By Albert Jacquard
Sur le ton de l. a. self belief, après l. a. mort de sa femme, Albert Jacquard raconte son enfance et sa jeunesse. Non pas pour le plaisir de se raconter, tout au contraire, mais parce que cette enfance et cette jeunesse sont d’une certaine façon celles d’un autre que celui que nous connaissons, l’infatigable défenseur des sans voix, le pourfendeur de los angeles compétition, l’observateur lucide du monde. Cet « Albert Jacquard avant Albert Jacquard » nous révèle une jeunesse pendant laquelle il se tenait soigneusement à l’écart du monde, de sa rumeur, de ses drames, et même de l. a. Guerre qui se déroulait sous ses yeux de lycéen provincial.
Il nous raconte, de façon bouleversante, l’accident de voiture qu’il a vécu quand il avait neuf ans, dans lequel ont péri l’un de ses frères, et ses grands-parents paternels. Lui, n’a été « que » défiguré. Cette hint, il l’a portée toute sa vie, plus jamais il ne s’est reconnu dans une glace.
Il raconte aussi ses années à Polytechnique, le carriérisme de ses camarades, son insatisfaction, puis ses premières années à los angeles manufacture des Tabacs où, après s’être montré bon élève, il se montre bon ingénieur mais piètre citoyen – à ses yeux d’aujourd’hui. Puis le départ aux États-Unis avec sa femme et ses fils, le retour à Paris et, par hasard, dit-il, l. a. rencontre avec le militantisme.
C’est quand Albert Jacquard devient le célèbre Albert Jacquard que ce livre s’achève.
Read or Download Dans ma jeunesse PDF
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Simply admiring them as vaguely literary products seems inadequate because researchers often have to go to so much trouble to get them in the first place. Crapanzano holds out hope that generalizations can be drawn out of personalized data, just as traditional social scientists believed, but what he calls "dynamic models'' must arise from a source Page 22 other than the text. It was noted above that generalizations might profitably be drawn from techniques by which autobiographers chose to communicate their experience of self to others rather than from the text alone.
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2. If actors sense that they have very different personalities, backgrounds, or interests and yet are forced into a situation that seems to demand interaction, they will seek out some topic about which they can assume common agreement, if not necessarily real interest (the familiar "talk about the weather" ploy at cocktail parties). 3. " It would be exceedingly tedious for each actor to be absolutely explicit about everything that must be committed. In American English, we are fond of saying, "you know," to fill in gaps in a conversation.
Dans ma jeunesse by Albert Jacquard