Journey to the Moon
What if the moon were another world for which ours served as the moon? An absurd notion, but one which leads our narrator to travel to a paradisiacal world in which he is a monster, a malfunction of nature, and a myth. The dream quickly becomes a nightmare, however, when the ruling ecclesiastical courts condemn him for his heretical opinions and illicit beliefs. As viewed from the moon, the philosophical, scientific, anthropocentric, and religious certitudes that reign on Earth seem trivial. This masterpiece of Libertine literature emerges as an unprecedented example of relativization and a scathing attack on the values and institutions of 18th-century French society. The real-life Cyrano de Bergerac (1619–1655), made famous by Edmond Rostand, was a dramatist and poet; in his prose works, he shows himself to be the forerunner to Jules Verne and Johannes Kepler.
The Man in the Moone
"The Man in the Moone" is a novel by Francis Godwin probably written in the 1620s and published for the first time under the pseudonym of Domingo Gonsales after his death in 1638. The Man in the Moone can be considered as one of the major works of the late English Renaissance. Its influence over future utopian, picaresque and science-fiction writers is major. In this fascinating book, a Spaniard flees following a duel, is stranded in Saint-Helens on his return home from the East Indies, and then escapes the British fleet off Tenerife through a gansa-propelled flying-machine which he had designed himself. He rises to the sky, and twelve days later, he lands on the Moone. He discovers the lunar society and then leaves, and arrives in China. Part picaresque, part utopia, part science-fiction, discover this remarkable book with an original preface and biography in this new edition by Les Éditions de Londres.
Lucian s True History
It is a commonplace of criticism that Lucian was the first of the moderns, but in truth he is near to our time because of all the ancients he is nearest to his own. With Petronius he shared the discovery that there is material for literature in the debased and various life of every day—that to the seeing eye the individual is more wonderful in colour and complexity than the severely simple abstraction of the poets. He replaced the tradition, respected of his fathers, by an observation more vivid and less pedantic than the note-book of the naturalist. He set the world in the dry light of truth, and since the vanity of mankind is a constant factor throughout the ages, there is scarce a page of Lucian's writing that wears the faded air of antiquity. His personages are as familiar to-day as they were in the second century, because, with his pitiless determination to unravel the tangled skein of human folly, he never blinded his vision to their true qualities. And the multiplicity of his interest is as fresh as his penetration. Nothing came amiss to his eager curiosity. For the first time in the history of literature (with the doubtful exception of Cicero) we encounter a writer whose ceaseless activity includes the world. While others had declared themselves poets, historians, philosophers, Lucian comes forth as a man of letters. Had he lived to-day, he would have edited a newspaper, written leading articles, and kept his name ever before the public in the magazines. For he possessed the qualities, if he avoided the defects, of the journalist. His phrase had not been worn by constant use to imbecility; his sentences were not marred by the association of commonness; his style was still his own and fit for the expression of a personal view. But he noted such types and incidents as make an immediate, if perennial, appeal, and to study him is to be convinced that literature and journalism are not necessarily divorced. The profession was new, and with the joy of the innovator Lucian was never tired of inventing new genres. Romance, criticism, satire—he mastered them all. In Toxaris and The Ass he proves with what delicacy and restraint he could handle the story. His ill-omened apprenticeship to a sculptor gave him that taste and feeling for art which he turned to so admirable an account. He was, in fact, the first of the art-critics, and he pursued the craft with an easy unconsciousness of the heritage he bequeathed to the world. True, he is silent concerning the technical practice of the Greeks; true, he leaves us in profound ignorance of the art of Zeuxis, whose secrets he might have revealed, had he been less a man of letters. But he found in painting and sculpture an opportunity for elegance of phrase, and we would forgive a thousand shortcomings for such inspirations of beauty as the smile of Sosandra: to τὸ μειδίαμα σεμνὸν καὶ λεληθὸς. In literary criticism he was on surer ground, and here also he leaves the past behind. His knowledge of Greek poetry was profound; Homer he had by heart; and on every page he proves his sympathies by covert allusion or precise quotation. His treatise concerning the Writing of History preserves its force irresistible after seventeen centuries, nor has the wisdom of the ages impeached or modified this lucid argument. With a modest wit he compares himself to Diogenes, who, when he saw his fellow-citizens busied with the preparations of war, gathered his skirts about him and fell to rolling his tub up and down. So Lucian, unambitious of writing history, sheltered himself from "the waves and the smoke," and was content to provide others with the best of good counsel. Yet such is the irony of accident that, as Lucian's criticism has outlived the masterpieces of Zeuxis, so the historians have snatched an immortality from his censure; and let it be remembered for his glory that he used Thucydides as a scourge wherewith to beat impostors. But matters of so high import did not always engross his humour, and in The Illiterate Book-buyer he satirizes a fashion of the hour and of all time with a courage and brutality which tear the heart out of truth. How intimately does he realize his victim! And how familiar is this same victim in his modern shape!
Voyages to the Moon and the Sun
Cyrano's (the real guy) greatest work, model for much of Gulliver's Travels, Munchausen and so many other fantasy books. First published in the 17th Century (Paris, of course), this elegant satire takes its hero into the solar system, where he then can freely speak on matters of sex, religion and humanity. Join the big guy as he wanders about the solar system, meeting up with Beast-Men, the Solen people, and a rep from the Kingdom of Love.
Knowledge and Error
Ernst Mach A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de Knowledge and Error Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
Madness and Civilization
This text is a classic of French post-structuralist scholarship and is widely recommended on humanities courses across a variety of disciplines. Foucault's analysis of psychology is a devastating critique of the common understanding of insanity.
Cyrano de Bergerac
DIVA quarrelsome, hot-tempered, and unattractive swordsman falls hopelessly in love with a beautiful woman and woos her for a handsome but slow-witted suitor. A witty and eloquent drama. /div
Kepler s Somnium
Both a scientific treatise on lunar astronomy and a science-fiction story about a voyage to the moon, Kepler's Somnium went unrecognized for centuries. This edition presents a full translation from the original Latin.
The Sounds of Early Cinema
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.