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        <name>Paul  Eluard</name>
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                <text>Le livre s’ouvre, est ouvert. Heureux poète que Paul ÉLUARD qui, en sept instants versifiés, glisse dans les étreintes de la femme idéalisée, de la femme aimée, de la femme rêvée. &lt;br /&gt;&lt;br /&gt;Cet ouvrage dans l’impudique de la tendresse et du désir, dans la passion de ses mots, s’ouvre sur la courbure des reins et se clôt sur la tiédeur des seins de l’être aimée. La femme se tourne, se love, se cambre, se cache, se pâme, agite ses cheveux,...</text>
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                <text>Fonds Pierre Puttemans</text>
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                <text>FPPB-FLO-E-0 000 052</text>
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            <name>Provenance</name>
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                <text>Les éditions nocturnes</text>
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                <text>Le texte "En cet état d'ivresse" de Nicolas Florence a été mis en voix au Centre culturel de la Communauté française "Le Botanique" le 11 mars 1989 et d'abord publié en "Première nocturnes". &#13;
Lecture dirigée par François Beukelaers, interprétée par Alain-Pascal Houssiaux et Patrick Dechene. &#13;
Crée au Centre Culturel "Le Botanique" de Bruxelles, le 1er juin 1990.</text>
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                <text>Ubu Cocu (ou l’Archéoptéryx) : Ubu Cocu a été écrit en 1897-8. Deuxième pièce de Jarry ayant Ubu comme personnage principal, elle n’a pas été bien reçue par la critique et fut un peu oubliée, malgré d’évidentes qualités. Nous sommes heureux de vous la faire redécouvrir.&#13;
&#13;
Inutile de tenter de résumer cette pièce, tant elle pulvérise les barrières des causalités et de la raison, au point que le cocufiage d’Ubu par l’Égyptien Memnon n’est même qu’à peine évoqué. Laissez-vous plutôt emporter par les mots (sauts périgiglyeux, respectacle, etc.), les répétitions de phrases (ô mais c’est qué, voyez-vous bien), les chansons, les dialogues absurdes à relents shakespeariens entre Ubu et ses personnages, entre Ubu et sa conscience.&#13;
&#13;
Plus musicale que les autres grâce aux nombreuses chansons des Palotins, qui rythment les dialogues et font un peu office de chœur antique, cette œuvre vous ravira à condition d’oublier tout esprit cartésien pour devenir un peu pataphysicien…&#13;
&#13;
Alfred Jarry (1873-1907), né à Laval dans une famille de la petite bourgeoisie, fréquente les lycées de cette ville puis de Saint-Brieuc. Un de ses professeurs incarne aux yeux de ses élèves « tout le grotesque qui est au monde ». L’enseignant devient le héros d’une littérature scolaire, dont un texte intitulé Les Polonais que Jarry, en classe de première, va mettre en forme de comédie et représenter sur un théâtre d’ombres puis au « Théâtre des Phynances », théâtre de marionnettes installé au domicile des Jarry.&#13;
&#13;
Le premier succès arrive avec Les Minutes de sable mémorial (1894), César-Antéchrist (1895), dont la première partie est constituée des quatre premiers actes d’Ubu roi. Ubu Roi paraîtra en volume en 1896. La pièce est créée au Théâtre de l’Œuvre en décembre 1896 et fait scandale, donnant lieu à ce qu’on a appelé « la bataille d’Hernani du symbolisme ». Jarry poursuit son œuvre littéraire avec Les Jours et les nuits, roman d’un déserteur (1897), L’Amour en visite (1898), L’Amour absolu (1899), Messaline (1901), Le Surmâle (1902) et continue le cycle d’Ubu avec L’Almanach du Père Ubu illustré (1899), Ubu enchaîné (1900), Ubu sur la butte (1906). Difficultés financières et dégradation de sa santé l’empêchent de mener à bien ses derniers projets : La Dragonne, La Papesse Jeanne, La Chandelle verte. Plusieurs œuvres verront le jour à titre posthume dont Gestes et opinions du docteur Faustroll, pataphysicien. (Sources de cette biographie : Wikipédia, Encyclopédie Larousse en ligne.)&#13;
&#13;
&#13;
Aux Editions de Londres, on ne s'en cache pas, nous adorons Jarry. D'ailleurs, peut-être Jarry nous aurait-il adoré s'il nous avait connu ? "Ubu cocu" est la troisième pièce que nous publions de lui, et l'une de ces pièces méconnues qui met en scène notre ami préféré à l'énorme gidouille. C'est un des personnages les plus incroyables de la littérature française, c'est notre soldat Chveik, c'est notre Don Quichotte, mais pourtant on a tendance à notre époque à le ranger dans une valise, comme Ubu fait avec sa conscience dans ce petit chef d'oeuvre d'humour noir et de comique absurde. Mère Ubu qui convole avec des amants égyptiens, un ancien propriétaire que l'on empale, tout cela sur fond d'archéoptéryx, on en salive d'avance.&#13;
&#13;
L’histoire est assez simple. Docteur en pataphysique, ancien roi de Pologne, Ubu emménage avec Mère Ubu dans un appartement dont il doit évincer le locataire précédent, Achras, qu’il finit par empaler, puisque le récalcitrant refuse de quitter les lieux en dépit des demandes empressées de notre gros homme à la gidouille sur démesurée. Cette action révolte la conscience d’Ubu, si bien qu’il finit par l’enfermer dans une valise pour qu’elle se taise. Mais le clou de l’histoire, ce sont les infidélités de Mère Ubu, dont on connaît déjà la réputation de tombeuse de mâles. Elle s’entiche de l’égyptien Memnon, avec lequel elle grimperait volontiers au sommet de la pyramide, mais, l’entrée de la salle funéraire étant trop étroite pour sa gidouille, c’est compter sans l’empêcheur de cocufier en rond, le susnommé pataphysicien, gardien de la morale hyménale, le père Ubu.&#13;
&#13;
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                <text>Après le succès d'&lt;em&gt;Ubu roi&lt;/em&gt;, Alfred Jarry se tient délibérément en marge, refusant célébrité et reconnaissance littéraire. Il change radicalement de style et compose L'Amour absolu (1899). &lt;br /&gt;&lt;br /&gt;Vaste poème d'un condamné à mort dans l'attente de sa dernière heure avant la guillotine, il se développe comme une effraction fabuleuse dans le sommeil et le rêve, et convoque des souvenirs de l'enfance. L'Amour absolu parle de choses très simples en les dissimulant sous une apparence complexe, par pudeur et par jeu. Par la beauté de ses images fulgurantes, même si les formes symbolistes sont encore prégnantes, il annonce déjà le surréalisme.</text>
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          <name>Justification du tirage ordinaire</name>
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          <name>Justification du tirage de tête</name>
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          <name>Justification du tirage personnel</name>
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              <elementText elementTextId="22726">
                <text>Mercure de France</text>
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                <text>Introduction de Maurice Saillet</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="22729">
                <text>13 X 17 cm</text>
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            <description>A language of the resource</description>
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              <elementText elementTextId="22730">
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            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé</text>
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          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="22732">
                <text>np</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="22733">
                <text>FPPB-JAR-S-0 001 147</text>
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          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Fonds Pierre Puttemans</text>
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        <name>Alfred Jarry</name>
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      <tag tagId="2071">
        <name>Maurice Saillet</name>
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      <tag tagId="2072">
        <name>Ontogénie</name>
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      <tag tagId="15">
        <name>Poésie</name>
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      <tag tagId="290">
        <name>Théâtre</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Bibliothèque de Pierre Puttemans - FPPB</text>
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        <element elementId="111">
          <name>Dépôt légal</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Trajectoire</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="22740">
                <text>Jouffroy, Alain</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="22741">
                <text>Gallimard</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="22744">
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            <description>A language of the resource</description>
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              <elementText elementTextId="22745">
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="22746">
                <text>Ouvrage imprimé</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="22747">
                <text>118 p.</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="22748">
                <text>FPPB-JOU-T-0 001 160</text>
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            <name>Abstract</name>
            <description>A summary of the resource.</description>
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              <elementText elementTextId="22749">
                <text>Rien n'est plus terrible que de se taire, quand on ressent la nécessité de parler. Rien n'est moins supportable que le silence des autres, quand on tente de répondre à cette nécessité. Tout ce qu'on lit, tout ce qu'on entend tous les jours doit être considéré comme une seule parole collective en rupture avec elle-même. &lt;br /&gt;&lt;br /&gt;C'est à l'intérieur de ce texte, mi-écrit mi-parlé, que l'écriture de l'homme isolé devant sa page se faufile, comme un fil entre des millions d'autres fils en connexion. Mais quand on prend conscience de la mobilité des idées révolutionnaires, et qu'on réentend cette parole subversive qui, de Saint-Just à «Che» Guevara, rejoint finalement le centre de toutes les autres paroles, on commence à comprendre que la voix personnelle n'est jamais faite pour porter l'écho d'un seul individu. &lt;br /&gt;On cherche, alors, à lier ce que l'on pense avec ce que les autres ont pensé et dit, et l'on s'aperçoit très vite qu'écrire devient un acte historique, comme tous les actes humains qui relient deux réalités séparées.&lt;br /&gt;&lt;br /&gt; C'est en écrivant Trajectoire que je crois avoir saisi un certain fil conducteur qui permet, même au plus solitaire des individus, de se lier à la plus collective des révolutions : par un nouveau type d'écriture, où tous les textes, toutes les paroles seraient mis en contact, comme ils le sont dans la vie. J'ai donc suivi la trajectoire invisible des idées révolutionnaires, qui se poursuit, aujourd'hui, dans la trame des événements et des œuvres. J'ai voulu en faire apparaître la violente continuité, au sein de toutes les discordes, et pour cela, j'ai juxtaposé, page après page, ma vie et celle du monde.</text>
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              <description>An entity primarily responsible for making the resource</description>
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          <name>ISBN</name>
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          <elementTextContainer>
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              <text>2-8040-0019-2</text>
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            <description>An entity responsible for making contributions to the resource</description>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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            <description>An account of the resource</description>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22764">
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FLRB-NEU-B-0 000 001</text>
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                <text>FPPB-NEU-B-0 000 674</text>
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              <elementText elementTextId="22791">
                <text>L'Arche</text>
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                <text>FLRB-DYP-C-0 000 004</text>
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              <text>Il a été tiré du présent ouvrage, composé en Granjon, sur les presses du maître-imprimeur J.J. Jespers- Grégoire, à Dison :&lt;br /&gt;- Cent exemplaires numérotés de 21 à 120 sur papier Featherweight et vingt exemplaires numérotés de 1 à 20 sur papier cuve de Hollande.</text>
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                <text>FLRB-DYP-T-0 000 005</text>
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                <text>Fonds Luc Rémy</text>
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        <name>Poésie</name>
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              <text>Il a été tiré du présent ouvrage composé à la main dans la série des Egmonts de la fonderie Plantin, sur les presses du maitre-imprimeur J.-J. Jespers-Grégoire, à Dison, cent exemplaires numérotés et trente exemplaires marqués H.C., le tout sur papier à la cuve, de Hollande.</text>
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              <elementText elementTextId="22819">
                <text>Le présent imaginaire</text>
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        <name>Poésie</name>
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            <elementText elementTextId="22837">
              <text>Ex. n° 12</text>
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        <element elementId="105">
          <name>Justification du tirage ordinaire</name>
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            <elementText elementTextId="22838">
              <text>Il a été tiré de cet ouvrage, imprimé par Charles Conrad en son atelier de&lt;em&gt; La Porte Latine&lt;/em&gt;, 200 exemplaires sur Vergé Impérial à la main, dont 175 numérotés de 1 à 175 et 25 marqués H.C.</text>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="22829">
                <text>La corde et le pendu</text>
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          <element elementId="39">
            <name>Creator</name>
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              <elementText elementTextId="22830">
                <text>Dypréau, Jean</text>
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          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="22831">
                <text>La Sirène</text>
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              <elementText elementTextId="22832">
                <text>1955</text>
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              <elementText elementTextId="22833">
                <text>20 x 26 cm</text>
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            <description>A language of the resource</description>
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              <elementText elementTextId="22834">
                <text>fr</text>
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                <text>Ouvrage imprimé</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="22836">
                <text>FLRB-DYP-C-0 000 008</text>
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                <text>Fonds Luc Rémy</text>
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        <name>Charles Conrad</name>
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            <elementText elementTextId="22848">
              <text>Ex. n° 22</text>
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          <name>Justification du tirage ordinaire</name>
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              <text>Il a été tiré du présent ouvrage soixante-quinze exemplaires sur vélin de rives B.F. K., constituant authentiquement l'édition originale, et numérotés de 1 à 60 et de A à O, ces derniers ornés d'un frontispice original de Monique Janisset.</text>
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            <description>A name given to the resource</description>
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                <text>Images d'Epinal</text>
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                <text>Dypréau, Jean</text>
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              <elementText elementTextId="22841">
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            <description>An account of the resource</description>
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                <text>Imprimé sur les presses de l'imprimerie Damien. &#13;
Coloris au pochoir de Ferrariello.</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="22844">
                <text>21 x 27 cm</text>
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            <description>A language of the resource</description>
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              <elementText elementTextId="22845">
                <text>fr</text>
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                <text>Ouvrage imprimé</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="22847">
                <text>FLRB-DYP-I-0 000 009</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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              <elementText elementTextId="22861">
                <text>4 valets&lt;br /&gt;4 dames&lt;br /&gt;4 rois&lt;br /&gt;&lt;br /&gt;Voulez-vous jouer avec moi ?</text>
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                <text>Fonds Luc Rémy</text>
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        <name>Poésie</name>
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        <element elementId="96">
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              <text>30 exemplaires sur Hollande : numérotés de 1 à 25 et 5 H.C. numérotés de 26 à 30. &lt;br /&gt;Ces exemplaires contiennent en frontispice un burin original de René Mels.&lt;br /&gt;&lt;br /&gt;275 exemplaires sur Vélin, numérotés de 31 à 305.</text>
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                <text>Inventaire de l'Arche</text>
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              <elementText elementTextId="22853">
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                <text>1953</text>
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                <text>Ouvrage imprimé</text>
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              <elementText elementTextId="22858">
                <text>FLRB-DYP-I-0 000 010</text>
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              <text>Cette plaquette, ornée d'un frontispice de René Mels, fut achevée d'imprimer en septembre 1955 sur les presses à bras de l'Atelier du Livre à Bruxelles.&lt;br /&gt;&lt;br /&gt;Son tirage a été limité à 120 exemplaires Hors-commerce.</text>
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&lt;li&gt;Le portrait&lt;/li&gt;
&lt;li&gt;Le train&lt;/li&gt;
&lt;li&gt;Le pont&lt;/li&gt;
&lt;li&gt;L'oeil&lt;/li&gt;
&lt;li&gt;La robe&lt;/li&gt;
&lt;li&gt;L'herbe&lt;/li&gt;
&lt;li&gt;La parole&lt;/li&gt;
&lt;li&gt;Le vent&lt;/li&gt;
&lt;li&gt;La porte&lt;/li&gt;
&lt;li&gt;Enquête&lt;/li&gt;
&lt;li&gt;Destin&lt;/li&gt;
&lt;li&gt;Le couteau&lt;/li&gt;
&lt;li&gt;Le guetteur&lt;/li&gt;
&lt;li&gt;Le vin&lt;/li&gt;
&lt;li&gt;La douleur&lt;/li&gt;
&lt;li&gt;L'oiseau&lt;/li&gt;
&lt;li&gt;La mer&lt;/li&gt;
&lt;li&gt;Le feu&lt;/li&gt;
&lt;li&gt;Le chemin&lt;/li&gt;
&lt;li&gt;Vocabulaire&lt;/li&gt;
&lt;/ul&gt;</text>
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              <text>Il a été tiré de ce catalogue cinquante exemplaires signés par l'artiste numérotés de 1 à 50.</text>
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                <text>Catalogue de l'exposition d'Eduardo Arroyo à la Galerie Isy Brachot de Bruxelles du 11 septembre au 19 octobre 1985.&lt;br /&gt;&lt;br /&gt;Le catalogue est préfacé par Jean Dypréau.</text>
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              <text>Il a été tiré du présent ouvrage composé à la main dans la série des Egmonts de La Fonderie Plantin, sur les presses du maître-imprimeur J.-J. Jespers-Grégoire, à Dison, Cent exemplaires numérotés et trente exemplaires marqués H.C. le tout sur papier à la cuve, de Hollande.</text>
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                <text>Les sujets traités sont : &lt;br /&gt;&lt;em&gt;L'objet&lt;/em&gt; par Werner Haftmann&lt;br /&gt;&lt;em&gt;L'objet cubiste&lt;/em&gt; par François Mathey&lt;br /&gt;&lt;em&gt;La poétique futuriste et métaphysique de l'objet&lt;/em&gt; par Franco Russoli&lt;br /&gt;&lt;em&gt;Dada et l'objet&lt;/em&gt; par Jörn Merkert&lt;br /&gt;&lt;em&gt;L'Objet surréaliste&lt;/em&gt; par John Russell&lt;br /&gt;&lt;em&gt;L'objet dans l'art d'aujourd'hui&lt;/em&gt; par Jean Dypréau</text>
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                <text>Un homme comme les autres, dans le futur quartier Latin des années 1450. Il ressemble à quelques milliers d'écoliers plus riches d'illusions que de bagage ou d'emploi. En ce temps de dynamisme retrouvé au sortir de la guerre, il y a des places à prendre, mais la société, déjà, se défend des nouvelles ambitions: beaucoup de places sont prises, ou réservées.&#13;
&#13;
Clerc et célibataire par opportunité, amoureux par tempérament et misogyne par résignation, il hésite entre les femmes et les filles. Il n'hésite pas moins entre l'école et la taverne. Sa science est courte, tout juste propre à fournir les références indispensables en une époque où mieux vaut s'appuyer sur les autorités que faire preuve d'originalité.&#13;
&#13;
Le malheur fond sur l'écolier sans emploi. Il tue, il vole, il s'essaie à la vie de cour et se retrouve sur les grands chemins. On veut le prendre. Est-il un bandit? Est-il un amuseur qui joue au truand?&#13;
&#13;
Villon est en tout cas le témoin passionné d'un temps et d'un monde. Un historien ne pouvait qu'être tenté de l'interroger. Comprendre Villon, c'est comprendre ceux qu'il a côtoyés, entrevus, jalousés. Pourquoi ne pas écouter un poète lorsqu'il parle de lui et des autres, lorsqu'il règle son compte avec la société et avec son propre personnage?&#13;
&#13;
Des écoles aux tavernes, du port en Grève au cimetière des Innocents, de la cour chevaleresque du roi René au bouge de la Grosse Margot, les véritables héros de ce livre sont la vie et la mort, Dieu et la Fortune, l'amour et la haine, la justice et la misère. Mais l'oeil du poète est malicieux, et il a cent facettes.&#13;
&#13;
Jean Favier est né en 1932. Membre de l'Institut, directeur général des Archives de France, il est aussi professeur à l'université de Paris-Sorbonne et directeur d'études à l'Ecole Pratique des Hautes Etudes. Il s'est fait connaître par de nombreux travaux sur les finances médiévales et sur les structures économiques et sociales de Paris à la fin du Moyen Age. Ses livres La Guerre de Cent Ans, Philippe le Bel, La France médiévale, De l'or et des épices ont tous connu un grand succès. Il a dirigé l' Histoire de France (Fayard), dont il a lui-même écrit le tome II, Le Temps des Principautés.</text>
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Couverture de Olivier Fontvieille</text>
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                <text>Après le succès d'Ubu roi, Alfred Jarry se tient délibérément en marge, refusant célébrité et reconnaissance littéraire. Il change radicalement de style et compose L'Amour absolu (1899). Vaste poème d'un condamné à mort dans l'attente de sa dernière heure avant la guillotine, il se développe comme une effraction fabuleuse dans le sommeil et le rêve, et convoque des souvenirs de l'enfance.&#13;
L'Amour absolu parle de choses très simples en les dissimulant sous une apparence complexe, par pudeur et par jeu. Par la beauté de ses images fulgurantes, même si les formes symbolistes sont encore prégnantes, il annonce déjà le surréalisme.</text>
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