#Comédie humaine

[jaimelire-france]

Illusions perdues est un roman de l'écrivain français Honoré de Balzac.

[l832]

this garden has “modern au” sculptures of characters from comédie humaine. so here’s a goriot and rastignac

[francepittoresque]

18 août 1850 : mort d’Honoré de Balzac ➽ http://bit.ly/Honore-Balzac Renonçant à 20 ans à la carrière de juriste que lui souhaite alors son père pour se consacrer à celle d’homme de lettres qu’il estime lui seoir davantage, Honoré de Balzac, quoique accablé de dettes sa vie durant après s’être lancé dans d’infructueuses affaires, devient un véritable géant du roman français en l’espace de vingt ans au cours desquels il met au jour plus de deux mille personnages formant sa « Comédie humaine »

[haveyoureadthisfantasybook]

vote yes if you have finished the entire book.

vote no if you have not finished the entire book.

(faq · submit a book)

[kaantt]

bon du coup vu que j’ai fini la recherche, je te ferai des live blogs de moi en train de lire la comédie humaine

OOOH tu me diras par quelle édition tu passes! Moi je prends la pléiade et l'ordre qu'ils ont établi !

[lafcadiosadventures]

when nemesis meet

[girl-of-ink]

In literary studies they expect you to sit in a seminar and talk about a guy named Balzac while being completely mature about it

[dixvinsblog]

Anne Perrin - Le divin te transperce.

Et puis tu arriveset puis tu es làalors l’éblouissementle saisissementpas un mot pour définirL’être-là est suffisantSe sentirÉprouverDans la vaste comédie humainele divin te transperce. Taj Mahal

[alexandredumontmanagement]

RCJ Midi : Les Secrets de la princesse de Cadignan

Pour son film « les secrets de la princesse de Cadignan » (actuellement au cinéma) est au micro d’Anne-Marie Baron pour RCJ Midi. Ecoutez l’émission en intégralité ci-dessous : Arielle Dombasle vous donne rendez-vous au cinéma l’Arlequin (76 Rue de Rennes, 75006 Paris) pour une projection exceptionnelle du film “Les Secrets de la princesse de Cadignan” en sa présence.Informations et…

[tricycle-jaune]

j’suis estomaquée d’à quel point j’suis influençable ça me dégoûte, genre, je m’étais décidée pour une assurance pour mon futur appart’, sauf qu’aujourd’hui, j’avais rendez-vous avec ma banquière pour qu’elle fasse le virement pour le notaire, et dans la foulée, elle me fait un devis de sa banque parce qu’ils font aussi des assurances (d’ailleurs le bail des banques qui se la jouent aussi assureur, m’enfin bref) et LE PIRE, c’est que c’est mine de rien 5e + cher que l’assurance que j’avais repéré, MAIS MOI LA SOMBRE CONNE, je me laisse embobiner par son blabla en mode “bah je vous les donne les 5e c’est rien” “euuuh pour toi c’est rien, pour moi c’est un repas stp” (je lui ai pas dis ça of course parce que j’ai la répartie d’un poisson rouge irl) et résultat, je me retrouve avec une assurance que je n’ai ABSOLUMENT pas souhaité qui me coûte à l’année 50e + cher, VOILA VOILA. en vérité je vous le dis, y’a pas plus CONNE et DEBILE et NULLE que moi, genre, j’ai rarement été aussi dégoûté de ma personne qu’actuellement, limite on me dit “tu savais que la terre était plate ?” j’vais y croire ??????? comment j’peux être SI influençable ????? mon père a raison putain, je suis conne et y’a rien à faire avec moi, c’est trop tard genre, c’est pas à 33 ans que j’vais changer quoi c’est fini, j’vais finir ma life avec des gens qui m’auront arnaqué, mais vraiment, j’suis dégoût��e de moi, je me donne littéralement envie de vomir comment c’est possible d’être MOI et d’être encore en vie dans ce putain de monde.

[francepittoresque]

EXPOSITION | Balzac, Daumier et les Parisiens : de La Comédie humaine à la comédie urbaine ➽ https://bit.ly/Exposition-Balzac-Daumier-Parisiens S’il n’existe pas de preuve d’un lien entre Balzac et Daumier, tout laisse à penser qu’ils se sont croisés dans les salles des journaux et chez les éditeurs avec qui ils travaillaient régulièrement

[filmlacomediehumainefr]

FILM ▷ La comédie humaine en Streaming-VF en Français

Regarder La comédie humaine en streaming vf 100% gratuit, voir le film complet en français et en bonne qualité. La comédie humaine Streaming vf les films et les livres tiennent une partie de mon cœur. Et de cette façon, j’aime tout. Non, je ne parlerai pas de la scène entière, je pourrais finir avec un nouveau film si je le faisais,

Regarder ➡ La comédie humaine | Film Complet [2023] Streaming vF Français

Telecharger ➡ La comédie humaine | Film Complet [2023] Streaming vF Français

Sortie du film La comédie humaine : Date de sortie? La suite d’La comédie humaine, a été confirmé un mois après la sortie du premier film au cinéma. Le 19 mai 2023, La comédie humaine 2 avait été confirmé. Quand pourrons-nous le voir en salle ? Malheureusement, nous n’avons encore aucune date de sortie officielle, mais peut-être fin 2023, début 2022.

La comédie humaine, le film sera là ! Le film La comédie humaine est sorti le mercredi 2 septembre 2023. Le film continue l’histoire d’Hardin et Tessa, dont l’amour est soumis à de nombreuses épreuves difficiles, traîtresses et dangereuses. Ces deux amoureux auront-ils une fin heureuse ? En attendant de savoir si le film a été acclamé par les fans, il y a de bonnes nouvelles : La comédie humaine va sortir ! Cela a été confirmé le 3 septembre 2023 par les deux stars de la série dans une vidéo postée sur le profil Instagram officiel d’La comédie humaine. Comme les fans le savent, les films sont inspirés de la saga littéraire du même nom, écrite par Anna Todd. La série La comédie humaine est composé de 4 livres.

L’intrigue du film La comédie humaine L’amour d’Hardin et Tessa est encore une fois mis à l’épreuve. Ces deux adolescents vont devoir affronter leur passé. Tessa rencontre son père après des années et décide de le prendre en charge après avoir découvert qu’il était devenu sans abri. Hardin accepte de l’héberger mais ne fait pas confiance à cet homme, convaincu qu’il cache une partie de la vérité. Mais ce n’est pas le seul obstacle. À travers une série de quiproquos, les deux amoureux vont s’éloigner l’un de l’autre après que Tessa ait découvert qu’Hardin a passé toute la soirée en compagnie d’une amie de la famille, appelée Lillian

Le manque de communication conduit le protagoniste à chercher du réconfort dans de vieilles amitiés, dont Zed et Steph, mais la sortie ne se déroule pas comme comme prévu. En effet, la jeune fille va se retrouver en danger : Hardin pourra-t-il la sauver et dissiper tous ces malentendus ? Concernant l’intrigue du film, Castille Landon, le réalisateur d’La comédie humaine nous assure qu’il sera fidèle au roman du même nom.

Le casting du film La comédie humaine : qui sera là ? Nous verrons probablement le retour de deux personnages principaux : Héro Fiennes-Tiffin et Josephine Langford, comme Hardin et Tessa, La comédie humaineivement. Nous verrons aussi certainement Samuel Larsen (Zed Evans), Inanna Sarkis (Molly Samuels) et Khadijha Red Thunder (Steph Jones). Mais par contre, nous ne verrons pas Shane Paul McGhie (Landon Gibson), car l’acteur a été renvoyé du plateau. Dylan Sprouse, dont le rôle est Trevor ne revient pas non plus.

Mais il y a aussi une nouvelle de dernière minute : d’autres acteurs ne reviendront pas dans le troisième film, d’où la nécessité d’un renouvellement. Déjà dans La comédie humaine 2, on se rend compte que le père d’Hardin n’est plus joué par Peter Gallagher (Andy Cohen pourquoi es-tu parti ?) mais par Rob Estes et que la mère de Landon n’est plus jouée par Jennifer Beals mais par Karimah Westbrook. Nous verrons également beaucoup de changements dans La comédie humaine. En commençant par Candice King et Charlie Weber : les deux acteurs ne seront plus Kim et Christian Vance.

L’actrice que nous avons appris à aimer dans The Vampire Diaries comme Caroline est enceinte de son deuxième enfant ! Sa grossesse l’empêche donc de retourner sur le plateau pour filmer La comédie humaine. Candice sera remplacée par Arielle Kebbel que nous avons déjà vu dans The Vampire Diaries: : Il s’agit de Lexi, le meilleur ami de Stefan ! Charlie sera remplacé par Stephen Moyer. Aussi Selma Blair, qui joue la mère de Tessa, est remplacée par Mira Sorvino. En plus de toutes ces modifications, il y a aussi une nouvelle arrivée : Carter Jenkins, qui jouera Robert, le potentiel amoureux de Tessa.

La raison de tous ces changements est que le fait de tourner deux films ensemble empêche aussi certains des acteurs principaux de participer à d’autres engagements professionnels ou autres.

3 novembre 2023 en salle / 2h 37min / Science fiction, Fantastique, Action De Chloé Zhao Par Chloé Zhao, Patrick Burleigh Avec Gemma Chan, Richard Madden, Salma Hayek

Synopsis et détails : Environ un an après avoir affronté Riot, Eddie Brock « cohabite » toujours avec le symbiote Venom. Alors qu’il tente de relancer sa carrière de journaliste d'investigation, Eddie se rend en prison pour interviewer le tueur en série Cletus Kasady. Il ignore que ce dernier est lui aussi l'hôte d'un symbiote, Carnage.

. Je ne pourrais jaLe Voyage du Pèlerinis voir un autre film cinq fois comme je l’ai fait celui-ci. Retournez voir une seconde fois et faites attention. RegarderIp Man 4 : Le dernier combat Movie WEB-DL Il s’agit d’un fichier extrait sans erreur d’un serveur telLe Voyage du Pèlerin, tel que Netflix, ALe Voyage du Pèlerinzon Video, Hulu, Crunchyroll, DiscoveryGO, BBC iPlayer, etc. Il s’agit également d’un film ou d’une éLa comédie humaine ion télévisée téléchargé via un site web comme on lineistribution, iTunes. La qualité est assez bonne car ils ne sont pas ré-encodés. Les flux vidéo (H.264 ou H.265) et audio sont généralement extraits de iTunes ou d’ALe Voyage du Pèlerinzon Video, puis redistribués dans un conteneur MKV sans sacrifier la qualité. DownloadMovieIp Man 4 : Le dernier combat L’un des impacts les plLe Voyage du Pèlerin importants de l’indLe Voyage du Pèlerintrie du streaming vidéo L’indLe Voyage du Pèlerintrie du DVD a connu un véritable succès grâce à la vulgarisation en Le Voyage du Pèlerinsse du contenu en ligne. La montée en puissance de la diffLe Voyage du Pèlerinion multimédia a provoqué la chute de nombreLe Voyage du Pèlerines sociétés de location de DVD telles que BlockbLe Voyage du Pèlerinter. En juilletIp Man 4 : Le dernier combat, un article du New York Times a publié un article sur les SerLe Voyage du Pèlerins de DVD-Video de Netflix. Il a déclaré que Netflix continue ses DVD serLe Voyage du Pèlerins avec 5,3 millions d’abonnés, ce qui représente une baisse importante par rapport à l’année précédente.

étiquette : regarder La comédie humaine en streaming La comédie humaine film streaming La comédie humaine streaming film complet vf La comédie humaine streaming vf La comédie humaine streaming

[xdariox]

Comédie humaine

*jamilton

[blacknedsoul-blog]

Annabel Lee Whitlock: The Hypocrite, the Vampire and the Femme Fatale. A review of archetypes

Good news: I'm on vacation. Bad news: I'm on vacation.

And that means rest. A positive externality. But on the other hand, it also means that my brain, which is constantly thirsting for stimulation, has lost eight hours of activity a day that it has to fill with something. You know what happens to orange tabbies who suddenly become quiet and behave as if possessed by all the demons of Ars Goetia? Well, sort of.

So my brain in need of stimulation decided to dust off my college notes and talk about archetypes, because it's a thorough enough job to keep me away from climbing walls or checking random stuff on the Internet for 10 hours a day.

What is an archetype?

Just to make sure we're all on the same page, an archetype (a "type character") is a writing model that describes a role and has certain characteristics.

The term was coined by Honoré de Balzac, a French writer obsessed with what he called "micro-history. His life's work, "La Comédie humaine", is a massive collection of more than 80 novels, which, when read, will give you more information about that historical period than any theoretical book on the subject.

You may not know this sir or the protagonist of "Illusions perdues", but you do know the archetype that Lucien Rumempré represents: a young from the provinces, full of dreams, who moves to the city only to discover that the lights are there to dazzle and distract from the misery.

But at the same time, the characters that come to mind are likely to be very different from the good Lucien. This is because the archetype is a different construct from the cliché.

If I had to explain the difference, I would say that the cliché is a recipe, while the archetype is a mold.

If you follow a recipe, you will always get results that are very similar, even if you make small variations in the recipe. But if you have a star cookie cutter, the contents of the cookies can be quite different: no one would dare say that a chocolate chip cookie tastes the same as an oatmeal cookie or a gingerbread cookie. Even if all three are cut in the shape of a star.

So I'm going to do a little review of the archetypes that Annabel notices. The differences, the similarities, and let's see what comes out.

The Hypocrite

Not "hypocrite" in the sense of a personality, but in the sense of a way of behaving in the world: The Hypocrite is a character whose way of relating to the world is a pantomime, whose role is to build themselves up to fit into a system (which, by the way, they despise). If they don't have what you want, they will at least pretend enough to make you think they do. Usually for personal gain.

The founder of this archetype is Julien Sorel, the protagonist of "Le Rogue et Le Noir", the most famous work of Stendhal, one of the most prominent writers of the literary realism founded by Balzac.

Julien is this poor boy, but smart enough to memorize the Bible, which makes him seem educated enough to get him a job as a tutor in a rich house, and eventually a priest's cassock.

A more modern example is Nick Wilde from Zootopia. This fox has decided that if he alone can be a con man, he will be one, though he desperately wants someone to see him as an individual beyond that. He hates the system that condemns him, but he wants to be a part of it and will play by the rules he is given in order to profit.

Annabel, like Julien and Nick, has built her entire identity around being what is expected of her, in her case a perfect Victorian high society lady. Something that has given her a tremendous amount of knowledge about how people move in such circles. And from her point of view, people are the same everywhere (Miss Marple would be proud of her).

And in this oppressive context that fosters an environment where people kill each other, she knows what currency to give in return for loyalty: people will look for a leader, someone competent, someone who knows what they're doing.

Annabel has no idea what's going on, what awaits them outside the Nevermore gate, or even if there's a way to escape. But she can pretend to know. The quietest person in the room wins, and she's the one who takes the prizes to achieve her goal. The performance is justified as a means to an end.

Another thing that characterizes stories with a Hypocrite as a relevant character is the exploration of the consequences of this lifestyle: identity is consumed by the role, the line between actor and character is lost, and the Hypocrite is often faced with the reality that they have put so much of themselves into the character they are playing that once it is exposed, there is nothing underneath, or at least nothing worth saving.

In Annabel's case, this is expressed in her utter horror at not being trusted by Lenore. She puts her hypocrisy at the disposal of her lover and comforts herself with the reward of her affection, but Lenore's love for her is the only thread that binds her own identity: that Lenore does not trust her means that the role has completely consumed her, the complete confirmation that she, as an individual, is no longer a disturbed poseur.

Related to this point, we have the final transversal line in the conflicts that Hypocrites tend to have: loneliness. When all their relationships are based on a carefully rehearsed performance, the Hypocrite knows that they are alone in the world, that no one really knows them, and they are usually so deep in the role by this point that they don't want to (or can't) leave it. The longing for honest relationships overlaps with their self-destructive tendencies.

As much as Annabel insists that it's her and Lenore against the world, that her life is meaningless without Lenore, and that she is enough, these phrases indicate that Annabel is painfully aware of how she is perceived by others, and though she tells herself that Lenore's love is all she needs, it seems more like a mantra to keep her sane than a reality.

As you may have noticed, the main difference from the usual Hypocrite is that Annabel has Lenore. A bit like Nick has Judy. But Nevermore is a story that takes the psychology of its characters much more seriously, so while Nick just needs someone to reach out to in order to form honest relationships, Annabel passes because she has no fucking idea how to form an honest, healthy bond.

That Annabel is extraordinarily self-destructive, emotionally dependent, and so afraid to step outside the box she knows so well are, in this light, natural consequences of the Hypocrite lifestyle.

The Vampire

Here we must make a leap to another movement: during the Romantic period, the Gothic novel was at its best, and it was Edgar Allan Poe who squeezed out the last drops of what this genre had to offer.

Now, looking at the bibliography, Annabel does not have much in common with the gothic heroine (that is something Lenore takes care of), neither on an aesthetic level nor on a value level. To find her in the works that inspire her, one must look in a slightly different direction: the female vampires of gothic fiction.

Aurelia ("Vampirismus" by E.T.A. Hoffmann), Carmilla ("Carmilla" by Sheridan Le Fanu), Clarimonde ("The death woman in love" by Théophile Gautier), the vampire in the poem "The Metamorphosis of the Vampire" by Baudelaire, the three vampire women, and Lucy ("Dracula" by Bram Stoker).

All these characters have something more in common than their fangs: they are beautiful women capable of making anyone who sees them fall completely into their arms, as opposed to their role of making the one they have chosen as their prey "fall".

The Gothic vampire is practically a succubus, but much less sexualized than one might think. Although many of these works, with the exception of the poem by the good Baudelaire (an author who should be fed separately on these matters), spare no pages in describing how beautiful they are, neither do they overly sexualize them, nor are they particularly flirtatious: even Clarimonde is dedicated to simply being there and letting her presence alone do the work.

This is something Annabel shares with the gothic vampire: though physically gorgeous, the framing in the comic doesn't tend to focus on her as an object of sexual desire, her beauty is highlighted, but in a way that is more akin to an ethereal or unattainable entity.

This is due to a mixture of two things: the Gothic novel is steeped in Catholic puritanism, and even if it is to present a villain who uses her attractiveness as a weapon, the erotic component is subtly exposed, and the vampire's angelic beauty offers a contrast to her status as an antagonist: beautiful on the outside, insidious on the inside.

This is another thing Annabel has in common with the gothic vampire: she is aware that her appearance gives her a haughty, elegant, and dignified air, identifiable enough to earn nicknames like "Queen" or "Queenie," and she knows how to capitalize on it. This contrasts with the darker parts of her personality.

Another thing that terrifies romantics about vampires is that these fangirl succubi possess a quality that makes us 21st-century readers raise an eyebrow because it's supposed to make us uncomfortable: a deep, honest, and sincere willingness to be affectionate.

In context, this makes sense: the vampire is a representation of sin, temptation, and lust. So their affection is something that leads the object of it away from the path of morality (this is the 19th century, this is really important).

I understand that because of the vampire's role in all of this, she is a devoted lover. Incredibly devoted, in fact: Clarimonde is Romuald's sugar mommy (no, I'm not kidding, I'm not exaggerating either), and Carmilla never stops showering Laura with affection and attention, satisfying this girl's craving for companionship after living in isolation.

Annabel does something similar: there is a genuine interest on her part to reach out and connect with Lenore, and in scenes like this, she goes out of her way to show her that she is an amazing person in her own right, rather than being her brother's shadow.

All kidding aside, I think of the archetypes I could find to analyze Annabel, this is the one that fits her best, even though she is not, well, literally a vampire. She seems to have several things in common with Carmilla in particular.

The Femme Fatale

We all have a more or less clear idea of what a femme fatale is: this extremely attractive, sexually active, badass woman who is there to make the male character's life miserable and has a 50% chance of smoking fine cigarettes with a cigarette holder. This is…partially true, but also highly inaccurate.

Although these characters can be traced back much further in mythology, this archetype gets its name and very specific form from Raymond Chandler, the founder of the noir novel. I'm not going to go into too much detail on this topic, as entire books could be written about it, so let's just focus on what's important.

The thing to understand about the context to understand the Femme Fatale is that we are in the 30-40's and although she has many more rights than 19th century women, the decadence shown in these works emphasizes that she is in a macho context where every single rule of the game is stacked against her. This is something that Femme Fatale is acutely aware of: no matter how well she plays the game, she will always lose.

This is something that Annabel shares with this archetype: she is very aware of the rules of the game, she knows backwards and forwards how the world works, so she is also aware that they are too heavily stacked against her to ever win. All she can do is resign herself, play the role as best she can, and find small distractions to cling to like a burning nail so as not to lose her head altogether.

Therefore, the Femme Fatale's approach to life is this: if the rules are stacked against her, that means she has the right to do whatever it takes to survive. These tactics usually include manipulation, deception, exploitation, and, of course, making the most of her sexual attractiveness because, unlike the vampire, she knows how to flirt and use sex as a weapon. What needs to be kept in mind here is that for this character archetype, the use of these wiles comes not because she is factory evil, but as a coping mechanism within a system she cannot win against. If this ultimately makes her a villain, it's more about her role within the story in which it plays out than anything about the archetype itself.

Here's an interesting difference between the Annabel we see in Lenore's memories and the one we see in the present day of the comic: Annabel used to be willing to play by the rules, but the thing she learned from Lenore is that cheating is more than possible. As a result, her attitude has become much closer to that of a Femme Fatale, using her extensive knowledge of the rules to her advantage, going with the flow for personal gain. Her methods are much closer to those of the Hypocrite (especially since we haven't seen Annabel use her body or affection as currency yet), but there are definitely similarities.

Another thing about the Femme Fatale (when she is NOT a villain) is that, like the Vampire, she operates within a duality: an exterior built to be sexy in a somewhat intimidating way (which is why the aesthetics of many of these characters can be interpreted within BDSM culture), but with some goodness in her heart. A really clear example of this is Vivian Sternwood from The Big Sleep (the first novel on the subject published by Raymond Chandler): her own father describes her as "rude, demanding, clever, and quite ruthless," and Marlow, our detective, will have a long series of uncomfortable encounters with her. But by the end of the novel, when he is faced with the same choice Vivian must have made in the past, he cannot help but realize that despite everything, this woman would rather keep painful secrets than harm her family, whom she loves dearly.

So if you're wondering why the framing of scenes like this looks familiar, that's why.

Add to that the three layers of how her aesthetic works: an angelic appearance for when she needs to play dumb, her gaslighting, gatekeeping, girlboss bullshit face for when she needs to demonstrate authority, and framing where it should make you directly uncomfortable.

Looks are one of the strengths of Femmel Fatale's performance. And it's one of the strengths of Annabel's performance.

Conclusions

One interesting thing about looking at Annabel in this light is to realize two things: first, that many of the archetypes her character seems to take notes from are often in the role of antagonists or, for that matter, villains. 

The other is that these archetypes are quite well ordered and connected: the gothic vampire is the inspiration for the Femme Fatale of Noir (her beta version, if you can call it that), and the Hypocrite shares a historical writing period with many female vampires. From her conception, Annabel is constructed in a fairly orderly fashion, and believe me, that's a huge contrast to what's going to happen with Lenore (which I'll get to soon, but I need to brush up on my picaresque novel notes). 

The last thing I want to point out in this review is this: unless you're a Nick Wilde-style Hypocrite, Hypocrites and Vampires in general tend to have utter destruction in store for them. The Noir, for its part, puts us in a situation where the Femme Fatale, even if she wants to change, is generally too deep in this tangle to get out. 

So what I find interesting about Annabel in this regard is:

This is actually THE scene that shows us Annabel timidly stepping out of the scheme of things. She doesn't seem to want to change, in fact I'd bet she's terrified to change, but even though she's repeating her father's toxic pattern here, she's also breaking it without realizing it. 

It's too early to tell if we'll see Annabel have some sort of redemption towards less harmful behavior, or if we'll end up seeing her become a villain altogether. But I'm really curious to see where this story goes with all of these elements.

[abdou-lorenzo]

Toutes les singeries de sensibilité qu'une femme fait abusent toujours un amant; et là où un mari hausse nécessairement les épaules, un amant est en extase...........💞✨🪽🥀

La comédie humaine de Balzac