4351 Résultats
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livres
livres
Titre:
The Agony of Eros
The Agony of Eros
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Byung-Chul Han is one of the most widely read philosophers in Europe today, a member of the new generation of German thinkers that includes Markus Gabriel and Armen Avanessian. In "The agony of Eros", a bestseller in Germany, Han considers the threat to love and desire in today’s society. For Han, love requires the courage to accept self-negation for the sake of(...)
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Byung-Chul Han is one of the most widely read philosophers in Europe today, a member of the new generation of German thinkers that includes Markus Gabriel and Armen Avanessian. In "The agony of Eros", a bestseller in Germany, Han considers the threat to love and desire in today’s society. For Han, love requires the courage to accept self-negation for the sake of(...)
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The Agony of Eros
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Byung-Chul Han is one of the most widely read philosophers in Europe today, a member of the new generation of German thinkers that includes Markus Gabriel and Armen Avanessian. In "The agony of Eros", a bestseller in Germany, Han considers the threat to love and desire in today’s society. For Han, love requires the courage to accept self-negation for the sake of discovering the Other. In a world of fetishized individualism and technologically mediated social interaction, it is the Other that is eradicated, not the self. In today’s increasingly narcissistic society, we have come to look for love and desire within the “inferno of the same.” Han offers a survey of the threats to Eros, drawing on a wide range of sources—Lars von Trier’s film Melancholia, Wagner’s Tristan und Isolde, Fifty Shades of Grey, Michel Foucault (providing a scathing critique of Foucault’s valorization of power), Martin Buber, Hegel, Baudrillard, Flaubert, Barthes, Plato, and others. Han considers the “pornographication” of society, and shows how pornography profanes eros; addresses capitalism’s leveling of essential differences; and discusses the politics of eros in today’s “burnout society.” To be dead to love, Han argues, is to be dead to thought itself.
The Agony of Eros
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Byung-Chul Han is one of the most widely read philosophers in Europe today, a member of the new generation of German thinkers that includes Markus Gabriel and Armen Avanessian. In "The agony of Eros", a bestseller in Germany, Han considers the threat to love and desire in today’s society. For Han, love requires the courage to accept self-negation for the sake of discovering the Other. In a world of fetishized individualism and technologically mediated social interaction, it is the Other that is eradicated, not the self. In today’s increasingly narcissistic society, we have come to look for love and desire within the “inferno of the same.” Han offers a survey of the threats to Eros, drawing on a wide range of sources—Lars von Trier’s film Melancholia, Wagner’s Tristan und Isolde, Fifty Shades of Grey, Michel Foucault (providing a scathing critique of Foucault’s valorization of power), Martin Buber, Hegel, Baudrillard, Flaubert, Barthes, Plato, and others. Han considers the “pornographication” of society, and shows how pornography profanes eros; addresses capitalism’s leveling of essential differences; and discusses the politics of eros in today’s “burnout society.” To be dead to love, Han argues, is to be dead to thought itself.
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livres
livres
Publication:
mars 2017
mars 2017
Sujet:
Théorie/ philosophie
Théorie/ philosophie
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livres
livres
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Commissioned in 1750, the Palazzo Venier was planned as a testimony to the power and wealth of a great Venetian family, but the fortunes of the Veniers waned midconstruction and the project was abandoned. Empty, unfinished, and decaying, the building was considered an eyesore until the early twentieth century when it attracted and inspired three women at key moments in(...)
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Commissioned in 1750, the Palazzo Venier was planned as a testimony to the power and wealth of a great Venetian family, but the fortunes of the Veniers waned midconstruction and the project was abandoned. Empty, unfinished, and decaying, the building was considered an eyesore until the early twentieth century when it attracted and inspired three women at key moments in(...)
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The unfinished palazzo: stories of Luisa Casati, Doris Castlerosse and Peggy Guggenheim
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Commissioned in 1750, the Palazzo Venier was planned as a testimony to the power and wealth of a great Venetian family, but the fortunes of the Veniers waned midconstruction and the project was abandoned. Empty, unfinished, and decaying, the building was considered an eyesore until the early twentieth century when it attracted and inspired three women at key moments in their lives: Luisa Casati, Doris Castlerosse, and Peggy Guggenheim. Luisa Casati turned her home into an aesthete’s fantasy where she hosted parties as extravagant and decadent as Renaissance court operas, spending small fortunes on her own costumes in her quest to become a “living work of art” and muse. Doris Castlerosse strove to make her mark in London and Venice during the glamorous, hedonistic interwar years, hosting film stars and royalty at glittering parties. In the postwar years, Peggy Gugenheim turned the Palazzo into a model of modernist simplicity that served as a home for her exquisite collection of modern art that today draws tourists and art lovers from around the world. Each vivid life story is accompanied by previously unseen materials from family archives, weaving an intricate history of these legendary art world eccentrics.
The unfinished palazzo: stories of Luisa Casati, Doris Castlerosse and Peggy Guggenheim
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Commissioned in 1750, the Palazzo Venier was planned as a testimony to the power and wealth of a great Venetian family, but the fortunes of the Veniers waned midconstruction and the project was abandoned. Empty, unfinished, and decaying, the building was considered an eyesore until the early twentieth century when it attracted and inspired three women at key moments in their lives: Luisa Casati, Doris Castlerosse, and Peggy Guggenheim. Luisa Casati turned her home into an aesthete’s fantasy where she hosted parties as extravagant and decadent as Renaissance court operas, spending small fortunes on her own costumes in her quest to become a “living work of art” and muse. Doris Castlerosse strove to make her mark in London and Venice during the glamorous, hedonistic interwar years, hosting film stars and royalty at glittering parties. In the postwar years, Peggy Gugenheim turned the Palazzo into a model of modernist simplicity that served as a home for her exquisite collection of modern art that today draws tourists and art lovers from around the world. Each vivid life story is accompanied by previously unseen materials from family archives, weaving an intricate history of these legendary art world eccentrics.
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livres
livres
Publication:
septembre 2017
septembre 2017
Sujet:
Histoire jusqu’à 1900
Histoire jusqu’à 1900
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livres
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$61.95
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This publication documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the(...)
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This publication documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the(...)
Publication:
septembre 2012
septembre 2012
Titre:
Alternative histories: New York art spaces 1960 to 2010
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This publication documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites--including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others--that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context.
Alternative histories: New York art spaces 1960 to 2010
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This publication documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites--including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others--that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context.
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livres
livres
Publication:
septembre 2012
septembre 2012
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In 1972, Gordon Matta-Clark (1943–78) installed a dumpster on the street between 98 and 112 Greene Street in New York’s SoHo neighborhood, an architectural artwork he called 'Open House'. Matta-Clark used discarded, scavenged materials—old pieces of wood, doors—to subdivide the space inside the dumpster, creating corridors and small rooms within the container. Dancers and(...)
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In 1972, Gordon Matta-Clark (1943–78) installed a dumpster on the street between 98 and 112 Greene Street in New York’s SoHo neighborhood, an architectural artwork he called 'Open House'. Matta-Clark used discarded, scavenged materials—old pieces of wood, doors—to subdivide the space inside the dumpster, creating corridors and small rooms within the container. Dancers and(...)
Publication:
avril 2020
avril 2020
Titre:
Gordon Matta-Clark: Open house
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In 1972, Gordon Matta-Clark (1943–78) installed a dumpster on the street between 98 and 112 Greene Street in New York’s SoHo neighborhood, an architectural artwork he called 'Open House'. Matta-Clark used discarded, scavenged materials—old pieces of wood, doors—to subdivide the space inside the dumpster, creating corridors and small rooms within the container. Dancers and artists moved around the space, their pedestrian movements activating the sculpture and captured in a Super-8 film of the piece. Matta-Clark is best known for his building cuts and architectural interventions. Because of the nature of this work and its context—sited in spaces abandoned or slated for demolition—Matta-Clark’s “anarchitecture” was almost necessarily ephemeral, surviving as only documentation and sculptural sections. 'Open House' (1972) is the only still-extant architectural piece by Matta-Clark. 'Gordon Matta-Clark: Open House' is the first publication to focus on this crucial piece by the artist, using it as a way into his complex body of work. Featuring contributions from Sophie Costes, Thierry Davila and Lydia Yee, this volume takes a historical and theoretical approach to Open House and Matta-Clark’s entire oeuvre.
Gordon Matta-Clark: Open house
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In 1972, Gordon Matta-Clark (1943–78) installed a dumpster on the street between 98 and 112 Greene Street in New York’s SoHo neighborhood, an architectural artwork he called 'Open House'. Matta-Clark used discarded, scavenged materials—old pieces of wood, doors—to subdivide the space inside the dumpster, creating corridors and small rooms within the container. Dancers and artists moved around the space, their pedestrian movements activating the sculpture and captured in a Super-8 film of the piece. Matta-Clark is best known for his building cuts and architectural interventions. Because of the nature of this work and its context—sited in spaces abandoned or slated for demolition—Matta-Clark’s “anarchitecture” was almost necessarily ephemeral, surviving as only documentation and sculptural sections. 'Open House' (1972) is the only still-extant architectural piece by Matta-Clark. 'Gordon Matta-Clark: Open House' is the first publication to focus on this crucial piece by the artist, using it as a way into his complex body of work. Featuring contributions from Sophie Costes, Thierry Davila and Lydia Yee, this volume takes a historical and theoretical approach to Open House and Matta-Clark’s entire oeuvre.
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livres
livres
Publication:
avril 2020
avril 2020
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livres
livres
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Cet ouvrage déballe l’exhaustive collection Gordon Matta-Clark au CCA (CP138), en l’ouvrant à des interprétations provisoires issues de points de vue différents. Yann Chateigné réorganise la bibliothèque de Matta-Clark pour y recueillir les traces – écrites et dessinées – de sa pensée au travers de champs d’investigation structurants, de l’alchimie à la psychanalyse.(...)
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Cet ouvrage déballe l’exhaustive collection Gordon Matta-Clark au CCA (CP138), en l’ouvrant à des interprétations provisoires issues de points de vue différents. Yann Chateigné réorganise la bibliothèque de Matta-Clark pour y recueillir les traces – écrites et dessinées – de sa pensée au travers de champs d’investigation structurants, de l’alchimie à la psychanalyse.(...)
Titre:
CP138 Gordon Matta-Clark : Les archives revues par Yann Chateigné, Hila Peleg et Kitty Scott
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Cet ouvrage déballe l’exhaustive collection Gordon Matta-Clark au CCA (CP138), en l’ouvrant à des interprétations provisoires issues de points de vue différents. Yann Chateigné réorganise la bibliothèque de Matta-Clark pour y recueillir les traces – écrites et dessinées – de sa pensée au travers de champs d’investigation structurants, de l’alchimie à la psychanalyse. Rassemblant des heures de séquences de film rejetées, Hila Peleg remet en question la notion de documentation et ramène à la vue les contextes physiques et sociaux – l’espace relationnel – des interventions de Matta-Clark. Et à partir de centaines de photographies de voyage, Kitty Scott dresse, en contrepoint aux oeuvres de Matta-Clark, un panorama de ses notes visuelles sur le monde qui l’entoure. En mettant au premier plan des éléments apparemment secondaires de la collection, ces études manifestent une approche exploratoire des archives, dans laquelle la sélection, la présentation et l’écriture relèvent d’un processus de recherche continue. Plus qu’une synthèse, CP138 Gordon Matta-Clark : Les archives revues par Yann Chateigné, Hila Peleg et Kitty Scott propose d’élargir la portée de ce qui constitue l’oeuvre de Matta-Clark et ainsi le terrain physique et intellectuel dans lequel elle se situe.
CP138 Gordon Matta-Clark : Les archives revues par Yann Chateigné, Hila Peleg et Kitty Scott
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Cet ouvrage déballe l’exhaustive collection Gordon Matta-Clark au CCA (CP138), en l’ouvrant à des interprétations provisoires issues de points de vue différents. Yann Chateigné réorganise la bibliothèque de Matta-Clark pour y recueillir les traces – écrites et dessinées – de sa pensée au travers de champs d’investigation structurants, de l’alchimie à la psychanalyse. Rassemblant des heures de séquences de film rejetées, Hila Peleg remet en question la notion de documentation et ramène à la vue les contextes physiques et sociaux – l’espace relationnel – des interventions de Matta-Clark. Et à partir de centaines de photographies de voyage, Kitty Scott dresse, en contrepoint aux oeuvres de Matta-Clark, un panorama de ses notes visuelles sur le monde qui l’entoure. En mettant au premier plan des éléments apparemment secondaires de la collection, ces études manifestent une approche exploratoire des archives, dans laquelle la sélection, la présentation et l’écriture relèvent d’un processus de recherche continue. Plus qu’une synthèse, CP138 Gordon Matta-Clark : Les archives revues par Yann Chateigné, Hila Peleg et Kitty Scott propose d’élargir la portée de ce qui constitue l’oeuvre de Matta-Clark et ainsi le terrain physique et intellectuel dans lequel elle se situe.
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livres
livres
Publication:
juillet 2020
juillet 2020
Sujet:
Publications du CCA
Publications du CCA
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audio
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1 online resource.
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[Place of publication not identified] : Junior Aspirin Records, 2017.
[Place of publication not identified] : Junior Aspirin Records, 2017.
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audio
audio
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[Place of publication not identified] : Junior Aspirin Records, 2017.
[Place of publication not identified] : Junior Aspirin Records, 2017.
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
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Jean-Louis Cohen fonds, 1968-2023
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
Jean-Louis Cohen fonds, 1968-2023
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists(...)
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists(...)
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Simon Starling : Nachbau / Reconstruction
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists such as Matisse and CEzanne--were declared ""degenerate"" and locked away by the Nazi government. The museum itself was destroyed in 1944 and 1945, rebuilt after the war, and is now about to be partially demolished once again in the course of renovations. Working in the museum's confines, using four photographs of its galleries taken between 1929 and 1944 by Albert Renger-Patzsch, (a key photographer in the ""Neue Sachlichkeit,"" or ""New Objectivity""), Starling reconstructs that era's art placement and surroundings in a detailed, film set-like installation, bringing this charged historical background forward into the present. This two-volume artist's book on the project documents and elaborates on the installation and ideas it explores: the continuities, transformations and alterations that the artist shows shaping art and history. Simon Starling, born in Surrey in 1967, lives and works in Glasgow.
Simon Starling : Nachbau / Reconstruction
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists such as Matisse and CEzanne--were declared ""degenerate"" and locked away by the Nazi government. The museum itself was destroyed in 1944 and 1945, rebuilt after the war, and is now about to be partially demolished once again in the course of renovations. Working in the museum's confines, using four photographs of its galleries taken between 1929 and 1944 by Albert Renger-Patzsch, (a key photographer in the ""Neue Sachlichkeit,"" or ""New Objectivity""), Starling reconstructs that era's art placement and surroundings in a detailed, film set-like installation, bringing this charged historical background forward into the present. This two-volume artist's book on the project documents and elaborates on the installation and ideas it explores: the continuities, transformations and alterations that the artist shows shaping art and history. Simon Starling, born in Surrey in 1967, lives and works in Glasgow.
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livres
livres
Publication:
juillet 2007, Essen
juillet 2007, Essen
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livres
livres
Titre:
L'esprit d'escalier
L'esprit d'escalier
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Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly(...)
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Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly(...)
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L'esprit d'escalier
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Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly (i.e. when already descending the stairs): "I should've said (fill in blank)!" etc. One of Demand's ironic allusions to his title is a new work titled "Landing," which shows the shards of broken Qing vases on a staircase--a mishap caused by a visitor to The Fitzwilliam Museum Cambridge in January 2006, who stumbled on his shoelaces and crashed into the three eighteenth-century vases, smashing them to pieces. As ever, Demand combines conceptual rigor and exacting craft in his painstakingly re-created sets, with their eerie edge of artifice. L'Esprit d'Escalier presents an overview of his current work in 23 large photographs, plus a film project and an architectural installation specially prepared for his Irish Museum exhibition. Alongside an excerpt from David Foster Wallace's Girl with Curious Hair, it also includes commissioned writings by Dave Eggers, Paul Oliver, Caoimhin Mac Giolla Leith, Rachael Thomas and Enrique Juncosa.
L'esprit d'escalier
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Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly (i.e. when already descending the stairs): "I should've said (fill in blank)!" etc. One of Demand's ironic allusions to his title is a new work titled "Landing," which shows the shards of broken Qing vases on a staircase--a mishap caused by a visitor to The Fitzwilliam Museum Cambridge in January 2006, who stumbled on his shoelaces and crashed into the three eighteenth-century vases, smashing them to pieces. As ever, Demand combines conceptual rigor and exacting craft in his painstakingly re-created sets, with their eerie edge of artifice. L'Esprit d'Escalier presents an overview of his current work in 23 large photographs, plus a film project and an architectural installation specially prepared for his Irish Museum exhibition. Alongside an excerpt from David Foster Wallace's Girl with Curious Hair, it also includes commissioned writings by Dave Eggers, Paul Oliver, Caoimhin Mac Giolla Leith, Rachael Thomas and Enrique Juncosa.
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livres
livres
Publication:
juillet 2007, Dublin
juillet 2007, Dublin
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
Campo Santo
Campo Santo
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own(...)
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own(...)
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Campo Santo
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own curmudgeonly presence. The essays, however, feel unfinished, lacking polish and structural integrity. The collection is split into two parts, "Prose" and "Essays," with the first—a series of considerations of the landscape, history and social milieu of the island of Corsica—by far the more successful. The second, longer section contains an assortment of literary critical pieces, some detailed, such as a long essay about novelists writing about the destruction of German cities during WWII; others discursive, such as an apparently unfinished review of a book about Kafka's relationship with film that wanders from films Sebald himself viewed to films Kafka may or may not have seen. Although Sebald was a beautiful and intelligent writer, it's hard to see how these essays will appeal to anyone outside of scholars and already committed Sebald fans eager to read every word he ever set to paper.
Campo Santo
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Résumé:
This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own curmudgeonly presence. The essays, however, feel unfinished, lacking polish and structural integrity. The collection is split into two parts, "Prose" and "Essays," with the first—a series of considerations of the landscape, history and social milieu of the island of Corsica—by far the more successful. The second, longer section contains an assortment of literary critical pieces, some detailed, such as a long essay about novelists writing about the destruction of German cities during WWII; others discursive, such as an apparently unfinished review of a book about Kafka's relationship with film that wanders from films Sebald himself viewed to films Kafka may or may not have seen. Although Sebald was a beautiful and intelligent writer, it's hard to see how these essays will appeal to anyone outside of scholars and already committed Sebald fans eager to read every word he ever set to paper.
Classification:
livres
livres
Publication:
janvier 1900, New York
janvier 1900, New York
Sujet:
livres soldés
livres soldés
