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Pigasse wrote under the pseudonym of 'Favilla' for Les Echos from 1978 to 1984. [1] He is the author of five non-fiction books. He is the owner of ADIAC, a communications firm which publishes the daily newspaper Les Dépêches de Brazzaville in the Republic of the Congo. [2] [3] He is friends with Congolese President Denis Sassou Nguesso. [2] [3]
Another translation is one by Anthony Bonner, published in 1960. [9] One drawback common to these English older translations is that they are all based on old editions of Villon's texts: that is, the French text that they translate (the Longnon-Foulet edition of 1932) is a text established by scholars some 80 years ago. [citation needed]
The Chips Are Down (French: Les jeux sont faits [le ʒø sɔ̃ fɛ]) is a screenplay written by Jean-Paul Sartre in 1943 and published in 1947. The original title translates literally as "the plays are made", an idiomatic French expression used mainly in casino gambling meaning "the bets have been placed", as well as the French translation of alea iacta est.
Created Date: 8/30/2012 4:52:52 PM
ADIAC publishes a newspaper, Les Dépêches de Brazzaville. Originally published monthly, as demand grew it was published at greater frequency. In 2007 it became the first daily newspaper in the Republic of the Congo. [1] In 2017 ADIAC launched a second daily newspaper, Le Courrier de Kinshasa, in the Democratic Republic of the Congo. [1]
Les Dépêches de Brazzaville is a French-language daily newspaper in the Republic of the Congo. [1] It is published by ADIAC , owned by Jean-Paul Pigasse . See also
" This relies on the fact that the French word for melon is also the name for the iconic British bowler hat; with no way to convey this in the English translation, in the British edition Obelix says, "I say, Asterix, I think this bridge is falling down" (a reference to the children's rhyme "London Bridge Is Falling Down"), leaving the original ...
None of the thirteen "Texts for Nothing" were given titles; they present a variety of voices thrust into the unknown. According to S. E. Gontarski: "What one is left with after the Texts for Nothing is 'nothing,' incorporeal consciousness perhaps, into which Beckett plunged afresh in English in the early 1950s to produce a tale rich in imagery but short on external coherence."