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By Jacques Chessex

Winner of France's so much prestigious literary award, the Prix Goncourt.

A haunting paintings, similar to Albert Camus, that portrays with beautiful mental element the emotional challenge within the lifetime of Jean Calmet, a tender Swiss schoolteacher. As we watch the father's cremation within the commencing bankruptcy, we experience that, even supposing his father's physique has been lowered to ashes, his spirit survives to hang-out Jean. His father's prodigious power and virility had beaten his relations and ruined his son's youth. Even after his father's demise, Jean can't be unfastened. The parental ogre's activities proceed to suck Jean right into a vortex of despair.

‘First released in France in 1973, this unbearably unhappy novel from Swiss writer Chessex, the 1st non-French author to win the Prix Goncourt, charts a man’s sluggish yet regular course towards tragedy.Chessex completely captures the juxtaposition of the profound and the banal in a surreal scene the place a mortuary consultant hawks diverse versions of urns to carry cremated continues to be. Jean’s burden of guilt basically grows heavier with time, and the denouement will strike many as pathetically inevitable.’ Publishers Weekly

Jacques Chessex, a tremendous of Swiss literature, gained the Grand Prix de los angeles langue française and was once offered the Grand Prix Jean Giono for his complete paintings. sour Lemon Press released his novels The Vampire of Ropraz and A Jew needs to Die to excessive acclaim. He died in 2009 at age seventy-five.

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But the emotive behavior is not on the same plane as the other behaviors ; it is not effective. Its end is not really to act upon the object world as such through the agency of particular means. It by itself to confer upon the object, and with­ out modifying it in its actual structure, another seeks quality, a lesser existence, or a lesser presence ( or t 60 t A S KE T C H OF A P H E N O M E N O L O G I C A L T HEO R Y a short) in emo tion it is consciousness, changes in order that the world greater existence, etc.

Here the comedy is only half sincere. But let the situation be more urgent, let the incantatory behavior be carried out with seriousness ; there we have emotion. For example, take passive fear. I see a wild ani­ mal coming toward me. My legs give way, my heart beats more feebly, I turn pale, I fall and faint. Nothing seems less adapted than this behavior which hands me over defenseless to the danger. And yet it is a behavior of escape. Here the faint­ ing is a refuge. Let it not be thought that this is a refuge for me, that I order not to see am myself in more.

We shall try els ewh ere to d escri be in detail the world acted upon. The thing that matters here is to show that a c t i on as spontaneous unreflective consciousness constitutes a certain existential level in the world, and th a t in orde r to act it is not necessary to be f 56 f A S KE T C H OF A P H E N O M E N O L O G I C A L T HE O RY consci o us of In short, the self as acting-quite the contrary. unreflective behavior is not unconscious is consci o us of itself non-thetically, and its way of being thetically co ns cious of itself is to t ra n s cen d itself an d to seize upon t h e world as a quality of things.

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The Tyrant by Jacques Chessex


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