Young woman (Jeune Femme) portrait
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[Jeune femme dans un verger] : [photographie] / [Clément Maurice], Clément Maurice (1853-1933). Photographe,1907-1930
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U.S. President Barack Obama (C) and France's President Nicolas Sarkozy (R) take their places with junior G8 delegates for a family photo at the G8 summit in L'Aquila, Italy, July 9, 2009. Leaders of the Group of Eight major industrial nations and the main developing economies are meeting in the central Italian city of L'Aquila until Friday to discuss issues ranging from global economic stimulus to climate change and oil prices. REUTERS/Jason ReedRead more...
Tunner : We're probably the first tourists they've had since the war.
Kit Moresby: Tunner, we're not tourists. We're travelers.
Tunner : Oh. What's the difference?
Port Moresby: A tourist is someone who thinks about going home the moment they arrive, Tunner.
Kit Moresby : Whereas a traveler might not come back at all.
Tunner: You mean I'm a tourist.
Kit Moresby : Yes, Tunner. And I'm half and half.
"In 1931, without any preconceived notion of what I should find there, I paid a visit to Morocco. Two months, I thought, would suffice for seeing the place. And so they would have if what I saw had not awakened a wish to see more, a wish which seemed to grow even as it was being satisfied. At first it expressed itself as a desire to wander over the surface of the land. During that year and the succeeding three years I examined the remote corners of Morocco, Algeria, Tunisia and the northern Sahara, sometimes renting a small house, sometimes being the guest of a Moslem family, but usually spending only a night or two in a room of some establishment that hopefully called itself a hotel, before moving on to the next place. After the War I returned to Morocco and bought a home there. This time I became aware of the fact that it was not the landscape I wanted to know, but the people.
A Distant Episode and The Delicate Prey are products of the earlier period; they date from 1945 and 1948 respectively. There is some reason for my taking a defensive attitude in discussing these two tales. I still live in Morocco and have many Moslem friends. The few of these who have read them do not think highly of them. It is easy to understand why, since they seem to go out of their way to present the Moslems in an unflattering light. The fact that both tales are based on actual occurrences is beside the point; every story has to come from somewhere, inside or outside, and these two happened to come out of conversations I had with people in the Sahara. Even if I had invented them wholly, instead of only stumbling upon the nucleus of each tale, their truth or lack of it would still have to be gauged according to other than factual criteria, since primarily they are tales not about human beings, but about a place. The place is the Sahara, synonym of emptiness, silence and death, a region whose impact upon the senses and imagination is clearly expressed in terms of inhuman and brutal behavior. The Moslems consider writing to be a means of influencing opinions. Thus to them such an approach is an immoral one. because it presents atypical behavior. But even they, when they tell their own tales to one another, stress the extraordinary, rather than the usual."
―Paul Bowles
In 1911 a group of scientists and adventurers left Hobart under the leadership of Dr Douglas Mawson. They were bound for Macquarie Island and the then unknown parts of Antarctica. The scientists of the expedition produced information that later made an major contribution to knowledge of the region. The exploration of new lands established precedence to claims, formalised in 1936 as the Australian Antarctic Territory. Although James Francis (Frank) Hurley was the official photographer to the Australasian Antarctic Expedition, other members of the expedition also took photographs.Read more...
here's a subjective list of ten NASA missions that have already earned their spot in the space mission hall of fame.Read more...
"Le poète ne retient pas ce qu’il découvre ; l’ayant transcrit, le perd bientôt. En cela réside sa nouveauté, son infini et son péril"
René Char, La Bibliothèque est en feu (1956)
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