Till apos espiegle

  TILL L'ESPIÈGLE       Collection des GRANDES LÉGENDES EUROPÉENNES           Texte: Roger Illustrations: Roger Éditions Plumon, Biarritz Format 21,2 cm x 27,6 cm 60 pages Copyright by Eugène Plumon 1943 Dépôt légal: 3e trimestre 1943 État: couverture usée et frottée, particulièrement aux extrémités du dos, aux arêtes et aux coins. Le blanc du carton apparait souvent sous le noir de la couverture. Petite salissure en 4ème de couverture également. Sinon bon état.   Pour la France, possibilité d'expédier en colissimo à la demande. En dehors de la France, l'envoi est fait au tarif "Livres et brochures"  ou colissimo international à la demande.    

CD Album CD Code EAN: 0881488906554 Rubrique principale CD: CD Album Titre: Symphonie alpestre opus 64, Till l'espiègle opus 28 Genre musical: Musique orchestrale Référence fabricant CD: PH09065

CD Album CD Code EAN: 5037899013595 Rubrique principale CD: CD Album Titre: Les 4 derniers lieder, Métamorphoses, Till l'espiègle Genre musical: Opéra Référence fabricant CD: DC1008

Pochette: VG-- moyenne, coins bords usés abimés, tour disque un peu marqué, petites pliures, salie, pas d écritures. Disque: vg++ bon état, minuscules rayures superficielles. Frais de port réduits pour achats groupés possible: me demander (reducing shipping costs for several buyings possible: ask me). Envoi en colissimo en France, envoi avec suivi (tracking) pour le reste du monde. Shipping with tracking all over the world. Créé par L'outil de mise en vente gratuit. Mettez vos objets en vente rapidement et en toute simplicité, et gérez vos annonces en cours.

78 Tours Vinyles Auteur: johann strauss Editeur: PANOPHONE Chef d'orchestre: KLEMPERER Genre musical: Musique classique Support / Quantité fournie: 1 Rubrique principale Vinyle: 78 Tours

Vinyle 33 Tours Vinyles Distributeur: DECCA Auteur: Richard Strauss Editeur: DECCA Chef d'orchestre: Georg Solti Genre musical: Musique classique Support / Quantité fournie: 1 Rubrique principale Vinyle: 33 Tours

4 matrices  d'une planche numérotée 121/1,121/2, 121/3,121/4. Dessins de Robert FUZIER, illustrateur du Journal LE POPULAIRE DE PARIS de 1934 à 1940. Disponibles: planches de 122 à 140. Envoi mondila relay.                                   Venez découvrir d'autres pièces de collections, petit mobilier, livres,                                    services vaisselle anciens dans ma Boutique BROCAPATOU.                                           Bonne journée !

4 matrices  d'une planche numérotée 121/1,121/2, 121/3,121/4. Dessins de Robert FUZIER, illustrateur du Journal LE POPULAIRE DE PARIS de 1934 à 1940. Disponibles: planches de 122 à 140.  renseignements: 06 79 97 26 34. Envoi mondila relay.                                                                      Dédormais, 2 catégories dans notre Boutique  BROCAPATOU: livres  et  vaisselle.                                           Bonne journée !

ALBUM IN-4 BROCHÉ DE 96 PAGES ILLUSTRÉES EN NOIR ET EN  COULEURS  Scénario: Vallè, Jo Dessin: Giffey, René ÉTAT D'USAGE, TRACES D'HUMIDITÉ EN BORDURES SUPÉRIEURES.  VOIR PHOTOS:  Cliquez 1 fois sur les images, puis 1 seconde fois pour zoomer                             Hebergeur d'images - www.photos-encheres.com

Emerson's Essays on Manners, Self-Reliance, Compensation, Nature, Friendship (Classic Reprint) Ralph Waldo Emerson Auteur: Ralph Waldo Emerson Editeur: Forgotten Books Broché: 194 pages paperback Publication: 15/07/2012 Dimensions: 22,86 x 15,24 x 2,29 Langue: Anglais Publier en: Anglais Languages d'origine: Anglais Help ? May 25, 180 A prU 27,1882) We have few more intimate biographical records than Emersoi s; fewer still tiiat cause so littie disappointment in the reading. In the wealth of material at hand in his Journal and letters as well as in the personal reminiscences of a great band of friends and admirers we are brought face to face with a personality that can but win by the cumulative power of character Even those who met Emerson with prejudices to be overcome were conquered by his presence. In an instant all my dislike vanished said Crabbe Bobinson, in reporting the first glimpse caught of him across a crowded room. One and another bear evidence to the same personal power with a concurrence that would be tiresome, were it not for the strong individual conviction in each case. Two other brothers, Edward and Charles, both younger, shared this power; William, the oldest, was likewise gifted with unusudl intellect. The family lived in Boston, where the father, William Emerson, was a brilliant Congregational minister, prominent in religious, social, and literary circles till his death in 1811. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at Great Collection but Not the Best This collection has five Ralph Waldo Emerson essays: "Self-Reliance," "Manners," "Compensation," "Nature," and "Friendship." They were published a few years apart but have little intrinsic connection; the combination seems random. However, "Self" is an essential masterpiece, and the others are high quality. Anyone wanting a sampler could do worse, but the essays are widely available in far more comprehensive compilations, and this is hard to justify unless one sees it for a good price. "Self" is Emerson's most famous essay and is rivaled only by "Concord Hymn" as his most famous work. It is also his masterpiece; one often hears - sometimes disparagingly - that Emerson tried to fit his whole philosophy into each essay, and this comes remarkably close. There is far more depth and subtlety here than the length suggests; one would be very hard-pressed to find another work so densely packed. The words are few, but the implications are enough for a lifetime. "Self" is a seminal masterwork; a founding Transcendentalist text and American Romantic cornerstone, it is central to American thought, culture, and literature. Anyone even remotely interested in any Americana aspect must be intimately familiar with it; aside from the Declaration of Independence and Constitution themselves, perhaps no other document is so vital to the American spirit. Reading "Self" is perhaps more necessary than ever - not only because it is eternally relevant but also because it is often misrepresented. The term "self-reliance" is now almost entirely political, almost synonymous with libertarianism, and the essay is frequently touted along such lines. However, these things are hardly more than implied here, and though the definition of "liberal" has greatly changed, it is important to remember that Emerson was one of his era's leading liberals. His prime meaning in any case is self-reliance intellectually and in everyday life. He urges us to trust ourselves, to recognize human divinity and avoid imitation. It is a simple message but all-important - and far easier said than done. Emerson explores all its ramifications - philosophical, practical, social, political, economic, etc. - and outlines all its benefits. The case is beyond convincing, but he can do no more than show us; the rest is up to us. This profoundly individualist message is another reason that reading "Self" is so necessary. Emerson now unfortunately has a reputation for being somewhat impenetrable and/or hopelessly impractical; this is a true shame, because he wrote for the masses. Unlike nearly all philosophers, he does not rely on jargon or polysyllables; he truly wanted to be understood, and all it takes is will. We must open our minds to him, and once we have, they will never be closed again. Though greatly revered with many and diverse followers, Emerson's intention was not to be loved but to inspire; he wanted all to find individual genius. His work is thus the truest and best kind of self-help manual, and "Self" is its apotheosis. It has inspired millions in the more than century and a half of its existence, including me. I have read thousands and thousands of works, but this is one of the handful that truly changed my life. Emerson's greatness always shines through, but reading him at the right time can make an astonishing difference. He was more popular in life with the young than the old, and I can easily see why. I was lucky to read him at just the right time, and "Self" spoke to me more powerfully than almost anything else ever has. Without hyperbole, I can say that I would not be doing what I am today and would have abandoned my goals and visions without reading "Self" and Thoreau's "Life without Principle" - a somewhat similar essay highly influenced by Emerson - when I did. I was wracked with self-doubt and getting nothing but indifference, bafflement, or hostility from others; these works gave just the kick I needed, and I will never look back. "Self" has the potential to be life-changing as almost nothing else does, and I highly recommend it to all; you can hardly be unaffected and may never be the same. However, I especially recommend it to the young; its importance to them - and Emerson's generally - simply cannot be overemphasized. Emerson is a signature American stylist, and "Self" is near his height. His writing is always memorable and often highly lyrical - about as close to poetry as prose can be. However, his essays were almost always painstakingly composed from lectures and journals, and the effect was sometimes choppy. An Emerson-loving professor of mine once joked that no one can find the topic sentence in an Emerson paragraph, and his transitions also frequently leave much to be desired. However, "Self" is near-seamless, a true masterpiece of style that flows smoothly and often waxes beautiful. This is all the more remarkable in that it was assembled even more than usual from disparate sources; entries that ended up here came as far as eight years apart, but the whole is admirably harmonious. "Self" is a preeminent example of how Emerson delights in paradox. Anyone who reads him closely sees that he is as complex as he is simple. Thus, despite - or perhaps even because of - apparent straight-forwardness, few texts are more ripe for deconstruction. "Self" fans after all love a text that tells us not to love texts, are inspired by a man who tells us not to be inspired by men, and are convinced by a text and man both of which tell us not to be convinced by either. But this is only the beginning. "Self" works because it tells us exactly what we want to hear and, in striking contrast to innumerable self-help books, does so in an intellectually and even aesthetically respectable way. This is fine for me and (hopefully) you but could of course be taken to heart by Hitler as easily as Gandhi. The thoroughly optimistic, mild-mannered, and physically frail Emerson may not have foreseen his revolutionary text being put to nefarious use and probably would have been unable to believe in even the possibility. However, the danger, if we choose to call it so, is very real. "Self" could easily have had the same effect that Nietzsche had on Nazis, and that it has not been taken up by anarchists, radical terrorists, and the like is perhaps mere luck. One at least wonders how it avoided preceding The Catcher in the Rye as the work synonymous with unsavory people. That said, it is likely unfair to Emerson to say he did not anticipate this; he after all takes his views to the logical conclusion. He surely saw it, and it may have given pause, but he persevered because he was faithful to his intuition just as he urges us to be to ours. He truly believed in self-reliance and was ready to stand by it no matter what befell - nay, thought it his only choice. His optimism must have told him that the doctrine would not be abused, and he has been right - so far. Only time will tell if this continues to hold, but "Self" remains essential for all. Though far less great and universal, "Manners" is one of Emerson's more historically interesting essays. It is essential to recall that his era perhaps emphasized manners more than any other in history; they had an importance of which we cannot even conceive. All had to deal with them regardless of personal views, but virtually all seemed to agree - or at least convinced others that they did. Thus, though it may initially seem somewhat surprising in light of Emerson's trademark liberalism and originality that he (begrudgingly) accepts some conventions, the small extent to which he did so is truly remarkable. The essay goes a little into various manners' pros and cons, but the core points are elsewhere. The first is that manners are relative; Emerson begins with some striking anthropological examples of this all-important fact and otherwise drives it home. An extension of his core self-reliance doctrine, the second is that the great make their own manners - and make others respect them. "Manners" is one of Emerson's least transcendental works - in any sense -, but comparing and contrasting its message to today's society and competing views can be instructive, and it is a valuable timepiece. "Friendship" is also very good - one of Emerson's most affecting and thought-provoking works. His view of the ubiquitous subject is unsurprisingly original and engaging. He believes that friendship can exist only with real equality and sees it as a sort of springboard to something higher. His demands are great, and the work is eye-opening in the sense that almost no one has a friend by his definition. Like his best work, "Friendship" can easily make us question beliefs and preconceptions - and perhaps even make us better friends. "Compensation" is one of Emerson's most representative essays. The staunch optimism so essential to his thought was perhaps never shown so clearly or thoroughly elsewhere. Emerson begins by saying he had wanted to write about compensation since he was a boy, and it shows in his enthusiasm. He works himself up almost to a rhapsody, giving example after example in clear, beautiful prose that remarkably never becomes dull and is often near-lyrical. The essay details Emerson's belief that everything balances out, even if we cannot see it, and that good and evil have their own earthly rewards despite appearances. He may not convince cynics, but his argument is certainly compelling, and his critiques of conventional Christianity and other traditions are very intriguing. "Nature" has many of Emerson's key concepts: nature's all-encompassing beauty and force, our place in regard to it, art's role, and of course deduction of God from nature. Some speculations are more philosophical, historical, or critical, but all lead to these basic points, which are Transcendentalism's cornerstones. Emerson's characteristically optimistic thought is here in full, as is his signature poetic prose. These essays are essential for anyone interested in Emerson, whether read here or elsewhere. Three Stars Not much explanation. Hard to read. Print is not very clear. D'autre ouvrages de Ralph Waldo Emerson Mot Clef: Nonfiction Education Education Theory

33 Tours: Pour les enfants: Le top des tout-p'tits (vol.2) Les aventures de Tintin: l'étoile mystérieuse Casimir présente: les 1001 soirées de l'ile aux enfants Barbe bleue, Till l'espiègle, l'élixir de vie, la légende de narcisse Les tops Douchka Christophe Colomb Coffret 3 disques de Richard Clayderman (ballade pour Adeline, Aline, ?) Coffret 2 disques le grand bleu (version intégrake) Coffret de Robert Schumann (concerto en Ré mineur pour violon) Coffret de Stravinsky: le sacre du printemps Philadelphia sound Tangos et pasos célèbres (2 disques) Michel Sardou: la maladie d'amour La compagnie créole: le bal masqué Catherine Lara (en concert) Diane Tell: si j'étais un homme Johnny Mathis & Deniece Williams: that's what friends are for Les chansons de vos feuilletons télé favoris chantées par Dorothée et ses amis de récré A2 2 disques records de la chanson française: 36 chansons - 84

Collection intégrale du coffret de vinyles - Les Grands Compositeurs et Leur Musique Édité en association avec Deutsche Grammophon, Philips & Decca entre 1982 et 1985. 65 disques 33 tours avec leur fascicule neufs ! #1 Beethoven: Symphonie #5 en ut mineur, opus 67 #2 Brahms: Symphonie #5 en do mineur, opus 68 #3 Chopin: Récital de Piano comprenant la valse "Minute" et l'étude "Revolutionnaire" #4 Tchaïkovski: Concerto #1 pour Piano en si bémol mineur, opus 23 & Romeo et Juliette: Ouverture #5 Schubert: Symphonie #8 en si mineur D.759 ("l'Inachevée") & Symphonie #5 en si bémol majeur D485 #6 Beethoven: Concerto pour Violon en ré, opus 61 #7 Schumann: Concerto pour Piano en la mineur, opus 54 #8 Brahms: Concerto pour Piano #2 en si bémol majeur, opus 83 #9 Tchaïkovski: Musique de Ballet: le lac des cygnes, la belle au bois dormant, casse-noisette #10 Berlioz: Symphonie Fantastique, opus 14 #11 Mendelssohn: Ouvertures comprenant le Songe d'une Nuit d'Été, opus 21 #12 Liszt: Concertos pour Piano #13 Schubert: Quintette pour Piano en la majeur, opus 114 "la Truite" #14 Brahms: Concerto pour Violon et Orchestre en ré majeur, opus 77 #15 Beethoven: Concerto #5 pour Piano et Orchestre en mi bémol majeur, opus 73 ("l'Empereur") #16 Tchaïkovski: Symphonie #6 en si mineur, opus 74 ("Pathétique) #17 Mendelssohn: Concerto pour Violon et Orchestre, opus 64 & Symphonie #4, opus 90 ("Italienne") #18 Beethoven: Sonates pour Piano "Pathétique", "Clair de Lune" et "Appassionata" #19 Tchaïkovski: Petites Oeuvres Orchestrales dont Ouverture Solennelle "1812", opus 49 #20 Mahler: Morceaux Symphoniques #21 Mozart: Concertos pour Piano et Orchestre #21 & #22 #22 Bach: Concertos Brandebourgeois #2, #3 & #5 #23 Haendel: le Messie (Extraits) #24 Mozart: Petite Musique de Nuit, K.525; Trois Danses Allemandes, K.605 & Plaisanterie Musicale, K.522 #25 Vivaldi: Les Quatre Saisons #26 Bach: Morceaux pour Orgue #27 Mozart: Symphonie #40 en sol mineur, K.550 & Symphonie #41 en ut majeur, K.551 "Jupiter" #28 Festival Baroque #29 Haendel: Musique pour les Feux d'artifice Royaux & Water Music, suites en ré et fa majeur #30 Haydn: Symphonie #94 en sol majeur, "la Surprise" & Symphonie #101 en ré majeur, "l'Horloge" #31 Bach: Suite #2 en si mineur, BMV 1067 & Suite #3 en ré majeur, BMV 1068 #32 Mozart: Concerto pour Clarinette, K.622 & Concerto pour Flûte et Harpe, K.299 #33 Festival Russe #34 Sibelius: Symphonie #2 en ré majeur, opus 43 & Finlandia, opus 26 #35 Dvorak: Symphonie #9 en mi mineur, opus 95 "du nouveau monde" #36 Rimski-Korsakov: Shéhérazade: Suite Symphonique, opus 35 #37 Grieg: Peer Gynt, Suites d'Orchestre & Concerto pour Piano et Orchestre en la mineur, opus 16 #38 Dvorak: Concerto pour Violoncelle et Orchestre en si mineur, opus 104 Smetana: la Moldau ("Vltava") #39 Ravel: Oeuvres Orchestrales #40 Offenbach: Gaîté Parisienne Gounod: Faust - Ballet #41 Johann Strauss (fils): Valses Viennoises #42 Debussy: la Mer & Nocturnes #43 Stavinski: le Sacre du Printemps & le Roi des Étoiles #44 Richard Strauss: Till l'Espiègle, opus 28; Ainsi parlait Zarathoustra, opus 30 & Don Juan, opus 20 #45 Elgar: Variations sur un thème original, opus 36 (Enigma Variations) & Pomp and Circumstance, opus 39 (Marches Militaires) #46 Bartok: Concerto pour Orchestre & Suite de Danses #47 Prokofiev: Symphonie #1 en ré majeur, opus 25 & l'Amour des Trois Oranges Chostakovitch: Symphonie #9 en mi bémol majeur, opus 70 #48 Rachmaninov: Concerto pour Piano #2 en ut mineur, opus 18 & Rhapsodie sur un thème de Paganini, opus 43 #49 Orff: Carmina Burana #50 Holst: les Planètes #51 Rodrigo: Concerto d'Aranjuez & Fantaisie pour un Gentilhomme #52 Gershwin: Concerto en fa majeur, Rhapsody in Blue & I Got Rythm (Variations pour Piano et Orchestre) #53 Bizet: Carmen (extraits) #54 Mozart: la Flûte Enchantée (extraits) & Cosi Fan Tutte (extraits) #55 Verdi: Aïda (extraits) & Rigoletto (extraits) #56 Rossini: le Barbier de Séville (extraits) Donizetti: Don Pasquale (extraits) #57 Puccini: Madame Butterfly (extraits) & Turandot (extraits) #58 Leoncavallo: Paillasse (extraits) Mascagni: Cavalleria Rusticana (extraits) #59 Gounod: Faust (extraits) #60 Mozart: le Mariage de Figaro (extraits) & Don Giovanni (extraits) #61 Verdi: la Traviata (extraits) & le Trouvère (extraits) #62 Puccini: la Bohème (extraits) & Tosca (extraits) #63 Richard Strauss: le Chevalier à la Rose (extraits) #64 Wagner: l'Anneau du Nibelung #65 Johann Strauss: la Chauve-Souris Lehar: la Veuve Joyeuse Pour connaisseurs et collectionneurs. Les pochettes, disques et livrets sont en excellent état pour ne pas dire neufs ! Seules les traces du temps sont visibles... Accepte les offres raisonnables, le prix moyen par disque revient à 2,5€, certains sont cotés 30€ sur Discogs...

Pour les enfants: Le top des tout-p'tits (vol.2) Casimir présente: les 1001 soirées de l'ile aux enfants Barbe bleue, Till l'espiègle,

  HÉROS POPULAIRES DE TOUS LES TEMPS       Collection LÉGENDES ET CONTES DE TOUS LES PAYS     FIONN (Irlande) - LE CÉLÈBRE FORGERON ILMARINEN (Finlande) - LE ROI ARTHUR (Angleterre) - SIEGFRIED (Allemagne) - LE PALADIN ROLAND (France) - ILYA MUROMETZ (Russie) - LE CID (Espagne) - ROBIN DES BOIS (Angleterre) - GUILLAUME TELL (Suisse) - TILL L'ESPIÈGLE (Allemagne) - LE ROI MATHIAS (Europe centrale) - MUJO (Albanie) - YANOSHIK (Slovaquie) -MARTIN KRPAN (Slovénie) - RINALDO RINALDINI (Italie)     Texte: Marianna Oravcova - Adaptation française de Illustrations de Karol Ondreicka Éditions Gründ Format 21,5 cm x 28,5 cm 214 pages Copyright 1988 by Librairie Gründ, Paris pour l'adaptation française Dépôt légal: août 1988 État: jaquette usée et frottée. Sinon bon état. Les pages sont très belles.   En dehors de la France, l'envoi est fait au tarif "Livres et brochures"  ou colissimo international à la demande.