Trif

  • "Que de légendes, vraies ou fabuleuses, sont liées aux lointaines contrées de la Perse et au sultan Shahriyar, monarque et preux chevalier de Samarkand, dans des temps bien reculés", c'est ainsi que commence le conte pour les grands, Les mille et une nuits, de Trif. Choisie comme courtisane et promise à une mort cer­taine, Shéhérazade, la propre fille du vizir, n'entend pas être une nouvelle victime du sultan Shahriyar. Lors de sa première nuit avec lui, elle lui raconte un premier conte, et, au petit matin, lui en promet d'autres tout aussi mer­veilleux : mais pour cela, le sultan doit lui laisser la vie sauve pour une nuit supplémentaire. La belle arrivera-t-elle à attendrir le sultan blessé ? Second tome de cette série, pleine de charme et de sensualité, fruit de l'association du trait au réalisme charnel de Trif et aux couleurs chaudes d'Andrea Celestini.
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  • La version ePub de ce titre est au format maquette fixed : vérifiez la compatibilité de vos appareils de lecture.
    Succès incontournable de la BD érotique Blanche Neige méritait bien une intégrale. Avec son dessin tout en finesse empreint d'un réalisme soigneusement joyeux et excitant, sérieux et léger, accentué par les couleurs chaudes et douces d'Andrea Celestini, Trif nous offre dans ce volume en 144 pages la version pour adultes des célèbres contes des frères Grimm : Blanche Neige et Raiponce. Un album collector qui fera le bonheur des grands enfants !

  • Que de légendes, vraies ou fabuleuses, sont liées aux lointaines contrées de la Perse et au sultan Shahriyar, monarque et preux chevalier de Samarkand, dans des temps bien reculés", c'est ainsi que commence le nouveau conte pour les grands, Les mille et une nuits, de Trif. Trahi par sa femme, qu'il aime par-dessus tout, le sultan Shahriyar décide de se venger en la tuant et pour noyer son chagrin il promet de tuer toutes les nuits une femme, après l'avoir aimée. Mais la rencontre avec Shéhérazade, la fille du vizir, va tout changer. La belle arrivera-t-elle à mettre fin au massacre engendré par l'amour blessé du sultan ? Nouvelle série, en 2 volumes, pleine de charme et de sensualité, fruit de l'association du trait au réalisme charnel de Trif et aux couleurs chaudes d'Andrea Celestini.

  • Belle, jolie jeune fille, vit dans un hameau avec sa mère et ses deux petits frères espiègles. Lasse de cette vie rurale, elle rêve d'explorer le monde. Un rêve qui va l'amener à découvrir l'amour de la manière la plus étrange qui soit. La Belle et la Bête, un des plus beaux contes, raconté par le scénariste et dessinateur Trif, passé maître dans la réadaptation de contes pour les grands.

  • Cette image est destinée à un public majeur.

    J'ai plus de 18 ans

    Les contes de notre enfance cachent souvent une tout autre réalité... Il se pourrait bien que Blanche Neige ne fût pas une pure jeune fille tout comme Raiponce ne fut pas une fille au caractère bien trempé, le Prince charmant serait loin d'être agréable. Dans cette histoire, il n'y a vraiment que la Reine qui conserverait son trait de caractère : celui d'une salope narcissique et perverse de la pire espèce... C'est tout du moins l'avis de Trif, le scénariste et dessinateur de cette oeuvre décalée où le sensuel se mêle au fantastique. Alors, oubliez les douces mélodies de la jeune fille au coeur tendre, les gentils nains protecteurs et la pomme empoisonnée et préparez-vous à découvrir la vraie, la folle histoire de Blanche Neige et de Raiponce, dans cette version que personne n'a jamais osé raconter !

  • L'ultime pétale

    ,

    Mirabelle, perdue en forêt, a été recueillie par le seigneur d'un château isolé frappé d'une terrible malédiction. La Belle, en fréquentant la Bête, s'en éprend et va tout tenter pour le libérer de son sort.
    La Belle et la Bête, un des plus beaux contes, raconté par le scénariste et dessinateur Trif, passé maître dans la réadaptation de contes pour les grands.

  • Les contes de notre enfance cachent souvent une tout autre réalité... Il se pourrait bien que Blanche Neige ne fût pas une pure jeune fille tout comme Raiponce ne fut pas une fille au caractère bien trempé, le Prince charmant serait loin d´être agréable. Dans cette histoire, il n´y a vraiment que la Reine qui conserverait son trait de caractère : celui d´une salope narcissique et perverse de la pire espèce... C´est tout du moins l´avis de Trif, le scénariste et dessinateur de cette oeuvre décalée où le sensuel se mêle au fantastique. Alors, oubliez les douces mélodies de la jeune fille au coeur tendre, les gentils nains protecteurs et la pomme empoisonnée et préparez-vous à découvrir la vraie, la folle histoire de Blanche Neige et de Raiponce, dans cette version que personne n´a jamais osé raconter !

  • Les contes de notre enfance cachent souvent une tout autre réalité... Il se pourrait bien que Blanche Neige ne fût pas une pure jeune fille tout comme Raiponce ne fût pas une fille au caractère bien trempé, le Prince charmant serait loin d'être agréable. Dans cette histoire, il n'y a vraiment que la Reine qui conserverait son trait de caractère : celui d'une salope narcissique et perverse de la pire espèce... C'est tout du moins l'avis de Trif, le scénariste et dessinateur de cette oeuvre décalée où le sensuel se mêle au fantastique. Alors, oubliez les douces mélodies de la jeune fille au coeur tendre, les gentils nains protecteurs et la pomme empoisonnée et préparez-vous à découvrir la vraie, la folle histoire de Blanche Neige et de Raiponce, dans cette version que personne n'a jamais osé raconter !

  • - 70%

    Les contes de notre enfance cachent souvent une toute autre réalité... La marâtre de Cendrillon était en vérité bien plus sadique, ses demi-soeurs, bien plus abjectes, les domestiques, incroyablement vicieux, sa bonne fée pas vraiment attentionnée et le prince charmant, un libertin blasé. Quant à la pauvre Cendrillon, son innocence était trompeuse... Du moins, c'est ce que prétend, Trif, le scénariste et dessinateur de cette oeuvre décalée. Alors, oubliez la pantoufle de verre et les petits oiseaux et préparez-vous à découvrir la vraie, la folle histoire de Cendrillon, dans cette version que personne n'a jamais osé raconter !

  • Les contes de notre enfance cachent souvent une toute autre réalité...La marâtre de Cendrillon était en vérité bien plus sadique, ses demi-soeurs,bien plus abjectes, les domestiques, incroyablement vicieux, sa bonne fée pas vraiment attentionnée et le prince charmant, un libertin blasé. Quant à la pauvre Cendrillon, son innocence était plutôt trompeuse...
    Du moins, c´est ce que pré-tend, Trif, le scénariste et dessinateur de cette oeuvre décalée. Alors, oubliez la pantoufle de verre et les petits oiseaux et préparez-vous à découvrir la vraie, la folle histoire de Cendrillon, dans cette version que personne n'a jamais osé raconter !

  • Seeing like a city means recognizing that cities are living things made up of a tangle of networks, built up from the agency of countless actors. Cities must not be considered as expressions of larger paradigms or sites of human effort and organization alone. Within their density, size and sprawl can be found a world of symbols, bodies, buildings, technologies and infrastructures. It is the machine-like combination, interaction and confrontation of these different elements that make a city. Such a view locates urban outcomes and influences in the character of these networks, which together power urban life, allocating resources, shaping social opportunities, maintaining order and simply enabling life. More than the silent stage on which other powers perform, such networks represent the essence of the city. They also form an important political project, a politics of small interventions with large effects. The increasing evidence for an Anthropocene bears out the way in which humanity has stamped its footprint on the planet by constructing urban forms that act as systems for directing life in ways that create both immense power and immense constraint.

  • The concept of globalization has become ubiquitous in social science and in the public consciousness and is often invoked as an explanation for a diverse range of changes to economies, societies, politics and cultures - both as a positive liberating force and as a wholly negative one. Whilst our understanding of the politics, economics, and social resonance of the phenomenon has become increasingly sophisticated at the macro-level, this book argues that globalizationtoo often continues to be depicted as a set of extra-terrestrial forces with no real physical manifestation, except as effects. The essays challenge this dominant understanding of globalization from above through explorations of the mundane means by which globalization has been achieved. Instead of a focus on the meta-political economy of global capitalism, the book concentrates on the everyday life of capitalism, the not-so-little things that keep the large forces of globalization ticking over. With its eye on the mundane, the book demonstrates that a series of everyday and, consequently, all but invisibleformations critically facilitate and create the conditions under which globalization has flourished. The emphasis is on concrete moments in the history of capitalism when these new means of regular reproduction were invented and deployed. Only by understanding these infrastructures can we understand thedynamics of globalization.In short, punchy essays by distinguished researchers from across a range of disciplines, this book provides a new way of understanding globalization, moving away from the standard accounts of global forces, economic flows, and capitalist dynamics, to show how ordinary practices and artefacts are crucial elements and symbols of globalization.

  • Timekeeping is an essential activity in the modern world, and we take it for granted that our lives are shaped by the hours of the day. Yet what seems so ordinary today is actually the extraordinary outcome of centuries of technical innovation and circulation of ideas about time.

    Shaping the Day is a pathbreaking study of the practice of timekeeping in England and Wales between 1300 and 1800. Drawing on many unique historical sources, ranging from personal diaries to housekeeping manuals, Paul Glennie and Nigel Thrift illustrate how a particular kind of common sense about time came into being, and how it developed during this period.

    Many remarkable figures make their appearance, ranging from the well-known, such as Edmund Halley, Samuel Pepys, and John Harrison, who solved the problem of longitude, to less familiar characters, including sailors, gamblers, and burglars.

    Overturning many common perceptions of the past-for example, that clock time and the industrial revolution were intimately related-this unique historical study will engage all readers interested in how 'telling the time' has come to dominate our way of life.

  • The present book - through the topics and the problems approach - aims at filling a gap, a real need in our literature concerning CFD (Computational Fluid Dynamics). Our presentation results from a large documentation and focuses on reviewing the present day most important numerical and computational methods in CFD. Many theoreticians and experts in the field have expressed their - terest in and need for such an enterprise. This was the motivation for carrying out our study and writing this book. It contains an important systematic collection of numerical working instruments in Fluid Dyn- ics. Our current approach to CFD started ten years ago when the Univ- sity of Paris XI suggested a collaboration in the field of spectral methods for fluid dynamics. Soon after - preeminently studying the numerical approaches to Navier-Stokes nonlinearities - we completed a number of research projects which we presented at the most important inter- tional conferences in the field, to gratifying appreciation. An important qualitative step in our work was provided by the dev- opment of a computational basis and by access to a number of expert softwares. This fact allowed us to generate effective working programs for most of the problems and examples presented in the book, an - pect which was not taken into account in most similar studies that have already appeared all over the world.

  • 'This is an ambitious, original, and complex treatment of key aspects of contemporary capitalism. It makes a major contribution because it profoundly destabilizes the scholarship on globalization, the so-called new economy, information technology, distinct contemporary business cultures and practices'
    - Saskia Sassen, author of Globalization and its Discontents


    'Nigel Thrift offers us the sort of cultural analysis of global capitalism that has long been needed - one that emphasizes the innovative energy of global capitalism. The book avoids stale denouncements and offers instead a view of capitalism as a form of practice'
    - Karin Knorr Cetina, Professor of Sociology, University of Konstanz, Germany



    Capitalism is well known for producing a form of existence where `everything solid melts into air'. But what happens when capitalism develops theories about itself? Are we moving into a condition in which capitalism can be said to possess a brain?
    These questions are pursued in this sparkling and thought-provoking book. Thrift looks at what he calls 'the cultural circuit of capitalism', the mechanism for generating new theories of capitalism. The book traces the rise of this circuit back to the 1960s when a series of institutions locked together to interrogate capitalism, to the present day, when these institutions are moving out to the Pacific basin and beyond. What have these theories produced? How have they been implicated in the speculative bubbles that characterized the late twentieth century? What part have they played in developing our understanding of human relations?
    Building on an inter-disciplinary approach which embraces the core social sciences, Thrift outlines an exciting new theory for understanding capitalism. His book is of interest to readers in geography, social theory, anthropology and cultural economics.

  • Mobility - flows, movement and migration in social life - has emerged as a central area of sociological debate, yet one of its most dominant forms, automobility, has remained largely ignored. Edited by three leading social analysts, Automobilities presents one of the first and most wide-ranging examinations of the car and its promise of autonomy and mobility. Drawing on rich empirical detail, from ethnographies of office work on the motorway to the important of the car in French cultural theory, the contributions demonstrate just how significant have been the economic, technological, social and political consequences of a pervasive and accelerating culture of the car.

    A broad array of theories are put to work to illuminate this vast and yet neglected topic: strategy and tactics, complexity theory, performativity, actor network theory, film theory, material culture, theories of non-places, embodiment, sensuous geography/sociology, ethnomethodology and non-representational theory.

    This book will firmly establish automobilities as a key topic for theory and research. Automobilities represents a landmark text that will contribute to and provide a significant impetus for the emerging analysis of mobilities in contemporary societies.

  • 'Having just read this book, cover to cover, I can honestly say that I have not felt so excited about the discipline of geography since i was in my first year at college.... Overall, therefore, this is a truly wonderful book and the first comprehansive analysis of the cultural turn tha geography has taken, the pitfalls which lie ahead and the course which needs to be chartered. Innovative, invigorating, passionate and groundbreaking, it makes you feel great about being a cultural geographer, even if you never knew you were one'
    -Space and Polity

    `I never expected to call a handbook compulsive reading, but this wonderful volume changed all my preconceptions of what cultural geographers can do. Absorbing and thought-provoking, this is collaborative intellectual work at its imaginative best; it situates, explains and questions cultural geography as a "style of thought" and in the process imparts such vitality and joy from thinking in that style that this reader wants to join in. This Handbook can inform and inspire anyone concerned in any way with cultural research today' - Meaghan Morris, Chair Professor of Cultural Studies, Lingnan University, Hong Kong

    `The Handbook of Cultural Geography lives up to its name. It is a book about where things are, how people live, what life means and why events happen. It should be carried at all times by anyone who is curious about the world. Crammed within its covers is a wealth of detail about the power to make history and shape geography. This is a catalogue of the disagreements and alliances that shape the world, and of the politics (and costs) of engaging with that world.The book is comprehensive yet has depth, accessible as well as experimental, and challenging without being too daunting. Each page contains something that seems highly familiar yet curiously strange. The message of course is that what we normally take for granted is so strange. The achievement is that after reading the Handbook, the world will never seem "normal" again' - Susan J Smith, Ogilvie Professor of Geography, The University of Edinburgh

    `A richly plural and impassioned re-presentation of cultural geography that eschews everything in the way of boundary drawing and fixity. A re-visioning of the field as "a set of engagements with the world," it contains a vibrant atlas of ever shifting possibilities. Throbbing with commitment, and un-disciplined in the most positive sense of that term, it is exactly what a handbook ought to be' - Professor Allan Pred, Department of Geography, University of California at Berkeley

    `A handbook with attitude and purpose, bristling with vitality, openness, and novelty. Dispelling with fixtures, canons, and retrofits, an imaginative cast in the hands of four of the most exciting contemporary cultural geographers opens up the cultural plural - culture as distribution of things, as a way of life, as meaning, as doing, as power - to a new spatial sensibility concerned with the fluid and mobile, the broadest ecology of spatial surfaces, the everyday lived, and the impetus of experimental forcings. A wonderful display of the confident maturity and originality that contemporary geography brings to cultural studies' - Professor Ash Amin, Department of Geography, University of Durham

    The Handbook of Cultural Geography presents a state of the art assessment of the key questions informing cultural geography. Emphasizing the intellectual diversity of the discipline, the Handbook presents a comprehensive statement of the relationship between the cultural imagination and the geographical imagination while also looking at resonances between cultural geography and other disciplines.
    The work is cross-referenced throughout and presents a completely integrated overview of cultural geography. This will be an essential reference for any inquiry into how culture is spatially constituted and, equally, how geography is culturally constructed.

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