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Download Dans les plaines d'Abraham by Colette Piat PDF

By Colette Piat

En 1759, sur les plaines d'Abraham, près de Québec, se déroulent les terribles combats qui décideront du type de l'Amérique du Nord. Cette terre sera-t-elle française ou anglaise?
En ces temps troublés, Louis de Préclair, chirurgien vivant à Québec, poursuit une correspondance avec sa sœur Marie, élevée en France, qui deviendra lectrice à l. a. cour de Versailles. Sans s'être jamais rencontrés, ils sont pourtant unis par une même admiration pour leur intrépide aïeule, Marie Arnault, «Fille du Roy». Ils se racontent leurs multiples aventures où ne manquent pas de les entraîner leur esprit d'indépendance et leur cœur généreux. Ainsi, ils s'écrivent sur l. a. découverte des Rocheuses, sur les amours libertines de Louis XV, sur les évasions de los angeles Bastille, sur les fêtes, les intrigues, les passions...
Leur destin exceptionnel les conduit tous deux à croiser les figures marquantes de ce temps: en Amérique, l'explorateur Pierre Gaultier de Varennes, seigneur de l. a. Vérendrye, et Antoine de l. a. Mothe Cadillac, fondateur de l. a. ville de Detroit; en France, Madame de Pompadour et Voltaire, ce dernier affichant un mépris considérable pour ces «quelques arpents de neige», ce vaste continent où se prépare une longue guerre.
Le martyre de l'Acadie, puis l'écrasement des colons honteusement abandonnés par los angeles cour de France semblent sonner le glas de los angeles Nouvelle-France. Mais croire en cela, ce serait ignorer ces milliers d'hommes et de femmes du Mississippi à Terre-Neuve qui, comme Louis et Marie, vont combattre avec un braveness rigid.

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Extra info for Dans les plaines d'Abraham

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124 Several postconference discussions (both in and out of classes) focused on how intolerable her performance surgeries were, decadent and mad performances that not only were offensive but also possibly took a step backward in the continuum of feminist political thinking. Although there seemed to be a consensus that her work challenged feminist ideologies, it was received with a profound ambivalence. Through the years I have watched this response reverberate through her audiences. Orlan expects this and excuses beforehand those who cannot watch her performances or tolerate her work.

Female beauty is at one and the same time the monstrous feminine. In the photograph Official Portrait with Bride of Frankenstein Wig (), taken just after the third surgery,74 Orlan leans forward, resting her chin on one hand, which wears a black glove and large gold rings (Figure ). Her plump red lips and smooth, unscarred skin are radiant. Her wig, large, black, wavy, and piled on top of her head, is adorned with two stripes of white hair that emanate from her temples. She is strikingly beautiful in this theatrical portrait.

Orlan expects this and excuses beforehand those who cannot watch her performances or tolerate her work. The uneasiness exhibited by her feminist audience is most likely due to the fact that Orlan’s work does not overtly reinforce feminist ideologies by reproducing them in a didactic politicized form that cannot be misinterpreted. She has never communicated “safe” feminist aesthetics. Rather, Orlan’s aesthetics deconstructs feminine beauty through the use of her own body as sculptable material. Far from seeking beauty or promotional advertisement for cosmetic surgery, she utilizes medical technology to make herself unattractive.

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