By Élisée Reclus

ISBN-10: 2081289903

ISBN-13: 9782081289901

En 1900, il est le géographe le plus célèbre au monde et une gloire nationale. Grand voyageur, anarchiste militant venu du calvinisme, admirable écrivain que l'on compara à Buffon ou à Michelet, végétarien et sensuel, communard et taulard, féministe: et défenseur de l'union libre, intellectuel autodidacte sans oeillères ni frontières trois fois parti en exil, Elisée Reclus (1830-I905) est, enfin, en passe de devenir un classique. Le lecteur d'aujourd'hui s'empare d'Elisée Reclus pour jouir de l. a. beauté de sa langue et mieux comprendre les enjeux de notre époque. Le chantre de los angeles libre organization des individus selon leur "bon vouloir", d'une mondialisation égalitaire, d'une fraternité humaine d'échelle planétaire, qui a toujours refusé d'appartenir au "monde banal des sessions gouvernementales", ne s'impose pas à nous comme un maître. Il fait bien mieux : son tact et sa ardour nous éclairent et nous inspirent. Il demeure aujourd'hui ce "phare dans le lointain" évoqué par son neveu, l'historien de l'art Elie Faure. Cet ouvrage est ce que l'on nommait au XVIIIe siècle un "esprit", une distillation de l'ensemble des écrits d'Elisée Reclus. Il invite à goûter l. a. qualité exceptionnelle d'une oeuvre et celle de l'encyclopédiste lumineux qui l. a. composa.

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And if and when their names are remembered, are women of color at the center of the story or are they the supplement? In your essay you say that riot grrrl has become the name of “an often romanticized moment of young women’s feminism,” one that was dominated by white women and whose retelling is dominated by white academics. Why do you think this is? There are a number of possible factors for the focus on white women in academic and popular studies of punk and riot grrrl. One or more might be a matter of access: It matters which persons, bands, and zines are already mentioned in earlier studies, or are found in academic and other archives.

I feel that feminist futures can’t look like feminist pasts, and that we can’t predict or pretend to know what these futures will look like or feel like—because when we try, we foreclose on all the as-yet unthinkable possibilities for feminist movement. Tina Vasquez is a writer and editor from the Los Angeles area who fiercely loves her 12-year-old cat, Jacky. com. She is currently working on a book about her fucked-up teen years. 59 bitch | 43 Housebound Why the dollhouse metaphor remains so indelible BY GRETCHEN SISSON + ART THROUGHOUT BY ADIA MILLETT T he scene: “A room furnished comfortably and tastefully, but not extravagantly,” complete with armchairs and a small sofa arranged beneath the window, a piano beside the door to the study, a small bookcase with “well-bound” books, and a fire burning brightly in the stove.

Patsy’s friend still had to “corner” her—not chat with her, not suggest to her—in order to get her to listen to a potential job opportunity. The story continues as Rosin interviews Patsy: When I talked with Patsy in the family room at their house, she forbade Reuben to come downstairs, because he can sometimes dominate conversations. She quarantined him on the second floor, and I caught glimpses of him carrying a basket of laundry. The words used to set the scene for the interviewer are harsh, strong verbs that evoke submission and domination: forbade, dominate, quarantine.

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Les grands textes by Élisée Reclus

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