Une oeuvre de fiction peut-elle etre vraie? C'est ce que de nombreux auteurs du dix-huitieme siecle ont pretendu dans les prefaces de leurs romans. Il est communement admis que cette revendication tente de deguiser la fictionnalite de la fiction, et de tromper le lecteur dans le but de lui faire prendre une illusion pour une verite. Dans cet ouvrage, Herman, Kozul et Kremer examinent d'un oeil neuf ce point de vue, et analysent tout un eventail de prefaces sous deux perspectives: semantique et pragmatique. La lecture semantique developpe celle de G. May dans son etude pionniere, Le Dilemme du roman (1963), et situe la preface ainsi que sa pretention a la verite a l'interieur du recit fictionnel lui-meme, ou elle joue son role dans cette supercherie dont le lecteur est la cible. L'approche pragmatique, cependant, mene a une lecture absolument nouvelle de ces pretentions prefacielles, et revele comment elles soulignent la fictionnalite du roman. Les auteurs avancent l'argument que cette declaration qui nous est si familiere 'ceci n'est pas un roman', sert a legitimer l'artifice du roman, et a etablir une sorte de pacte de complicite avec le lecteur. Herman, Kozul et Kremer nous permettent de voir d'une facon entierement neuve l'ecriture et la lecture de la fiction au dix-huitieme siecle. Ils explorent les problemes de legitimation et d'accreditation qui caracterisent non seulement les prefaces des romans, mais aussi bien d'autres discours de la premiere modernite.

A fascinating look at the role of the media in fostering nationalism, with a comparative approach that shows the interactions between American, Russian and German nationalism. Extreme nationalism is a subject of enormous contemporary significance today. Does patriotic pride inevitably develop into nationalistic aggression? Is this exacerbated by the global outreach of the media? And what is the relationship between mainstream politics and increasingly vocal far-right groups in Britain, the US, Germany and Russia? This book addresses these questions from a variety of angles, exploring topics ranging from the War on Terror to Holocaust denial, from the 'sanctity' of Rasputin to the 'martyrdom' of Rudolf Hess.

L'abbe Lenglet-Dufresnoy a publie de son vivant deux essais consacres a l'esthetique romanesque: De l'usage des romans, communement percu comme un plaidoyer en faveur du roman, et L'Histoire justifiee contre les romans, a premiere vue un rejet des theses de l'ouvrage precedent. La decouverte de deux manuscrits autographes de Lenglet-Dufresnoy, les Observations critiques de M. le C. Gordon de Percel sur son livre 'De l'usage des romans' et De l'utilite des romans: seconde partie, remet en question cette interpretation et eclaire de facon inattendue une etape cruciale de l'histoire du roman francais. Dans cette premiere edition integrale, Jan Herman et Jacques Cormier presentent les fondements d'une reflexion qui permet d'observer l'interaction entre les differents modeles romanesques de 1660 a 1750. Dans la premiere partie du volume, ils exposent le contexte polemique dans lequel s'inscrivent les idees de Lenglet-Dufresnoy. Examinant et confrontant un grand nombre de textes theoriques avec lesquels les manuscrits entrent en dialogue, J. Herman et J. Cormier saisissent sur le vif les mouvances d'une pensee qui nait dans l'ecriture meme. La seconde partie de l'ouvrage comporte les manuscrits eux-memes, accompagnes de variantes textuelles et de notes explicatives. L'etude des manuscrits revele en effet plusieurs strates d'elaboration, dont l'apparat critique permet d'entrevoir la superposition, strates auxquelles viennent s'ajouter interpolations et corrections. J. Herman et J. Cormier devoilent dans l'ensemble du texte comment Lenglet-Dufresnoy articule une dialectique entre discours theorique et pratique romanesque.

La construction du recit en tant que verite est l'ambition essentielle du roman du dix-huitieme siecle. Mais dans quelle mesure les mots sur la page cachent-ils ou, au contraire, revelent-ils la genese de l'histoire qu'ils pretendent representer? Telle est la question que J.Herman aborde en regardant sous la surface du recit pour explorer les traces de ses origines. Faisant appel a des theories de l'ecriture allant de Platon a Derrida et a Genette, J.Herman offre une facon entierement neuve de lire les romans-memoires. Il montre comment les textes utilisant cette forme narrative reactivent des questions sur les rapports de l'ecriture avec la verite et avec la memoire. Se concentrant sur le motif recurrent de l'enfant trouve, sollicite a la fois en tant que theme et en tant que metaphore pour le texte lui-meme, J.Herman explore la maniere dont les romans utilisent cette figure pour representer leur propre quete de legitimite et de reconnaissance. Apres une exposition fouillee de ses concepts theoriques, l'auteur apporte une analyse systematique de plusieurs romans d'importance majeure dus a des ecrivains allant de Marivaux et de Prevost a Laclos et a Potocki, a travers laquelle il offre une nouvelle methode de dechiffrement rhetorique du roman au dix-huitieme siecle.

On May 21-24, 1997 the Second International Symposium on Algorithms for Macromolecular Modelling was held at the Konrad Zuse Zentrum in Berlin. The event brought together computational scientists in fields like biochemistry, biophysics, physical chemistry, or statistical physics and numerical analysts as well as computer scientists working on the advancement of algorithms, for a total of over 120 participants from 19 countries. In the course of the symposium, the speakers agreed to produce a representative volume that combines survey articles and original papers (all refereed) to give an impression of the present state of the art of Molecular Dynamics.The 29 articles of the book reflect the main topics of the Berlin meeting which were i) Conformational Dynamics, ii) Thermodynamic Modelling, iii) Advanced Time-Stepping Algorithms, iv) Quantum-Classical Simulations and Fast Force Field and v) Fast Force Field Evaluation.

This is a study of the growth of the right wing in a reunited Germany. Since the end of the Cold War, an explosion of xenophobia and attacks on foreigners - some of them asylum-seekers - has attracted world-wide media attention. Coming after the seemingly miraculous celebration of freedom accompanying the fall of the Berlin Wall and the country's reunification, these events have caused acute anxiety within Germany itself. These phenomena are not exclusive to Germany, but their undertones of Nazism have prompted the question: how could this happen in a country that had so firmly repudiated its past and rightly prided itself on its anti-fascism and liberal democracy? The author sets this development in its historical context, showing the long-established continuity of right-wing influence and power in German conservative politics, and he explores the effects of the end of the Cold War on German society and politics. He also examines the growth of xenophobia and right-wing attitudes in the former GDR since the implosion of communism. Germany's current position as a regional super-power and its contribution to European economic progress, make this text a significant and topical contribution.

Does patriotic pride inevitably develop into nationalistic aggression? Is this exacerbated by the global outreach of the media? And what is the relationship between mainstream politics and increasingly vocal anti-immigrant and far-right groups? This book tackles these thorny questions, from Europe, the US and post-Soviet Russia, to probe the overlaps between national and racial pride, propaganda, political power and the press. Its findings explore diverse topics ranging from the 'War on Terror' to Holocaust denial, from the 'sanctity' of Rasputin to the 'martyrdom' of Rudolf Hess. It gives vital insight into the way the press can be used to propagate nationalist agendas and how old myths can gain new currency through modern forms of media.

The films of William Wyler (1902-1981) include some of the most memorable and honored motion pictures of all time Jezebel, The Letter, The Little Foxes, The Best Years of Our Lives, The Heiress, Detective Story, Roman Holiday, Ben-Hur, Funny Girl, and more than two dozen others. His great ability to conceal his directorial presence in order to better serve his material, coupled with the variety of genres in which he excelled, have earned his films 127 Academy Award nominations, winning Wyler three best-director Oscars. Based on his previously undiscovered papers, and hundreds of interviews, this perceptive, spellbinding biography reveals both the director and the private man in startling close-ups as he lived his turbulent life at a bit more than twenty-four frames per second.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Waterschaps Wetgeving Cornelis Jan Herman Schepel