Georgian Chamber Players, An American in Paris

The Georgian Chamber Players present An American in Paris, performing Mozart\u27s Piano Quartet in E-flat major, K. 493, Camille Saint-Saëns\u27 Sonata for Violin and Piano, and Gershwin\u27s Rhapsody in Blue.https://digitalcommons.kennesaw.edu/musicprograms/1007/thumbnail.jp

An American in Paris, a Parsi in Athens

No abstract availabl

An American in Paris, a Parsi in Athens

No abstract availabl

An american in Paris

Elizabeth Brown témoigne dans ce texte du souvenir inoubliable de la journée du 15 juin 2013 organisée à l’université Paris-Sorbonne dans le cadre des activités du groupe de travail « Les Capétiens et leur royaume (987-1328) ». Elle remercie les chercheurs, les professeurs, les historiens qui ont soutenu et accompagné ses recherches tout au long de son parcours et en profite pour brièvement revenir sur ses cinquante-sept années de carrièreIn this unforgettable account, Elizabeth Brown records a meeting held on 15th June 2013, at the Paris-Sorbonne University, as part of the activities of of the work group “Les Capétiens et leur royaume (987-1328)”. She thanks the researchers, the lecturers, and the historians who have supported and accompanied her research throughout her professional life and takes the opportunity to briefly review her fifty-seven-year caree

Black Girl in Paris: Shay Youngblood\u27s Escape from The Last Plantation

Twentieth-century African-American writers have shared with their white American counterparts the expectation that in Paris they would find an community of writers and artists. And to varying degrees each did. Much like Edith Wharton, African-American writers viewed the French as a people who value art and creativity, the aesthete and the intellectual. And much like American writers from Hawthorne to Henry Miller, African-American expatriates viewed Paris as an outlet for repressed sexuality, an unpuritanical place, which would allow, even encourage, people to live and love and create as the pleased. In Black Girl in Paris (2000) these are certainly the hopes of Youngblood\u27s protagonist, Eden, a twenty-six-year-old black woman from Georgia. As a child Eden\u27s Aunt Vic broadens the provincial limits of her rural and strict religious upbringing by introducing her to the joys of reading, especially the stories of Langston Hughes. Unbeknownst to Eden\u27s parents, Vic teaches her to sing and dance, regaling her with tales of Josephine Baker and the freedom Paris would provide: Free to live where you wanted, work where you were qualified, and love whom you pleased (17). Thus Eden grows up thinking of living in Paris as a way to leave behind an old identity shaped in a place where her working class parents, who have not had the benefits of higher education, expect her college education to lead to a practical professional career, like nursing