This essay explores the historical antecedents of liberation theology from the vantage point of the internal dynamics of the nineteenth-century French Catholic liberal tradition in general and the works of Félicité- Robert de Lamennais (1782-1854)
In Là-bas, Huysmans identifies one painting (Grünewald's Crucifixion), while leaving another unattributed. Critical readings have paid little attention to the former painting, although its unidentified status challenges the reader.
I argue that the poet's reading of the works of others reflects on the way he perceives the reader of his own work, that the activity of reading does not hold a high value, and suggest that the poet is as interested in ventures in language as he i
Une lecture attentive de "Rêve parisien" (pièce CII des Fleurs du Mal dans l'édition de 1861) révèle que ce poème est bien plus qu'une figure imposée sur le topos des constructions féeriques, bien plus qu'une confiserie – pour citer Baudelaire lui