European Contract Law Fauvarque-Cosson, Bénédicte; Mazeaud, Denis
2009, 2008, 2008., 2009-04-27
eBook
"The Association Henri Capitant des Amis de la Culture Juridique Française and the Société de législation comparée joined the academic network on European Contract Law in 2005 to work on the ...elaboration of a ""common terminology"" and on ""guiding principles"" as well as to propose a revised version of the Principles of European Contract Law (PECL). The results of this work were sent to the European Commission and have already been published in French. The English translation is now being published by sellier.elp. This work could contribute to the wider European project. The part on the guiding principles could be a component of the CFR, in the form of ""black letter"" model rules or recitals. The part on terminology is, in itself, useful for the elaboration of the final various linguistic versions of the CFR. It finds its place within the materials which will accompany the model rules. Last but by no means least, the revised version of the PECL should be considered by the European institutions as an alternative set of model rules on contract law."
This is the fifth volume of a projected translation into English of all twelve of Jean Racine’s plays. Geoffrey Alan Argent’s translations faithfully convey all the urgency and keen psychological ...insight of Racine’s dramas, and the coiled strength of his verse, while breathing new vigor into the time-honored form of the “heroic” couplet.
Complementing this translation are the Discussion and the Notes and Commentary—particularly detailed and extensive for this volume, Britannicus being by far Racine’s most historically informed play. Also noteworthy is Argent’s reinstatement of an eighty-two-line scene, originally intended to open Act III, that has never before appeared in an English translation of this play.
Racine’s Britannicus dramatizes a day in the life of Emperor Nero that would eventually change the course of Roman history. Agrippina, the widow of the recently deceased emperor Claudius, has manipulated subsequent events so that her son, Nero, would succeed to the throne ahead of his stepbrother, and Rome’s true heir, Britannicus. In Nero, Racine has created a character who embodies, but also engenders, the infamous qualities of the Roman Empire: its cruelty, its depravity, its refined barbarity. Overcoming his mother, his wife, Octavia, his tutors, and his vaunted “three virtuous years,” Nero makes his move to demonstrate his omnipotence, destroying his innocent stepbrother.
Racine's masterpieces--Andromaque, Britannicus, Phedre, and Athalie--are translated into English verse. The introduction and notes by Mr. Lockert guide the reader to a greater understanding of the ...plays.
Originally published in .
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As Voltaire famously opined, Athaliah, Racine’s last play, is “perhaps the greatest masterwork of the human spirit.” Its formidable antagonists, Athaliah, queen of Judah, and Jehoiada, high priest of ...the temple of Jerusalem, are engaged in a deadly struggle for dominion: she, fiercely determined to maintain her throne and exterminate the detested race of David; he, no less fiercely determined to overthrow this heathen queen and enthrone the orphan Joash, the scion of the house of David, whom Athaliah believes she slew as an infant ten years earlier. This boy represents the sole hope for the survival of the royal race from which is to spring the Christ. But in this play, even God is more about hate and retribution than about love and mercy. This is the fourth volume of a projected translation into English of all twelve of Jean Racine’s plays—only the third time such a project has been undertaken. For this new translation, Geoffrey Alan Argent has rendered these plays in the verse form that Racine might well have used had he been English: namely, the “heroic” couplet. Argent has exploited the couplet’s compressed power and flexibility to produce a work of English literature, a verse drama as gripping in English as Racine’s is in French. Complementing the translation are the illuminating Discussion, intended as much to provoke discussion as to provide it, and the extensive Notes and Commentary, which offer their own fresh and thought-provoking insights.
This is the first volume of a planned translation into English of all twelve of Jean Racine’s plays—a project undertaken only three times in the three hundred years since Racine’s death. For this new ...translation, Geoffrey Alan Argent has taken a fresh approach: he has rendered these plays in rhymed "heroic" couplets. While Argent’s translation is faithful to Racine’s text and tone, his overriding intent has been to translate a work of French literature into a work of English literature, substituting for Racine’s rhymed alexandrines (hexameters) the English mode of rhymed iambic pentameters, a verse form particularly well suited to the highly charged urgency of Racine’s drama and the coiled strength of his verse. Complementing the translations are the illuminating Discussions and the extensive Notes and Commentaries Argent has furnished for each play. The Discussions are not offered as definitive interpretations of these plays, but are intended to stimulate readers to form their own views and to explore further the inexhaustibly rich world of Racine’s plays. Included in the Notes and Commentary section of this translation are passages that Racine deleted after the first edition and have never before appeared in English. The full title of Racine’s first tragedy is La Thébaïde ou les Frères ennemis (The Saga of Thebes, or The Enemy Brothers). But Racine was far less concerned with recounting the struggle for Thebes than in examining those indomitable passions—in this case, hatred—that were to prove his lifelong focus of interest. For Oedipus’s sons, Eteocles and Polynices (the titular brothers), vying for the throne is rather a symptom than a cause of their unquenchable hatred—so unquenchable that by the end of the play it has not only destroyed these twin brothers, but has also claimed the lives of their mother, their sister, their uncle, and their two cousins as collateral damage. Indeed, as Racine acknowledges in his preface, “There is hardly a character in it who does not die at the end.”
