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Contents:
  1. Bibliography
  2. Fatal Purity: Robespierre and the French Revolution
  3. About - Ruth Scurr
  4. Ruth Scurr
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She is the author, inter alia, of Bonjour, Paresse and No Kid, both worldwide bestsellers. Corinne Maier, whose work has been translated in numerous languages, is a Sciences Po alumni, holder of a degree in both history and economics. She also defended a psychoanalysis thesis. Furthermore, she is a comic book screenwritrer. Jean-Baptiste Naudet has been an international reporter for the magazine Le Nouvel Observateur since His beat includes eastern Europe, the Balkans, and Africa.

He spent ten years in the foreign news department at the newspaper Le Monde as a correspondent in Rumania, the former Yugoslavia, and Russia. From the civil war in Mozambique in the s to the latest intervention in Afghanistan, via two wars in Chechnya, he has covered nearly a dozen conflicts. Hello World , in He sees literature through the eyes of an engineer, i. Estate A writer, critic, and academic, Pierre Pachet wrote nearly two dozen books. His diverse and iconoclastic body of work includes literary essays and autobiographical texts. Isabelle Sarfati is a plastic surgeon. Histoires plastiques Plastic Stories , Stock, , her first book, is currently being adapted as a TV series.

He reports on news from Israel and the Palestinian territories. Before that, he covered the post-Soviet region from to , focusing particularly on Ukraine. From to , Piotr Smolar reported on security and terrorism issues in France. He continued his work on the American presidency with two biographies: one about John F. Kennedy Armand Colin, ; the other about the Clintons Tallandier, In partnership with the INA National Audiovisual Institute , the program gives a historical perspective on the news of the day. In that context, she has written and worked with Alain Frentzel.

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Succession: Emil Szittya Budapest — Paris lived a truly bohemian life: he moved to Paris in , then from to he lived in Zurich, where he socialized first with Lenin and Radek, then the Dadaists at the Cabaret Voltaire. He was the co-editor of Der Mistral, a pre-Dadaist journal.

His life was not unlike that of another marginal revolutionary: Franz Jung. Emil Szittya published the first few issues of his journal, Neue Menschen. Emil Szittya was a veritable meteor in European literature. He was also a very talented painter. A new edition is coming out in at Editions Allary.

In , he was awarded the Vauban Prize for the body of his work as a whole. She began making films in Since then, she has made a great number of shorts, and three feature films. In , she started writing novels. He worked as both a film producer and director for several years, mostly in the United States. All the messages you send me are private. I am the only one to have access to it. In the form, the only personal information requested is the one I need to answer you and know who I am talking to: your name and your e-mail address. The agency Rubinstein Literary Agency is based in Paris.

La Langue maudite is his first novel, to be launched by Plon publishers in Copyright Laura Stevens. Yannick Haenel Yannick Haenel was born in Corinne Maier As a child, Corinne Maier used to dream of being invisible so that she could go everywhere. Johanne Rigoulot Johanne Rigoulot is a scriptwriter and a novelist.

Fatal Purity: Robespierre and the French Revolution

Isabelle Sarfati Isabelle Sarfati is a plastic surgeon. Isabelle Sobelman Isabelle Sobelman is an author and scriptwriter. Emil Szittya Succession: Emil Szittya Budapest — Paris lived a truly bohemian life: he moved to Paris in , then from to he lived in Zurich, where he socialized first with Lenin and Radek, then the Dadaists at the Cabaret Voltaire.

Terror Robespierre and the French Revolution

Romances of Antiquity. The chief subjects with which their authors busied themselves were the conquests of Alexander and the siege of Troy, though other classical stories come in. It has been said that the excellence of the twelve-syllabled verse used in this romance was the origin of the term alexandrine.

The Trojan romances, on the other hand, are chiefly in octosyllabic verse, and the principal poem which treats of them is the Roman de Troie of Benoit de Sainte More. Both this poem and Alixandre are attributed to the last quarter of the 12th century. The authorities consulted for these poems were, as may be supposed, none of the best. Dares Phrygius, Dictys Cretensis, the pseudo-Callisthenes supplied most of them.

About - Ruth Scurr

The adventures of Medea, the wanderings of Alexander, the Trojan horse, the story of Thebes, were quite sufficient to spur on to exertion the minds which had been accustomed to spin a chanson of some 10, lines out of a casual allusion in some preceding poem. It is needless to say that anachronisms did not disturb them. From first to last the writers of the chansons had not in the least troubled themselves with attention to any such matters.

Charlemagne himself had his life and exploits accommodated to the need of every poet who treats of him, and the same is the case with the heroes of antiquity. Indeed, Alexander is made in many respects a prototype of Charlemagne.

Ruth Scurr

He is regularly knighted, he has twelve peers, he holds tournaments, he has relations with Arthur, and comes in contact with fairies, he takes flights in the air, dives in the sea and so forth. There is perhaps more avowed imagination in these classical stories than in either of the other divisions of French epic poetry. The classical romances, however, are important in two different ways. In the first place, they connect the early literature of France, however loosely, and with links of however dubious authenticity, with the great history and literature of the past.

They show a certain amount of scholarship in their authors, and in their hearers they show a capacity of taking an interest in subjects which are not merely those directly connected with the village or the tribe. The chansons de geste had shown the creative power and independent character of French literature. There is, at least about the earlier ones, nothing borrowed, traditional or scholarly.

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They smack of the soil, and they rank France among the very few countries which, in this matter of indigenous growth, have yielded more than folk-songs and fireside tales. The Arthurian romances, less independent in origin, exhibit a wider range of view, a greater knowledge of human nature, and a more extensive command of the sources of poetical and romantic interest. The classical epics superadd the only ingredient necessary to an accomplished literature—that is to say, the knowledge of what has been done by other peoples and other literatures already, and the readiness to take advantage of the materials thus supplied.

They led, however, to a fourth, which, though later in date than all except their latest forms and far more loosely associated as a group, is so closely connected with them by literary and social considerations that it had best be mentioned here. These began to be written in the 13th century, and continued until the prose form of fiction became generally preferred. Hugues Capet , for instance, a chanson in form and class of subject, is certainly one of this latter kind in treatment; and there is a larger class of semi-Arthurian romance, which so to speak branches off from the main trunk.

But for convenience sake the definition we have given is preferable. There is, in short, no possibility of classifying their subjects. This under-valuation arises rather from a lack of originality and distinctness of savour than from any shortcomings in treatment. Nevertheless some of them attained to a very high popularity, such, for instance, as the Partenopex de Blois of Denis Pyramus, which has a motive drawn from the story of Cupid and Psyche and the charming Floire et Blanchefleur , giving the woes of a Christian prince and a Saracen slave-girl.

With them may be connected a certain number of early romances and fictions of various dates in prose, none of which can vie in charm with Aucassin et Nicolette 13th century , an exquisite literary presentment of medieval sentiment in its most delightful form. In these classes maybe said to be summed up the literature of feudal chivalry in France. The latter, General characteristics of early narrative.

They were all originally intended to be performed in the palais marberin of the baron to an audience of knights and ladies, and, when reading became more common, to be read by such persons.


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They dealt therefore chiefly, if not exclusively, with the class to whom they were addressed. The bourgeois and the villain, personages of political nonentity at the time of their early composition, come in for far slighter notice, although occasionally in the few curious instances we have mentioned, and others, persons of a class inferior to the seigneur play an important part. The habit of private wars and of insurrection against the sovereign supply the motives of the chanson de geste, the love of gallantry, adventure and foreign travel those of the romances Arthurian and miscellaneous.

None of these motives much affected the lower classes, who were, with the early developed temper of the middle- and lower-class Frenchman, already apt to think and speak cynically enough of tournaments, courts, crusades and the other occupations of the nobility. The communal system was springing up, the towns were receiving royal encouragement as a counterpoise to the authority of the nobles. The corruptions and maladministration of the church attracted the satire rather of the citizens and peasantry who suffered by them, than of the Spread of literary taste.

On the other hand, the gradual spread of learning, inaccurate and ill-digested perhaps, but still learning, not only opened up new classes of subjects, but opened them to new classes of persons. The thousands of students who flocked to the schools of Paris were not all princes or nobles.

Hence there arose two new classes of literature, the first consisting of the embodiment of learning of one kind or other in the vulgar tongue. The other, one of the most remarkable developments of sportive literature which the world has seen, produced the second indigenous literary growth of which France can boast, namely, the fabliaux, and the almost more remarkable work which is an immense conglomerate of fabliaux, the great beast-epic of the Roman de Renart. The epic and the drama, even when they are independently produced, are similar in their main characteristics all the world over.

But there is nothing in previous literature which exactly corresponds to the fabliau. It comes nearest to the Aesopic fable and its eastern origins or parallels. But differs from these in being less allegorical, less obviously moral though a moral of some sort is usually if not always enforced , and in having a much more direct personal interest. It is in many degrees further removed from the parable, and many degrees nearer to the novel. The story is the first thing, the moral the second, and the latter is never suffered to interfere with the former. These observations apply only to the fabliaux, properly so called, but the term has been used with considerable looseness.