The poetry of Eluard is that of the real world and its natural sensations and feelings. The main themes that stand out are love, brotherhood and kindness. His imagery is characterized by its appeal to the senses and the importance of concrete objects and of everyday things.In these translations by Gilbert Bowen, the best work of Paul Eluard, perhaps the most popular of twentieth century French poets, has been collected in a bilingual edition. This edition contains a representative selection of poems from different periods and different aspects of his vast output.

Paul Eluard (1895-1952) er pseudonym for Eugene-Emile-Paul Grindel. Han deltok i utviklingen fra dada- og surrealismen til "litterature engagee". Lenge var han blant dem som søkte å forene surrealisme og kommunisme, men han brøt med Breton under den spanske borgerkrigen for å gi sitt engasjement åpent uttrykk. I denne samlingen er det tatt med dikt fra 1920-1951. Alle diktene er oversatt etter Paul Eluard, "Oevres completes 1-2" (1968), og Heggelund har forsøkt å få med så mange sider av Eluards diktning som mulig; kjærlighetsdikt, surrealistiske ekspansjonsdikt, prosadikt mfl.

Beskrivelse mangler. Se gjerne forlagets (Faber Faber) hjemmeside, der det kan finnes mer informasjon.

I 1928 holdt surrealistene, Andre Bretón, Paul Eluard m.fl. 12 rundebordssamtaler om sex. Boken refererer disse utforskende og humoristiske samtalene.

"Är kvinnans orgasm mer intensiv än mannens?" - " När och hur förlorade ni er oskuld?" - "Hur många gånger i rad har ni lyckats få orgasm, utan att lämna rummet?" - "Anser ni att det finns en kvinna som är ert öde?" 1928 initierade surrealisterna i Paris en serie undersökningar av sexualiteten. De fick formen av rundabordsutfrågningar om erotikens olika aspekter: debuten, onanin, fantasierna, drömkvinnan och så vidare. Bland de 40 deltagarna fanns André Breton, Paul Eluard, Max Ernst, Jacques Prévert, Raymond Queneau och Man Ray. Surrealisternas frispråkiga och öppenhjärtiga samtal har inte mycket gemensamt med senare tiders välanpassade och pseudovetenskapliga sexologiska undersökningar och rapporter. Deltagarna är mycket engagerade i sitt ämne och förmedlar - ofta i avsiktligt eller oavsiktligt humoristiska tonfall -strängt själviakttagande synpunkter på den sexuella kärlekens olika aspekter. Trots sina uppräkningar av ställningar, tidsangivelser och kvantiteter, är detta ingen hyllning till libertinismen. För de flesta deltagarna var erotik och kärlek oskiljaktiga - åtminstone i teorin. Sällan har den erotiska lusten och det sexuella begäret undersökts med sådan uppriktighet som här. "Den här boken - för vars översättning och utgivande vi bör vara tacksamma - bekräftar på ett underbart underhållande vis Michel Foucaults tes om att talet om sexualiteten ofta är en förstulen men effektiv maktutövning. Dessa gruppsamtal är som radband av bekännelser. Alla hemligheter skall genomlysas som vore det en sorts disciplinövning." (Mikael van Reis, G-P.) "Vi lever i en kultur som förnekar banden mellan det politiska livet, drömmarna och sexualiteten. Det var just dessa relationer som surrealisterna undersökte. Levde surrealisterna ut sina undersökningar och visioner i sina egna vardagsliv? De här samtalen är helt fascinerande." (Kathy Acker.)

"Är kvinnans orgasm mer intensiv än mannens?" ? " När och hur förlorade ni er oskuld?" ? "Hur många gånger i rad har ni lyckats få orgasm, utan att lämna rummet?" ? "Anser ni att det finns en kvinna som är ert öde?"<br><br>1928 initierade surrealisterna i Paris en serie undersökningar av sexualiteten. De fick formen av rundabordsutfrågningar om erotikens olika aspekter: debuten, onanin, fantasierna, drömkvinnan och så vidare. Bland de 40 deltagarna fanns André Breton, Paul Eluard, Max Ernst, Jacques Prévert, Raymond Queneau och Man Ray.<br><br>Surrealisternas frispråkiga och öppenhjärtiga samtal har inte mycket gemensamt med senare tiders välanpassade och pseudovetenskapliga sexologiska undersökningar och rapporter. Deltagarna är mycket engagerade i sitt ämne och förmedlar ? ofta i avsiktligt eller oavsiktligt humoristiska tonfall ? strängt själviakttagande synpunkter på den sexuella kärlekens olika aspekter.<br><br>Trots sina uppräkningar av ställningar, tidsangivelser och kvantiteter, är detta ingen hyllning till libertinismen. För de flesta deltagarna var erotik och kärlek oskiljaktiga ? åtminstone i teorin. Sällan har den erotiska lusten och det sexuella begäret undersökts med sådan uppriktighet som här.<br><br>"Den här boken ? för vars översättning och utgivande vi bör vara tacksamma ? bekräftar på ett underbart underhållande vis Michel Foucaults tes om att talet om sexualiteten ofta är en förstulen men effektiv maktutövning. Dessa gruppsamtal är som radband av bekännelser. Alla hemligheter skall genomlysas som vore det en sorts disciplinövning." (Mikael van Reis, G-P.)<br><br>"Vi lever i en kultur som förnekar banden mellan det politiska livet, drömmarna och sexualiteten. Det var just dessa relationer som surrealisterna undersökte. Levde surrealisterna ut sina undersökningar och visioner i sina egna vardagsliv? De här samtalen är helt fascinerande." (Kathy Acker.)

Generation Stalin traces Joseph Stalin's rise as a dominant figure in French political culture from the 1930s through the 1950s. Andrew Sobanet brings to light the crucial role French writers played in building Stalin's cult of personality and in disseminating Stalinist propaganda in the international Communist sphere, including within the USSR. Based on a wide array of sources-literary, cinematic, historical, and archival-Generation Stalin situates in a broad cultural context the work of the most prominent intellectuals affiliated with the French Communist Party, including Goncourt winner Henri Barbusse, Nobel laureate Romain Rolland, renowned poet Paul Eluard, and canonical literary figure Louis Aragon. Generation Stalin arrives at a pivotal moment, with the Stalin cult and elements of Stalinist ideology resurgent in twenty-first-century Russia and authoritarianism on the rise around the world.

Perhaps no other European city has so captured the poetic imagination as Paris. Poems of Paris spans the centuries from the Renaissance to the present, and includes a pantheon of French (and Francophone) poets - Ronsard, Deschamps, Villon, Baudelaire, Mallarme, Verlaine, Apollinaire, Paul Eluard, Robert Desnos, Jacques Prevert, Aime Cesaire, Hedi Kaddour, to name but a few. Added to this are poems by the many visitors who have been mesmerized by Paris, some of whom made it their home - Rilke, Wilde, Cummings, Pound, Neruda, Beckett, Mandelstam, Nabokov, Rilke, Gertrude Stein, Lawrence Ferlinghetti, James Fenton... All the famous sights of Paris are touched on here, from Notre Dame to the Eiffel Tower, as are such classic Parisian themes as food and drink, art and love, and famous events from the Revolution to the Resistance.

Highly regarded as a Surrealist photographer in the 1930s, Dora Maar was a fellow student with Henri Cartier-Bresson and friends with Brassai, Man Ray, Jean Cocteau, and Andre Breton, the charismatic leader of the Surrealists. When Maar met Picasso in the mid-1930s, she became the most influential of his many muses, inspiring much of what is considered to be his best work. But during the ten years they were together, she abandoned her career as an acclaimed professional photographer and instead photographed Picasso, including her famous series of him painting Guernica. While Maar was considered an influential Surrealist photographer, most of her work vanished from the public eye once she stopped creating it in the late 1930s. Now, this volume restores her photographs to their place in history, featuring a treasure trove of incredible and never-before-published images.An important look at Surrealist photography, Dora Maar is also beautifully illustrated with photographs celebrating Maar s friendships with leading artists and intellectuals of the day, such as Georges Bataille (Maar s former lover), glamorous Nusch Eluard and her husband, the poet Paul Eluard, and arts patron and hostess Marie-Laure de Noailles, evoking the atmosphere of 1930s and 40s artistic Paris.

Once considered as little more than the froth in the wake of the First World War, a witty boy-hedonist who, in the giddy Twenties, tweaked the noses of moribund establishmentarians, Poulenc has in fact proved unexpectedly durable - more so than any of his colleagues among Les Six, including those who developed more grandiose ambitions.Here is a survey of Poulenc's music, based on careful selection of his works, and written by an authoritative guide. Having placed Poulenc in the context of French life and society after the First World War and considered him in relation to his masters and mentors, especially Satie and Chabrier, Mellers turns to Poulenc's Diaghilev ballet, Les Biches, to important sequels to it, such as Concert champetre and Aubade, and to works of transition, such as theConcerto for two pianos and orchestra. The next section discusses the `social' music of Poulenc's middle years - especially the music for piano (for Poulenc a domestic instrument), written during the Thirties, and the centrality of song in his work; some account is offered of his relationship with his main poets, Guillaume Apollinaire,Paul Eluard, and Louise de Vilmorin. Mellers mext considers the impact on Poulenc of the Second World War, especially as manifest in the great choral work Quatre Motets de Penitence and the Organ Concerto. Separate chapters deal with the three main operatic pieces and Poulenc's relationship to Bernanos and Jean Cocteau; with the late devotional works, especially the Stabat Mater, the Gloriam and the Sept Repons des Tenebres; and with thechamber works of the last few years. The chapters are illustrated througout with music examples.Adopting a broadly chronological approach, Mellers traces Poulenc's development as a composer from enfant terrible to a mature composer both for secular Society and for the liturgy of the Catholic Church; in so doing he points to the reasons for the durability and pertinacity of his appeal. Mellers further assesses Poulenc's place in the French tradition, and, in a Postlude, pays tribute to the warm regard with which Poulenc was held by so many of his fellow musicians.

Salvador Domingo Felipe Jacinto Dali y Domenech, Marquis of Pubol, was born in Catalonia on May 11, 1904, and died on January 23, 1989. Best known as a surrealist painter, his artistic output also included film, sculpture, photography and writing. Dali is also notorious for his eccentric behaviour and his involvement with the Dada movement, which often drew more attention to himself than his art. In this new narrative exploration of Salvador Dali, highly respected art and literary historian Mary Ann Caws surveys the life and work of one of the most fascinating and colourful figures in the history of art. She recounts the influence of the Catalan region and dialect on his early life, as well as his expulsions from school and from the School of Fine Arts in Madrid; his involvement with the Surrealists, and his work with Bunuel and their films "Un chien andalou" and "L'Age d'or", and the impact and reception of both films at the time.Dali's turbulent personal life brought him into contact with a rich assortment of intellectual figures and Caws considers his relationships with his family and his lovers, including Elena Diakonova (Gala), who was married to the poet Paul Eluard when they met, and friends such as poet Federico Garcia Lorca. Caws also closely examines Dali's work: his famous Surrealist paintings, 'hand-painted dream photographs' such as "The Persistence of Memory" and "Autumnal Cannibalism?", as well as his writing, photography, sculpture and film. Well-researched, and full of telling anecdotes, "Salvador Dali" will appeal to the large readership who are already familiar with this extraordinary artist, as well as to those who have heard much and wish to know more about the life and work of this pivotal figure in modern art.

In 1916, as World War I raged around them, a group of bohemians gathered at a small cabaret in Zurich, Switzerland. After decorating the walls with art by Picasso and other avant-garde artists, they embarked on a series of extravagant performances. Three readers simultaneously recited a poem in three languages a monocle-wearing teenager performed a spell from New Zealand another young man sneered at the audience, snapping a whip as he intoned his Fantastic Prayers." One of the artists called these sessions both buffoonery and a requiem mass." Soon they would have a more evocative name: Dada.In Destruction Was My Beatrice , modernist scholar Jed Rasula presents the first narrative history of Dada, showing how this little-understood artistic phenomenon laid the foundation for culture as we know it today. Although the venue where Dada was born closed after only four months and its acolytes scattered, the idea of Dada quickly spread to New York, where it influenced artists like Marcel Duchamp and Man Ray to Berlin, where it inspired painters George Grosz and Hannah Hoech and to Paris, where it dethroned previous avant-garde movements like Fauvism and Cubism while inspiring early Surrealists like Andre Breton, Louis Aragon, and Paul Eluard. The long tail of Dadaism, Rasula shows, can be traced even further, to artists as diverse as William S. Burroughs, Robert Rauschenberg, Marshall McLuhan, the Beatles, Monty Python, David Byrne, and Jean-Michel Basquiat, all of whom,along with untold others,owe a debt to the bizarre wartime escapades of the Dada vanguard.A globe-spanning narrative that resurrects some of the 20th century's most influential artistic figures, Destruction Was My Beatrice describes how Dada burst upon the world in the midst of total war,and how the effects of this explosion are still reverberating today.

This book is about the ways in which modern enlightenment, rather than liberating humanity from tyranny, has subjected us to new servitude imposed by systems of mass manipulation, electronic vigilance, compulsive consumerism, and the horrors of a seemingly unending global war on terror. The main intellectual aims of this title are the following: the analysis of spectacle, the criticism of providential enlightenment, and the examination of positive dialectics. The spectacle, in this case, is the apotheosis of the culture industries, a total inversion of reality and of our existences. Providential enlightenment is not only a critique of the failure of enlightenment, but of the mutilation of historical enlightenments. Positive dialectics signal a new era of intellectual engagement in the construction of our historical future. During a time in which national democracies seem an imperial farce, it is not enough for intellectuals faced with all this destruction to blithely recommend resistance. The book thus ties American, British, French and German theoretical traditions into a reflexive challenge to the notion of intellectual as critic, and argues instead for a trespassive tradition of cultural leadership.

In May 1927, nineteen-year-old Dinu Grigorescu, a skinny boy with literary ambitions, is newly arrived in Paris. He has been sent from Bucharest, the city of his childhood, by his wealthy father to embark upon a bohemian adventure and relish the unique pleasures of Parisian life. An innocent in a new city, still grieving the sudden loss of his beloved mother Elena seven years earlier, Dinu is encouraged to enjoy la vie de Boheme by his distant cousin, Eduard. But tentatively, secretly, Dinu is drawn to the Bains du Ballon d'Alsace, a notorious establishment rumoured to offer the men of Paris, married or otherwise, who enjoy something different, everything they crave. It is here that he meets Razvan, a fellow Romanian, the adopted child of a man of refinement - a prince's boy - whose stories of Proust and other artists entrance Dinu, and who will become the young man's teacher in the ways of the world. At a distance of forty years, and written in London, his refuge from the horrors of Europe's early twentieth-century history, Dinu's memoir of his brief spell in Paris is one of exploration and rediscovery. The love that blossomed that sunlit day in such inauspicious and unromantic surroundings would transcend lust, separation, despair and even death to endure a lifetime. This is a work of extraordinary sensual delicacy, an exquisite novel from one of our most celebrated writers.

The Caped Crusader has been the all-abiding icon of justice and authorityfor generations. But in this surprising original graphic novel, we see Batman ina new light -- as the savior who helps a discouraged man recover from a brutalattack that left him unable to face the world. In the 1990s, legendary writerPaul Dini had a flourishing career writing the hugely popular Batman: TheAnimated Series and Tiny Toon Adventures. Walking home one evening, he wasjumped and viciously beaten within an inch of his life. His recovery process wasarduous, hampered by the imagined antics of the villains he was writing fortelevision including the Joker, Harley Quinn and the Penguin. But despite howbleak his circumstances were, or perhaps because of it, Dini also always imagined the Batman at his side, chivvying him along during his darkest moments.DARK NIGHT: A TRUE BATMAN STORY is the harrowing and eloquent autobiographicaltale of Dini's courageous struggle to overcome a truly desperatesituation. It is a Batman story like none other and one that will truly resonatewith fans. Art by the incredible and talented Eduardo Risso (100 BULLETS,TRANSMETROPOLITAN).

The Caped Crusader has been an icon of justice andauthority for generations. But in this surprising original graphic novel, now intrade paperback for the first time, we see Batman in a new light-as the saviorwho helps a discouraged man recover from a brutal attack that left him unable toface the world. In the 1990s, Eisner Award-winning writer Paul Dini had aflourishing career writing the hugely popular Batman: The Animated Series andTiny Toon Adventures. Walking home one evening, he was jumped and viciouslybeaten to within an inch of his life. His recovery process was arduous, hamperedby the imagined antics of the villains he was writing for television, includingThe Joker, Harley Quinn and the Penguin. But Dini also always imagined theBatman at his side during his darkest moments. DARK NIGHT: A TRUE BATMAN STORYis the harrowing and eloquent autobiographical tale of Dini's courageousstruggle to overcome a desperate situation. It is a Batman story like none otherand one that will truly resonate with fans, with art by Eduardo Risso (100BULLETS)

Artist Eduardo Paolozzi (1924-2005) was a unique cultural figure. His varied yet instantly recognisable work chronicles the significant changes in British art from the austere 1950s to the post-post-modern late 1990s. This highly illustrated and visually exciting book provides the first comprehensive overview of the career of a major, prolific and complex artist, exploring Paolozzi's work from all periods and across all media: collage, sculpture, printmaking, ceramics, tapestry and film.An Italian Scot, Paolozzi studied first at Edinburgh College of Art, before moving on to the Ruskin Drawing School and the Slade. He was a founding member of the Independent Group in the early 1950s but steadfastly resisted the 'Pop' label, preferring instead to see his pioneering interdisciplinarity as an extension and an expansion of radical Surrealism.Dedicating a chapter to each facet of Paolozzi's wide-ranging practice - including, in turn, his bronze, aluminium and public sculptures, as well as his early collages and his innovative screenprints - this book offers the definitive, illustrated, art-historical appraisal of an artist whose work continues to fascinate and inspire.Published with support from the Paul Mellon Centre for Studies in British Art.

Mit der Vertragsunterzeichnung zwischen Paul Hindemith und der turkischen Regierung im Marz l935 wurde ein Vorgang der Musikgeschichte eingeleitet, der in seiner Art wohl einmalig ist: Viele deutsche Kunstler, unter ihnen Eduard Zuckmayer, Carl Ebert, Ernst Praetorius und Licco Amar, alle Opfer der nationalsozialistischen Kultur- und Rassengesetze, emigrierten in die Turkei und gestalteten dort ein neues Musikleben nach westlichem Muster. Kemal Ataturk, der grosse Sympathie fur Deutschland und seine Kultur hegte, gab vielen deutschen Emigranten ein neues Arbeitsfeld und eine neue Heimat; dem eigenen Land ermoglichte er den kulturellen Anschluss an Europa. Die Arbeit analysiert und dokumentiert Fakten und Hintergrunde der Tatigkeit deutscher Kunstler in der Turkei."