http://store.wexnercenterstore.com/chrismarkerstore1.html

However, the CD-ROM Immemory has the entire text of Coréennes in French, on top of having all the photos. They are in low resolution, and somewhat photoshopped like those in Staring Back, but they are there nonetheless.

http://artslivres.com/ShowArticle.php?Id=1447&Title=collectif+-+La+Cor%E9e%2C+le+Voyage+vers+l%92Est

“Gnossienne” is one of a very few occasions where a new word was coined by the composer distinctly intended to indicate a (new) “type” of composition. Satie had used and would use a lot of names for his compositions that never had been used to indicate a piece or type of music before: for example “ogive” had been the name of an architectural element until Satie used it as the name for a composition, the Ogives; similar for “vexations”, “croquis et agaceries” and so on, but gnossienne was a word that simply didn’t exist before Satie used it to indicate a composition. The word “gnossienne” appears to be derived from the word gnosis, which doesn’t appear too surprising since Satie was involved in gnostic sects and movements at the time when starting to compose Gnossiennes. However some published versions claim the word derives from Cretan Knossos or “Gnossus” and link the Gnossiennes to Theseus, Ariadne and the Minotaur myth.

- Wikipedia, Gnossienne article

Beginning in 1656, Pascal published his memorable attack on casuistry, a popular ethical method used by Catholic thinkers in the early modern period (especially the Jesuits, and in particular Antonio Escobar). Pascal denounced casuistry as the mere use of complex reasoning to justify moral laxity and all sorts of sins. His method of framing his arguments was clever: the Provincial Letters pretended to be the report of a Parisian to a friend in the provinces on the moral and theological issues then exciting the intellectual and religious circles in the capital. Pascal, combining the fervor of a convert with the wit and polish of a man of the world, reached a new level of style in French prose. The 18-letter series was published between 1656 and 1657 under the pseudonym Louis de Montalte and incensed Louis XIV. The king ordered that the book be shredded and burnt in 1660. In 1661, in the midsts of the formulary controversy, the Jansenist school at Port-Royal was condemned and closed down; those involved with the school had to sign a 1656 papal bull condemning the teachings of Jansen as heretical. The final letter from Pascal, in 1657, had defied the Pope himself, provoking Alexander VII to condemn the letters. But that didn’t stop all of educated France from reading them. Even Pope Alexander, while publicly opposing them, nonetheless was persuaded by Pascal’s arguments. He condemned “laxism” in the church and ordered a revision of casuistical texts just a few years later (1665-66).

Aside from their religious influence, the Provincial Letters were popular as a literary work. Pascal’s use of humor, mockery, and vicious satire in his arguments made the letters ripe for public consumption, and influenced the prose of later French writers like Voltaire and Jean-Jacques Rousseau.

Wide praise has been given to the Provincial Letters. Voltaire called the Letters “the best-written book that has yet appeared in France.” And when Bossuet was asked what book he would rather have written had he not written his own, he answered, the Provincial Letters of Pascal.

- Wikipedia, Blaise Pascal article