BULAG n 31 2006
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BULAG n 29 2004
Les contributions réunies dans le volume traitent des avancées, des problèmes et des limites rencontrés en correction automatique et évoquent les progrès envisageables dans ce domaine.
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Les Livres du mois
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Salambo Classic Reprint
Excerpt from Salambo To those who like to impose upon life and the achievements of the human spirit the arbitrary pattern of a private logic, it must always seem strange that Madame Bovary should have preceded Salambo in the chronology of Flaubert's authorship. Surely, in the name of neatness, of psychology, their relative positions should have been reversed? Emma tried to escape from reality into romance and was brought to destruction. It would have been satisfying to know that Flaubert, profiting by his heroines example, had turned from the romantic to the actual, from Carthage to Normandy. But this is not what happened. Madame Bovary was published in 1857, Salambo in 1862. As the result of an enforced and prolonged intercourse with the spiritual squalor of the provincial middle-class (and a hatred of the middle-class of France was always a strong determining factor in his development as an artist) Flaubert turned to seek relief in the distant, the fantastic, the romantic. But unlike Emma's, his weakness for romance("Madame Bovary, c'est moi") was balanced by a passion for truth, by a craving for the accurately actual. For her, romance meant a smoothing away of sharp edges, a blurring of clear vision. Its charm, for him, lay in distance and difference. By saturating himself in the atmosphere of Carthage between the first and second Punic Wars, he could forget the French of Louis Philippe and Napoleon III, but he would have nothing to do with sentimental glosses. Distance, so far as he was concerned, lent not enchantment but remoteness to the view, and he set himself the task of giving to his imagined scene the highest degree of actuality with which research could furnish him. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The World s Writing Systems
Ranging from cuneiform to shorthand, from archaic Greek to contemporary Chinese, from Old Persian to modern Cherokee, this unusually comprehensive reference offers a detailed exploration of the history and typology of the world's scripts, from ancient times to the present. More than eighty articles by scholars from over a dozen countries explain and document how a vast array of writing systems work--how alphabets, ideograms, pictographs, and hieroglyphics conveymeaning in graphic form. Each writing system is illustrated by a passage of text, and accompanied by a romanized version, a phonetic transcription, and a modern English translation. The only available work in English to cover every major writing system, this is a reference that no linguist orphilologist will want to be without.
From Anne to Zach
The letters of the alphabet, presented here with illustrations of children with different names.
A Perfect Stranger
After the collapse of his first marriage, Alex Hale fears he will never find happiness again. Young, rich and desperately lonely, Raphaella is sentenced to an empty life in her mansion, bound by a sense of honour and duty to her elderly husband. Alex and Raphaella are worlds apart when life conspires to bring them together. But theirs is a love affair of stolen moments and the promise of tomorrow. Is it possible to find happiness with a perfect stranger?
The Picture of Dorian Gray
Enthralled by a portrait of himself, young Dorian Gray makes a Faustian bargain to exchange his soul for eternal youth and beauty. Thus he is able to indulge in his desires, as only the portrait bears the traces of his decadence and becomes a nightmarish picture of his soul. Edited with an Introduction by Robert Mighall Preface by Peter Ackroyd