Paris, 1973: In the midst of a turbulent period of student unrest, political protest, and terrorist threats, Monica, a naïve and idealistic American college student, arrives in Paris eager to live out her rose-colored dreams. Along with her three friends, Monica soon discovers a Paris not pictured in guidebooks or dreamy black-and-white photographs--a place both seductive and dangerous. The young women, who each dreamed of love at first sight, instead find themselves in a complex tangle of temptation, sex, love, and betrayal. In a city famed for its beauty, the friends soon lose sight of their moral compasses, and discover the seamy side of the Parisian adventure. Monica's passionate involvement with two men puts her in grave danger. Velástegui spins a provocative and mesmerizing tale about the loss of innocence, the allure of desire, the power of both betrayal and redemption, and the danger in romanticizing the most loved and iconic of cities--Paris.

NEW YORK TIMES BESTSELLER Celebrity model Inès de la Fressange shares the well-kept secrets of how Parisian women maintain effortless glamour and a timeless allure. Inès de la Fressange—France’s icon of chic—shares her personal tips for living with style and charm, gleaned from decades in the fashion industry. She offers specific pointers on how to dress like a Parisian, including how to mix affordable basics with high-fashion touches, and how to accessorize. Her step-by-step do’s and don’ts are accompanied by fashion photography, and the book is personalized with her charming drawings. Inès also shares how to bring Parisian chic into your home, and how to insert your signature style into any space—even the office. The ultrachic volume is wrapped with a three-quarter-height removable jacket and features offset aquarelle paper and a ribbon page marker. Complete with her favorite addresses for finding the ultimate fashion and decorating items, this is a must-have for any woman who wants to add a touch of Paris to her own style.

The idea of the ‘project’ crosses generic, disciplinary and cultural frontiers. At a time when writers and artists are increasingly describing their practices as ‘projects’, remarkably little critical attention has been paid to the actual idea of the ‘project’. This collection of essays responds to an urgent need by suggesting a framework for evaluating the notion of the project in the light of various modernist and postmodernist cultural practices, drawn mainly but not exclusively from the French-speaking domain. The overview offered by this volume promises to makes an original and thought-provoking contribution to contemporary literary, artistic and cultural criticism.

At the collège for a parent-teacher interview, I met my daughteroutside in the courtyard and she showed me up to herclassroom. Her teacher was busy chatting, so we waitedpatiently in the corridor. When he did come out, he indicatedthat the meeting would take place downstairs and headed offwith us in tow. Before sitting down, I introduced myself using my first name,and put out my hand to be shaken. He mumbled back his fullname as he took my hand, although I suspect he would havebeen shocked if I had actually dared use it. By this stage, I hadalready understood that teachers did not expect to bequestioned about their practices. Of course, I did--questionhim, that is; politely and almost deferentially. There was aslight pause, as he dipped his head to better digest what he hadheard. Then, with the assurance of a perfect, unarguableanswer, he replied, "But you are in France, Madame". Some months before, my husband, three children and I hadcasually unzipped and discarded our comfortable Australianlifestyle and slipped on life in the country of haute couture. Onarrival, there was no celebrity designer waiting for us, ready topin and fit our new life to us; so we threw it on and wore itloosely, tightly, uncomfortably, any old how--until we learnedfor ourselves how to trim, hem and stitch à la française. Thisbook is testament to the joyous, but not always easy, journeythat we took along the way.

From the 1750s to the 1830s, numerous British intellectuals, novelists, essayists, poets, playwrights, translators, educationalists, politicians, businessmen, travel writers, and philosophers brooded about the merits and demerits of the French language. The decades under consideration encompass a particularly tumultuous period in Anglo-French relations that witnessed the Seven Years' War (1756-1763), the American War of Independence (1775-1783), the Revolutionary and Napoleonic Wars (1792-1802 and 1803-1815, respectively), the Bourbon Restoration (1814-1830), and the July Revolution (1830) - not to mention the gradual expansion of the British Empire, and the complex cultural shifts that led from Neoclassicism to Romanticism. In this book, Marcus Tomalin reassesses the ways in which writers such as Tobias Smollett, Maria Edgeworth, William Wordsworth, John Keats, William Cobbett, and William Hazlitt acquired and deployed French. This intricate topic is examined from a range of critical perspectives, which draw upon recent research into European Romanticism, linguistic historiography, comparative literature, social and cultural history, education theory, and translation studies. This interdisciplinary approach helps to illuminate the deep ambivalences that characterised British appraisals of the French language in the literature of the Romantic period.

Clark examines the book of hours in the context of medieval culture, the book trade in Paris, and the role of Paris as an international center of illumination. 64 illustrations, 40 in color.

Presents a study of the final days of the seminal author and discusses his upbringing, themes in his works, his rise as a famous writer, and the final months before his death.