Cache-cache
Bertrand, Dominique · HAL (Le Centre pour la Communication Scientifique Directe) · 1971
National audience
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Bertrand, Dominique · HAL (Le Centre pour la Communication Scientifique Directe) · 1971
National audience
Cited by 0
Mertens, MML Marieke · TU/e Research Portal (Eindhoven University of Technology) · 2016
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Mertens, Marieke M.L. · TU/e Research Portal · 2016
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Bertrand, Dominique · HAL (Le Centre pour la Communication Scientifique Directe) · 1971
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Caumon, Yves (1964-...) · 2008
La ferme de Raymond est vendue mais il refuse de partir et se cache dans la cour, au fond d'un puits, d'où il observe les nouveaux venus dans sa propre maison… Un joli conte fantastique…
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Coppard, Yvonne · 2000
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Nancy Ali · 2019
Theorists have traditionally categorized survivors of the Shoah into two groups: first-generation survivors who were alive during the war and second-generation survivors who were born to parents who lived the war. Susan Suleiman has suggested a third category, the 1.5 generation, to refer to survivors who were children during the war. Too young to have concrete memories of the war, these children’s lives were irreparably disrupted by it. This paper will deal with the autoficitionnel novel of George Perec, W ou le souvenir d'enfance. Born in France in 1936 to polish immigrants who had come to France in escape of antiemetic persecution in the east, Perec lost both his parents in the war - which he survives by hiding. Although he writes the novel as an adult, Perec adopts the perspective of a child who finds himself in a reality beyond his innocent grasp. To write his extraordinary experience, Perec the writer must create a new literary form: l’Oulipo. Resorting to techniques abundant in the oulipian text - repetition, constrained writing, lipogram -, Perec’s work of anamnesis points to the constructedness of memory. The author points to the lacunary nature of memory for children of war whose memories of childhood are founded on an absence. Unlike the survivors who were adults during the war, the children survivors are often incapable of remembering. This translates into silences, suspension points, and non-dits in Perec’s novel in which the inability to remember is coupled with an urgent desire - if not necessity - to do just so. As a child with no real memories of the war, Perec also resorts to fiction and fantasy to fill in the gaps. The reliance on fiction and imagination to fill in the gaps in memory is common amongst writers trying to stitch together faint fragments of a traumatic childhood.
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National geographic society (États-Unis) · 1988
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Mertens, MML Marieke · Data Archiving and Networked Services (DANS) · 2016
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Тютчев Ф.И. · ELiS (Perm State University)
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Mertens, MML Marieke · TU/e Research Portal (Eindhoven University of Technology) · 2016
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LE MUSETTE DE PARIS, Freddy Balta, Louiguy · Bulletin of Miscellaneous Information (Royal Gardens Kew)
Performer: LE MUSETTE DE PARIS; Freddy Balta Writer: Louiguy Valse ; avec le concours de. Digitized at 78 revolutions per minute. Four stylii were used to transfer this record. They are 3.5mil truncated eliptical, 2.3mil truncated conical, 2.8mil truncated conical, 3.3mil truncated conical. These were recorded flat and then also equalized with Turnover: 375.0, Rolloff: -12.0. The preferred versions suggested by an audio engineer at George Blood, L.P. have been copied to have the more friendly filenames. Matrix number: P 1831-1 Catalog number: SF 36205 Other IDs from the record include: P 1831
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Jérôme Pigeon · 1987
Chanson ecrite avec Jose Urrutia Acorda Goicochea. - Paroles de Jerome Pigeon. - Date de composition : 1987
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La Plantine, Robert · 1951
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Grimaud, Michel (19..-....) (actif à partir de 1968) · 2003
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Tison, Annette (1942-...), Taylor, Talus (1933-2015) · 1980
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López Dominguez, Xan · 1992
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Grimaud, Michel · 2003
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Vogel, Ilse-Margret · 1973
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Boulanger, Daniel 1922-2014 · 2002
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