BIBLIOTHÈQUE UNIVERSITAIRE DE NIORT - NOUVEAUTÉS EN RAYON English Book Break - BU Poitiers
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BIBLIOTHÈQUE UNIVERSITAIRE
DE NIORT
NOUVEAUTÉS EN RAYON
English Book Break
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LiCérature en anglais (mini romans et romans) 3-11 pages pour découvrir nos
nouveautés en rayon
Divers en anglais 12-21
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Série anglaise dirigée par Pierre Nordon. Les ouvrages de la collecTon bilingue proposent :
• des textes de grands auteurs étrangers ;
• une traducTon fidèle et précise ;
• une introducTon criTque permeCant d’approfondir le sens des textes ;
• de nombreuses notes de caractère culturel, et des précisions linguisTques éclairant certains parTs pris de traducTon.
Traduc-on et notes de Jean-Pierre Naugre6e« Docteur Jekyll et Mr. Hyde est-il une œuvre à l’intenTon hautement
philosophique ou simplement la plus ingénieuse des ficTons ne prêtant pas à conséquence ? » demandait Henry James
en 1888. Il ajoutait aussitôt : « Ce qui me frappe ce n’est pas tant la profondeur de l’idée que l’art de la présentaTon la
forme extrêmement réussie […]. Je confesse que c’est à mon point de vue la chose la plus édifiante dans le genre de la
courte histoire rapide, concentrée, qui est réellement un chef-d’œuvre de concision. »
J.-P. N.
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Misery est un roman de Stephen King publié en 1987. Dans ce roman, un
écrivain est recueilli après un grave accident par l'une de ses admiratrices, qui
découvre que l'auteur a tué son personnage favori dans son nouveau livre et
décide de le pousser à la ressusciter en employant des moyens extrêmes.
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The sequel to the bestselling A STREET CAT NAMED BOB conTnues the remarkable adventures of James and Bob
showing - through new stories - how Bob's extraordinary street wisdom has shown James the meaning of friendship,
loyalty, trust - and happiness.
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Uncover one of the most exciTng fronTers of modern physics in this fascinaTng, insighsul and accessible overview of
Chaos theory.'An exceedingly readable introducTon to a new intellectual world' ObserverFrom the turbulence of the
weather to the complicated rythmns of the human heart, 'chaos' is at the centre of our day to day lives. Cuung across
several scienTfic disciplines, James Gleick explores and elucidates the science of the unpredicatable with an immensely
readable narraTve style and flair.'An awe-inspiring book. Reading Chaos gave me the sensaTon that someone had just
found the light-switch' Douglas Adams.
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Misery est un roman de Stephen King publié en 1987. Dans ce
roman, un écrivain est recueilli après un grave accident par
l'une de ses admiratrices, qui découvre que l'auteur a tué son
personnage favori dans son nouveau livre et décide de le
pousser à la ressusciter en employant des moyens extrêmes.
Don de Sylvia Cannone enseignant formateur
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English Book Break
Dear Life is a short story collecTon by Canadian writer Alice
.
Munro, published in 2012 by McClelland and Stewart. The book
was to have been promoted in part by a reading at Toronto's
InternaTonal FesTval of Authors, although the appearance was
cancelled due to health concern.
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A masterpiece of black humour from the renown comic and acclaimed author of ‘At Swim-Two-Birds’ – Flann O’Brien.
A thriller, a hilarious comic saTre about an archetypal village police force, a surrealisTc vision of eternity, the story of a
tender, brief, unrequited love affair between a man and his bicycle, and a chilling fable of unending guilt, ‘The Third
Policeman’ is comparable only to ‘Alice in Wonderland’ as an allegory of the absurd. DisTnguished by endless comic
invenTon and its delicate balancing of logic and fantasy, ‘The Third Policeman’ is unique in the English language.
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English. Brand new Book. The Oxford Book of English Short Stories , edited by A. S. ByaC, herself the author of several
collecTons of short stories, is the first anthology to specifically take the English short story as its theme. The 37 stories
featured here are selected from the nineteenth and twenTeth centuries, ranging from Dickens, Trollope, and Hardy to J.
G. Ballard, Angela Carter, and Ian McEwan, though many draw ingeniously from the richness of earlier English
literarywriTng.There are all sorts of threads of connecTon and contrast running through these stories. Their subjects
vary from the sublime to the ridiculous, from the momentous to the trivial, from the grim to the farcical. There is
English empiricism, English pragmaTsm, English starkness, English humour, English saTre, English dandyism, English
horror, and English whimsy. There are examples of social realism, from rural poverty to blitzed London; ghost stories
and tales of the supernatural; surrealfantasy and science ficTon. There are stories of sensibility, precisely delineated,
from Hardy's reluctant bride to the shocked heroine of Elizabeth Taylor's The Blush, from H. E. Bates's brilliant fusion of
class, sex, death, and landscape, to D. H. Lawrence's exploraTon of a consciousness slowlydetaching itself from its
world. There are exuberant stories by Saki and Waugh, Wodehouse and Firbank, with a parTcularly English range from
high irony to pure orchestrated farce.The very range and scope of the collecTon celebrates the eccentric differences
and excellences of English short stories. Some of A. S. ByaC's choices clearly take their place in the grand tradiTon of
story-telling, while others are more unusual. Many break all the rules of unity of tone and narraTve, appearing to be
one kind of story before unexpectedly turning into another. They pack together comedy and tragedy, farce and delicacy,
elegance and the grotesque, with language as various asthe subject maCer. As A. S. ByaC explains: 'My only criterion
was that those stories I selected should be startling and saTsfying, and if possible make the hairs on the neck prickle
with excitement, aestheTc or narraTve'.
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Home Rule became a leading issue from the 1870s across the BriTsh Isles. AspiraTons to limited legislaTve
autonomy were notably strong in Ireland, where a Home Rule party progressively emerged and came to play a
major role on the island and at Westminster. While the quesTon of Irish Home Rule in parTcular came to
dominate discussions, the quest for self-government did not limit itself to Ireland but soon spread to other
parts of the United Kingdom. In Scotland and Wales, Home Rule movements also came to life with specificiTes
of their own, leading to exchanges on the idea of "home rule all round". On a broader scale, Home Rule spurred
cross-imperial solidariTes and raised the quesTon of the future of the BriTsh Empire and the possibility of an
"imperial federaTon". Although it aroused keen interest and support across Britain and the Empire, it also
provoked intense opposiTon known as loyalism or unionism. In doing so, Home Rule reshaped BriTsh poliTcs
along new lines.
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This collection of essays represents new scholarly work on John Webster's great tragedy, The Duchess of Malfi.
The critical methodologies range from historical contexts to feminist readings of agency and identity, to social
analyses of Jacobean culture. The play has rightly taken its place as one of the greatest of the early modern
period, and the Duchess is now seen as one of the great tragic figures of the time—and along with
Shakespeare's Cleopatra, one of the most powerful representations of a strong female character in control of
her own sexuality and her own destiny. The play also offers an unusual range of villainous characters, from the
Duchess's two brothers—the Machiavellian Cardinal and the deranged Ferdinand—to Bosola, who at first
seems to be a conventional Vice-like villain. Bosola commits terrible acts in the play, and though he ultimately
surrenders to his conscience and tries to do good, this transformation comes too late, and the final set of
murders takes place in darkness—an apt symbol of the play's disturbing moral universe.
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Reading Forster's novel and Ivory's film together gives a stunning opportunity to re-assess the representaTon of
Pre-World War One modernity. Far from presenTng Edwardian England as a golden period, Howards End
explores social structures, social mobility, real estate, the ambivalent relaTon to culture and new technological
modes of communicaTon and transport. StylisTcally, the novel breaks new ground with its Protean narraTve
voice, and transiTons towards Modernism with its mythic, musical method. The eponymous house becomes a
metaphor for ecological balance, a new kind of extended family structure, a network of connecTons and a new
sense of community. If Howards End as a novel reinvents literary legacy and redefines personal and naTonal
heritage, Ivory's adaptaTon must also be reassessed as so-called heritage cinema, far from the clichés of a
purely aestheTc approach. ?It is no period piece or marketable commodity meant to toe a conservaTve line, but
a carefully woven creaTve transposiTon, which also raises social and gendered quesTons.
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This is the first account of Irish Home Rule to explain all of the self-government plans, placing them in context
and examining the motives behind the schemes. The book makes a clear distinction between material and
moral Home Rulers. The former appealed especially to outsiders, some Protestants and the intelligentsia, who
saw in self-government a means to reconcile Ireland's antagonistic traditions. In contrast, material Home Rulers
viewed a Dublin parliament as a forum for Catholic interests. This account reappraises the Home Rule
movement from a fresh angle. By getting away from the usual division drawn between physical force and
constitutional nationalists, O'Day maintains that an ideological continuity runs from Young Ireland, the Fenians,
the early Home Rulers including Isaac Butt and Charles Stewart Parnell, to the Gaelic Revivalists and the men of
1916. These nationalists are distinguishable from material Home Rulers not on the basis of methods or strategy
but through a fundamental ideological cleavage.
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In the exuberant allegorical The Confidence-Man (1857) Herman Melville incisively scruTnizes American
confidence that the theological concept of "total depravity" may safely be abandoned. As the Mississippi
steamboat Fidèle (Faith) goes downriver on April Fool's Day, the Devil, appealing for confidence, engages
passengers in dizzying philosophical, social, and religious disquisiTons. In 1851, overconfident that Moby-Dick
would be popular, Melville was plunged into debt ; and as he wrote The Confidence-Max, a creditor was
threatening to seize his farm. Fundamentalist religious aCacks on his earlier books had driven Melville to
idenTfy with vicTms of religious persecuTon, a bond that would be further strengthened with the publicaTon of
The Confidence-Man. Because knowledge about Melville has been transformed since the first Norton CriTcal
EdiTon (1971), this Second EdiTon is sweepingly revised. The text is accompanied by lavish new explanatory
annotaTons of biblical, classical, and historical allusions, and many new essays place the book in its rich
historical context. Classic essays retained from 1971, notably John W. Shroeder's, gain fresh impact from
juxtaposiTon with new studies. Eight of the nineteen "Contemporary Reviews" are new to this ediTon, some
only fairly recently discovered. "Biographical Overviews" provides reports from Hershel Parker, Johannes
Dietrich Bergmann, Dennis Marnon, Stephen D. Hoy, and Jonathan A. Cook. Essays in "Sources, Backgrounds,
and CriTcism" explore aspects of antebellum American life central to The Confidence-Man - utopias, sects,
cults, and cure-alls, Transcendentalism, the Devil in the Bible and popular literature, and the stark phenomenon
of Indian haTng. Controversial pieces by Melville himself mix with controversial pieces by his friends Nathaniel
Hawthorne, Dr. John Wakefield Francis, and Orville Dewey. Modem contributors include Carl Van Vechten,
Elizabeth S. Foster, Susan M. Ryan, Patricia Cline Cohen, and Margaret Coel. A Selected Bibliography is also
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L’oeuvre de John Webster est un champ de mines et The Duchess of Malfi ne fait pas exception. Souvent jugée
sanglante, sadique, artificielle dans sa construction dramatique et trop systématiquement portée sur le
sensationnel, elle a toutefois été totalement réhabilitée de nos jours, au point qu’elle est désormais saluée
comme le plus grand drame de la période dite jacobéenne. La désorientation des personnages, l’humour noir
de Bosola, les décalages temporels, les nombreux emprunts, le mélange des styles sont en effet moins
considérés comme des défauts que comme une forme de déconstruction du genre populaire de la tragédie de
vengeance, qui est ici mêlé à ceux de la tragédie domestique et de la tragicomédie. Considérée comme un «
diamant noir » (Fabienne Farge, Le Monde), La Duchesse serait un texte précurseur annonçant le théâtre de la
cruauté d’Antonin Artaud et le théâtre de l’absurde de Beckett, Ionesco et Pinter sans parler du fameux Marat-
Sade de Peter Weiss. Webster met en scène une femme courageuse et déterminée, une veuve décidée à braver
les interdits et les usages de son temps et de son rang et qui décide de se remarier en épousant son intendant,
Antonio, en dépit des menaces proférées par ses deux frères, Ferdinand, duc de Calabre, et le Cardinal. Comme
il était peu fréquent, à l’époque, d’accorder la place centrale à un personnage féminin, Webster se voit donc
crédité de sympathies féministes et anti-patriarcales. Malgré les critiques dont il a été l’objet par le passé, ce
théâtre du sang et du sexe séduit donc de nos jours par ses côtés subversifs et par sa violence, faisant de cette
tragédie singulière une oeuvre « postmoderne » avant la lettre.
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A newly edited text of the 1612-13 play. IntroducTon and explanatory annotaTons by Michael Neill.
Contextual materials, including four illustraTons, likely sources for The Duchess of Malfi, wriTngs on
its central topics of widowhood and remembering the dead, and contemporary responses. Eleven
criTcal interpretaTons, themaTcally arranged. A chronology and a selected bibliography.
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Michael Eric Dyson explores the powerful, surprising way the politics of race have shaped Barack
Obama’s identity and groundbreaking presidency. How has President Obama dealt publicly with
race—as the national traumas of Tamir Rice, Trayvon Martin, Michael Brown, Eric Garner, Freddie
Gray, and Walter Scott have played out during his tenure? What can we learn from Obama's major
race speeches about his approach to racial conflict and the black criticism it provokes? Dyson
explores whether Obama’s use of his own biracialism as a radiant symbol has been driven by the
president’s desire to avoid a painful moral reckoning on race. And he sheds light on identity issues
within the black power structure, telling the fascinating story of how Obama has spurned traditional
black power brokers, significantly reducing their leverage. President Obama’s own voice—from an
Oval Office interview granted to Dyson for this book—along with those of Eric Holder, Al Sharpton,
Jesse Jackson, Andrew Young, and Maxine Waters, among others, add unique depth to this profound
tour of the nation’s first black presidency.
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He was going to be our redeemer. He would unite a naTon torn by centuries of racial animus. Instead
Barack Obama unleashed torrents of distrust. He poisoned the poliTcal atmosphere and sowed the
seeds of incivility. How could this have happened? How could a man of obvious talent, who promised
hope and change, have so thoroughly betrayed his vows? Despite the inflated expectaTons invested in
him, Obama was not what he seemed. Rather than embodying our diversity, he was a resensul
outsider who understood how to ingraTate himself to those he despised. Behind his incandescent
smile, capTvaTng coolness, and eloquent language, lurked a neo-Marxist. His goal was not to save
America, but to revenge himself upon it. The proof is in his legacy. As president, he undermined our
economy, sabotaged our democracy, weakened our foreign policy, and ignited racial warfare. Instead
of reinforcing the principles essenTal for bringing together a diverse society, he systemaTcally
promoted dishonesty, irresponsibility, unfairness, repression, and family instability. The Great False
Hope pulls no punches. It documents how Barack precipitated our current social crisis. It is therefore
indispensable reading for those seeking a way out.
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Barack Obama's election as the first African American president seemed to usher in a new era, and he
took office in 2009 with great expectations. But by his second term, Republicans controlled Congress,
and, after the 2016 presidential election, Obama's legacy and the health of the Democratic Party itself
appeared in doubt. In the Presidency of Barack Obama, Julian Zelizer gathers leading American
historians to put President Obama and his administration into political and historical context.
Engaging and deeply informed, this is a must-read for anyone who wants to better understand Obama
and the uncertain aftermath of his presidency.
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