I don’t know you know whether its worth very much — I mean the essay — when you have it written. I’m rather afraid of it as an enemy to the really creative writing that holds scenes and things in the eye voices in the ear and whole situations as a sort of plexus in the body (I don’t know just where).
A party where you pay to have verse read to you in a bordello-style setting is packing in the punters. Are poetry and sex work really comparable? I am in the back room of the Backroom cocktail bar in New York, reclining on a fur-covered day bed.
Albertine vient combler un vide absurde dans une ville aussi cosmopolite que New York. Au cours de ces dernières années, les enseignes vendant des œuvres en français ont fermé les unes après les autres. La Librairie de France, installée dans le célèbre Rockefeller Center pendant 74 ans, faisait figure d’ultime rescapée dans un environnement livresque en pleine mutation. Elle a dû à son tour fermer ses portes en 2009 (...)
16 years after enjoying a high school literary education rich in poetry, I am a literature teacher who barely teaches it. So far this year, my 12th grade literature students have read nearly 200,000 words for my class.
Bien que la Louisiane française ait été vendue aux Etats-Unis par Bonaparte en 1803, les colons de la Vieille Mine arrivés dès la fin du XVIIe siècle «n’ont jamais quitté ce coin de l’Est du Missouri», et leurs descendants étaient encore dans les années 1980 «des centaines […] voire plus d’un millier» à parler un dialecte unique, le «paw-paw French»ou français du Missouri
Every situation in which language is used – texting your mates, asking for a pay rise, composing a small ad, making a speech, drafting a will, writing up an experiment, praying, rapping, or any other – has its own conventions. You wouldn't expect a politician being interviewed by Kirsty Wark about the economy to start quoting Ludacris: "I keep my mind on my money, money on my mind; but you'se a hell of a distraction when you shake your behind." Although it might make Newsnight more entertaining.
Un entretien avec Claude Hagège, linguiste, réalisé par Lætitia Bianchi.
"(...) L’anglais a une réputation absurde de facilité parce que les gens ne le connaissent pas. Mais c’est une langue très diﬃcile. L’absence de ﬂexion, l’absence de déclinaison, est largement compensée par la complexité des expressions idiomatiques, qui foisonnent en anglais. Phonétiquement, tout le monde le reconnaît, la prononciation anglaise est impossible ! Et l’orthographe anglaise est encore plus inﬁdèle que la française à la réalité des sons... (...)"
The purpose of the Cross-Channel database is to bring to the public a group of works in many cases under-recognized, unknown, or hitherto inadequately identified. The database is especially intended to highlight the extent of French collections of British art.
The project was launched in the wake of the 1994 Louvre exhibition D'outre-Manche.L'Art Britannique dans les Collections Publiques Françaises ("Cross-Channel: British Art in French Public Collections"), which presented the initial results of our research. Since then our knowledge of the field has increased and, encouraged by the ongoing interest in British art in France, the nation's public collections have expanded via sometimes spectacular acquisitions. This online catalogue is the creation of a French team comprising Marie-Alice Seydoux, Camille Dorange, Guillaume Faroult and myself. It brings together almost 3000 works by British artists in every field except engraving and photography; all the works are pre-1940 and all belong to French public collections. Each is presented in an individual entry comprising the following sections: title, artist, medium, dimensions, inventory number, provenance, bibliography and exhibition history. All of them are reproduced when current copyright provisions permit. The present location of the work is specified, and photographs of the institution in question are included, together with a link to its website.
My name is Roger Thatney and I am 91 years old. I was serving as a testing pilot at the beginning of WW2 for the US Navy and since our plane equipped radio systems were not very advanced the signal was often getting lost and only parts of the conversations were heard, so whenever my name was called other pilots only heard "Roger..", or "..That..", so we were often joking about the signal quality and eventually instead of saying "I understand" they started jokingly saying "Roger That" and everyone knew exactly what they meant. Later the phrase caught up with the radio signal engineers who were working at making our planes getting better reception as well as creating plane radar systems and the phrase was later used to name aircraft radio equipment developing projects - on May 3rd, 1941 project "Roger" was created at the Naval Aircraft Factory to install and test their, then "new", "airborne radar equipment". The equipment proved to be very useful in the next few months so the phrase "Roger That" spread across all of the Navy and later other US Army units... The rest was history...
Pourquoi les Français sont-ils nuls en anglais? Slate.fr se penche sur cette question au travers d’une série de trois articles. D'abord, le constat: oui, les Français sont vraiment nuls en anglais, les études le démontrent.
As Byron prepared to set out for Greece in 1823, he was presented with a young Newfoundland. (...) Lyon or Lion was at his side throughout his ill-fated Greek adventure, returning to London with the poet’s coffin – as imagined here by Nick Hugh McCann. According to Walter Scott Byron loved his dogs very much, with the novelist suggesting ‘The companionship of a dog seemed to him almost as necessary as a hat or a stick. A man was not complete without a dog and a dog was scarcely complete without a man; Byron agreed with this’
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