Download e-book for kindle: Journaux de voyage by Albert Camus


By Albert Camus

'C’est les jambes flageolantes que je reçois le optimum coup de manhattan. Au superior regard, hideuse ville inhumaine. Mais je sais qu'on swap d’avis. Ce sont des détails qui me frappent : que les ramasseurs d’ordures portent des gants, que l. a. movement est disciplinée, sans intervention d’agents aux carrefours, etc., que personne n’a jamais de monnaie dans ce will pay et que tout le monde a l'air de sortir d’un movie de série. Le soir, traversant Broadway en taxi, fatigué et fiévreux, je suis littéralement abasourdi par los angeles foire lumineuse.'

Ce quantity comprend les journaux de voyage d’Albert Camus aux États-Unis de mars à mai 1946, puis en Amérique du Sud de juin à août 1949.

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'C’est les jambes flageolantes que je reçois le greatest coup de ny. Au best regard, hideuse ville inhumaine. Mais je sais qu'on swap d’avis. Ce sont des détails qui me frappent : que les ramasseurs d’ordures portent des gants, que l. a. circulate est disciplinée, sans intervention d’agents aux carrefours, and so on.

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Garcia remains a shadowy figure, his story lost to the wastelands of la Zone. Garcia was the composer of “Minch valse,” his sole surviving composition, yet it was a singular masterwork that built his fame as the godfather of a distinguished style of valse musette known as the valse manouche for its Gypsy composers. The melody of Garcia’s “Minch valse” was borne on rippling arpeggios running in ascending melodic lines. The title of this rhapsody, however, had a jocular, base background that was straight off the dirty floors of the dance halls.

In addition, Vacher played the java, a dance that became the pride of musette. Legend held that the java got its name at Le Rat Mort, a grand bal reigning over place Pigalle in Paris’s red-light district. Here, the women were infatuated with the 3/4-time Italian mazurka “Rosina” that they danced in quick, minced steps with their hands planted on their partners’ derrières. ” Paris woke one morning and a new dance had been born. Yet the debut of a new dance was contentious. ” Art or not, the dancers begged for encores, and Vacher hurried to compose fast-paced javas for his fans.

Often, he played solo. Other times, he led a trio of a violin and hurdy-gurdy. ” Bouscatel pumped up the red-velvet-covered airbag with his right arm, blew into the mouthpiece, and the night began. THE MELODY of the bagpipe’s song was soon to be interrupted. By the late 1800s, another wave of immigrants began arriving in Paris—Italians—bringing their own musical instrument, the accordion. This robotic kin of the bagpipes was a complete band in a box, and the Italians played their own traditional songs and light opera airs with a sound that waltzed from sad to sweet and back again.

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