Synonyms for une_saison_en or Related words with une_saison_en

enfer              un_été              maudits              du_diable              au_ciel              la_dernière              une_petite              du_dimanche              du_ciel              le_puits              des_anges              éternelle              bleues              mystérieuse              désordres              le_fou              les_petits              au_monde              inconnue              envers              dans_la_nuit              les_anges              des_jours              les_portes              le_souffle              presque              rêveur              les_jours              entre_deux              du_paradis              tais_toi              parallèles              une_nuit              éternel              perdus              des_mots              des_cendres              les_petites              des_morts              des_amours              le_ciel              vagabonde              provençales              les_étoiles              des_dieux              aux_yeux              le_chemin_des              le_cœur              été              des_autres             



Examples of "une_saison_en"
Favre worked in The Hague, the Netherlands, in 1947 for the publisher Stols and illustrated 'Une saison en enfer' by Rimbaud.
During one of her lengthy hospitalizations in Switzerland, Zelda Fitzgerald translated "Une Saison en Enfer." Earlier Zelda had learned French on her own, by buying a French dictionary and painstakingly reading Raymond Radiguet's "Le Bal du Comte d'Orgel."
Arthur Rimbaud, French poet, lived for a while in Roche, where his family had a farm. He wrote several works there, notably "Une saison en enfer" ("A Season in Hell") and "Le bateau ivre" ("The Drunken Boat").
Rare finds included the manuscript of Louis-Ferdinand Céline's "Voyage au bout de la nuit" and Arthur Rimbaud's "Une Saison en Enfer" inscribed by the author to Paul Verlaine.
A Season in Hell (French: Une saison en enfer, Italian: Una stagione all'inferno) is a 1971 French-Italian drama film directed by Nelo Risi. The film tells the life and death of the poet Arthur Rimbaud and his troubled relationship with the poet Paul Verlaine until the African adventure in Ethiopia.
Une saison en enfer (English: A Season in Hell) is Léo Ferré's last studio album. It sets into music the whole eponymous poem written in 1873 by French poet Arthur Rimbaud. The album was released in 1991 by EPM Musique (982 181), for the 100th anniversary of Rimbaud's death, both as double LP and CD. It was reissued in 2000 by Ferré's son's label La Mémoire et la Mer, under a new cover.
Arthur Rimbaud's prose poem collection "Illuminations" are among the first free verse poems in French; his biographically inspired poem "Une saison en enfer" "(A Season in Hell)" was championed by the Surrealists as a revolutionary modern literary act (the same work would play an important role in the New York City punk scene in the 1970s). The infernal images of the prose poem "Les Chants de Maldoror" by Isidore Ducasse, Comte de Lautréamont would have a similar impact.
Rimbaud returned home to Charleville and completed his prose work "Une Saison en Enfer" ("A Season in Hell")—still widely regarded as a pioneering example of modern Symbolist writing. In the work it is widely interpreted that he refer to Verlaine as his "pitiful brother" (frère pitoyable) and the "mad virgin" (vierge folle), and to himself as the "hellish husband" (l'époux infernal) and described their life together as a "domestic farce" (drôle de ménage).
In 1991, for the centenary of Arthur Rimbaud's death, Ferré chose to record an old demo he had made during the 1960s of "Une saison en enfer" ("A Season in Hell"), alone at the piano. He conducted classical musicians for the last time with the National Orchestra of Lorraine. Hospitalized in late 1992, he had to cancel all his future concerts. He founded the music publishing label La Mémoire et la Mer in order to protect his rights to the catalog he had produced and to ensure future use of his work. His last public appearance was at the Fête de l'Humanité (Festival of Humanity), a huge event organised annually by the French Communist newspaper "L'Humanité", where he sang in front of thousands of people Louis Aragon's poem "Est-ce ainsi que les hommes vivent?" ("Is this the way men live?") and, a last provocation, his song "The Anarchists".
The subject that is treated densely from the beginning to the end of the work is revolt. In order to manage to explain his rebelliousness, the poet appeals to complex images. He is like wanting to "slap" the readers. This is why the expressions are sharp and hard. We come across the manner of Rimbaud in his "Une Saison en Enfer", the expression of the union of the subject treated in "Les Chants de Maldoror" of Lautréamont in "Hüznün Sözyitimleri". The situation in which the earth is and the powers of evil have whipped up the soul of the author. Armed men are invaded the world and innocent people are killed by their arms:
Orton was born in East Dereham, Norfolk, but moved to Dalston, east London at age 14. Her father, a public relations consultant and journalist, left her mother when Beth was 11, and she lived with her mother, a journalist and political activist, and her two brothers, her father dying shortly afterwards. Her mother died from cancer in 1989, when Beth was aged 19, which led to her travelling to Thailand for a short period, residing with Buddhist nuns. Upon returning to London, Orton worked at jobs such as a waitress at Pizza Hut, and even briefly owning her own catering company. Orton was an actress before becoming a musician, initially enrolling at the Anna Scher Theatre School. She toured in an experimental stage adaptation of "Une Saison en Enfer" with a theatre company touring throughout the UK, Russia and Ukraine, playing Rimbaud's lover.
In the arts and letters, two important approaches developed separately in France. The first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors ("en plein air"). Impressionist paintings demonstrated that human beings do not see objects, but instead see light itself. The school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. Initially rejected from the most important commercial show of the time, the government-sponsored Paris Salon, the Impressionists organized yearly group exhibitions in commercial venues during the 1870s and 1880s, timing them to coincide with the official Salon. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by inferior artists, the work of Manet attracted tremendous attention, and opened commercial doors to the movement. The second French school was Symbolism, which literary historians see beginning with Charles Baudelaire (1821–67), and including the later poets, Arthur Rimbaud (1854–91) "Une Saison en Enfer" ("A Season in Hell", 1873), Paul Verlaine (1844–96), Stéphane Mallarmé (1842–98), and Paul Valéry (1871–1945). The symbolists "stressed the priority of suggestion and evocation over direct description and explicit analogy," and were especially interested in "the musical properties of language."
This is how Raphaël Sorin presented him in "l’Express" when his "Dictionnaire Rimbaud" came out in 1991. A late calling though: after quoting a quotation of Arthur to his professor Izambard in an editorial in Max—the magazine that he directed at the time, he received so much mail that he decided to go into more depth on the subject. He continues to do so—publishing his findings on a regular basis. His vision of Rimbaud is far from the usual clichés of the damned poet. According to him, the poet is too intelligent (the best in his class) to be incoherent. His poems always have a meaning, are coherent, and have a mission. Rimbaud is determined and wilful. He completely gives himself over to poetry because he is certain that it can be life changing. "Une Saison en enfer", which is a quest for salvation, is also a written essay of a new bible for modern times. The poetry is thus a means and not an end, a tool, at the service of a very spiritual and humanist ideal. So, when he finds himself persuaded of its inefficiency—it being much slower than he had hoped—he discards it and moves on to something else. The vision of Claude Jeancolas is very human, and his Rimbaud, with his dreams, doubts, anger, lassitude and failures is brought closer to the reader, which explains the success of this biography with the general public. He has also redeemed his well criticised mother, Vitalie Rimbaud, in a biography that shows the intense love that attached this mother to her preferred child; and conversely, the necessity of this mother for Rimbaud to be able to become the man that we know.