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&lt;ul&gt;&lt;li&gt;Je me de de&lt;/li&gt;
&lt;li&gt;Un oeuf est un oeuf&lt;/li&gt;
&lt;li&gt;Stop&lt;/li&gt;
&lt;li&gt;Poèmes pour les croulants&lt;/li&gt;
&lt;li&gt;Jardinage&lt;/li&gt;
&lt;li&gt;Un bien beau rêve&lt;/li&gt;
&lt;li&gt;Pour bien mourir&lt;/li&gt;
&lt;li&gt;C'est curieux&lt;/li&gt;
&lt;li&gt;Alternative&lt;/li&gt;
&lt;li&gt;Mini-roman&lt;/li&gt;
&lt;li&gt;Depuis toujours&lt;/li&gt;
&lt;li&gt;De tradition&lt;/li&gt;
&lt;li&gt;Complicité&lt;/li&gt;
&lt;li&gt;Tour d'horizon&lt;/li&gt;
&lt;li&gt;Peut-être bien&lt;/li&gt;
&lt;li&gt;[Non titré]&lt;/li&gt;
&lt;li&gt;Verdict&lt;/li&gt;
&lt;li&gt;Seuil&lt;/li&gt;
&lt;li&gt;En soi&lt;/li&gt;
&lt;li&gt;Le débutant&lt;/li&gt;
&lt;li&gt;Secrètement&lt;/li&gt;
&lt;li&gt;N'y pensez pas trop&lt;/li&gt;
&lt;li&gt;Nuages&lt;/li&gt;
&lt;li&gt;Hodie&lt;/li&gt;
&lt;li&gt;Ordinateur&lt;/li&gt;
&lt;li&gt;[Non titré]&lt;/li&gt;
&lt;li&gt;Soirée culturelle&lt;/li&gt;
&lt;li&gt;En chassant l'absolu.&lt;/li&gt;
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 &#13;
Un lit si vous ne pouvez pas lui donner,&#13;
prêtez-lui une femme pour accoucher,&#13;
car son ventre est aussi haut que sa figure.&#13;
 &#13;
(« Noël », extrait)&#13;
 &#13;
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Gil Pressnitzer&#13;
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                <text>Le Livre de la neige est le récit de l’extase du poète face à la nature. Les paysages enneigés, les oiseaux, les arbres qui peuplent les textes de François Jacqmin prennent vie grâce à des mots précis et à un langage limpide. Mais dans ces textes délicatement teintés d’humour, la poésie va au-delà de l’éveil de la nature pour questionner le sens.&#13;
&#13;
L’homme, être de langage, peut-il traduire le réel par l’écriture? Le poème parvient-il à exprimer le questionnement ou l’émerveillement que vit le sujet ? Ces interrogations propres à toute l’œuvre de Jacqmin se trouvent comme apaisées dans ce recueil où l’observation du milieu naturel amène à la méditation sur la pensée, le langage et la poésie.</text>
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                <text>La quadrature du temps&#13;
&#13;
Philippe JONES, Le double du calendrier, La Différence, 1993&#13;
&#13;
Les récits de Philippe Jones ne se lais­sent pas apprivoiser facilement. Sou­lignons tout d’abord qu’il ne s’agit pas de nouvelles : l’argument n’y est pas net­tement circonscrit, l’unité d’intrigue et d’effet n’est pas nécessairement respectée. D’où une certaine déstabilisation du lecteur qui ne sait, parfois, où se raccrocher pour dégager une signification. Peut-être cette impression découle-t-elle de la démarche poétique de l’auteur, qui privilégie « ce que l’on perçoit sans se l’expliquer », le « diffus sur le concret, [le] liquide sur le solide ». La diffi­culté provient finalement du fait que ce « perçu », véhiculé dans une prose incisive, est le résultat d’une intense décantation, où ne subsiste qu’une quintessence du réel. Et quelle est-elle, ici, cette quintessence ? Une temporalité complexe, qui conjugue le temps extérieur (celui des horloges) et le temps intérieur (celui que l’on sent passer), avec la durée et l’instant. Sorte de quadra­ture du temps, comme l’on dit « quadrature du cercle ». La construction de ces courts ré­cits se moule d’ailleurs dans une vision que l’on pourrait qualifier de cubiste : la juxta­position et la fragmentation des person­nages, des événements, des moments, ne se résolvent pas dans un plan linéaire mais trouvent leur place dans une chronologie subjective, aux axes multiples, seule perti­nente pour interpréter le récit (encore fau­drait-il se méfier de toute interprétation ex­clusive). Ainsi de ce récit où les voyageurs d’un train se croisent et se décroisent dans un espace clos où s’interpénètrent des bribes de présent et de passé, de réalité et de mi­rage.&#13;
&#13;
La démarche exigeante de Jones requiert donc une approche délicate, aussi attentive qu’intuitive. Mais au bout du compte, il ap­paraîtra que « toute ligne difficile à tracer re­monte à l’origine » et qu’entre l’écrivain et son lecteur, « le bonheur est une rencontre qui s’installe ».&#13;
&#13;
Dominique CRAHAY&#13;
&#13;
Le Carnet et les Instants n° 79, 15 septembre – 15 novembe 1993&#13;
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ex. N°209</text>
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                <text>À la suite de sa rencontre avec le critique d'art Jacques Lepage, Gervais Jassaud se lance en 1969 dans l'édition de livres d'artistes en créant la revue Génération, qui devient les éditions « Collectif Génération » au début des années 1970.&#13;
&#13;
Marqué par le mouvement Supports-Surfaces dont il fut un des promoteurs, Jassaud veut questionner le livre comme Claude Viallat, Daniel Dezeuze, ou Louis Cane ont questionné la peinture et la sculpture. Il demande un texte à un auteur, l’envoie à un artiste qui illustre un certain nombre d’exemplaires. Il intervient lui sur la mise en page. Les œuvres ainsi créées, « similaires mais pas identiques » (comme il est souvent écrit dans ses colophons), font donc travailler jusqu’à cinq intervenants : l’éditeur, l’artiste, l’écrivain, l’imprimeur et parfois le relieur. Orchestrant l’ensemble, l’éditeur est l’architecte du livre et son terrain d’action est la mise en page. Il est aussi très présent à tous les niveaux de création. Il oriente l’artiste, agence le texte de l’auteur et intervient sur la page pour aboutir au « livre total », au global book2.</text>
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Ubu Cocu&#13;
Ubu enchainé&#13;
Alamanchs du père Ubu&#13;
Ubu sur la butte&#13;
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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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                <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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                <text>Art et Anti-Art 1910-1970</text>
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                <text>La Connaissance</text>
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            <description>An account of the resource</description>
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                <text>Catalogue de l'exposition présentée au Palais des Beaux-Arts de Bruxelles du 22 avril au 22 juin 1971.</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>17 x 24 cm</text>
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            <description>A language of the resource</description>
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                <text>fr</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé</text>
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            <name>Identifier</name>
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                <text>FLRB-VAN-M-0 000 017</text>
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            <name>Abstract</name>
            <description>A summary of the resource.</description>
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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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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Van Lerberghe, Jan</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Haftmann, Werner</text>
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                <text>Mathey, François</text>
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                <text>Russoli, Franco</text>
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                <text>Merkert, Jörn</text>
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                <text>Russell, John</text>
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                <text>Dypréau, Jean</text>
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            <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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              <elementText elementTextId="35882">
                <text>Fonds Luc Rémy</text>
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        <name>Abstraction</name>
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        <name>Catalogue d'exposition</name>
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        <name>Cubisme</name>
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        <name>Dadaïsme</name>
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        <name>Franco Russoli</name>
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        <name>François Mathey</name>
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        <name>Jan Van Lerberghe</name>
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        <name>Jean Dypréau</name>
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        <name>John Russell</name>
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        <name>Jörn Merkert</name>
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        <name>Palais des Beaux-Arts (Bruxelles)</name>
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        <name>Pop Art</name>
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        <name>Surréalisme</name>
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        <name>Werner Haftmann</name>
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            <element elementId="50">
              <name>Title</name>
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                <elementText elementTextId="22754">
                  <text>Bibliothèque de Luc Rémy</text>
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                  <text>Rémy, Luc</text>
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          <name>Tirage</name>
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              <text>Ex. n° 30</text>
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          <name>Justification du tirage ordinaire</name>
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            <elementText elementTextId="22903">
              <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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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="22898">
                <text>Centre de Gravité</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22899">
                <text>Dypréau, Jean</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="22900">
                <text>La Sirène</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22901">
                <text>1954</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="22904">
                <text>19 x 29 cm</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="22905">
                <text>fr</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Ouvrage imprimé</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="22907">
                <text>FLRB-DYP-C-0 000 016</text>
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            </elementTextContainer>
          </element>
          <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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              <elementText elementTextId="35883">
                <text>Fonds Luc Rémy</text>
              </elementText>
            </elementTextContainer>
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    </elementSetContainer>
    <tagContainer>
      <tag tagId="395">
        <name>Jean Dypréau</name>
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      <tag tagId="15">
        <name>Poésie</name>
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  <item itemId="1683" public="1" featured="0">
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        <elementSet elementSetId="1">
          <name>Dublin Core</name>
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                  <text>Bibliothèque de Luc Rémy</text>
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              <name>Creator</name>
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                  <text>Rémy, Luc</text>
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      <name>Publication</name>
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        <element elementId="106">
          <name>Justification du tirage de tête</name>
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          <elementTextContainer>
            <elementText elementTextId="22897">
              <text>Il a été tiré de ce catalogue cinquante exemplaires signés par l'artiste numérotés de 1 à 50.</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="22888">
                <text>Eduardo Arroyo</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="22889">
                <text>Galerie Isy Brachot</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="22890">
                <text>1985</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="22891">
                <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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            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="22892">
                <text>22 x 30 cm</text>
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            <description>A language of the resource</description>
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                <text>fr</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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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="22895">
                <text>FLRB-ARR-A-0 000 015</text>
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          <element elementId="54">
            <name>Table Of Contents</name>
            <description>A list of subunits of the resource.</description>
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              <elementText elementTextId="22896">
                <text>Biographie, liste chronologique des expositions personnelles, liste chronologique des expositions collectives, bibliographie, textes, livres et activités théâtrales.</text>
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          <element elementId="90">
            <name>Provenance</name>
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              <elementText elementTextId="35884">
                <text>Fonds Luc Rémy</text>
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        <name>Arroyo</name>
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        <name>Galerie Isy brachot (Bruxelles)</name>
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        <name>Jean Dypréau</name>
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