La Vie Ennui

The time is 1950. The place is Chez Lepľe, a dingy, run-down cabaret in Paris, France. Here, every night, two fading chanteusesDominique and Fatigǔe, along with their struggling composer friend, Jean-Paul-Pierreeke out a meager existence performing the songs of their arch rival, the great Edit Piaf, at their tyrannical employer's insistence. Until 1 night.

It’s the American dream—unfettered freedom to follow our ambitions, to forge our identities, to become self-made. But what if our culture of limitless self-fulfillment is actually making millions desperately ill? One of our leading interpreters of modernity and nationalism, Liah Greenfeld argues that we have overlooked the connection between egalitarian society and mental illness. Intellectually fearless, encompassing philosophy, psychology, and history, Mind, Modernity, Madness challenges the most cherished assumptions about the blessings of living in a land of the free. Modern nationalism, says Greenfeld, rests on bedrock principles of popular sovereignty, equality, and secularism. Citizens of the twenty-first century enjoy unprecedented freedom to become the authors of their personal destinies. Empowering as this is, it also places them under enormous psychic strain. They must constantly appraise their identities, manage their desires, and calibrate their place within society. For vulnerable individuals, this pressure is too much. Training her analytic eye on extensive case histories in manic depression and schizophrenia, Greenfeld contends that these illnesses are dysfunctions of selfhood caused by society’s overburdening demands for self-realization. In her rigorous diagnosis, madness is a culturally constituted malady. The culminating volume of Greenfeld’s nationalism trilogy, Mind, Modernity, Madness is a tour de force in the classic tradition of Émile Durkheim—and a bold foray into uncharted territory. Often counter-intuitive, always illuminating, Mind, Modernity, Madness presents a many-sided view of humanity, one that enriches our deepest understanding of who we are and what we aspire to be.

Phyllis Reeves never married. But that didn't mean that she didn't have feelings. Those feelings were inspired by La Nature, Émotions, L'Amour, Les Voyages, and Les Chats. She labors at length in personifying nature around her, showering adoration on her cats, asking the big questions of the universe, yearning to be loved, expressing desires to make her life mean something all in seemingly simple poems. They reveal the need to connect with her environment, in spite of much loneliness she experienced in life. When reading her poems, we find the true Phyllis. Enjoy this collection of French poetry and let it be an inspiration to you to find your sensitive side, to use poetry to express your feelings, whatever they may be. Phyllis Reeves ne s'est jamais mariée, mais elle était pleine de sentiments inspirés par La Nature, Émotions, L'Amour, Les Voyages, and Les Chats. Elle travaille dur pour personnifier la nature autour d'elle en inondant ses chats d'adoration, en demandant des questions importantes de l'univers, en ayant envie d'être aimée, en exprimant le désir de faire de sa vie quelque chose de significatif tout dans des poèmes apparemment simples. Ils révèlent le besoin de s'entendre avec son environnement, en dépit de la grande solitude qu'elle avait dans sa vie. En lisant ses poèmes, on découvre la vraie Phyllis. Profitez de cette collection de poésie et permettez-la d'être votre inspiration de trouver votre côté sensible et d'utiliser la poésie pour exprimer vos sentiments, quoi qu'ils soient.

In a text-orientated approach, this study presents a rich mosaic depicting a tradition of European socio-cultural criticism since the French Revolution. Accepting the inevitability of technological advance, critics rejected the proud assumption of progress and stressed the negatives instead.

First privately published in the United States in 1920 and ruthlessly reviewed on both sides of Atlantic, “Women in Love” remains one of the most provoking novels of this century. Largely because it defies single-mindedness or dogmatic preconceptions, the text has consistently thwarted the critics in their attemps at “nailing it dow”. The present collection of essays sets out to explore how the novel keeps “walking away with the nail”, as Lawrence himself wrote in “Morality and the Novel”.