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Du sang, de la volupté et de la mort (French Edition)

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You placed the highest bid! How do automatic bids work? Increase your chances of winning The full amount of your automatic bid has now been reached. Book Number of Books: Good Publication year oldest item: July 30, Please note: Merci au vendeur de son envoi rapide. Consegna puntuale tutto perfetto!!! The book is as described, the seller did a great and friendly service, the shipping was safe and secure.

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Maurice Barrés - Du Sang, de la Volupté, de la Mort. Illustré par Albert Decaris - - Catawiki

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    Spending some time in Italy, he became a figure in French literature with the release of his work The Cult of the Self in In politics, he was first elected to the Chamber of Deputies in as a Boulangist and would play a prominent political role for the rest of his life. As the name of his trilogy suggests, his works glorified a humanistic love of the self and he also flirted with occult mysticisms in his youth. The Dreyfus affair saw an ideological shift and he was a leading anti-Dreyfusard, popularising the term nationalisme to describe his views.

    He stood on a platform of "Nationalism, Protectionism and Socialism. That is exquisite in its fearfully intelligent impertinence and its diabolical Renanisation.

    France, whose artistic identity is the last thing they wish to chuck—their only dismissal is of all material and social over-draping. He wanted to give us, under the particular features of Miriam Rooth, another portrait of the artist and of the problems linked with the artistic consciousness. Yet there can be no question of an influence nor even of an acquaintance between them. Here, in the first volume of a long chronicle-novel—the very type of the unrolling tapestry which was so contrary to his own conception of form—he instantly recognized a new mastery, a new vision, and a structural design as yet unintelligible to him, but as surely there as hard bone under soft flesh in a living organism I look back with peculiar pleasure at having made Proust known to James, for the encounter gave him his last, and one of his strongest, artistic emotions.

    James himself never met Proust and never wrote anything on him. He probably did not reflect much on his works either. He had other preoccupations at the time and even—for once—neglected his own work, which he left unfinished. The war had taken hold of his mind and prevented him from thinking of anything else.