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Illustration de Didier Bourguignon&#13;
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          <element elementId="79">
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              <elementText elementTextId="23476">
                <text>49 p.</text>
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                <text>FPPB-GIL-V-0 000 740</text>
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            <name>Provenance</name>
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              <elementText elementTextId="23453">
                <text>Goffin, Robert</text>
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              <elementText elementTextId="23456">
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              <elementText elementTextId="23459">
                <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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            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Provenance</name>
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                <text>Fonds Pierre Puttemans</text>
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      <tag tagId="15">
        <name>Poésie</name>
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      <tag tagId="1087">
        <name>Robert Goffin</name>
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                  <text>Bibliothèque de Pierre Puttemans - FPPB</text>
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        <element elementId="111">
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          <description/>
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            <elementText elementTextId="23428">
              <text>1er trim. 1953</text>
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        </element>
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            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="23415">
                <text>Poèmes de Morven le gaëlique</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="23416">
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="23417">
                <text>Lanoë, Julien</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="23418">
                <text>Gallimard</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="23419">
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="23420">
                <text>Préface de Julien Lanoë</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="23421">
                <text>12 X 18 cm</text>
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          <element elementId="44">
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            <description>A language of the resource</description>
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              <elementText elementTextId="23422">
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23423">
                <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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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FPPB-JAC-P-0 001 168</text>
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                <text>C’est à partir de 1926 que Max Jacob, sentant poindre la lassitude après cinq années passés dans le monastère désaffecté de Saint-Benoît-sur-Loire, décide d’entreprendre un travail entièrement dédié au renouvellement de la poésie religieuse. Converti depuis 1915, il signera sous le pseudonyme de Morven le Gaélique des poèmes dans lesquels il usera des formes folkloriques bretonnes pour mener à bien son dessein. Et il regagnera Paris, sans qui rien n’est finalement possible… mais le monde littéraire ne l’a pas attendu et la déconvenue le cueillera à froid.&#13;
 &#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;
La poésie de Morven est d’abord une poésie habitée : Max Jacob laisse transpirer ses certitudes canoniques qui, depuis l’apparition dont il prétend avoir été témoin, inspirent une grande partie de son œuvre. Construits en monologues, dialogues ou chansons, les vers tiennent à conserver néanmoins l’origine humaine, cette voix qui parle au fond de lui et s’incarne par sa plume. Ainsi, le rythme façonne le débit, la césure des phrases, l’état d’esprit et les fortes images des Cornouailles… Sans en avoir l’air, Max Jacob peint une poésie proche des sonnets du XVIe siècle !</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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        <name>Julien Lanoë</name>
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        <name>Poésie</name>
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                <text>Le Cornet à dés II</text>
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              <elementText elementTextId="23404">
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="23405">
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="23407">
                <text>Note liminaire d'André Salmon</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="23408">
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="23409">
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            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="23410">
                <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="23411">
                <text>188 p.</text>
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            <name>Identifier</name>
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              <elementText elementTextId="23412">
                <text>FPPB-JAC-C-0 001 169</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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    <itemType itemTypeId="18">
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        <element elementId="111">
          <name>Dépôt légal</name>
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              <text>D/1971/Claude Bauwens, éditeur</text>
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        </element>
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          <element elementId="50">
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                <text>Non au jeu de queues de cerises</text>
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          <element elementId="39">
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            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="23390">
                <text>Bauwens, Claude</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="23391">
                <text>Herregodts, Urbain</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>
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              <elementText elementTextId="23393">
                <text>1971</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="23394">
                <text>Illustrations de Urbain Herregodts&#13;
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23395">
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                <text>Octavio Paz a défini ainsi la poésie de Juarroz « chaque poème de Roberto Juarroz est une surprenante cristallisation verbale : le langage réduit à une goutte de lumière ».&#13;
Face à l’immuable, Juarroz emploie des mots immuables, lents qui semblent inévitables, scellés, mais fragiles eux aussi : &#13;
« Même l’éternité n’est pas pour toujours » (Quinzième poésie verticale). &#13;
Sa poésie est « la face occulte, sauvegardée, d’une ouverture verticale dans la nuit. » (Silvia Baron Supervielle).&#13;
« La poésie est pour moi la plus grande plénitude de vie à laquelle je puis accéder. Je ne connais aucune expérience vitale de plus grande intensité. La poésie est mon identité. » (Poésie et création).&#13;
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Gil Pressnitzer&#13;
http://www.espritsnomades.com/sitelitterature/juarroz/juarroz.html</text>
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&#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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&#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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            <elementText elementTextId="23208">
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        <element elementId="111">
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          <elementTextContainer>
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              <elementText elementTextId="23195">
                <text>D'un espace renoué</text>
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          <element elementId="39">
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            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="23196">
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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="23197">
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            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="23200">
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          <element elementId="44">
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            <description>A language of the resource</description>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="23202">
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            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="23203">
                <text>53 p.</text>
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          <element elementId="43">
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            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="23204">
                <text>FPPB-JON-E-0 001 155</text>
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            </elementTextContainer>
          </element>
          <element elementId="90">
            <name>Provenance</name>
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        <element elementId="96">
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            <elementText elementTextId="23190">
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        <element elementId="105">
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          <elementTextContainer>
            <elementText elementTextId="23191">
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        <element elementId="106">
          <name>Justification du tirage de tête</name>
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            <elementText elementTextId="23192">
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        <element elementId="107">
          <name>Justification du tirage personnel</name>
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            <elementText elementTextId="23193">
              <text>30 ex.sur Velin de Rives comportant 10 xylographies en couleurbde Gustave Marchoul, imprimés par l'artiste, dont 10 marqués de A à J sur Japon torinoko-kozu. (ex. A et B H.C.)</text>
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              <elementText elementTextId="23180">
                <text>Image incendie mémoire</text>
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          <element elementId="39">
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              <elementText elementTextId="23181">
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              <elementText elementTextId="23182">
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            <description>The file format, physical medium, or dimensions of the resource</description>
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            <description>A language of the resource</description>
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              <elementText elementTextId="23185">
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="23186">
                <text>Ouvrage imprimé</text>
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            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="23187">
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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="23188">
                <text>FPPB-JON-I-0 001 156</text>
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          <element elementId="90">
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              <elementText elementTextId="23210">
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        <element elementId="111">
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              <elementText elementTextId="23171">
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            <description>The nature or genre of the resource</description>
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                <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="23176">
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                <text>FPPB-JOU-F-0 001 159</text>
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          <element elementId="90">
            <name>Provenance</name>
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        <element elementId="107">
          <name>Justification du tirage personnel</name>
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            <elementText elementTextId="23167">
              <text>6 ex.sur Velin de Rives comportant une suite de 6 gravures de René Mels signées et numérotées par  l'artiste de A à F étant accompagné des plaques rayées d'une des gravures.</text>
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Ubu Cocu&#13;
Ubu enchainé&#13;
Alamanchs du père Ubu&#13;
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                <text>Triolet, Elsa</text>
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                <text>Présentation de Elsa Triolet</text>
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                <text>16 X 11 cm</text>
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                <text>FPPB-DOB-P-0 000 075</text>
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                <text>Fonds Pierre Puttemans</text>
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        <name>Charles Dobzynski</name>
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        <name>Hippogriffe</name>
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                  <text>Bibliothèque de Pierre Puttemans - FPPB</text>
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              <text>2-213-01194-X&#13;
9782213011943 (EAN)</text>
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                <text>François Villon</text>
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                <text>Favier, Jean</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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