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Oeuvres Du Comte de Tressan
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Souvenirs Du Comte de Tressan
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
A Medievalist in the Eighteenth Century
It is a common belief that in France the study of medieval literature as literature only began to gain recognition as a valid occupation for the scholar during the nineteenth century. It is well known that historians of the sixteenth, seventeenth and eighteenth centuries looked to the literary productions of the Middle Ages for materials useful to their researches, but it is only recently that the remarkable frequency of this reference has been appreciated and that scholars have become aware of an unbroken tradition of what might best be described as historically ori ented medievalism stretching from the sixteenth century to our own. The eighteenth century has drawn the greatest number of curious to this field, for it is evident that the surprisingly extensive researches undertaken then do much to explain the progress made a century later by the most celebrated generation of medievalistst. Very slowly we are coming to see the value of the contribution made by little known schol ars like La Curne de Sainte-Palaye, Etienne Barbazan and the Comte de Caylus.
Eight Centuries of Troubadours and Trouvères
This 2004 book traces the changing interpretation of troubadour and trouvere music, a repertoire of songs which have successfully maintained public interest for eight centuries, from the medieval chansonniers to contemporary rap renditions. A study of their reception therefore serves to illustrate the development of the modern concept of 'medieval music'. Important stages include sixteenth-century antiquarianism, the Enlightenment synthesis of scholarly and popular traditions and the infusion of archaeology and philology in the nineteenth century, leading to more recent theories on medieval rhythm. More often than now, writers and performers have negotiated a compromise between historical research and a more imaginative approach to envisioning the music of troubadours and trouveres. This book points not so much to a resurrection of medieval music in modern times as to a continuous tradition of interpreting these songs over eight centuries.
The Confessions and Correspondence, Including the Letters to Malesherbes
A new English translation, the first to be based on the definitive French Pléiade edition.
The Confessions of Jean Jacques Rousseau
The Confessions was two distinct works, each part consisting of six books. Books I to VI were written between 1765 and 1767 and published in 1782, while books VII to XII were written in 1769–1770 and published in 1789.[citation needed] Rousseau alludes to a planned third part, but this was never completed. Though the book contains factual inaccuracies—in particular, Rousseau's dates are frequently off, some events are out of order, and others are misrepresented, incomplete, incorrect—Rousseau provides an account of the experiences that shaped his personality and ideas. For instance, some parts of his own education are clearly present in his account of ideal education, Emile, or On Educ...
Confessions
"Rousseau may be said to have founded the romantic movement. The great ideals of liberty, equality, and fraternity, which inspired the French Revolution, were first formulated by him. He was one of the first thinkers to emphasize the importance of emotion and feeling in human affairs." - Bertrand Russell A new translation into English from the original manuscripts of Rousseau's classic and influential Les Confessions (The Confessions). This is an autobiographical work published in 1790, after his death. Here Rousseau writes about his life, his thoughts, and his experiences, revealing his innermost thoughts and feelings. The book is notable for its frankness and honesty, and for its exploration of the nature of selfhood and identity. His confessions is a romantic masterpiece of self-analysis, and a profound exploration of the nature of subjective experience. He argues that the Cartesian self is not a fixed and immutable entity, but dynamic and evolving.
