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"Après le meurtre de son frère par la police, Soulaymaan, jeune avocat blessé et prêt à tout, décide de prendre les armes pour un face-à-face avec le juge qui a innocenté l'assassin de son frère."--Page 4 of cover.

"L'axe 'Le prince' fut depuis longtemps le centre de grands troubles et d'atrocités inouïes avec des meurtres de plus en plus horribles. 'L'axe tourmenté' retrace ces événements avec beaucoup de tristesse et de pincement de cœur. Le régime du Président Alphonse Koné utilise des forces publiques cruelles pour mater à mort des jeunes de l'axe Hamdallaye-Kagbélen. Après un long bras de fer avec son principal opposant Cennou Dané Diallo et le MNPC (Mouvement National pour la Protection de la Constitution), le Président Alphonse Koné sera finalement victime d'un coup d'État qui déclenche la descente aux enfers des caciques de son régime. Le meurtre du petit Moustapha, quatre ans, et le désespoir de la jeunesse sont aussi autant de thèmes qui attirent l'attention de notre conscience nationale."-- Page 4 of cover.

"Beyond Ridiculous tells the story of Theatre-in-Limbo, a downtown band of actors formed in 1984 by playwright and soon-to-be drag legend Charles Busch, and director Kenneth Elliott. They performed Vampire Lesbians of Sodom at the Limbo Lounge, a raffish club in the East Village, then considered a dangerous corner of the New York City. But the next year, the show moved to the historic Provincetown Playhouse, a commercial Off-Broadway venue, and famously became the longest-running nonmusical in Off-Broadway history. From 1984 to 1991, Busch starred in eight Limbo productions, always in proud, outrageously fabulous drag. Yet ironically, Busch would eventually become a beloved grand dame of the New York theatre establishment, even including forays onto Broadway. In Beyond Ridiculous, Elliott, Limbo's director, producer, and co-founder, narrates in first-person the company's Cinderella tale of fun, heartbreak, and dishy drama. Scenes include the ecstatic opening night of Vampire Lesbians, complete with a production assistant rushing backstage with a hot-off-the-presses rave from The New York Times; encounters with Todd Rundgren, Joe Papp, and Milton Berle; but also, a thorough analysis of Busch's plays and a vivid account of the now-vanished gay New York theatrical scene of the 1980s. At the center of the book is the young Charles Busch, an unforgettable personality fighting to be seen, be heard, and express his unique style as a writer-performer in plays such as Psycho Beach Party and The Lady in Question. The tragedy of AIDS among treasured friends in the company, the struggle for mainstream acceptance of LGBTQ theatre during the reign of Reagan, and the exploration of new ways of being a gay theatre artist make the book a heartwarming, bittersweet, but ultimately joyous, ride. With queer rights under fire, remembering this inspiring moment in LGBTQ theatre history isn't just important, it's essential"-- Provided by publisher.

"Discover how avant-garde artists challenged the cultural hegemony with intermedial forms of literary production in this exciting examination of Canada's borderblur poets. Beginning in 1963 and continuing through the late 1980s, a loose coterie of like-minded Canadian poets challenged the conventions of writing and poetic meaning by fusing their practice with strategies from visual art, sound art, sculpture, instillation, and performance. They called it "borderblur" Borderblur Poetics traces the emergence and proliferation of this node of poetic activity, an avant-garde movement comprising concrete poetry, sound poetry, and kinetic poetry, practiced by poets and artists like bpNichol, bill bissett, Judith Copithorne, Steve McCaffery, Penn Kemp, Ann Rosenberg, Gerry Shikatani, Shaunt Basmajian, among others. Author Eric Schmaltz demonstrates how these poets formed an alternative tradition, one that embraced intermediality to challenge the hegemony of Canadian literature established during the heydays of cultural nationalism. He shows the importance of intermediality as a driving cultural force and how its proliferation significantly altered Canadian cultural expression. Drawing on a combination of archival research, historical analysis, and literary criticism, Borderblur Poetics adds significant nuance to theories and criticisms of Canadian literature."-- Provided by publisher.

• Book 1. The exhalation therapist
• book 2. Breath a wor(l)d.

It's 1951 in Blowing Rock, North Carolina. Blackburn Gant, his life irrevocably altered by a childhood case of polio, seems condemned to spend his life among the dead as the sole caretaker of a hilltop cemetery. It suits his withdrawn personality, and the inexplicable occurrences that happen from time to time rattle him less than interaction with the living. But when his best and only friend, the kind but impulsive Jacob Hampton, is conscripted to serve overseas, Blackburn is charged with caring for Jacob's wife, Naomi, as well. Sixteen-year-old Naomi Clarke is an outcast in Blowing Rock, an outsider, poor and uneducated, who works as a seasonal maid in the town's most elegant hotel. When Naomi eloped with Jacob a few months after her arrival, the marriage scandalized the community - most of all his wealthy parents, who disinherited him. Shunned by the townsfolk for their differences and equally fearful that Jacob may never come home, Blackburn and Naomi grow closer and closer until a shattering development derails numerous lives. A tender examination of male friendship and rivalry as well as a riveting, page-turning novel of familial devotion, this book depicts the human capacity for delusion and destruction all too often justified as acts of love. -- Provided by publisher.

• La imagen cinematográfica como problema filosófico
• Variaciones discursivas sobre la imagen cinematográfica
• Fracturas narrativas en el cine
• La música y el cine: de la funcionalidad al experimentalismo
• Miklós Jancsó: un cine del movimiento
• Materia, imagen y memoria en las obras de Pelechian, Farocki, y Di Tella
• El cine de los pantalones cortos
• Cine colombiano: identidades y tránsitos

"Una parte importante de la filosofía desde finales del siglo XIX y hasta nuestros días ya no está en busca de la verdad. Esto ha redundado en las concepciones de las artes, la historia, la filsofía misma y del pensamiento en general. Una propuesta en esta vía es la de Gilles Deleuze: la búsqueda en cuanto deseo de los signos que otorgan sentido a nuestra existencia y a la existencia como tal. Los signos son la clave para pensar de otra forma, para expresarnos y producir aquellos sentidos (ideas) que nos permiten acercarnos a nosotros mismos desde eso que se ha excluido, se ha marginado de la existencia: aquello otro que nos constituye. Omar Ardila se apoya en esa propuesta para elaborar un recorrido muy personal y apasionado por diferentes hitos del cine, además de detenerse en algunos de los realizadores más interesantes que ha tenido este medio, a pesar de que algunos pueden ser no tan conocidos en nuestro contexto, como Artavazd Pelechian, Miklós Jancsó, entre otros." back cover

""Il m'est arrivé de rencontrer des hommes admirables, cependant les seuls êtres à qui j'ai conscience de tout devoir sont des femmes. Elles se sont comportées à mon égard avec tant de naturel, de détermination et l'une d'elles de courage, que j'ai pu sous-estimer longtemps à quel point rien n'allait de soi. Orphelin et enfant caché pendant la guerre, je n'acceptais ni l'autorité des hommes qui se substituaient à mon père, ni l'attachement des femmes qui avaient les gestes de ma mère. Que l'on tentât de m'imposer une volonté ou que l'on fît preuve à mon égard de trop d'affection revenait au même : c'était insupportable et je prenais la fuite. La bonne volonté ne suffisait donc pas et, aujourd'hui encore, l'opiniâtreté des femmes dont il est question dans ce livre ne va pas sans étonnement. Tout cela a-t-il bien eu lieu comme j'en ai pourtant le souvenir très exact ?""--Page 4 of cover.