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Alfred de MUSSET
Le chandelier
Charpentier | Paris 1850 | 11.50 x 18.50 cm | broché
Reference : 46957
Seconde édition séparée. Rousseurs. - Photographies et détails sur www.Edition-Originale.com -
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5 book(s) with the same title
The English Glass Chandelier
Mortimer, Martin: The English Glass Chandelier. Woodbridge: 2000. 200 pages with 100 colour and 50 monochrome illustrations. Hardback. 28x22cms. Spanning the 17th to the end of the 19th century, retracing the evolution of the chandelier design and technique, examining questions of dating and attribution, drawing on limited documentation available and richly illustrated by c.150 examples.
Spanning the 17th to the end of the 19th century, retracing the evolution of the chandelier design and technique, examining questions of dating and attribution, drawing on limited documentation available and richly illustrated by c.150 examples. Text in English
O Lustre. (i.e. English: ""The Chandelier""). - [THE JOYCE OF BRAZIL]
Rio de Janeiro, 1946. Uncut in the original printed wrappers. Wear to extremities. Upper part of spine with loss of paper and brownspotting to wrappers. Marginal brownspotting throughout.
The rare first edition of Clarice Lispector's enigmatic second novel, her haunting O Lustre (“The Chandelier”), now recognized as a foundational work of modern Brazilian literature and a daring exploration of inner consciousness. In spite of now being considered one of the greatest modern authors, Clarice Lispector is a fairly recent discovery for most, and many of her most famous novels have only recently been translated into English for the first time. ""Written in 1946, The Chandelier is a mesmerizing journey into the mind of a young woman struggling to make sense of her inner world. Clarice Lispector’s second novel, long overshadowed by her debut, is finally emerging as a key work in her development."" (From the first English translation, 2018) Clarice (1920-1977), as she is usually called by her many fans worldwide, is one of the most intriguing and revolutionizing authors of the 20th century. After having been re-discovered in Europe, she is now compared to the likes of Joyce, Kafka, and Steinbeck. She was born in Ukraine, to Jewish parents, and moved to Brazil as an infant, amidst the disasters following WWI. She grew up in Recife and moved to Rio de Janeiro when she was in her teens. She was merely 23, when she published her first novel, ""Near to the Wild Heart"", which catapulted her into fame in her own country (Brazil). Following her marriage to a Brazilian diplomat, she left the country in 1944 and spent the next 15 years in Europe and the United States. She continued, however, to publish all of her writings in Brazil. Although immensely famous in Brazil, it was only after the Amrican writer Benjamin Moser published a biography of Clarice Lispector in 2009 that her works have become the object of an extensive project of retranslation, published by New Directions Publishing and Penguin Modern Classics, being the first Brazilian to enter the prestigious series. Moser characterizes Lispector as ""the most important Jewish writer in the world since Kafka"" and O Lustre—with its stream-of-consciousness narrative, recursive prose, and philosophical intensity—fully supports that claim. It is a novel that resists categorization, one that explores the flickering boundaries between self and world, light and shadow, thought and sensation. First published in Rio de Janeiro in 1946, O Lustre was initially met with bewilderment by critics, who found its nonlinear structure and experimental language difficult to digest. But today it is hailed as a milestone in Lispector’s literary evolution, a raw and luminous expression of her singular voice. ""Her second novel is darker, denser, more abstract. But it is also the book in which her voice truly begins to break free, a shimmering, difficult, and uncompromising work."" (From the English introduction, 2018) ""The legendarily beautiful Clarice Lispector, tall and blonde, clad in the outspoken sunglasses and chunky jewelry of a grande dame of midcentury Rio de Janeiro, met our current definition of glamour. She spent years as a fashion journalist and knew how to look the part. But it is as much in the older sense of the word that Clarice Lispector is glamorous: as a caster of spells, literally enchanting, her nervous ghost haunting every branch of the Brazilian arts. Her spell has grown unceasingly since her death. Then, in 1977, it would have seemed exaggerated to say she was her country's preëminent modern writer. Today, when it no longer does, questions of artistic importance are, to a certain extent, irrelevant. What matters is the magnetic love she inspires in those susceptible to her. For them, reading Clarice Lispector is one of the great emotional experiences of their lives. But her glamour is dangerous. ""Be careful with Clarice,"" a friend told a reader decades ago, using the single name by which she is universally known. ""It's not literature. It's witchcraft."" The connection between literature and witchcraft has long been an important part of the Clarice mythology. That mythology, with a powerful boost from the Internet, which magically transforms rumors into facts, has developed ramifications so baroque that it might today be called a minor branch of Brazilian literature. Circulating unstoppably online is an entire shadow oeuvre, generally trying, and failing, to sound profound, and breathing of passion. Online, too, Clarice has acquired a posthumous shadow body, as pictures of actresses portraying her are constantly reproduced in lieu of the original. If the technology has changed its forms, the mythologizing itself is nothing new. Clarice Lispector became famous when, at the end of 1943, she published ""Near to the Wild Heart."" She was a student, barely twenty-three, from a poor immigrant background. Her first novel had such a tremendous impact that, one journalist wrote, ""we have no memory of a more sensational debut, which lifted to such prominence a name that, until shortly before, had been completely unknown."" But only a few weeks after that name was becoming known she left Rio with her husband, a diplomat. They would live abroad for almost two decades. Though she made regular visits home, she would not return definitively until 1959. In that interval, legends flourished. Her odd foreign name became a subject of speculation-one critic suggested it might be a pseudonym-and others wondered whether she was, in fact, a man. Taken together, the legends reflect an uneasiness, a feeling that she was something other than she seemed. ... New subjects require new language. Part of Clarice's odd grammar can be traced to the powerful influence of the Jewish mysticism that her father introduced her to. But another part of its strangeness can be attributed to her need to invent a tradition. As anyone who reads her stories from beginning to end will see, they are shot through by a ceaseless linguistic searching, a grammatical instability, that prevents them from being read too quickly. ... ""In painting as in music and literature,"" she wrote, ""what is called abstract so often seems to me the figurative of a more delicate and difficult reality, less visible to the naked eye."" As abstract painters sought to portray mental and emotional states without direct representation, and modern composers expanded traditional laws of harmony, Clarice undid reflexive patterns in grammar. She often had to remind readers that her ""foreign"" speech was not the result of her European birth or an ignorance of Portuguese. Nor, needless to say, of the proper ways women presented themselves. As a professional fashion writer, she reveled in her characters' appearances. And then she dishevelled their dresses, smudged their mascara, deranged their hair, enchanting well-composed faces with the creepier glamour Sir Walter Scott described. With overturned words, she conjured an entire unknown world-conjuring, too, the unforgettable Clarice Lispector: a female Chekhov on the beaches of Guanabara."" (Benjamin Moser in The New Yorker). All of Clarice Lispector's works are scarce in the first editions - which were all printed in Rio de Janeiro - and hardly every appear on the market.
Eloges en vers latins des présidents et conseillers du parlement de Rouen de 1499 à 1543, par Baptiste Le Chandelier avec une introduction par G.A. Prévost.
Rouen, Léon Gy, 1905. Petit in 4° broché, XXI-114-k) pp. Tirage sur beau papier à 50 exemplaires nominatifs.
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Comédies et proverbes - TOME I - André del Sarto Lorenzaccio Les caprices de Marianne Fantasio On ne badine pas avec l'amour La nuit vénitienne Barberine Le Chandelier
Selecta 1960 in12. 1960. Cartonné.
Bon état intérieur frais couverture un peu défraîchie ternissures
Comédies et proverbes lorenzaccio - le chandelier - il ne faut jurer de rien
Alphonse lemerre 401 pages in12. Sans date. Broché. 401 pages.
Etat Correct bas couverture rafistolé scotch amateur
