"La symphonie pastorale" par André Gide

The renaissance of the twelfth century was a revival of cultural and intellectual activity from 1050 to 1250. Guibert of Nogent’s autobiography, A Monk’s Confession: The Memoirs of Guibert of Nogent, and the prologue of Peter Abelard’s Sic et Non (“Yes and No”) are both products of this time period, having been written in 1115 and 1122, respectively. While Abelard’s text primarily focuses on applying reason to religious matters—a very renaissance thing to do—Guibert sheds light on a greater variety of affairs. Both documents indicate the strong faith that one would expect to find in people during this era of religious enthusiasm. Together, the documents paint an informative picture of the intellectual activity and culture of their times.

Zlogar implicates that “Bartleby initially comes to the narrator as the leper comes to Christ” (Zlogar 511). The

In this discussion, I hope to put a different spin on surrealism and the grotesque by drawing on the works of Sartre, and if we're not too dizzy from spinning when all is said and done, I shall have put together a way to investigate the grotesque in Modernist art and contemporary life. After a summary of the surrealist's use of Freud and a look at Sartre's criticism of surrealism, we will look at surrealism in Sartre's work and derive an existentialist definition of the grotesque and examine how this might reconfigure the surrealist goal of liberation. Surrealist art is almost always analyzed in terms of Freudian psychoanalytic theory because the surrealists openly announced Freud's study of the psyche as the inspiration for the practice of surrealism. Andr‚ Breton, author of the many surrealist "Manifestoes" and the self-appointed spokesman and scribe of the surrealist movement, eulogized Freud, who died in 1939, by writing that: ". .

When analyzing the document, the use of allusion becomes a key aspect throughout the many rhetorical strategies. First, considering that the charges against Joan are that of heretic, references to the Bible by The Inquisitor cause the “Holy Court” to experience a moral reflection. The Inquisitor does this by stating, “You are all, I hope merciful men: how else could you have devoted your lives to the service of our gentle Savior?” In the previous quote, the speaker takes on a tone of a sycophant in order to instill how important the court members are, how “merciful.” Also, the quote contains an allusion to the Bible, to God, evoking the feeling to the audience of the momentous importance, not only of the court members occupations, but of the decision which they will soon be forced to make concerning a “gentle and pious girl.” This is said in hopes for the men judging her to reconsider their decisions.

The narrative of Davis’s monograph and Vigne’s movie has similarities and differences as well. For example, the return of Martin Guerre after eight years to the court in the neck of time is basically the same in both works, but the starting point is different in terms of time and place. The book starts with a detailed background of Martin’s family, their journey from the Basque region to Artigat, and how they adopt the life of the new place by changing their names, changing their customs, and learning the language so that they become like the villagers. On the other hand, the film begins with villages of Artigat and soon with the marriage of Martin and Bertrande in order to capture audience’s attention to be engaged in watching the film. However, the movie’s director ignores all the background of the Martin’s family.

In Pierre De Berulle’s selected writings pages 109 through 134 we learn about the “Discourse on the State and Grandeurs of Jesus. The first discourse is on the excellence and singularity of the sacred mystery of the Incarnation. Then we move on to the next discourse which in the form of an elevation to God upon the mystery of the incarnation. The third and forth discourse is on the unity of God in this mystery.

Unlike Abelard, Heloise never wrote a unified and comprehensive piece of work. Instead we have to gather her philosophy from her few letters’ and our understanding of her from Abelard’s responses. From her writing Heloise seems conflicted in both major relationships of her life, both Abelard and with God. With Abelard she is upset that after everything she did for him, he does nothing for her “Tell me one thing, if you can. Why, after our entry into religion, which was your decision alone, have I been so neglected and forgotten by you that you neither speak to me when you are here nor write to me when you are absent?”(1) This portrays an interesting image of Heloise living a life pursuing God in the nunnery but not for Him, and not for herself but for Abelard, because he wanted her to. In doing this she puts Abelard’s interests before not only her own, but even God’s “I can expect no reward for this from God, for it is certain that I have done nothing as yet for love of him”(2). It is in this way that we can learn Heloise’s philosophy, of furthering the interests of others rather than your own. It is this motive that Heloise finds to be good, action performed for the best

In the book The Letters of Abelard and Heloise, Abelard and Heloise’s relationship changes dramatically as seen in their love letters. At first, their relationship was very sexual based while they were together. I feel that the shift in their relationship happened when they became physically separated. As soon as the separation occurred, their relationship became a primarily chaste relationship. My goal in this paper is to demonstrate why I feel that Abelard and Heloise’s relationship changed from a sexual based relationship to a chaste based relationship because of the material realities and the change in the understanding of their relationship. To do this, I will first analyze the change in material realities and how that effected the relationship. Next, I will talk about what I think the initial understanding of the relationship is for both Abelard and Heloise. Then, I will tell how Abelard changed Heloise’s understanding of the relationship. Then, I will explain their Heloise’s new understanding of the relationship. Finally I will conclude by summarizing the how the relationship changed and why the change happened.

The Other is configured in the two writers’ works as victims of power play, their unjust mistreatment subsequently exposing underlying social inequalities. Through adopting the Gothic medium characteristic of Romanticism, the texts induce within the reader emotions of terror and pity towards the marginalised, leaving a profound effect which impactfully conveys the intended social criticism.

Abelard and Heloise’s perspectives over the gender role in the society were also found in their discussions on the men-women relationship. As suggested by their agreement on the gender views, their reasoning over the relationship of lovers seemed to go no further from the notion that women are predestined to be an obstacle

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

La Civilisation ma mère, écrit par Driss Chraïbi, explore un seul personnage, la mère. Mais le roman, n’est pas une étude de caractère ; c’est plutôt une étude d’un pays. Le style et ton de Chraïbi varient partout dans le roman, mais la texte reste toujours plein des métaphores et sarcasme. Il y a des temps quand l’intrigue vire complètement hors de réalité, mais d’autres fois ou les circonstances sont vraiment plausibles. Chraïbi approfondie a la fois l’évolution de la mère, mais aussi l’évolution de sa famille, et le monde entier. La juxtaposition entre la mère et le père reste particulièrement palpable à travers l’histoire. Chraïbi semble utiliser l’évolution des relations entre la famille comme un symbole du

Claude Debussy was born in France on August 22, 1862 during a decade in which Roger Nichols’s claims was one of “the low points of French musical life” (4). Debussy clashed with the musical norms of his time due to his fascination with writing music for how it sounds and feels. Lesure writes, “Ever since his years at the Conservatoire, Debussy had felt that he had more to learn from artists than from career-obsessed musicians” (5). Debussy composed from the ideas around him and this is heard in his composition of “Clair de lune”. Claude Debussy’s “Claire de lune” is one of his most beloved and known piano works. “Clair de lune” is the third movement of Debussy’s piano concerto, Suite Bergamasque, published in 1905 and offers a view into the complexity and originality of Claude Debussy. “Clair de lune” beautifully displays Debussy’s fascination with nature and symbolist poetry. Debussy uses form and atmospheric phrasing to depict the melancholic and subdued beauty of nature.

Thompson, Karl F.  Classics of Western Thought and Middle Ages, Renaissance and Reformation  4th ed  pgs. 263-277

Après avoir défini l’objectif, avec un peu de bon sens, le rassemblement de toutes les forces disponibles et beaucoup de courage il y aucune raison de ne pas obtenir le résultat souhaité et de le dépasser . La recherche de la performance doit être permanent car l’amélioration es performances est illimité.