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1000 tulosta hakusanalla H -R Casgrain
Casgrain, H: Découverte du tombeau de Champlain
Henri-Raymond Casgrain
Antigonos Verlag
2025
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Casgrain, H: Geschichte der Mutter Maria von der Menschwerdu
Antigonos Verlag
2024
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Casgrain, H: ¿uvres complètes
Antigonos Verlag
2025
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Casgrain, H: ¿uvres complètes
Antigonos Verlag
2025
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Casgrain, H: ¿uvres complètes
Antigonos Verlag
2025
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Casgrain, H: Légendes canadiennes
Antigonos Verlag
2025
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Casgrain, H: Opuscules
Antigonos Verlag
2025
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Casgrain, H: Découverte du tombeau de Champlain
Antigonos Verlag
2025
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Casgrain, H: Jules Livernois
Antigonos Verlag
2025
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Casgrain, H: Famille de Sales Laterrière
Antigonos Verlag
2025
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Casgrain, H: Vies des saints
Antigonos Verlag
2025
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Recommended reading by the National Mental Health Association. To his mother, twelve-year-old Benjamin Sherman is an object of pity and anxiety. To his father, he is bizarre and embarrassing. To his psychiatrist, he is a case study in mental illness. To the counselors at the camp where he is spending his summer, Benjamin is a "freaky kid" who shuns his peers and is strangely--and perhaps dangerously--attached to his best friend, Elliot, a stuffed letter H. Through the letters of his sister, mother, father, camp counselors, and psychiatrist--and, most touchingly, through those Benjamin writes to Elliot--this audacious and utterly unsentimental novel gives us a moving and sometimes shocking intimacy with a child whose disorder may be a kind of fragile genius. H is an astute, sympathetic evocation of the state we persist in calling "madness." "A new and mind-boggling perspective on mental illness from the point of view of the sufferer and those who would love and care about him. . . . H is a very poignant, enthralling debut."--The Boston Globe "Shepard is a reverse archaeologist, designing a tiny contemporary lost world for readers to excavate. . . . Everything matters. . . Shepard gets everything right."--New York magazine
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Philippe Sollers' groundbreaking 1973 novel, H, was inspired by the May 1968 Paris student/worker uprising, and, in its own right, performs a revolt against much that's been (and still is) taken for granted in the belles lettres.Described as "a music that is inscribed in language, becoming the object of its own reasoning" (Julia Kristeva) and as an "unpunctuated wall of words, an extremely active ...] mass of language" (David Hayman), H does away with plot, character and setting-and, on the typographical level, with punctuation, capitalisation, or paragraph breaks-in order to attempt what Sollers himself called "an external polylogue."The text performs an infinite fragmentation of subjectivity into a plethora of ventriloquized voices where "words turn round and come back, producing a material fullness of pleasures" and "everything is organized into a splendid series of irrelevancies" (Roland Barthes). It is this fulness of H, this "suffocation" it produces, that might be, with Barthes, termed its "beauty."Accommodating a vast range of tonalities, attitudes, modes, and ideologies, H makes a case in point of how a literary work should function according to Sollers: "A work exists by itself only potentially, and its actualization (or production) depends on its readings and on the moments at which these readings actively take place."H (translated by Veronika Stankovianska & David Vichnar) will become the first English-language translation of this influential experimental text.