Synonyms for oublier or Related words with oublier

pleurer              regarde              laisse              envie              mourir              disait              mieux              enfin              veut              veux              viens              avait              celui              chantent              doucement              sauver              tendresse              vouloir              aimais              personne              mauvaise              bordel              copain              reviens              annonce              soeur              tranquilles              vendre              froide              foule              lavoine              quoi              envers              doute              donc              voulu              quelqu              voulait              seule              fillettes              perdre              aucun              tomber              sourire              toujours              vraiment              soyez              faites              vais              amoureux             



Examples of "oublier"
""Au-delà de la performance technique qui sait se faire oublier, les auteurs ont réussi une œuvre d'une grande poésie…" Libération: Tragédies en sous-sol (December 8, 2000)"
Three months later, in 1966, she wrote "Oublier Palerme" and obtained the Prix Goncourt; the novel was adapted to film as "Dimenticare Palermo" in 1990 by Francesco Rosi.
John Ironmonger's third novel, "Not Forgetting the Whale" ("Sans Oublier la Baleine" in France), is a semi-apocalyptic story set in Cornwall.
In 1963, Nino Ferrer recorded his own first record, the single "Pour oublier qu'on s'est aimé" ("To forget we were in love").
Boy Culture, Broken Sky, Small Town Gay Bar, Oublier Cheyenne, The Line of Beauty, The Blossoming of Maximo Oliveros, Lover Other, Red Doors, Another Gay Movie, Camp Out, , 20 centímetros
Standouts from the album include "Je fume pour oublier que tu bois" ("I smoke to forget that you drink") (first single from the album in 1979), "Bijou, bijou" ("Jewel, jewel") or "Toujours sur la ligne blanche" ("Still on the white line") which would remain concert staples.
Dimenticare Palermo ("Forgetting Palermo") is a 1989 Italian political thriller film starring James Belushi, directed by Francesco Rosi and co-written by Gore Vidal. The film was released under the title The Palermo Connection in North America. The script is based on the Prix Goncourt winning novel "Oublier Palerme" (1966) by French author Edmonde Charles-Roux.
Julien's management style was described as goodhearted, and he was quoted as follows: "It's good to compete with others, as long as you don't forget to eat and drink well afterwards – "Se battre oui, mais ne pas oublier après de bien manger et bien boire"".
She began her music as a member of her local church choir. She worked for a while in a laundry and at a medical clinic in addition to DJing in the beginning 1960s developing contacts. Encouraged by French songwriter Léo Missir, she was signed to Barclay. Her initial hits included "L'Homme à la moto" (an earlier Edith Piaf song), "Pour oublier qu'on s'est aimé" (from Nino Ferrer, and "Encore un jour sans toi" (co-written by Guy Marchand and Léo Missir).
Saint-Pol-Roux is the archetypal "forgotten poet". It was under this title that he was a dedicatee of André Breton's "Clair de Terre" (also dedicated to "ceux qui comme lui s'offrent le magnifique plaisir de se faire oublier (sic)", or "those who like him offered themselves the great pleasure of making themselves forgotten"), and Vercors's "Le Silence de la mer" ( calling him "le poète assassiné", or "the assassinated poet").
He was also in charge of the éditions Grasset for over twenty-five years. As Bernard Grasset's nephew, Bernard Privat took the job in 1954. In 1967, along with his friend Jean-Claude Fasquelle, he merged his publishing company with the éditions Fasquelle. He would go on to publish authors such as Yves Berger, François Nourissier, Françoise Mallet-Joris, Matthieu Galey, Françoise Verny, and Edmonde Charles-Roux, who received the Prix Goncourt with "Oublier Palerme". Bernard Privat left his job at the éditions Grasset in 1981.
An oubliette (same origin as the French "oublier", meaning "to forget") was a form of prison cell which was accessible only from a hatch or a hole (sometimes called an "angstloch") in a high ceiling. The use of "donjons" evolved over time, sometimes to include prison cells, which could explain why the meaning of "dungeon" in English evolved over time from being a prison within the tallest, most secure tower of the castle into meaning a cell, and by extension, in popular use, an oubliette or even a torture chamber.
In 1977, Prévost entered the French Eurovision selection with the song "Pour oublier Barbara", but failed to progress from the semi-final. The following year, his song "Il y aura toujours des violons" ("There Will Always Be Violins") was chosen as the French representative for the 23rd Eurovision Song Contest. Strangely, the song only finished second in its semi-final before emerging the clear winner in the final. As a result of Marie Myriam's victory for France the previous year, the 1978 Eurovision was held in Paris on 22 April. Although "Il y aura toujours des violons" was a very traditional, old-style ballad with no concession to the musical trends of the late 1970s, it finished the evening in third place of the 20 entries.
In 1895, Gérôme had painted a similar work, "Mendacibus et histrionibus occisa in puteo jacet alma Veritas" (English: "The nurturer Truth lies in a well, having been killed by liars and actors"). It has been suggested that both paintings (like a similar, later work by Édouard Debat-Ponsan) were a comment on the Dreyfus affair. It has also been suggested that the painting is an expression of Gérôme's hostility towards the Impressionist movement, to which he was violently opposed. However, in a preface that Gérôme wrote for Émile Bayard's "Le Nu Esthétique", he refers to the influence photography had had upon painting: "Photography is an art. It forces artists to discard their old routine and forget their old formulas. It has opened our eyes and forced us to see that which previously we have not seen; a great and inexpressible service for Art. It is thanks to photography that Truth has finally come out of her well. She will never go back." (French: ""La photographie est un art. La photographie force les artistes à se dépouiller de la vieille routine et à oublier les vieilles formules. Elle nous a ouvert les yeux et forcé à regarder ce qu'auparavant nous n'avions jamais vu, service considérable et inappréciable qu'elle a rendu à l'Art. C'est grâce à elle que la vérité est enfin sortie de son puits. Elle n'y rentrera plus."")
Peter Simpson from the Ottawa Citizen wrote: "The Green Line separated two armies, each fighting the other while jockeying for position on their own sides. Nowhere is the line more viscerally rendered than in Alam’s map of Beirut in the 1920s, shortly after the League of Nations’ contentious creation of Lebanon from the vestiges of the Ottoman empire. On Alam’s map the Green Line runs through the city like a surgical scar, the two sides held together by thick thread. Next to the map hangs a blanket given to Alam’s family during the war by a humanitarian aid program that was, he writes, co-sponsored by an unidentified king who was “supporting enemy factions on the other side of the Green Line.”" In her article for Herd Magazine, Lital Khaiken states: "By assembling objects that relate to alternately personal and public significance, Alam considers the memory of war and the communication of its narrative within diasporic communities. The Green Line is more vaguely referenced in the work of artists from diasporic communities, who are further removed from the specific site of conflict. Alam explains that “the sectarian language that expresses the memory of the Lebanese wars is neither tolerable nor comprehensible within nations such as Canada”." Writing for the L'Hebdo Magazine Beirut, Pauline Mouhanna concludes: "En fait, Alam explique qu’il a essayé de montrer comment «ces œuvres variées nous aident à nous souvenir et, peut-être, commémorer les guerres au Liban». Mais il est tout autant important, selon lui, «d’examiner les façons dont ces œuvres font oublier certains aspects des guerres et des conflits plus récents»."