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Life Begins at Baron<\/a><\/strong><\/p>\n Das klingt wie ein Buch, das ich gerne lesen w\u00fcrde: Proust’s Duchess: How Three Celebrated Women Captured the Imagination of Fin-de-Siecle Paris<\/a> \u201eThe three women at the center of Weber\u2019s study\u2014the Mesdames Greffulhe, Straus, and Chevign\u00e9\u2014all married badly. \u00c9lisabeth Greffulhe, easily the most beautiful of the three, married a brute, a wealthy, deeply philistine man thought to have had affairs with no fewer than 300 women while remaining jealous of his wife and who saw no breach in etiquette in bringing some of these mistresses to dine at his wife\u2019s table. Genevi\u00e8ve Straus, Jewish, of Sephardic lineage, was born a Hal\u00e9vy; her father was a composer famous in his day; and after her first husband, Georges Bizet, the composer of Carmen<\/em>, died at 36, she married a well-to-do bore, a Rothschild lawyer named \u00c9mile Straus. (Famous for her witticisms, when asked why she married the dullard Straus, she replied, \u201cIt was the only way I could get rid of him.\u201d) Laure de Chevign\u00e9, born a Sade, of the Marquis de Sade Sades, was the least physically attractive of the three women, but hers was the most secure pedigree. Her husband, thought to be homosexual, was among those aristocrats in the retinue gathered around Henri d\u2019Artois, putatively Henry V, last Bourbon pretender to the throne of France, then living in exile in Austria.<\/p>\n These three women operated in a society that Lord Lytton called \u201cbrilliantly superficial.\u201d It was a society where, in Maupassant\u2019s words, \u201claughter is never genuine,\u201d one in which intelligence was not valued, striving was thought vulgar, and the only ignorance that counted was ignorance of dress, pronunciation, and the pecking order. This society in the middle of Paris, as Princesse Marthe Bibesco notes in her novel \u00c9galit\u00e9<\/em>, \u201cformed a world as distant from ordinary people on the streets as the moon is from the earth.\u201d\u201c<\/p><\/blockquote>\n —<\/p>\n Sagen, was ist<\/a><\/strong><\/p>\n Der Spiegel<\/em> hat seine Titelgeschichte \u00fcber sich selbst als kostenloses PDF ver\u00f6ffentlicht.<\/p>\n —<\/p>\n For the First Time in More Than 20 Years, Copyrighted Works Will Enter the Public Domain<\/a><\/strong><\/p>\n Ab dem 1. Januar 2019 d\u00fcrfen wir alle lustig unter anderem Robert Frosts vermutlich bekanntestes Gedicht<\/a> remixen. Das h\u00e4tten wir eigentlich schon vor 20 Jahren machen d\u00fcrfen, aber dann kam Micky Maus.<\/p>\n \u201e\u201cWhose woods these are, I think I\u201d\u2014whoa! We can\u2019t quote any more of Robert Frost\u2019s \u201cStopping by Woods on a Snowy Evening,\u201d because it is still under copyright as this magazine goes to press. But come January 1, 2019, we, you, and everyone in America will be able to quote it at length on any platform. […]<\/p>\n We can blame Mickey Mouse for the long wait. In 1998, Disney was one of the loudest in a choir of corporate voices advocating for longer copyright protections. At the time, all works published before January 1, 1978, were entitled to copyright protection for 75 years; all author\u2019s works published on or after that date were under copyright for the lifetime of the creator, plus 50 years. Steamboat Willie, featuring Mickey Mouse\u2019s first appearance on screen, in 1928, was set to enter the public domain in 2004. At the urging of Disney and others, Congress passed the Sonny Bono Copyright Term Extension Act, named for the late singer, songwriter and California representative, adding 20 years to the copyright term. Mickey would be protected until 2024\u2014and no copyrighted work would enter the public domain again until 2019, creating a bizarre 20-year hiatus between the release of works from 1922 and those from 1923.<\/p>\n This hole in history was accidental, but it occurred at a remarkable moment. The novelist Willa Cather called 1922 the year \u201cthe world broke in two,\u201d the start of a great literary, artistic and cultural upheaval. In 1922, Ulysses by James Joyce and T.S. Eliot\u2019s \u201cThe Waste Land\u201d were published, and the Harlem Renaissance blossomed with the arrival of Claude McKay\u2019s poetry in Harlem Shadows. For two decades those works have been in the public domain, enabling artists, critics and others to burnish that notable year to a high gloss in our historical memory. In comparison, 1923 can feel dull.\u201c<\/p><\/blockquote>\n (via @dvg<\/a>)<\/p>\n —<\/p>\n Und ich gucke seit Tagen Bao<\/em> und freue mich \u00fcber die Sch\u00f6nheit der dargestellten Speisen sowie dar\u00fcber, wie verbindend Essen sein kann. (Wie kann ich auf Twitter eingebettete Filmchen selbst einbetten?)<\/p>\n Heartwarming moments are meant to be shared. Bring home behind-the-scenes, exclusive footage from Bao and 10 other critically-acclaimed shorts when you get the Pixar Short Films Collection: Volume 3 on Digital, @Movies_Anywhere<\/a>, and Blu-ray today: https:\/\/t.co\/aNv3akp3OZ<\/a> pic.twitter.com\/hpnroh4xtm<\/a><\/p>\n — Disney\u2022Pixar (@DisneyPixar) 23. November 2018<\/a><\/p><\/blockquote>\n![\"\"](\"\/\/ir-de.amazon-adsystem.com\/e\/ir?t=httpwwwankegr-21&l=am2&o=3&a=0307961788\")
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