Twins Bibi and Matt learn about different liquid measurements when they go to Les Jumelles Coccinelle International Pastry Academy while on a trip to Paris with their parents and dog.

The University of Paris is generally regarded as the first true university, the model for others not only in France but throughout Europe, including Oxford and Cambridge. This book challenges two prevailing myths about the university's origins: first, that the university naturally developed to meet the utilitarian and professional needs of European society in the late Middle Ages, and second, that it was the product of the struggle by scholars to gain freedom and autonomy from external authorities, most notably church officials. In the twelfth century, Paris was the educational center of Europe, with a large number of schools and masters attracting and competing for students. Over the decades, the schools of Paris had many critics--monastic reformers, humanists, satirists, and moralists--and the focus of this book is the role such critics played in developing the schools into a university. Ferruolo argues that it was the educational values and ideas promoted by the critics--ideas of the unity of knowledge, the need to share learning freely and willingly, and the higher purposes and social importance of education--that first inspired the scholars of Paris to join together to form a single guild. Their programs for educational reforms can be seen in the first set of statues promulgated for the nascent University of Paris in 1215.

In this collection, the author shares a charming selection of design ideas inspired by his travels to Paris, France, in the grand tradition of French art and culture. Part vignette, part instruction, and part travelogue, the book is a treasure trove of design tips and methods -- all delivered with typical Michael Gaffney artistry and style. Readers will delight in the many beautiful designs and will be inspired to try their hand at creating each arrangement. your hand at creating them yourself.

It has often been claimed that the aim of semiotics is to establish a general theory of systems of signification. However, as Jean-Claude Coquet notes in a recent collection of essays, what distinguishes one school of semiotics from another is the initial definition given of sign. If, for certain semioticians, the sign is first of all an observable phenomenon, for the Paris School it is first of all a construct and this point of departure has crucial theoretical and practical consequences. The essays appearing in these two volumes are representative of recent work carried out by members of this semiotic school. Essays in Volume I study problems more closely related to theoretical issues, while Volume II focuses more specifically on various fields of application.

For a couple of decades before World War II, a group of immigrant painters and sculptors, including Amedeo Modigliani, Marc Chagall, Chaim Soutine and Jules Pascin dominated the new art scene of Montparnasse in Paris. Art critics gave them the name "the School of Paris" to set them apart from the French-born (and less talented) young artists of the period. Modigliani and Chagall eventually attained enormous worldwide popularity, but in those earlier days most School of Paris painters looked on Soutine as their most talented contemporary. Willem de Kooning proclaimed Soutine his favorite painter, and Jackson Pollack hailed him as a major influence. Soutine arrived in Paris while many painters were experimenting with cubism, but he had no time for trends and fashions; like his art, Soutine was intense, demonic, and fierce. After the defeat of France by Hitler's Germany, the East European Jewish immigrants who had made their way to France for sanctuary were no longer safe. In constant fear of the French police and the German Gestapo, plagued by poor health and bouts of depression, Soutine was the epitome of the tortured artist. Rich in period detail, Stanley Meisler's Shocking Paris explores the short, dramatic life of one of the most influential artists of the twentieth century.

The Purple Palace & other Poems is the debut Poetry collection by Artist Shayna Klee. The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, "is a cloud a living thing?", takes place during the Author's tumultueuse teen years with tropical Florida as a backdrop. Part II, "Inside my Shell", explores themes of transformation as the Author creates a new life for herself in Paris, France. The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.