La petite florist - Spring flowering bulb
La Petite Florist
- La Petite Academy, Inc. joined the Learning Care Group family in January 2007. As one of the largest early education and child care providers, La Petite Academy operates more than 500 locations in 34 states and the District of Columbia.
- French for an 8 that has been dealt as a natural.
- someone who grows and deals in flowers; "the florist made up an attractive bouquet"
- a shop where flowers and ornamental plants are sold
- (floral) resembling or made of or suggestive of flowers; "an unusual floral design"
- A person who sells and arranges plants and cut flowers
la petite florist - Will Santillo:
Will Santillo: La Petite Mort: Female masturbation, fantasies & orgasm
If orgasm is the little death, is masturbation the little suicide?
The title means "the little death," a euphemism for orgasm, but the women who exuberantly masturbate for Toronto photographer Will Santillo in this book are as lively a bunch as you’ll ever meet. Santillo conceived the project eight years ago to include a thorough cross section of women: young to old, slim to thick, perfect beauties to those not considered beautiful until seen through his lens. The one constant would be that each would decide and direct how she masturbated to climax while he captured the moment. From previous projects with amateur subjects Santillo had come to believe that masturbation is a far more personal act than most sex play because it is conducted almost exclusively in private. He set out to reveal the diversity and creativity with which women approach self-stimulation, and to portray the beauty of ordinary women in the throes of orgasm—a beauty far richer than the male oriented depictions seen in pornography. Santillo says he seeks to uncover the hidden face of his subjects, and indeed, it’s the faces that best show the intensity of response in these artfully explicit photos.
Dian Hanson interviewed 37 of the women, and their candid insights on overcoming inhibition, giving in to exhibitionism, and achieving orgasm in front of a stranger with a camera provide a framework for the lush, sepia-toned photos. For all who are curious about just what the woman next door—or one's own wife—gets up to in her private moments, La Petite Mort is a breath of life.
French postcard by Cinemagazine Edition, nr. 84. Photo: Maull & Fox. Gamine-like silent screen star Betty Balfour (1903-1977) was the ‘British Mary Pickford’. She was a great mimic who started in Music Hall and became known as ‘Britain's Queen of Happiness’. During the 1920’s, Balfour was Britain’s most popular actress. Betty Balfour was born in London, England, UK, in 1903. She made her stage debut at the age of 10 ( in 1913 or 1914 – the sources differ) at the Court Theatre and she became one of C. B. Cochran's stars. Years later, when she was appearing in Medora at the Alhambra Theatre, film makers T. A. Welsh and George Pearson saw her and were impressed by Balfour’s delicate expression and comic charm. They signed her for her film debut in Nothing Else Matters (1920, George Pearson) with Hugh E. Wright. She instantly showcased her comic talents. After replacing Gertrude Lawrence on stage in The Midnight Follies, Balfour was back with Pearson with her first starring role in Mary-Find-the-Gold (1921, George Pearson). It was her role as the wayward florist Squibs Hopkins in Squibs (1921, George Pearson) that established Balfour as a national star, creating a persona that would both propel and restrict her career. Squibs is a cockney flower girl working in Piccadilly Circus, and this proved to be the ideal vehicle for Balfour’s cheerful disposition, amidst a dreary London setting. The instant success of the film lead to to three sequels, Squibs Wins the Calcutta Sweep (1922, George Pearson), Squibs M.P. (1923, George Pearson) and Squibs’ Honeymoon (1923, George Pearson). Brian McFarlane called Balfour in the Encyclopedia of British Film ‘a great mimic’ Dan Horn writes at Women and British Silent Cinema that “it was this refreshing charisma, typified in Squibs, which made Balfour an icon of the silent era”, and he quotes film historian Rachael Low, who comments that Balfour was ‘able to register on screen a charm and expression unequalled among the actresses in British film’. In the more gritty productions Love, Life and Laughter (1923, George Pearson) and Reveille (1924, George Pearson), she demonstrated a more serious side to her character. After Blinkeyes (1926) her professional partnership with Welsh-Pearson ended, when Betty rejected Pearson's offer to divorce his wife and marry her. At the time, Betty Balfour was the most popular actress in Britain, and in 1927 the newspaper Daily Mirror named her as the country's favorite world star. The popular Squibs films, and an array of product endorsements, ensured that Balfour’s vast fan base had flourished. Balfour made no attempt to break into Hollywood but like Ivor Novello she was able to export her talents to mainland Europe. She starred in the German films, Die sieben Tochter der Frau Gyurkovics/ A Sister of Six (1926, Ragnar Hylten-Cavallius) with Willy Fritsch, and Die Regimentstochter/ Daughter of the Regiment (1929, Hans Behrendt), in the French films La Petite Bonne du Palace/The Little Maid at the Palace (1926, Louis Mercanton), Le Diable au Coeur/Little Devil May Care (1927, Marcel L'Herbier) with Jaque Catelain, and Croquette (1927, Louis Mercanton), and in the Austrian-British production Champagner/Bright Eyes (1929, Geza von Bolvary) with Jack Trevor. In these films she re-established herself as a sophisticated, fashionable woman of the world, far removed from the persona that had typecast her. Consequently, her popularity in Britain began to decline. Back in Britain, she featured successfully in Alfred Hitchcock's comedy Champagne (1928), but Balfour's sound debut The Nipper/The Brat (1930, Louis Mercanton), based on the Squibs character, was only moderately successful. Her popularity diminished in the 1930’s, and Balfour began to struggle for leading roles. She only played a supporting role to Jessie Matthews in Evergreen (1934, Victor Saville) and appeared with John Mills in Brown on Resolution/Forever England (1935, Walter Forde). Even a musical remake of Squibs (1935, Henry Lawson) with Stanley Holloway was unable to recapture her former popularity. In 1945, after a nine year hiatus, Balfour appeared in 29 Acacia Avenue (1945, Henry Cass) starring Gordon Harker. This was to be her final film. 'Britain's Queen of Happiness' was not happy in her private life. After a stage comeback failed in 1952, she attempted suicide. For the last 20 years of her life she was a recluse. At age 74, Betty Balfour died in 1977 or 1978 (the sources differ), in Weybridge, England. She had been married once, to composer Jimmy Campbell from 1931 till their divorce in 1941. They had one child. Sources: Brian McFarlane (Encyclopedia of British Film), Dan Horn (Women and British Silent Cinema), Wikipedia, and IMDb.
La Petite France Strasbourg
Beroemde en dure wijk in Straatsburg, de Petite France is een ware noorden Venetie met haar grachten en smalle straatjes in bepaalde charme. Datant du XVI e siecle, ce quartier doit son nom a l’hopital qui y fut installe pour les soldats de Francois I er atteints du " Mal francais " soit la petite verole (que nous, Francais, appelions le " mal de Naples "). Daterend uit de zestiende eeuw
la petite florist
Monsieur Linh est un vieil homme. Il a quitte son village devaste par la guerre, n’emportant avec lui qu’une petite valise contenant quelques vetements usages, une photo jaunie, une poignee de terre de son pays. Dans ses bras, repose un nouveau-ne. Les parents de l’enfant sont morts et Monsieur Linh a decide de partir avec Sang diu, sa petite fille. Apres un long voyage en bateau, ils debarquent dans une ville froide et grise, avec des centaines de refugies. Monsieur Linh a tout perdu. Il partage desormais un dortoir avec d’autres exiles qui se moquent de sa maladresse. Dans cette ville inconnue ou les gens s’ignorent, il va pourtant se faire un ami, Monsieur Bark, un gros homme solitaire. Ils ne parlent pas la meme langue, mais ils comprennent la musique des mots et la pudeur des gestes. Monsieur Linh est un c?ur simple, brise par les guerres et les deuils, qui ne vit plus que pour sa petite fille. Philippe Claudel accompagne ses personnages avec respect et delicatesse. Il celebre les themes universels de l’amitie et de la compassion. Ce roman possede la grace et la limpidite des grands classiques.