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Que de messages porte cette demeure!

Le Roi Lion - L'amour brille sous les étoiles - Disney

Mais il est deux autres lieux dont je souhaite dire un mot tant ils parlent aussi de la France. Ce palais est, pour tous ceux qui y travaillent et le font vivre, un outil exceptionnel au service du rayonnement de la France. Ce bel objet est aussi un bel outil. Il est aussi ouvert aux visites neuf fois par semaine. Le dernier en date Camarade la lutte continue! Il est triste de penser que M.

Georges Clemenceau, 20 octobre , Singapour.

Bonne visite! Romain Rolland, La Vie de Ramakrishna , Alexandre Ziegler Ambassadeur de France en Inde. La collection Les volumes Les auteurs Les partenaires. Ambassade de France en Inde Singapour. Elisseeff Danielle Danielle Elisseeff est historienne et sinologue. The burnings of Story of O by American campus feminists in the s have, it seems, had a less enduring and subversive effect than the book itself. But first things first.

Story of O is not a book to read on the bus - or not the first 60 pages, anyway, which are written with an almost hallucinatory, erotic intensity that you would have to be rather peculiar not to be left hot and bothered by. Here, she is initiated into a secret society with complicated rules: she is not to look any man in the eye nor speak to any of the other women. She must wear a corseted dress that exposes her breasts, a leather collar and cuffs. Any man may dispose of her as he wishes.

L'amour existe encore

O welcomes all this, understanding that the harsher the treat ments she endures, the more she proves her love. These are the pages that, in a third-person account written nearly 20 years later, the author described herself writing at night, 'lying on her side with her feet tucked up under her, a soft black pencil in her right hand For the first time in her life, she was writing without hesitation, without stopping, rewriting or discarding; she was writing the way one breathes, or dreams Dominique Aury, lying on her side in bed with her pencil and her school exercise books, did not intend the work to be published.

She wrote it as a dare, a challenge and an enterprise de seduction for her lover, Jean Paulhan. Probably, they were first introduced by her father, in the hope that she might solicit Paulhan's aid in publishing the volume of 17th-century devotional poetry she had collected. She did, and it was. Paulhan was a towering literary figure, handsome in an imperious way, with features that most readily expressed amusement and disdain.

In film footage from , when she was 81, and which she stipulated was not to be shown until after her death, Aury remembers him as 'tall, broad-shouldered, somewhat heavy-set, with a Roman-like face, and something both smiling and sarcastic in his expression'. Nearly two decades after his death, her eyes had a faraway look when she talked about him. The atrocious fascinated him. The enchanting enchanted him. Literature was a shared passion. Dominique Aury once boasted that she had read all of Proust every year for five consecutive years.

Novelist and cultural critic Regine Desforges, who became Aury's friend and who interviewed 'Pauline Reage' in , publishing the conversation as 'O m'a Dit, Confessions of O' remembers: 'Dominique Aury was fascinated by intelligence. The intelligence of Paulhan was obvious. And for her it became a kind of obsession.

Jean Paulhan, a generation older than Dominique Aury, and in his early sixties when she wrote Story of O, was married twice. The first alliance produced a son; the second, to Germaine Dauptain, was overshadowed by her long illness with Parkinson's disease she was already an invalid when he met Dominique Aury, although she would outlive him by four years.

Jacqueline Paulhan, who married his son, told me that in addition to his long relationship with Dominique, there were also other women: 'My father-in-law was quite the ladies' man. By the early s, Aury was worried that his attention might be shifting. Well aware of his liking for erotic literature he had written a preface to de Sade's Days of Sodom , she said she thought she could do something similar. Paulhan was dismissive: erotica wasn't a thing women were capable of.

L'histoire — Théâtre des Variétés

In the footage, licensed by Rapaport to show in her documentary, she explained: 'I wrote it alone, for him, to interest him, to please him, to occupy him. I wasn't young, nor particularly pretty. I needed something which might interest a man like him. Aury gave the notebooks to Paulhan, who thought the writing was too good not to be published and urged her to turn it into something longer, a proper novel. Aury admitted that after the initial explosive burst of energy, the writing slowed, and you can tell. The erotic charge seems less intense. O has a job and answers the telephone and moves around Paris, which is all a bit awkward and pointless when you are supposed to be in thrall to an identity-crushing sexual cult.

There are high points: the sex with women is obviously strongly felt Aury was actively bisexual at times in her life and she introduces the dark character of Sir Stephen, an Englishman to whom O is handed over. Sir Stephen, she told Regine Desforges, 'links to a desire for one's father. He is a father figure'. This is clearly an interesting development, from a Freudian point of view, but the switch of allegiances suggests she might have run out of steam with her first thought.

Table of contents

And, generally speaking, the energy seems to fade. Regine Desforges, an impressive redhead who remains a household name in France, confirmed to me that Aury had never initially intended what she was writing to be made public. Another friend, Elizabeth Porquerol, now 90, says, however, that, like all writers, Aury wanted to be published and was flattered by Paulhan's conviction that what she was doing was good. Aury wrote the further chapters and read them aloud to Paulhan as they were parked in the Bois de Boulogne or outside one of the cheap railway hotels where their assignations took place.

He did not drive, and she used to ferry him around Paris. She apparently found this reading business quite difficult: 'It was a written text,' she explained, 'not meant to be spoken. As O's tortures worsen and her torturers multiply, O attains a kind of calm, a purity of being, what Susan Sontag has called 'an ascent through degradation'.

Clearly, submission to higher authority held an enormous attraction for Aury.

Mireille Mathieu

Aury succeeds in giving her book a novelistic shape. One immediately begins to suffocate there, to feel bored. It's tough to maintain the tempo of pornography, and Dominique Aury's final, rather pedestrian chapter was left out of the published novel. In its place were two alternative, perfunctory endings. In one, the action dribbles out with no resolution; in the other, Aury merely says: 'Seeing herself about to be left by Sir Stephen, she preferred to die.

To which he gave his consent.

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Paulhan said it was all right. You have to wonder if this is some kind of in-joke, since the book is about nothing but sacrifice. There seems no doubt that the style is all hers. Paulhan contributed a preface whose sentences have none of Pauline Reage's limpid clarity, and which is, in fact, extremely difficult to understand. Aury herself told de St Jorre even she couldn't make head or tail of it. Paulhan took the book to their joint employer first. So when do we sign the contract? Pauvert, a round-faced man who looks scarcely any different now from the way he did in photographs when he was in his twenties, says he had known Dominique Aury 12 years before he was handed the book.

She is a great writer and absolutely uncopyable. While many people speculated that O had been written by a man, or was the work of two or more authors, Regine Desforges always saw it as a quintessentially female work she also had good reason to know who the author was, because she had a serious relationship with Pauvert.

It is absolutely a feminist work, empowering to women. For the first time, a woman is revealing her sex life, and it is the woman who dominates the situation, her feelings, her responses, her trajectory. It was agreed that the book would be published simultaneously in English by the Paris-based Olympia Press, a strange outfit which published a good deal of pornography, mainly for sale to sailors, but which was also the original publisher of Lolita, The Ginger Man, Naked Lunch and some works of Samuel Beckett. Story of O came out quietly in June and didn't attract much attention until it won the Prix Deux Magots, nearly a year later, which also brought it to the notice of the Brigade Mondaine, the French vice squad.

Pauvert, who had already faced 17 prosecutions in the preceding three years, noted: 'They were really very nice. We knew each other well. Paulhan, with his rather different reputation, was also hauled up to testify and dealt with them magisterially. After discoursing on the book's literary qual ity, he added that: 'Madame Reage, who is from an academic family which she feared to scandalise, has refused until now to reveal her name. If she should change her mind, I will ask her to get in touch with you.

Dominique Aury's adored father had his own collection of erotic literature, which she had read as an adolescent Les Liaisons Dangereuses was her favourite. Her mother was very different. She hated flesh. It may well have been to protect her that Dominique kept secret her authorship for so long. She also, of course, had her position at Gallimard, and the publishing house's reputation, to think of.

Pola Rapaport thinks Aury's parents must have known; despite the secrecy, the Brigade Mondaine came to the apartment Dominique shared with them. On another occasion, a friend from the provinces reported that in her district it was rumoured that Dominique was the author. Source : Brepols. Baker, M. Cavagna, G. Clesse eds. This book analyzes how acts of feeling at a discursive, somatic, and rhetorical level were theorized and practiced in multiple medieval and early-modern sources literary, medical, theological, and archival.

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It covers a large chronological and geographical span from eleventh-century France, to fifteenth-century Iberia and England, and ending with seventeenth-century Jesuit meditative literature. Essays in this book explore how particular emotional norms belonging to different socio-cultural communities courtly, academic, urban elites were subverted or re-shaped; engage with the study of emotions as sudden, but impactful, bursts of sensory experience and feelings; and analyze how emotions are filtered and negotiated through the prism of literary texts and the socio-political status of their authors.

This book explores how eleventh- and twelfth-century Anglo-Norman ecclesiastical authors attributed anger to kings in the exercise of their duties, and how such attributions related to larger expansions of royal authority. It argues that ecclesiastical writers used their works to legitimize certain displays of royal anger, often resulting in violence, while at the same time deploying a shared emotional language that also allowed them to condemn other types of displays.

These texts are particularly concerned about displays of anger in regard to suppressing revolt, ensuring justice, protecting honor, and respecting the status of kingship. In all of these areas, the role of ecclesiastical and lay counsel forms an important limit on the growth and expansion of royal prerogatives.

Source : Karolinum Press. Introduction Denis Kambouchner: Oublier Descartes? Senellart [14]. On est ici au printemps Chevallier, Michel Foucault et le christianisme , p. Boquet, B. Dufal et P. Labey dir. Chevallier, Michel Foucault et le christianisme.