvious, the given? Are there events or acts that are uniquely 'everyday', or is the quotidien a way of thinking about events and acts in the 'here and now' as opposed to the longer term? What techniques or genres are best suited to conveying the nature of everyday life? The book explores these questions in a comparative spirit, drawing new parallels between the work of numerous writers and artists, including André Breton, Raymond Queneau, Walter Benjamin, Michel Leiris, Maurice Blanchot, Michel Foucault, Stanley Cavell, Annie Ernaux, Jacques Réda, and Sophie Calle.

Harnessing the romance of the world of fashion and high art, this fascinating story of a collection of miniature mannequins describes the birth of Théâtre de la Mode, the Theater of Fashion. Full of stars such as Robert Ricci (Nina Ricci's son), filmmaker Jean Cocteau, and other members of the 1944 haute couture industry, the story follows 237 miniature fashion dolls through their epic tour of Europe and North America, bringing fashion, elegance, and beauty into a war-torn world. Also included are new colour photographs of the mannequins, the reconstructed sets, and close-up details of clothing so sewers, designers, and fashion mavens can appreciate the creativity of Paris designers at the end of World War II.

Om en udstilling med mannequindukker brugt som ambassadører for fransk modeindustri efter 2. verdenskrig