24,620 research outputs found
La Fontaine: Fabeln
No full textThis hardbound book of 127 pages brings together an unacknowledged rhyming verse translation of select La Fontaine fables with black-and-white renderings of the art of Henry Morin. There is an AI at the back of the book.Language note: GermanNo Autho
Fables de La Fontaine
No full textMight this be our first book printed in Algeria? It was a lovely surprise find in Paris this trip. The dealer indicates that the artist here is Algerian, though I find no help in the booklet itself to identify the artist. In an unusual step, the book starts with "Jugements sur La Fontaine." Might we take that to suggest that the book's first task is to acquaint Algerians with an author about whom they may know little? The 22 fables begin on 17, as the final T of C indicates. The tan-and-black illustrations are both charming and narratively helpful, as when the hare's ears look in the black shadow like a bull's horns (17). The screaming pig is well rendered on 25! Good contorted ass being carried in MSA on 35! 71 pages. 7¼" x 9¼". ISFDB lists only 1948 as a year in which Henrys published. I am guessing that as a date of publication. Our collection is so lucky to include rare publications like this!Language note: French#941 of 1300Jean de La Fontain
Mes Fables de La Fontaine
No full textI have long delayed cataloguing this little book, and now I have the chance to do it -- and the stimulus of having acquired a new edition. I cannot read all of these plagiarisms and pastiches, but I have enjoyed some. The book starts out with a letter from the cicada to La Fontaine. Now she is making fables! And, it appears, she has some things to say to the master…. There is a closing AI, and the book has some 147 pages. The fables are divided into two books, the first having sixty-seven numbered fables and the second sixty-four, also numbered. The very first fable tells of the cicada's winter-time fable writing and of her making a fortune. Now her fables fourmillent (swarm, with strong etymological and sound ties to ants) among all the animals. The book starts in fact with eight parodies and developments of GA. I cannot say that I understand any of them perfectly. I can see that Morellet delights in playing with the concepts of a La Fontaine fable, even as it becomes something else. Morellet, like so many Frenchmen, knows his fables so well that the allusions from other fables come hot and heavy. Part of the charm of this little book is that it is not only signed by the author. It is published by him too! These are indeed his fables of La Fontaine.This is a hardbound book (hard cover)Language note: FrenchInscribed by the author, 1956Ch. Morelle
Fontaine-Laffaille modules and strongly divisible modules
No full textIn this note, we study the relation between Fontaine-Laffaille modules and
strongly divisible modules, without assuming the main theorem of
Fontaine-Laffaille (but we need to assume the main results concerning strongly
divisible modules). This in particular gives a new proof for the main theorem
of Fontaine-Laffaille (for ).Comment: Final version. Updated numbering system to match with published
versio
Fables de La Fontaine
No full textHere is a curious addition to the collection. I suspect that very few copies were made. This 9½" x 13½" hardbound book without an interior title takes the first and last pages of eight menus for the Campagnie Gemerale Transatlantique French Line and offers them as facing pages, with each page blank on the verso. The only thing before or after these eight lovely duets is the dedication to Madame Huguette Clark signed by Mercier on June 6, 1958. This copy includes a blank folded card, evidently meant for Christmas, featuring a lovely young woman admiring a Christmas tree. The seller offered this description: "Tan paper covered boards, very good, inscribed by author on blank page. Copyright 1956. Text in french. Except for inscription, inside pages clean and unmarked. 13 1/2" x 9 1/2". Includes a Mercier illustrated paper index like folded card. Beautiful poster like color illustrations by Jean A. Mercier for the Campagnie Gemerale Transatlantique French Line." I agree with the praise of Mercier's color illustrations! The booklet helps to confirm that there are eight menus in the set. Mercier also did "Bon Point" illustrations also found in the collection.This is a hardbound book (hard cover)Language note: FrenchInscribed and signed by Mercier, June, '58Jean de La Fontain
La Fontaine Poet and Counterpoet
No full textHere is a second printing of a work already listed in its first edition in 1961. As I wrote there, this is an appealing book. Written for the general audience, it translates all the poetry of La Fontaine that it presents. It does not presume knowledge of the language, history, or literature surrounding La Fontaine's work but takes the reader into those areas. A first chapter offers a careful examination of the artistry of FC. The second chapter seems to me, after my cursory introduction to this book, to be a key: The Fable Fiction. Guiton finds La Fontaine both poet and counterpoet. Let me suggest what is for her involved in these two realms. Poetry deals with the myth of man the hero; it is inherently fictional. This is an idealized, at least magnified, version of ourselves (16). Poetry is of course thus lies even if they are Aesop's lies. La Fontaine wanted to revive the heroic style that was dead in late seventeenth-century French poetry. In the fables, La Fontaine fuses this style with counterpoetry, reality, nature, man as animal and a fairly insigificant one at that in the big picture of things. Prose fable early carried this realistic view of man, but La Fontaine will write poetic fables. This realistic vision is comic rather than heroic, arising out of our recognition of two different and contradictory aspects of an identical situation (27). These conflicts concern appearance and reality, promise and performance, what we are intended to see and what we, sometimes perversely, see for ourselves (27). These two points of view -- the single vision of imaginative poetry and the double vision of comedy -- are constantly displacing each other in La Fontaine's fables (26). She finds that his whole vision, bringing together counterpoetry and poetry, became deeper, broader, more assured and closely integrated as he gradually developed his art (29). In the epilogue to the eleventh book of fables, he defined his objective retrospectively: to translate 'the voice of nature,' as exressed by all living things, into 'the language of the gods,' or poetry (29). The next two chapters deal with fable language and verse form. The Fable as Counterpoetry encompasses the poetic comedy, the social comedy, and the human comedy. The Fable as Poetry encompasses such chapters as Words and Actions, The Voice of Nature, and The Language of the Gods. A final chapter speaks of La Fontaine as A Citizen of the Universe. I so look forward to the next time that I will teach La Fontaine!This is a hardbound book (hard cover)This book has a dust jacket (book cover)Second printingMargaret Guito
Fables of John de La Fontaine (Hebrew)
No full textThis book is not only attractive on its own, but it has also occasioned an engaging search. I have yet to find a date for it, but a little searching on the web reveals that Umansky is a significant published author in English. The book itself is attractive. In its 9" x 8½" format, it presents seven fables, each on two facing pages. Six of them are indicated on the book's front cover around a portrait of La Fontaine. The other, WL, is the subject of the book's frontispiece. Animals are nicely anthropomorphized in this colorful, lively book.Language note: HebrewSecond editionAnat Umansk
La Fontaine et Les Fabulistes, Vol. II
No full textThis second volume came out some six years after the first. Since we are dealing here with a nouvelle édition of an existing work, I wonder what curious history lies behind the delay. This second volume, by contrast with the first, has a T of C at the back. The first three chapters (14 through 17, with their numbering continuing on from the first volume) deal with subjects in the fables of La Fontaine: the picture of human life; the destiny of man and of the diverse professions; and the censure of society and of the individual. Chapter 17 deals with Rousseau's judgement of La Fontaine, while Chapters 18 and 19 treat of La Fontaine as a philosopher and his view of the soul of animals. Chapter 20 asks if the condition of animals is above that of humans in the views of La Fontaine and Rousseau. Girardin treats next Boileau and the school of La Fontaine in the seventeenth century. Succeeding chapters deal, respectively, with contemporary fabulists with La Fontaine and fabulists of the eighteenth century. Desbillons, Aubert, and Le Bailly get a chapter of their own. After chapters on British and German fabulists in the eighteenth century, there is a final chapter on the nineteenth century. Girardin calls Desbillons the second-best fabulist of the eighteenth century (after Florian), even though Desbillons wrote in Latin. People were conversant with and enthused by Latin in the eighteenth century. Girardin finds Desbillons' Latin superb; his French, by contrast, is gêné et pénible (something like disturbed and painful)! At the end of this volume there are five notes. The cover of both volumes is stamped Lycee de la Rochelle, where this volume was given as a second-prize in Greek to a student. The student got a matching pair of volumes for two different prizes. The book was purchased from A. Foucher's Librairie in La Rochelle.This is a hardbound book (hard cover)Language note: FrenchNouvelle éditionPar M. Saint-Marc Girardi
La Fontaine: Fabulas en Verso Castellano (Cover: Fabulas Ilustradas La Fontaine)
No full textThis slightly musty book seems to contain the complete fables of La Fontaine with illustrations for perhaps half of them. These occur generally next to the text, with text getting about two-thirds of the page and illustration the other third. Many of them are colored by a young hand. Macaya has a lively cartoon style. The illustrations become more infrequent as the book goes along. Among the best of the illustrations I would rank The Child and the Pedant (25); CW (46); The Donkey and the Lapdog (67); The Old Woman and the Two Maids (84); TB (91); and The Bear and the Gardener (128). Some strips of paper have been applied to 86, 88, 95, and 216. Not only is the title on the title-page -- La Fontaine: Fabulas en Verso Castellano -- different from the title on the cover -- Fabulas Ilustradas La Fontaine -- but the spine has a third title: Fabulas de La Fontaine. The endpapers present a shipful of animals sailing the sea, with a metropolis in the background. There are four other fable books in this publisher's collection, listed on the verso of the title-page. Now there is a challenge for this collector!This is a hardbound book (hard cover)Language note: Spanis
Fables de La Fontaine
No full textSee the English version of the presumably Italian original of this book under The Fables of Aesop and La Fontaine (1958). Surprisingly, it took Fabbri three years after the English version to get to this French version. Notice also that the English title speaks of both Aesop and La Fontaine, while the French speaks only of La Fontaine--though the fables covered are exactly the same. The texts here are La Fontaine's poetry verbatim. Many of the illustrations are even richer in color than those I already praised for their color in the English version: compare the title-page's colors, for example. The T of C here is at the back rather than in the front. The order of the nineteen fables changes somewhat. MM and The Wise Lark switch positions (on 8 and 23). One reason for the switch lies in the overly long version of La Fontaine's L'Alouette et ses Petits; the English saves a whole page of text. Similarly, the English adds a whole page to MM. Le Chat, la Belette et le Petit Lapin takes an extra page in the French, as does Les Deux Chevres. AD and Les Frelons et les Mouches a Miel switch places, with the latter taking an extra page. In all, the fable texts and illustrations run through 56 in the French and 55 in the English. The FS pictures (21-22) are here again in reverse chronological order. Though La Fontaine's text of FG (30) says nothing about it, we still have here the laughing rabbit holding ripe grapes. The cover and its dust-jacket are beautiful. The transparent dust-jacket overlays gold on the title of the front cover and adds a golden spider's web around the back cover's man holding balloons illustrating animals. A delightful book!This is a hardbound book (hard cover)This book has a dust jacket (book cover)Language note: FrenchLa Fontain
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