Ma conversion ou le libertin de qualité (French Edition)

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Publishers often manufactured misleading title pages in order to sell old material in new dress; and to find out what was going on in other printing shops, they sometimes resorted to what today would be called industrial espionage.

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Charmet described his Lettre de M. Neither Charmet nor his wife described the nature of that public, but they scattered enough remarks through their letters to indicate its general character. Charmet encouraged the STN to publish legal treatises in May , and he estimated the number of copies that it could sell in cities with parlements. The garrison certainly accounted for many sales. And in , Mme Charmet said she would not know how many copies of the works of Frederick II to order until she knew how many soldiers would be in the garrison at the time of its publication.

Anyone who crossed its threshold was likely to encounter persons from a variety of stations in the professional and upper classes but not artisans and workers. Next to the address on the outside of every letter, the clerks of the STN wrote a large R followed by numbers that look like a fraction. The shipments of books, from the time of their ordering to the time of their arrival, can also be traced, along with the routes they followed.

Charmet then became the syndic. In his letters to the STN, he explained that his colleagues wanted him to take on this responsibility, although he did not run a very large enterprise. Despite the sixteen booksellers and printers listed in the Almanach de la librairie , only three or four of them did much business, according to Charmet.

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His shop in the rue St. Pierre may have been modest, but it seems to have served as the heart of the book trade in the entire province. It certainly was integrated in the life of the city, including the highest levels of the local power structure.

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Before the installation of the chambresyndicale in , the bales of books were cleared at the tax office when they arrived at the city limits and then were inspected at the intendancy. Therefore, the STN should pack all the forbidden books in the bottom. Charmet described the system in more detail in a letter of September 30, Sometimes he could flash a receipt, and they would let him collect a bale without any inspection.

This special treatment made it possible for him to serve the STN as a shipping agent by forwarding their bales to Paris and other destinations inside France. He could even intervene to get the release of forbidden books in cases where they had been confiscated along the route. In early September , Charmet learned that three bales had recently been seized in Frambourg. Later letters provided more details of how Charmet used his connections to help the STN with confiscated shipments. Excusez mon verbiage. He might sound like a veteran of the underground trade, but he never dealt heavily in forbidden books and he always avoided risks.

As the case of the three confiscated bales worked its way through the French bureaucracy, Charmet reported that it would have serious consequences. Claude , a book that had sold so badly that Charmet thought it should be pulped]. Charmet believed that the attempt to suppress the Essai sur le despotisme lay behind the unusual vigilance at the Swiss border. By drawing on his influence with the intendant and more bribery, Charmet managed to pry seven of them loose from the customs officials, who had received secret orders to be vigilant from the ministry in Versailles.

Therefore, as soon as it heard of his new role, the STN asked him to expedite its shipments everywhere in France. In fact, he did continue to order a few highly illegal works from the STN—but only for sale in his own shop. I exhibited some old works and some new, including a series of letters, or rather their last lines, from Denis Diderot to Sophie Volland, my ABC of faults, and one may consider the ensemble as between a school room and a boudoir, mediated by the constant figure of the libertine.

The title comes from Alexis de Tocqueville, speaking in the Chamber of Deputies,shortly before the outbreak of revolution across Europe in The works here, despite their gentle air of refinement, reflect relays between nature, humanity, violence, and sexuality. Does the wind of history flutter through the leaves of fashion journals of past centuries? Can the details or even the outlines of those explosions of class struggle—such as the bourgeois revolutions of or the libertarian social experiment of the Paris Commune of —be read in the details and the outlines of past fashion?

Such details and outlines have been snapped up and out of history for these reworked fashion plates. These reworkings came into being through an arduous manual labour of reproduction that is itself outmoded. These ephemera are not simply recovered, but remade. Fashion and its accoutrements are recovered as repetitive labour, reinforcing the repetitions and the labours that structure fashion itself, an eternal return of the ever same in the guise of the new. Perhaps we can discover in these re-fabrications, if not also in the originals, a small feature that betrays, in the vocabulary of fashion, the ructions of history: maybe a red ribbon necklace remembers the slice of the Guillotine.

Here are women, at least in ideal form, their heads gently turned to reveal the faux-vitality of the fakest of pinkest cheeks.

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The fashion plates insert them graphically into commodity relations. Their negation as silhouette in the copied version apes the invisibility of the female hands and bodies whose labour made their beautiful trappings. Their heightened colouration draws attention to the ways in which fashion disguises and embellishes and leads women into the realm of artifice.

Her nature is no longer nature, but historical because commodified. History does shudder through the folds in more or less invisible ways and pastiche teases it out, or at least beckons it to sashay a while. Violence now disguises and now parades itself when the cut is the deepest of things and the hang is to die for. I have worked hard on my embroidery, starting with anguish, passing through despair, narcissism, discharge of duty, and completing my work with zeal.

I have learnt to sew in cross-stitch, counting the threads on an open weave of linen, trying to achieve a uniform appearance and an even size. I have separated my strands of red silk carefully, teasing them out to avoid snarling. I have worked the serifs of my words in stem-stitch, working from left to right so my thread emerges to the left of the previous stitch. I have drawn out each word with a soft pencil, shading with care on new scraps of linen, then worked through the cloth, which subsequently must be pulled away, thread by thread, to leave my imperfections.

Like any child who wants to be good, who wants to set a good example, I have addressed my faults, my flaws, my defects. I have worked my list of odious self-knowledge on French hankerchiefs of lawn and lace, collected over several years. I have made an example of myself. I have embroidered my alphabet, and now I may demonstrate my knowledge, my industry, and my virtue. Natural Education Bast'art, Bratislava What does Jean-Jacques Rousseau tell us? He says that we are born weak, that we are born stupid, without judgement; unprovided for, we need aid. This aid will come to us from education, which will cultivate us like plants.

Self-reliant, observant of the world around us, we will learn the consequences of liberty, of choice. Removed from the corrupting effects of society, we will move back to our natural state, like the wild girl of the woods of Champagne; we will not follow rules; rather, we will learn from the consequences of our actions, and later, we may read literature and philosophy, when we have developed the capacity to judge. Like Emile, Sharon Kivland lives in the French countryside, though going frequently to London for discussion on philosophy, politics, and psychoanalysis.

She remarks that Jean-Jacques, despite his many fine qualities, despite his declarations on moral and political equality, has a rather different programme of education for girls of which she rather disapproves, for she cannot find a place there for herself so she turns instead naturally from Emile to Choderlos de Laclos. In reflections on slavery, labour, revolution, and desire, Sharon Kivland exhibited fifteen embroidered linen robes as worn by the wild girl of the woods of Champagne when she is domesticated perhaps? The project was educational, but naturally so, intended to induce the convulsive laughter of noisy merriment, the expression of pleasure, and numerous contradictions.

Toronto Curated by Cheryl Sourkes. Ma Marie Framed digital print. Series of three. Ma Nana et autres filles Atelier Marcel Dinahet, Rennes A gentle and refined display of three embroidered gowns, three embroidered handkerchiefs, eight lovely cartes de visite embossed on fair calfskin with a dizzying description of Zola's Nana in which 'elle' is replaced with 'je' and 'sa', son', and 'ses' with 'ma', mon', and 'mes , and three prints, like the one above, a detail of a chromograph of an actress or the Blessed Virgin Mary you decide.

Mes fils ongoing c-type photographs mounted on aluminium, matt laminate, 80cm diam. Mes fils DomoBaal , London Mes Fils , from which the exhibition takes its title, includes a continuing series of photographs, each showing the same woman in an embrace with a different man. Closer inspection reveals that the woman is much older than her partner, old enough, in fact, to be his mother.

The work engages with the Oedipus complex and its resolution in prohibition, when the son must renounce his desire for his mother. The way in which each child navigates his passage through the Oedipal relation will determine both his assumption of a sexual position and his choice of sexual object. For the psychoanalyst Jacques Lacan, it is a passage to the symbolic, one that passes through a complex sexual dialectic. Here no father intervenes, however, to impose his law and to separate mother from child.

MIRABEAU - la force de la passion

The scandal is evident, and there is a further underlying transgression in the work. As the series continues, the woman - the artist - gets older while the men all former students, I am sorry to say remain the same age. They are, however, completely interchangeable, while she is constant and singular. In the same series are several other works that also take up the themes of prohibition and transgression in an atmosphere of elegant refinement.

Meaning of "libertin" in the French dictionary

Un calendrier revolutionnaire 12 c-type photographs, coloured archival board, letterpress printed, each with the name of a month in the French Revolutionary Calendar, Each month features an ugly little burn scar, acquired usually in the course of daily labour, until the moment I decided to make the work and then had to burn myself deliberately. What an odious task in Le bonheur de femmes the scent of a woman , consists of photographs hung at genital height. They are of women's feet, taken in the perfume departments of Parisian grands magasins.

Texts mounted at eye-level -- such as 'envy', 'obsession', 'allure', and so on -- might be identified as the names of scents. While the work alludes to nineteenth-century Paris, consumerism and the urban experience, it really begins with an encounter between Freud and Marx at the site of the fetish. While Marx borrows the term to demonstrate how social relations take on the illusory form of relationships between things, Freud applies it to sexual behaviour, when excitement depends on the presence of an object.

All this is standard stuff, but what if the object disappears, like faint waft of scented air? Or, furthermore, if it disappears into words, transforming a shine on the nose to a glance at the nose perhaps sniffing all the time , then there is an indication that fetishism is more than a vague analogy in the visual field, it is something subject to linguistic transformation.

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