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Fès: joyau de la civilisation islamique. Nouvelles Editions Latines. p. 236. ISBN 978-2-7233-0159-6; Omar, Zyadi (2012). "1ère année du cycle de Baccalauréat" Amy Tikkanen, La Boîte à merveilles, Encyclopædia Britannica
Deux étaient des vieilles qui venaient de la province de Chimbu, connue pour ses sorcières. La troisième était une jeune mère de 20 ans, originaire d’Enga, la même province que les ancêtres de la famille endeuillée. “L’une de ces trois femmes est venue voler le cœur de votre fils à la faveur de la nuit”, a expliqué la glas meri.
Many jeux-partis were composed by poets from Arras, who were from a range of social backgrounds, notably Jehan Bretel, Jehan de Grieviler, Lambert Ferri, Gillebert de Berneville, the brothers Guillaume and Gilles le Vinier, and Adam de la Halle. The genre also flourished in Lorraine, with surviving examples by Thibaut II of Bar and Roland of Reims.
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In 1913, Debussy was approached by the artist and writer André Hellé, who had devised a ballet scenario from his children’s tale La boîte à joujoux. [2] A children's theme appealed to Debussy, who was devoted to his own young daughter, Emma-Claude (known as "Chouchou"), and had already written his suite Children's Corner for her. He ...
La Boîte à sel (English: The Salt Box) is a French satirical comedy and current affairs television program created and presented by Jacques Grello, Robert Rocca and Pierre Tchernia that aired on RTF (French Radio and Television Broadcasting) from October 16, 1955, to November 5, 1960.
Duchamp's Boîte-en-valise, Cleveland Museum of Art. La Boîte-en-valise (box in a suitcase) is a type of mixed media assemblage by Marcel Duchamp consisting of a group of reproductions of the artist's works inside a box that was, in some cases, accompanied by a leather valise or suitcase.
The piece is scored for solo organ and has a total duration of around 9 minutes. Messiaen used plainchant and birdsong extensively throughout the whole piece.. The Verset starts with a monodic theme entitled Alleluia de la Dédicace, which he also used in the second movement of his Méditations sur le mystère de la Sainte Trinité. [4]