Sagan 1954

Before Françoise Sagan the literary icon there was Françoise Quoirez, an eighteen-year-old Parisian girl, who wrote a novel and needed a publisher for it.

1954. Françoise Sagan est une jeune fille de dix-huit ans comme les autres, ou presque. Le 15 mars, l’éditeur René Julliard publie le premier roman de Françoise Quoirez, dite Sagan, Bonjour tristesse, et tout change. Françoise devient riche et célèbre, noctambule et légendaire, culte et pourchassée. 2014. Romancière, Anne Berest se revêt « de la vie de Françoise pour oublier la sienne », et tisse sa jeune existence enlacée à celle de son aînée. Nous avons alors tout à la fois un roman, une biographie et une autofiction où, sous la plume merveilleuse d’Anne Berest, les vies de ces deux jeunes femmes n’en font plus qu’une. Et surtout, dans le miroir que vous tend le passé, le mythe Sagan rencontre l’éternelle jeunesse.

Set against the translucent beauty of France in summer, "Bonjour Tristesse" is a bittersweet tale narrated by Cé cile, a seventeen-year-old girl on the brink of womanhood, whose meddling in her father's love life leads to tragic consequences.Freed from boarding school, Cé cile lives in unchecked enjoyment with her youngish, widowed father -- an affectionate rogue, dissolute and promiscuous. Having accepted the constantly changing women in his life, Cé cile pursues a sexual conquest of her own with a "tall and almost beautiful" law student. Then, a new woman appears in her father's life. Feeling threatened but empowered, Cé cile sets in motion a devastating plan that claims a surprising victim.Deceptively simple in structure, "Bonjour Tristesse" is a complex and beautifully composed portrait of casual amorality and a young woman's desperate attempt to understand and control the world around her.

A penetrating, mesmerizing biography of a scientific icon "Absolutely fascinating . . . Davidson has done a remarkable job."-Sir Arthur C. Clarke "Engaging . . . accessible, carefully documented . . . sophisticated."-Dr. David Hollinger for The New York Times Book Review "Entertaining . . . Davidson treats [the] nuances of Sagan's complex life with understanding and sympathy."-The Christian Science Monitor "Excellent . . . Davidson acts as a keen critic to Sagan's works and their vast uncertainties."-Scientific American "A fascinating book about an extraordinary man."-Johnny Carson "Davidson, an award-winning science writer, has written an absorbing portrait of this Pied Piper of planetary science. Davidson thoroughly explores Sagan's science, wrestles with his politics, and plumbs his personal passions with a telling instinct for the revealing underside of a life lived so publicly."-Los Angeles Times Carl Sagan was one of the most celebrated scientists of this century—the handsome and alluring visionary who inspired a generation to look to the heavens and beyond. His life was both an intellectual feast and an emotional rollercoaster. Based on interviews with Sagan's family and friends, including his widow, Ann Druyan; his first wife, acclaimed scientist Lynn Margulis; and his three sons, as well as exclusive access to many personal papers, this highly acclaimed life story offers remarkable insight into one of the most influential, provocative, and beloved figures of our time—a complex, contradictory prophet of the Space Age.

As something that surrounds, extends, and presents a text to the world, the phenomenon of paratext is gaining more and more attention within the discipline of Translation Studies. This edited volume, with contributions by five Nordic scholars, aims to build on that attention by presenting five case studies on paratexts in translations into Danish, Norwegian, and Swedish. A special focus lies on the paratextual mechanisms at play when works from different source cultures are translated into a Nordic target context. The translated works under scrutiny belong to genres such as literary novels, non-fiction works, and religious texts, and the paratexts surveyed include footnotes, covers, blurbs, introductions, and literary reviews. The scholars represented in the volume all work in Translation Studies, or at the intersection between Translation Studies and other disciplines.

All American women aspire to have the nonchalant style and grace of French women, that je ne sais quoi that makes all of their habits seem natural and effortless. In Une Femme Française, fashion designer Catherine Malandrino, a Frenchwoman who has lived and worked in the US for twenty years, reveals French women’s secrets for an American audience. Grab a café crème and learn: - To be your own creation, not a slave to the latest fashion - What defines une femme Française: the little black dress, the boyish look, the rebel touch, and the carefree attitude - The secrets of Jacqueline Kennedy Onassis, the avatar of American women who admire the French - Hair- and skin-care tricks from Paris It Girls - That nonchalance, more than perfume, is sexy - How to seduce anyone - Why red is a necessity - The real reason French women don't get fat: food is family

Set against the translucent beauty of France in summer, "Bonjour Tristesse" is a bittersweet tale narrated by Cé cile, a seventeen-year-old girl on the brink of womanhood, whose meddling in her father's love life leads to tragic consequences.Freed from boarding school, Cé cile lives in unchecked enjoyment with her youngish, widowed father -- an affectionate rogue, dissolute and promiscuous. Having accepted the constantly changing women in his life, Cé cile pursues a sexual conquest of her own with a "tall and almost beautiful" law student. Then, a new woman appears in her father's life. Feeling threatened but empowered, Cé cile sets in motion a devastating plan that claims a surprising victim.Deceptively simple in structure, "Bonjour Tristesse" is a complex and beautifully composed portrait of casual amorality and a young woman's desperate attempt to understand and control the world around her.

Fast Cars, Clean Bodies examines the crucial decade from Dien Bien Phu to the mid-1960s when France shifted rapidly from an agrarian, insular, and empire-oriented society to a decolonized, Americanized, and fully industrial one. In this analysis of a startling cultural transformation Kristin Ross finds the contradictions of the period embedded in its various commodities and cultural artifacts—automobiles, washing machines, women's magazines, film, popular fiction, even structuralism—as well as in the practices that shape, determine, and delimit their uses. In each of the book's four chapters, a central object of mythical image is refracted across a range of discursive and material spaces: social and private, textual and cinematic, national and international. The automobile, the new cult of cleanliness in the capital and the colonies, the waning of Sartre and de Beauvoir as the couple of national attention, and the emergence of reshaped, functionalist masculinities (revolutionary, corporate, and structural) become the key elements in this prehistory of postmodernism in France. Modernization ideology, Ross argues, offered the promise of limitless, even timeless, development. By situating the rise of "end of history" ideologies within the context of France's transition into mass culture and consumption, Ross returns the touted timelessness of modernization to history. She shows how the realist fiction and film of the period, as well as the work of social theorists such as Barthes, Lefebvre, and Morin who began at the time to conceptualize "everyday life," laid bare the disruptions and the social costs of events. And she argues that the logic of the racism prevalent in France today, focused on the figure of the immigrant worker, is itself the outcome of the French state's embrace of capitalist modernization ideology in the 1950s and 1960s.