Neith

difficilement accessibles. On peut citer, à titre d'exemple de son style d'alors, les premières lignes de More Pricks than Kicks (1934) : « It was morning and Belacqua was stuck in the first of the canti in the moon. He was so bogged that he could move neither backward nor forward. Blissful Beatrice was there, Dante also, and she explained the spots on the moon to him. She shewed him in the first place where he was at fault, then she put up her own explanation. She had it from God, therefore he could rely

while I did everything, I give everything, I put all my heart to reach the top. If today it is so famous and coveted, it is thanks to me! Sarah Jacobson: I obviously share your point of view, I do not deny it, without you this university would neither be known nor famous, but I question working conditions imposed on your employees. SCENE 3: Lee Yang, the cleaning woman enters in scene, she defends Sarah and share her past experience, in Nike factories, in Asia. Lee Yang: - Excuse me, may

Not a single letter arrived today. (Aucune lettre n'est arrivée aujourd'hui.) He doesn't have a single idea what we're doing. (Il n'a aucune idée de ce que nous faisons.) Neither... nor... (= ni... ni...) • • We neither ate nor drank during the ceremony. (Nous n'avons ni mangé ni bu pendant la cérémonie.) I like neither tomatoes nor zucchini. (Je n'aime ni les tomates, ni les courgettes.) Only (= ne... que) -- qui se place avant l'élément qu'on limite : • • • She only has seven dollars

some of these cases, (7) This question would have no answer. It would be neither true nor false that this person would be me. And (8) This question would be empty. Even without an answer, we could know the full truth about what happened. If our questions were about such entities as nations or machines, most of us would accept such claims. 4 But, when applied to ourselves, they can be hard to believe. How could it be neither true nor false that I shall still exist tomorrow? And, without an answer

avec de nombreuses occurrences de dont. The man, of whom I'm going to talk about had two wives. The first one, whose beauty was edifying, was 27. The second one, whose intelligence was remarkable, was 43. The children of this man, none of whom where neither handsome nor intelligent. What they needed was to be rich. What he had to do then, was to marry a rich woman. The kid, of whom I'm going to talk about was a lonely child. He had always dreamt of a big brother whom he could play with. He had always

more significant characters with whom he interacts throughout the novel. Meursault will not commit to either condemning or defending Salamano’s treatment of his dog. Likewise, while he does not expressly condone Raymond’s treatment of his mistress, neither does Meursault refuse to participate in Raymond’s scheme. Meursault and Raymond seem to display similarly indifferent responses to the world around them, but Raymond in fact serves as a foil for Meursault. In contrast with Meursault, who is amoral

Nobody/one sont repris par le pronom pluriel THEY. B) « Moi aussi / Moi non plus » Il y aura inversion Auxiliaire-Sujet, mais ce n’est pas une question. « I can drive, so can you »  « Je peux conduire, donc toi aussi ». «  You can’t swim, neither can I »  « Tu ne peux pas nager, moi non plus ».  C) La reprise elliptique 1. Yes / No: « Does he like her? »  « Yes, he does ». 2. Etonnement ou ironie: « She never goes out »  « Oh, doesn’t she? » (Non? C’est vrai?) VIII. Traduction

reportorial truth is footage of the Nuremberg rallies of 1934. The propaganda is the myth of resurrection of Germany to its ancient heroism through the medium of one man, Adolf Hitler, the savior. To fuse such truth with such propaganda, compromising neither, Riefenstahl creates a unique cinema: a cinema which transfigures “real life” while apparently recording it; which is essentially avant-garde while ostensibly conventional; Regarding Hillary’s method of attempting to use her brain to think rather

contribué à la fin de l'idéalisme moderniste progressiste qu'au développement de nouvelles formes en art. Donald Judd le disait clairement dès 1963 : « Les progrès en art ne sont sûrement pas d'ordre formel » et en 19675 : « A form that's neither geometric nor organic would be a great discovery6. » Cette grande découverte apparait vraisemblablement avec l'art conceptuel pour lequel René Denizot fait le constat suivant dans son texte « La Limite du concept7 » : « L'art conceptuel présentant

When Clyde got to his, he opened the door, turned around and gave one last look in Sam’s direction, sighed, turned back and slid into the driver’s seat. He had no idea where the reception was, so he followed Kyle. His mind was blank. He was feeling neither sad nor fine. He was emotionless. That was nothing a few drinks couldn’t change, and he’d soon be either very sad or quite good. When they got there, he was as surprised as ever to find out there was no reception after all. Kyle had just brought them