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Confucius séduit par sa bonne humeur, sa générosité, sa bonhomie, et réussit à concilier la vigueur des principes moraux et les faiblesses des humains.&#13;
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                <text>Enfin, un ouvrage sur Garrett List ! Personnage discret mais indispensable dans l’aventure de la musique improvisée en Belgique et ailleurs, Garrett List voit ici réparé un oubli, un manquement qu’on ne peut expliquer que par l’intégrité de l’homme venu du désert pour trouver son épanouissement dans la cité ardente. Compositeur, tromboniste, chanteur, pédagogue, l’Américain Garrett List vit depuis plus de trente années à Liège où il a enseigné l’improvisation au Conservatoire. Enseigné est un faible mot pour le travail réalisé à Liège à l’invitation de Henri Pousseur, alors directeur du Conservatoire : une noria de jeunes talents qui secouent encore aujourd’hui le cocotier du jazz européen sont passés par le séminaire : Fabrizio Cassol, Michel Debrulle, Michel Massot, Pierre Bernard, Pierre Vaiana, Kris Defoort, et bien d’autres qui ont participé à l’émergence de groupe comme Trio Bravo, Trio Grande, Nasa Na, Aka Moon, Deep in the Deep, KD’s Basement Party ou La Grande Formation. Activiste dans la musique d’avant-garde à New-York dans les années 1970, Garrett List a travaillé aux côtés de Pierre Boulez, Henri Pousseur, John Cage, Anthony Braxton… et devient ainsi un des précurseurs dans le domaine de l’improvisation libre. Ce livre d’une centaine de pages retrace le trajet de l’artiste au travers de quatre saisons qui déterminent son parcours : l’Arizona, la Californie, New-York et Liège. Après un intermède photographique composé principalement d’inédits, la deuxième partie de l’ouvrage propose le condensé d’une quinzaine d’heures d’entretien de l’auteur, Bernard Legros, avec Garrett List, partie riche en considérations que ce soit sur la pédagogie de l’improvisation («  décongestionner l’approche instrumentale et orchestrale académique » comme le dit si bien Jean-Pol Schroeder, « apprendre aux étudiants à être autodidacte » dixit Garrett List), la notion de musique populaire chère à l’artiste , la vision du monde, la recherche de ses racines et pour conclure son dernier projet « Orchestra Vivo ! » (« dans « Orchestra Vivo ! », la liberté est une condition et un état de vie »). Un ouvrage dense qui fait découvrir un homme toujours en questionnement sur son art et le monde. Aux Éditions Jacques Flament. En vente dans les librairies « Joli Mai » à Bruxelles, « Livre aux Trésors », « Pax », « Wattitude » et « Galerie Isabeau » à Liège.&#13;
&#13;
Jean-Pierre Goffin</text>
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Nombreuses photographies de clients célèbres :Albert, Beeldens, Marcel Dieu, Michel De Ghelderode, Robert Goffin, René Magritte, Marcel Marien, E.L.T. Mesens, Jacques Lacomblez, Marcel Lecomte, Louis Scutenaire, René Verboom</text>
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L'exemplaire présent dans le fonds Puttemans est dédicacé par Marcel Piqueray à Pierre Puttemans. </text>
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                <text>Un coup de coeur du Carnet&#13;
Pierre MALHERBE&#13;
calonne_malherbeOutre une délicate pièce pour piano de Maurice Ravel, dédiée à Léon-Paul Fargue, il existe une myriade de noctuelles, près de vingt-cinq mille espèces à la surface de la terre, semble-t-il, et qu’on appelle un peu plus anonymement des papillons de nuit. Les chenilles de noctuelles sont la terreur des agriculteurs et des passionnés des jardins, car, polyphages, elles se nourrissent de tout ce qui leur passe sous le nez, et uniquement la nuit bien sûr – la journée, elles digèrent leur festin et se reposent avec nonchalance. Jacques Calonne, né en 1930 à Mons, fait partie de cette grande famille des noctuelles, à ceci près qu’il n’est la terreur de personne ayant les doigts verts.&#13;
&#13;
Au contraire, ce rejeton de Cobra dont il fut l’un des plus jeunes membres, à 19 ans, n’a aucune peine à rassembler autour de sa personne de touche-à-tout, de ses partitions musicales, écrits poétiques, peintures, compositions calligraphiques et joyeuses extravagances artistiques, une imposante myriade d’amis et de connaissances. Composé avec soin et enthousiasme durant plusieurs années par Sylvie Van Hiel Broodthaers, voici que paraît à L’Âge d’Homme un de ces livres-monstres qui font le bonheur des fureteurs d’encyclopédies, et de tous ceux qui souhaiteront découvrir ou approcher de plus près ce lépidoptère lettré et curieux qu’est Jacques Calonne, également connu sous le nom du « Ténor mondain »  – l’une de ses innombrables activités de soirée.&#13;
&#13;
Souris, Boulez et Plastic Bertrand&#13;
&#13;
Qui est réellement Jacques Calonne ? Près de six cent pages fourmillantes de témoignages, de textes, d’entretiens, de conversations improvisées, de documents, ne permettent évidemment pas de saisir l’insaisissable. Car, fidèle à sa réputation – « personne n’a vécu, ne vit comme lui l’antispécialisme de Cobra », écrivait son ami Dotremont en 1970 – Calonne s’est démultiplié dans le temps, l’espace et les disciplines. La musique y tient une grande place, lui qui, formé/déformé au conservatoire de Bruxelles, et ensuite à l’académie des beaux-arts, rencontra le dodécaphonisme grâce à André Souris. Dès le milieu des années 50, il fréquente durant quinze ans l’école de Darmstadt (Stockhausen, Maderna, Boulez…) puis, plus tard, Bartholomée, Foccroulle, et même Plastic Bertrand. Entre la carrière de compositeur-théoricien d’avant-garde et celle de chanteur de mélodies de salon ou de cabaret, Calonne n’a pas choisi, embrassant les deux. Ce qui donne ce compliment expert du musicologue Harry Halbreich : « Une œuvre de Jacques, c’est comme un diamant. Il aurait pu être le plus grand compositeur du pays. C’est un marginal irrécupérable. »&#13;
&#13;
Le goût de l’inachèvement&#13;
&#13;
La littérature et les arts plastiques n’en ont pas moins attiré dans leurs filets – à moins que ce ne soit l’inverse ? – l’auteur de Belle que jamais, un roman (et le seul), publié par Dotremont dans sa revue « Strates ». Par Cobra, ce collectionneur de pommes de terre en germes, de boîtes d’allumettes et de disques 78T se lie avec les acteurs de la « Belgique sauvage », le futur créateur des logogrammes, Pierre et Micky Alechinsky, Asger Jorn, mais également Appel, Bury, Reinhoud, André Balthazar ou encore les frères Piqueray. Assez désinvolte pour ne pas vouloir faire œuvre achevée, synonyme de pierre tombale, il laisse s’accumuler de petites choses, objets divers, brèves de comptoir, aphorismes, pastiches poétiques, bêtises entendues, notations légères et mignardises drôles, qui se dégustent ici comme des œufs d’esturgeon : « Dans le bottin de Berlin, en 1972, on trouvait seize Richard Wagner. » Ou : « Lorsqu’un Français tombe sur un mot français qu’il ne connaît pas, il croit que c’est un belgicisme. » Et encore: « Lu sur une affiche. La Tempête de William Shakespeare, spectacle en plein air. »&#13;
&#13;
Pas franchement attiré par les surréalistes, il lorgne volontiers du côté des lexico-linguistes. Peut-être pas Hanse ou Grevisse, mais plutôt Schleyer, assez oublié aujourd’hui, créateur du volapük, un langage artificiel cousin de l’esperanto. La version de Calonne du « Corbeau et du Renard » en cet idiome est un chef-d’œuvre d’oralité, tout comme son Petit lexique picard belge qui n’eût pas déplu à Scutenaire. Calonne personnage a encore promené sa silhouette de dandy dégingandé dans des films de Luc de Heusch, Boris Lehman, Jan Bucquoy, Fred Van Besien, Claude François, Noël Godin, et déambulé nocturnement en maints estaminets, en compagnie d’amies et d’amis, connus ou inconnus. Pour un grand nombre d’entre eux, dont Edouard Baer, ils se trouvent en assez bonne situation dans cet ouvrage imparable, aussi inclassable que le reste son sujet. A vos filets !&#13;
&#13;
Jacques CALONNE, Noctuelles, orchestré par Sylvie Van Hiel Broodthaers, Lausanne, L’Âge d’Homme, 592 p., 35 €</text>
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                <text>Quoi de plus doux pour apprendre quelqu’un / que de connaître son organe intime. Et le poète William Cliff de prendre le large, en skipper subtil, sur la grande mer des corps virils, d’aller, promeneur solitaire, narine aux vents et mains de sourcier, taillant la route des roideurs et des spasmes, cap sur les visages donnés et les élans offerts au détour de soudaines rencontres. S’engouffrant à perte de corps dans l’obscurité de certaines salles au fumet fétide, aux fauteuils défoncés, mais au voisinage délicieux, accostant aux bars de la nuit pour quelques contacts fugaces, à Philadelphie ou Viña del Mar, New York ou Bruxelles, William Cliff, beau héros abreuvé d’abjection au fil de poèmes néoélisabéthains, ciselés et d’une délicatesse glorieuse, narre le membre frémissant de l’hôte d’un soir, les cuisses du louveteau, l’orteil de l’amant, les douces muqueuses : car dans la vie on aime que nous happent / certaines choses un peu dégoûtantes / qui nous font sortir de l’ennui ordinaire. Une quête des corps amoureux qui délivre de ce cafard qui encrasse les jours et dont le soleil, dieu de flamme qui sourit aux heureux et frappe ceux qu’il damne, ne nous délivre pas. Plus de vingt-cinq ans après son tombeau de Conrad Detrez, William Cliff fait retour au Dilettante pour un nouveau cahier de poèmes qui tente de prendre aux rets du mètre classique les fuyantes extases de l’amour masculin et de garder encore l’enfance d’un corps promis à la mort : Salut à toi, beauté, que la rue m’a fait voir !</text>
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                <text>Saint Augustin et l’augustinisme&#13;
&#13;
Seize siècles nous séparent de saint Augustin : né en 354 apr. J.-C., il est mort en 430. Depuis lors, son rôle fut essentiel, à un titre ou un autre, en pratiquement tous les siècles. Aujourd’hui réédité, lu, commenté, sa place dans l’évolution de la culture occidentale est reconnue par tous, chrétiens et non-chrétiens.&#13;
&#13;
Mais on ne prête qu’aux riches : salué comme un génie, il est aussi rendu responsable de nos soubresauts religieux – la Réforme –, de nos malheurs politiques – la prétention de l’Église à dominer l’État –, de nos désarrois privés – le mépris chrétien du corps et de la sexualité.&#13;
&#13;
Au-delà de ces controverses, cet ouvrage d’un grand historien de l’Antiquité tardive revient à Augustin lui-même, à sa vie et à son œuvre : la seule manière de le connaître vraiment et de porter un jugement équilibré sur sa postérité intellectuelle.&#13;
&#13;
&#13;
&#13;
Henri-Irénée Marrou (1904-1977)&#13;
&#13;
Il fut l’un des grands spécialistes de l’histoire du christianisme ancien.</text>
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                <text>Saint François d’Assise et l’esprit franciscain&#13;
&#13;
François est devenu un saint mythique dans l’histoire chrétienne d’Occident. Nul sans doute n’a poussé aussi loin l’imitation de Jésus. Ne l’a-t-on pas appelé « la plus parfaite copie du Christ », « le très saint miroir de la sainteté du Maître » ? Comme tous les mythes, il a sa légende, consignée dans les merveilleux fioretti.&#13;
&#13;
Au-delà de la légende, qui était le petit pauvre d’Assise ? Dans quel monde, quelle Église a-t-il surgi ? Qu’a-t-il fait qui lui a valu une telle renommée ? Quel fut son message spirituel ? Quel héritage a laissé à sa mort, en 1226, François le « frère universel », le saint séraphique, le simple par excellence ? Yvan Gobry, après avoir raconté cette vie exceptionnelle, expose ce qu’est l’« esprit franciscain », qu'il illustre par une anthologie de textes de François et de ses héritiers.&#13;
&#13;
&#13;
Ivan Gobry&#13;
&#13;
Professeur honoraire à l’université de Reims, il a écrit une centaine d'ouvrages et reçu de nombreuses distinctions littéraires.</text>
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                <text> Le but de cette publication est de rendre accessibles des connaissances indispensables non seulement à ceux qui sont attachés à la philosophie comme discipline, mais encore à ceux qui, plus largement, s'intéressent au mouvement des idées et de la culture."&#13;
&#13;
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Où vais-je ranger tes lettres, Boris? Les changements d'adresses, tu les connais. Traduire cela, c'est faire le film de ta vie. Quel plan faut-il tourner pour cerner le contenu de ces lettres? Traduire. Silence. En ces lieux connus, repérables, tu nous fais voir et savoir ce qu'il y a d'inconnu dans la relation de l'image (la chose et son objet) à l'être qui se déplace (le verbe et son sujet).&#13;
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Traduire.&#13;
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&#13;
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              <elementText elementTextId="39718">
                <text>1951</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39719">
                <text>14 X 20 cm</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="39720">
                <text>fr</text>
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            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="39721">
                <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="39722">
                <text>328 p.</text>
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            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="39723">
                <text>FLRB-VAN-E-0 000 252</text>
              </elementText>
            </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="39724">
                <text>Fonds Luc Rémy</text>
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    <tagContainer>
      <tag tagId="9498">
        <name>Latin</name>
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      <tag tagId="9426">
        <name>W. van Rijckevorsel</name>
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  <item itemId="2985" public="1" featured="0">
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                <elementText elementTextId="22754">
                  <text>Bibliothèque de Luc Rémy</text>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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                  <text>Rémy, Luc</text>
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          <name>Collection de l'éditeur</name>
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        <element elementId="104">
          <name>N° dans la collection</name>
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            <elementText elementTextId="39739">
              <text>N°252</text>
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          <name>Dépôt légal</name>
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            <elementText elementTextId="39740">
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="39725">
                <text>L'enfant de la haute mer</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39726">
                <text>Supervielle, Jules</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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                <text>Palayer, Jean</text>
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            <description>An entity responsible for making the resource available</description>
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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>
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              <elementText elementTextId="39729">
                <text>1978</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="39730">
                <text>Illustration de Jean Palayer.</text>
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            </elementTextContainer>
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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="39731">
                <text>11 X 18 cm</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>fr</text>
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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="39733">
                <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="39734">
                <text>158 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="39735">
                <text>FLRB-SUP-E-0 000 253</text>
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          </element>
          <element elementId="53">
            <name>Abstract</name>
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              <elementText elementTextId="39736">
                <text>Sans doute le livre le plus superbement mélancolique qu'il m'ait jamais été donné de lire. Peut-être n'est-il pas de plus grand écrivain que Supervielle qui soit tombé dans un oubli aussi complet. Il est dur de décrire la subtilité de son écriture, l'étrange ambiance de ces quelques nouvelles, la douceur triste qui habite chacune de ses phrases.&#13;
La première histoire, celle qui donne son nom au recueil, en est l'apogée. Une fillette vit seule dans un village au milieu de l'océan. Quand un navire s'approche, elle tombe soudainement endormie, et les maisons plongent sous la mer. Que fait-elle là, toute seule ? de toute sa vie, elle n'a connue que l'immensité de la solitude… Connaitra-t-elle un jour autre chose ? Quel est cet endroit, pourquoi est-elle là ?&#13;
Chaque nouvelle développe son étrange atmosphère douce-amère, campe ses personnages acceptant silencieusement leurs destins trop lourds. Celui-ci va même par delà la mort dans ‘Les boiteux du ciel'. Là où ce qui reste des hommes n'est plus qu'ombre au milieu des ombres, croyant mener une vie dans ce qui n'est qu'ombre... Paradoxalement, la plus sombre du recueil et la seule qui se termine sur une note heureuse !&#13;
Et au milieu de tout cela une touche de merveilleux presque incongrue, qui révèle une foi profonde et nourrie de la ‘Légende Dorée' chez celui qu'on aurait pu croire athée, au vu de sa description de l'après-mort. C'est la nativité racontée du point de vue du boeuf et de l'âne de la crèche. Un doux moment de beauté et de paix, où le boeuf réchauffe de son souffle l'enfantelet dans la paille… Qu'a-t-il fallut pour que Supervielle chasse la mélancolie qui habite chacune de ses lignes, en dehors de celles-ci ? Un souvenir des Noëls de l'enfance, peut-être…&#13;
Peut-être est-ce mieux au fond que Supervielle ne soit pas plus connu. Entendre la presse ou la télévision en parler me donnerait l'impression de voir un ours fouiller dans des dentelles aux fuseaux…&#13;
&#13;
Philippe Castellain   11 décembre 2017</text>
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          </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="39737">
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        <name>Jean Palayer</name>
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        <name>Jules Supervielle</name>
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            <element elementId="50">
              <name>Title</name>
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              <description>An entity primarily responsible for making the resource</description>
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          <name>ISBN</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="39757">
              <text>978-2-7103-7187-8</text>
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            <elementText elementTextId="39758">
              <text>ISSN 1160-3100</text>
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          </elementTextContainer>
        </element>
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          <name>Collection de l'éditeur</name>
          <description>Collection chez l'éditeur</description>
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            <elementText elementTextId="39759">
              <text>La petite vermillon</text>
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        <element elementId="104">
          <name>N° dans la collection</name>
          <description/>
          <elementTextContainer>
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              <text>N°394</text>
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          </elementTextContainer>
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        <element elementId="111">
          <name>Dépôt légal</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="39761">
              <text>mars 2014</text>
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      </elementContainer>
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    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39741">
                <text>L'enfer</text>
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            </elementTextContainer>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Dante</text>
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              <elementText elementTextId="39743">
                <text>Alighieri, Dante</text>
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              <elementText elementTextId="39744">
                <text>Durante degli Alighieri</text>
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          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39745">
                <text>Cliff, William</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="39746">
                <text>La Table Ronde</text>
              </elementText>
            </elementTextContainer>
          </element>
          <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="39747">
                <text>2014</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39748">
                <text>Edition bilingue italien - français&#13;
Traduction de William Cliff&#13;
Dédicace du traducteur à William Cliff</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>
            <elementTextContainer>
              <elementText elementTextId="39749">
                <text>11 X 18 cm</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39750">
                <text>fr</text>
              </elementText>
              <elementText elementTextId="39751">
                <text>it</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39752">
                <text>Ouvrage imprimé</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="39753">
                <text>403 p.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="39754">
                <text>FLRB-DAN-E-0 000 254</text>
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            </elementTextContainer>
          </element>
          <element elementId="53">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="39755">
                <text>«Offrir un vrai poème dont la marche n’est en rien entravée» : telle est l’ambition de cette nouvelle traduction de L’Enfer. Afin de rendre au plus près le rythme de l’œuvre de Dante, William Cliff a pris le parti de suivre le «chiffre» du décasyllabe original. Sur le fond, il n’a pas hésité à supprimer des noms et des références qu’il jugeait inutiles ou fastidieux. Loin de trahir le poète florentin, le poète belge l’accompagne. La richesse de sa traduction tient à cela : il se glisse sur ses pas, telle une ombre, dans les cercles infernaux. &#13;
Cliff, comme Dante, est un poète en marche.</text>
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          </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="39756">
                <text>Fonds Luc Rémy</text>
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        <name>Durante degli Alighieri</name>
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      <tag tagId="1429">
        <name>William Cliff</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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      <description/>
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        <element elementId="96">
          <name>Tirage</name>
          <description/>
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            <elementText elementTextId="39777">
              <text>FLRB - Ex. n°202</text>
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        </element>
        <element elementId="105">
          <name>Justification du tirage ordinaire</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="39778">
              <text>520 ex. numérotés à la suite s'arrêtant au chiffre 600</text>
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          </elementTextContainer>
        </element>
        <element elementId="106">
          <name>Justification du tirage de tête</name>
          <description/>
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            <elementText elementTextId="39779">
              <text>50 ex.numérotés de 1 à 50 destinés aux amis de la Pierre d'Halluin signés par Valerio Adami</text>
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        </element>
        <element elementId="107">
          <name>Justification du tirage personnel</name>
          <description/>
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            <elementText elementTextId="39780">
              <text>13 ex. numérotés de 1 à 13 marqués é.a.&#13;
10 ex. numérotés de I à X marqués h.c.&#13;
7 ex. de chapellz marqués aux initiales des collaborateurs&#13;
Cex exemplaires comportent dans chaque volume,,en frontispice, une gravure originale de Valerio Adami, réalisée au burin par Alain Regnier numérotée comme décrit supra et signée par l'artiste&#13;
&#13;
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        </element>
        <element elementId="111">
          <name>Dépôt légal</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="39781">
              <text>D/1989/3739/1</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="39765">
                <text>Le mal des mots</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="39766">
                <text>Dypréau, Jean</text>
              </elementText>
              <elementText elementTextId="39767">
                <text>Adami, Valerio</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="39768">
                <text>La Pierre d'Alun</text>
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            </elementTextContainer>
          </element>
          <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="39769">
                <text>1989</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="39770">
                <text>Textes de Jean Dypréau&#13;
Illustrations de Valerio Adami&#13;
Les exemplaires du tirage de tête comportent&#13;
une gravure originale de Valerio Adami, réalisée au burin par Alain Regnier numérotée comme décrit supra et signée par l'artiste</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>
            <elementTextContainer>
              <elementText elementTextId="39771">
                <text>17 X 23 cm</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39772">
                <text>fr</text>
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          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="39773">
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              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="39774">
                <text>76 p.</text>
              </elementText>
            </elementTextContainer>
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