Richard Howard Livres

Diese Ausgabe präsentiert die deutsche Übertragung neben dem französischen Originaltext mit den farbigen Zeichnungen des Autors. Als Übersetzungshilfe und Einladung, die bekannte Erzählung neu zu entdecken. Als der Berufspilot und Schriftsteller Antoine de Saint-Exupéry 1943 den »Kleinen Prinzen« erfand, konnte er nicht ahnen, welch gewaltiger Erfolg sein Büchlein werden sollte. Die philosophisch-poetische Geschichte vom kleinen Prinzen, der auf der Suche nach Freunden allerlei seltsame Planeten bereist, übt ungebrochene Faszination aus. Sie ist ein Plädoyer für Menschlichkeit, das in über 240 Sprachen und Dialekte übersetzt worden ist.

Although Adam Scott is a design engineer for Struthers-Ergen, he has strong links with his upbringing on an outback cattle station in the state of Victoria, Australia. When he receives strange letters from his ailing grandfather in a rest home in Melbourne, he decides to combine a visit to him with a survey of irrigation needs in Victoria. The grandfather dies before he gets to Melbourne, but the mystery of the letters containing crude sketches of a boomerang remain. Adam visits the family's long-abandoned cattle station and recalls times when, just as the station was about to succumb financially, his grandfather would disappear and return with money to bail it out. While Adam is in Australia, the firm is slowly losing money through the unexplained loss of contracts. Will there be a link between the last-minute bailing out of the cattle station and recovery of the irrigation manufacturer? Written in a fast-paced style, this book will appeal to the adventurous.

A lauded American poet's tributes to Walt Whitman and Henry James, now collected for the first time. Richard Howard has long been recognized as one of America’s finest poets, celebrated as an author for his keen engagement with other authors, and especially for his sparkling and trenchant dramatic monologues and two-part inventions. Through the years, Howard has, in this way, given voice to all sorts of historical and literary figures, but two of his favorite subjects are two of his favorite writers—Walt Whitman and Henry James—and this book gathers an array of poems in which he responds to these great gay forebears, as well as to two other beloved Americans, Hart Crane and Wallace Stevens. Here Whitman the good gray poet opens his door to Bram Stoker and to Oscar Wilde; Henry James struggles to take stock of Los Angeles, where he is to have lunch with L. Frank Baum; Edith Wharton reminisces about her fraught friendship with the Master; poor Pansy from The Portrait of a Lady broods on her dreadful father; and late in life Wallace Stevens visits Paris—as Stevens never did. Howard’s wonderful inventions are as expansive and celebratory and human as Whitman, as deeply and subtly inquiring as James, as sumptuously meditative as Stevens, and as arresting and delightful as Richard Howard himself.

"Plonger au fond du gouffre, Enfer ou Ciel, qu'importe ? Au fond de l'inconnu, pour trouver du nouveau !". Ces vers du "Voyage" éclairent à eux seuls l'entreprise du poète. Esprit vagabond, toujours mobile, Baudelaire explore les dédales de la conscience. Il atteint tantôt à l'extase, tantôt se perd dans les abîmes du péché. A travers ses poèmes, il nous fait partager le drame qui se joue en lui et qui n'est autre que la tragédie humaine. Baudelaire, premier poète moderne, donne à la poésie sa véritable dimension : exprimer, par-delà les mots, ce vertige absolu qui s'empare de l'âme. Tout chez lui, en lui affirme la nécessité de la souffrance, la fatalité du péché. Tout traduit en lui une âme profondément troublée mais charitable. Baudelaire fait des Fleurs du Mal un immense poème de la vie et du monde.

Poetry. Howard's title for his new collection is the old name for psychoanalysis, and alludes to the therapeutic powers of speech under controlled circumstances. For the most part these poems are spoken out of a solitude into a solitude, but passing through a company of some order, some chaos. There are a number of the poet's ecphrastic studies, to be expected in any of Howard's books since his Pulitzer Prize collection Untitled Subejcts (1970), and an ecphrastic variation: five poems spoken by early twentieth-century masters (James, Conrad, Meredith, Kipling, Cather) about movies they have seen-in certain cases from the Other Side-and regarded with varying suspicion. Other works by Richard Howard, TRAPPINGS and IF I DREAM I HAVE YOU, I HAVE YOU, are also available from SPD.

These late essays of Roland Barthes's are concerned with the visible and the audible, and here the preoccupations are particularly intense and rewarding, in part because Barthes was himself, by predilection, an artist and a musician, and in part because he was of two minds about the very possibility of attaching to art and to music a written text, a criticism.

The New Testament books were written to be read aloud. The original audiences of these texts would have been unfamiliar with our current practice of reading silently and processing with our eyes rather than our ears, so we can learn much about the New Testament through performing it ourselves. Richard Ward and David Trobisch are here to help. Bringing the Word to Life walks the reader through what we know about the culture of performance in the first and second centuries, what it took to perform an early New Testament manuscript, the benefits of performance for teaching, and practical suggestions for exploring New Testament texts through performance today.

Exploring the interplay of myth and memory, Richard Howard's collection delves into the complexities of truth through the art of prevarication. The poems weave together various voices, inviting readers to navigate the intricate landscapes of personal and collective narratives. This examination of the fluidity of storytelling challenges perceptions and highlights the power of language in shaping our understanding of reality.

Une méditation sur la photographie qui met en évidence les rapports entre l'image et le temps

Il s'agit d'un événement précis, concret, essentiel : la mort d'un homme. C'est un événement à caractère policier, c'est-à-dire qu'il y a un assassin, un détective, une victime. En un sens, leurs rôles sont même respectés : l'assassin tire sur la victime, le détective résout la question, la victime meurt. Mais les relations qui les lient ne sont pas aussi simples qu'une fois le dernier chapitre terminé. Car le livre est justement le récit des vingt-quatre heures qui s'écoulent entre ce coup de pistolet et cette mort, le temps que la balle a mis pour parcourir trois ou quatre mètres, vingt-quatre heures " en trop ".