Scoble, London, Bohn, , 2 t. Scoble, London, Bell, , 2 t. Comptes rendus: Whitaker T.
Deininger, dans History: Reviews of New Books , , , p. Baldwin, dans The American Historical Review , , , p.
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Morgan, dans French Studies , , , p. Comptes rendus: Peter Riesenberg, dans Speculum , , , p. Compte rendu: Jean Dufournet, dans Revue belge de philologie et d'histoire , 46, , p. Armstrong, dans The English Historical Review , 87, , p. Cauchies, dans Revue belge de philologie et d'histoire , 57, , p. Compte rendu: Jean Lacroix, dans Revue des langues romanes , , , p. Sozzi, dans Studi francesi , 32, , p.
Dembowski, dans Speculum , 43, , p. Grigsby, dans Romance Philology , 22, , p. Kies, dans Lettres romanes , 22, , p. Laurie, dans The Modern Language Review , 63, , p. Williams, dans Symposium , 25, , p.
L'imaginaire de la conjuration dans la littérature française du XVIIe siècle
Compte rendu: Gilles Roques, dans Revue de linguistique romane , 65, , p. Comptes rendus: Emma J. Compte rendu: Antoine Calvet, dans Kritikon litterarum , , , p. Comptes rendus: Elena Merciai, dans Mirabile. Comptes rendus: May Plouzeau, dans Revue des langues romanes , , , p. Jodogne, dans Revue belge de philologie et d'histoire , 45, , p. Compte rendu: Martin Wittek, dans Scriptorium , , , p. Introduction de J. Blanchard avec la collaboration de J. Boudet, Fr. Martin et O. Bourilly, V. Philippe de Commynes.
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Malinin, Y. Universiteta Serija istorii , 8, , p. Ordnung zu Bielefeld , , p. One of the films looked bad enough, he thought, to bring him back to the Prytania in a few days.
Then the screen glowed in bright, wide Technicolor, the lion roared, and the title of the excess flashed on the screen before his miraculous blue and yellow eyes. His face froze and his popcorn bag began to shake. Upon entering the theater, he had carefully buttoned the two earflaps to the top of his cap, and now the strident score of the musical assaulted his naked ears from a variety of speakers. He listened to the music, detecting two popular songs which he particularly disliked, and scrutinized the credits closely to find any names of performers who normally nauseated him. When the credits had ended and Ignatius had noted that several of the actors, the composer, the director, the hair designer, and the assistant producer were all people whose efforts had offended him at various times in the past, there appeared in the technicolor a scene of many extras milling about a circus tent.
He greedily studied the crowd and found the heroine standing near a sideshow. The children in the rows in front of him turned and stared, but Ignatius did not notice them. The blue and yellow eyes were following the heroine, who was gaily carrying a pail of water to what turned out to be her elephant.
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He put the empty popcorn bag to his full lips, inflated it, and waited, his eyes gleaming with reflected technicolor. A tympany beat and the soundtrack filled with violins.
The heroine and Ignatius opened their mouths simultaneously, hers in song, his in a groan. The popcorn bag exploded with a bang. The children shrieked. The manager walked down the aisle to the front rows, where the shrieking was growing wilder. Their fear having dissipated itself, the children were holding a competition of shrieking. Ignatius listened to the bloodcurdling little trebles and giggles and gloated in his dark lair.
With a few mild threats, the manager quieted the front rows and then glanced down the row in which the isolated figure of Ignatius rose like some great monster among the little heads. But he was treated only to a puffy profile. The eyes that shone under the green visor were following the heroine and her elephant across the wide screen and into the circus tent.
For a while Ignatius was relatively still, reacting to the unfolding plot with only an occasional subdued snort. In the foreground, on a trapeze, was the heroine.