[PDF] Truth and Untruth Louis-Ferdinand Célines Voyage au bout de la

View - Download Truth and Untruth Louis-Ferdinand Célines Voyage au bout de la

Previous PDF

Next PDF

Truth and Untruth

Louis-Ferdinand Céline's Voyage au

bout de la nuit and the Memory of the

Great War 1914-1918

Thomas Michael Patrick Quinn

School of Applied Language and Intercultural Studies

Thesis submitted to Dublin City University in

candidacy for the degree of PhD

Supervisors

Professor Leslie Davis, School of Applied Language and

Intercultural Studies, Dublin City University

and

Dr David Denby, School of Applied Language and

Intercultural Studies, Dublin City University

June 2002

DECLARATION

I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of PhD is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged withm the text of my own work

Signed

CandidateID No 98970232

Date 25 June 2002

3

ACKNOWLEDGEMENTS

Research of this scale and duration could not be undertaken without a substantial level of financial support. I therefore wish to begin by acknowledging the financial assistance of two research bodies whose support for this thesis was an indispensable part of bringing it to a successful conclusion, in this respect I would like, first of all, to acknowledge the Irish Research Council for the Humanities and Social Sciences who awarded me a generous three-year Government of Ireland Scholarship. In addition, the Council also awarded me a Travel Bursary enabling me to travel to Paris for one month in November 1999.1 also wish to acknowledge and thank the Research Committee at Dublin City University (DCU) who provided me with a three-year Research Bursary. This Bursary, awarded at the very outset of my research, allowed me to embark on and maintain my research activity and was absolutely critical in enabling me to make a firm commitment to my research project. At this point, I would also like to thank the members of the Research Committee of the School of Applied Languages and Intercultural Studies (SALIS) at DCU for their commitment, support and encouragement throughout my research. In the course of my research I have been in contact with many experts not just in the field of Céline studies but also in relation to the Great War and the memory of the Great War. In the field of Céline studies, my thanks go to François Gibault, Frédéric Vitoux and Ian Noble, all of whom agreed to be interviewed by me, and all of whom showed me great hospitality, as well as warm interest in my research project. In relation to the Great War, I have corresponded with historians Niall Ferguson, John Home, Richard Holmes and Jay Winter, all of whom responded freely to my questions. Indeed, John Home of Trinity College Dublin, took the time to meet with me twice to discuss my research. The historian to whom I am most indebted, however, is Jean Bastier. author of an important study on Céline in the Great War, and who answered many questions both about Céline and about the Great War. My thanks to him and to all. In reliilion tu trauma, my reading was complemented by the commentary and insights of Lieutenant Colonel Colman Goggin, Head Psychiatrist with the Irish Army, now4 retired, and of trauma specialist Yvonne McKeon, both of whom I met on several occasions My thanks to them both I visited many libraries in the course of my research The Manuscript Department of the Bibhotheque nationale de France (BnF) provided me with access to the Voyage au bout de la nuit manuscript acquired in May 2001 At the BnF's Tolbiac site, I was also able to consult many audio-visual documents on both Celine and the Great War in the keeping of the BnF and of the Institut national de Vaudio-visuel (INA) In addition, the Institut mémoires de Vedition contemporaine (IMEC) allowed me access to their significant Céline collection The Service historique de I 'armee de terre (SHAT) at Vincennes, Pans, kindly allowed me to examine the Historique of Celine's regiment during the Great War as well as the hand-written daily record of the regiment's progress The staff of SHAT always responded courteously and generously to my correspondence and requests for information Finally, the Cinematheque Française was helpful in arranging for a private viewing of Leon Poirier's film Verdun at their premises in the Fort de St -Cyr My thanks to the staff and management of all these establishments I also wish to thank the staff and management of DCU library on whom I greatly depended In particular, I wish to thank Mags Lehane of Inter-Library Loans at DCU who was patient and helpful to a fault It is, indeed, impossible to acknowledge all who have contributed in one way or another over a period of three years to the development of my research Many friends listened and encouraged with both interest and patience not just to accounts of my research but to the account of my experience of doing research, sometimes difficult and painful Two persons, however, deserve special acknowledgement, Dr Niamh Chapelle of SALIS, who listened, encouraged, supported and understood, and Alva Moloney, whose enthusiasm for endless conversations about Celine greatly sustained this writer on his own journey to the end of the night The importance of support and guidance to anyone embarking on a major thesis cannot be overstated In this respect, the figure of my supervisor and fellow Celinian, Professor Leslie Davis of Dublin City University looms large His warmth, kindness5 and the unfailing reassurance of his personal presence will not need emphasis for any who know him This acknowledgement of his role in my research is accompanied by my warmest thanks and appreciation I also wish to thank Dr David Denby, Senior Lecturer m French at DCU who, following Professor Davis's resignation due to illness, took over supervision of the thesis in its final stages and who guided it safely to harbour Many thanks Last but not least, I wish to acknowledge the unfailing presence and support on every level of my wife, Joan Moore Without whom nothing would be possible or even imaginable6

This thesis is dedicated to

Professor Leslie Davis who

knows the secret of turning base metal into goldi

TABLE OF CONTENTS

Page 14

Introduction

The Great War and Voyage au bout de la nuit - Louis-Ferdinand Celine - Memory and Truth - The Contours of Trauma - Methodology - Chapter Summary

CONCLUSION

Page 32

Chapter I 4 MAI - From Heroism to Alienation

INTRODUCTION 1 1 PRELUDE - Enlightenment and Revolution - The Memory of War - Ernest Psichan - Enthusiasm - The Hero Page 39 12 THE GREAT WAR Modem War - Unprecedented War - Total War - Union Sacree - Gold Page 44 13 DEATH, STASIS, REPETITION - The Trenches - The Death of the Cavalry - Death - Verdun Page 57 1 4 ALIENATION - Mechanisation - Landscape - Absurdity - Shell-shock - Censorship - Cowardice, Desertion and Mutiny -

Endurance CONCLUSION

Page 65

Chapter 2 REMEMBERING - From Myth to Anti-Myth

INTRODUCTION 2 1 TRADITIONAL MEMORY - Commemoration and Myth The Dead - The Unknown Republican Soldier - Pour elle un Français doit mourir -

1793 - Silence - Veterans -11 November 1928 Page 79 2 2 THE WRITERS OF

MODERN MEMORY - 1929 - Graves - Hemingway - Remarque - The Battle for

Memory - The Anti-Norton Cru CONCLUSION

Page 101

Chapter 3 CELINE AT WAR - From Rambouillet to Poelkapelle INTRODUCTION 3 1 CHILDHOOD EXPERIENCE - Separation - Death - Family, Work and Army Page 106 3 2 BEFORE THE WAR - The 12th Cuirassiers Arrival at Rambouillet - Barrack Life - Cuirassier Celine - Desertion - La Reussite Page 772 3 3 WAR - Mobilisation - North - The Enemy - The Battle of the Marne - Flanders - The Encounter with Death - The End of the War - The Death of the 12th

Cuirassiers CONCLUSION

Page 127

Chapter 4 RE-ENACTMENT - From Hazebrouck to Voyage INTRODUCTION 4 t MEMORY - Shock - Val-dc-Grace - London - Africa - Silence - Semmelweiss - Marnage - La Société des Nations - The Crisis in Memory Page 143 4 2 THE TRAUMA OF THE SOLDIER - The Stress of Combat - The Aftermath - The Trepanation Myth - The Nightmare of Memory - The Death Imprint - The Search for Meaning Page 151 4 3 THE SITE OF RE ENACTMENT - Duality - The Breach in Consciousness - The Cycle of Re enactment - The Function of Rappel - The Cycle of Commemoration - The Cycle of Revolution - The Return of Experience - The Voice of the Wound CONCLUSION

Page 170

Chapter 5 TRUTH AND UNTRUTH - From Silence to Witness INTRODUCTION 5 1 FROM TRAUMATIC MEMORY TO TRAUMATIC NARRATIVE - The Site of Remembering and Forgetting - Traumatic Memory - From one Narrative to Another Page 177 5 2 FROM SILENCE TO WITNESS - The Temptation of Silence - The Silence of Memory - The Breach of Silence - Silence and Witness to War - Silence against Silence - Silence and Self - Beyond Silence Page 185 5 3 FROM EYE-WITNESS TO I-WITNESS - The General Picture - Eye-Witness - Narrative Voice - War Narrative - Intertextual Witness - Henri Barbusse - Marcel Lafaye - I-Witness - The Community of Telling - From Truth to

Untruth CONCLUSION

Page 205

Chapter 6 REWRITING THE SELF - From Destouches to Celine INTRODUCTION 6 1 THE CIRCLE OF STASIS - Circles - The Debased Self - The Mask - Donning the Mask - The Effort to Break Free Page 213 6 2 THE PROTEAN SELF - Towards the Protean - The Self as Coward and Deserter - Robinson The Broken Self - Une espece de scene brutale a moi-meme - The Death of Robinson - Double Trouble - The Self as Voyager - Sex Tourism - Baryton Voyager - Displaced Persons - The Self as Storyteller - The Self as Doctor - The Quest for Gold - Female Celine - Celme Cellini CONCLUSION

Page 239

Chapter 7 BEYOND REDEMPTION - From Accusation to Denunciation INTRODUCTION 7 1 ACCUSATION - Revolt - Denunciation - The Breach of Contract Page 2441 2 THE DEATH OF THE HERO - Je I 'avoue - The Monster - The Lie of Immortality Page 2497 3 THE THEATRE OF PATRIOTISM - The Theatre of Trauma - Lola - Musyne - Puta - The Patriotic Psychiatrist - Father and Mother - The Theatre of Survival Page 2567 4 THE DEATH OF CAMARADERIE - The Denial of Camaraderie - The Destruction of Solidarity - The Failure of Camaraderie Page 259 7 5 THE DEATH OF COMPASSION - L 'amour impossible - Maman ! maman ! - Compassionating the distress of others - L 'amour de la vie des autres Page 265 7 6 THE ANTI-PSICHARI - Les Trois Ordres - The Military - Le Savant - The Church - Protiste CONCLUSION9

Page 273

INTRODUCTION 8 1 THE DEATH OF LITERATURE - A New Style - The Living Word - The Language of Truth-telling - Protean Language - Emotion - Oral Witness Page 281 8 2 SOLDIER SPEECH - Humour - Irony - Against Censorship - The Excremental Page 289 8 3 IMAGERY - The Demonic - Underworlds -

Mythologies - Orpheus CONCLUSION

Page 300

Chapter 9 THE ANTI-REPUBLIC - From Voyage to Journey's End INTRODUCTION 9 1 CELINE'S PHILOSOPHIES - The Anti-Plato - Er - Celine's Cosmogony Page 309 9 2 THE ANTI-ENLIGHTENMENT - The Dawn - The Sun - Perpetual War - Prmchard - Les maîtres - Return to 4 mai Page 319 9 3 BEYOND VOYAGE - Mort a credit - Casse-pipe - Mea culpa - Bagatelles pour un massacre - L \Ecole des cadavres - Les Beaux Draps - Guignols band - Feerie pour une autre fois - D un château l 'autre - Nord - Rigodon

CONCLUSION

Page 345

CONCLUSION

Trauma - Memory and Forgetting - Truth - Witness - The Memory of Louis-

Ferdinand Celme

Page 354

BIBLIOGRAPHYChapter 8 ORAL WITNESS - From the Oral to the Demonic10 Truth and Untruth: Louis-Ferdinand Céline's Voyage au bout de la nuit and the Memory of the Great War 1914-1918

Thomas Michael Patrick Quinn

SALIS, DCU

ABSTRACT

This thesis examines Louis-Ferdinand Celine's 1932 novel Voyage au bout de la nuit as a rewriting of his memory of the Great War 1914-1918 It seeks to resolve the truth problematic posed by the inversion in Voyage au bout de la nuit of Celine's experience in the war, primarily the transition from Celine's heroism in the war to his fictional self-portrait as the coward, Bardamu It seeks to clarify the role and value of Celine's fictional witness to war by placing the novel in a broadly developed context of the war and its commemoration A major premise of this thesis is that Celine was traumatised by the war and that his rewriting of his war experience is informed by his need to break free of traumatised memory through the creation of a new, literary narrative of his personal past By drawing on the literature of trauma and survival, as well as on studies of the Great War and other wars, this thesis succeeds in establishing that Celine was, indeed, traumatised by his war experience and succeeds in showing the many ways in which this trauma shapes Voyage It also provides a thorough account of how Voyage as literary artefact engages with the memory of the Great War and how it functions as witness to war and the consequence of war It brings us ultimately towards the dynamic of accusation which lies at the heart of Celine's traumatic memory of the Great War and which underlies its keynotes of irony, satire and invective This thesis is multi-disciplinary m its approach, drawing on historical, biographical, psychological, and literary studies It provides an important contribution to Celine studies, but also to studies of the Great War, the memory and literature of the Great War and to studies of twentieth-century trauma, memory and identity11

ABBREVIATIONS

The edition of Celine's work consulted is the four-volume Pleiade edition of Celine's novels, edited by Henri Godard 1 In-text references to works contained in this edition will refer to the relevant volume Thus references to Voyage au bout de la nuit, which appears in Romans, I, or volume one of the Pleiade, will carry the abbreviation RI, plus the page number m parentheses Voyage au bout de la nuit, which is cited extensively throughout the study, is for the most part referred to as Voyage From time to time, other titles may be similarly abbreviated In-text referencing for Celine's pamphlets, which do not appear in the Pleiade volumes, will use the following abbreviations Bagatelles pour un massacre (BM), L *Ecole des cadavres (EC), Les Beaux Draps (BD) The relevant publication details will be given in the endnotesThe system of abbreviations used in this study is as follows

1 Louis-Ferdinand Céline, Romans, ed by Henri Godard, Bibliotheque de la Pleiade, 4 vols (Pans

Gallimard, 1974-) A fifth volume of Céline's correspondence is in preparation Memory constitutes a knowledge of past events, or of the pastness of past events In that sense it is committed to truth, even if it is not a truthful relationship to the past, that is, precisely because it has a truth-claim, memory can be accused of being unfaithful to this claim

Paul Ricoeur1

Céline was the only modem novelist who recognised that the First World War not only destroyed an epoch but would destroy the capacity of a civilisation to remember what war did to our entire century, the century of war

Jerry Zaslove

Je n'oublie pas Mon délire part de là

Céline3

1 Paul Ricoeur, ' Memory and Forgetting', in Questioning Ethics Debates in Contemporary

Philosophy, ed by Richard Kearney and Mark Dooley (London Routledge, 1999), pp 5-11 (p 5)

2 Jerry Zaslove, 'The Death of Memory The Memory of Death, Céline's Mourning for the Masses '

in Understanding Celine, ed by James Flynn and Wayne Burns (Seattle Genitron Press, 1984), pp 187-241 (p 188)

3 Letter to Joseph Garcm, May 1933, cited in Pierre Lamé, De la débàcle à I'msurrcction contrc le

monde moderne Titinéraire de Louis-Ferdinand Celine' (unpublished doctoral thesis, Pans IV, 1982),

p 63213 V

Truth and Untruth: Louis-Ferdinand

Celine's Voyage au bout de la nuit

and the Memory of the Great War

1914-1918

14

INTRODUCTION

The Great War and Voyage au bout de la nuit

The memory of the Great War 1914-1918 has been remarkably persistent Indeed, in the wake of the Cold War and the collapse of communism there has been renewed interest in a war which initiated the modem age and the modem mind This renewed interest culminated in the massive 80th Great War Armistice Commemoration m 1998 In the wake of that commemoration memory continues to turn over the embers of the 'war to end wars' In recent years a plethora of novels, memoirs, history books, Internet sites and TV series have all striven to recall and represent the truth of a conflict which shaped our world It is still difficult, however, to look the Great War in the face and say just what is its truth There are so many truths on offer Louis-Ferdinand Celine's 1932 Voyage au bout de la nuit is one of those truths Céline's masterpiece made one of the most stunning debuts in literary history Acclaimed critically, popularly and by all shades of political opinion, Voyage was most notable for the introduction of a new voice in French literature 'Il a invente, en français, une rythmique inouïe,' Philippe Sollers says of Celine 1 'Céline est entre dans la grande littérature comme d'autres penetrent dans leur propre maison,' wrote Trotsky Today Celine is recognised as a major French writer of the twentieth- century The purchase by the Bibliothèque nationale de France of the original manuscript of Voyage, come to light in early 2001, at a record price for a literary manuscript,3 underlines Celine's status and ensures his enduring reputation, a reputation which has survived despite Celine's own long-time marginal status as a result of his scabrous political and predominantly anti-Jewish pamphlets published in the late 1930s15

Louis-Ferdinand Céline

Céline, real name Destouches, was at twenty years of age a regular soldier in the French cavalry when war broke out in August 1914. He was among the First wave of French soldiers sent to confront the German invader, and while he was for a long time, in keeping with the cavalry's supporting role in the conflict, mainly an observer of the war's horror, he was by virtue of this role ideally positioned as witness on the cutting edge of modem war. The Great War was the swan song of the cavalry and the destruction of the cavalry regiments would mark one of the war's most notable transitions from traditional to modem warfare. Céline would live this transition in person. In late October 1914, he was a dismounted cavalryman fighting on foot under heavy bombardment during the first battle of Ypres. Delivering a message on foot to an embattled infantry regiment at Poelkapelle,4 he was wounded and evacuated from battle. In December 1914, he was decorated for heroism. Having left the war behind, Céline travelled to London, Africa and later to America. He trained as a doctor and worked with the League of Nations in Geneva before establishing himself as a general practitioner in the Paris suburb of Clichy. Some of these episodes in his life would provide substantial grist for the mill of Voyage and Célinc's portrait of the post-Great War world. While for many years he maintained an implacable silence in relation to the war, in the late 1920s he would break that silence. His war experience would provide the starting point for Voyage. Voyage's fictional narrative, however, is at odds with the heroic reality of Céline's war past. Voyage tells the story of one Bardamu, a Chaplinesque picaro who leaves in a fit of enthusiasm for war before discovering that it is 'une immense, universelle moquerie* (RI, 12)/ in which cowardice and desertion are the only worthwhile values, 'dans une histoire pareille [...] il n'y a qu'à foutre le camp' (RI, 12). Escaping the war, Bardamu, like Céline, travels to colonial Africa and to America before returning to practise medicine in the fictional Parisian suburb of Raney. While the war and home front episodes represent just one quarter of the novel's length the prcscncc Ot the Great War is felt at all times thanks to a structure which repeats what has gone before.16 As Philip Stephen Day says, 'toute chose et tout lieu rappellent a Bardamu le traumatisme de la guerre '6 Bardamu is, indeed, haunted by his memory of war and on several occasions breaks down In the very last pages of the novel he is once again on 'la route de Noirceur' (RI, 503), the abandoned village he visited in the company of his alter ego, Robinson, during the war episode The novel's structure of recall ensures that the memory of war is ever present in Celine's portrait of Bardamu's post war world In this way, Voyage shadows forth the reality of a world which remembers the trauma of the Great War, a world, indeed, which cannot forget it

Memory and Truth

This study treats Voyage as Celine's memory of the Great War In doing so, it hurtles against a major truth problematic Written over a decade after the war ended, and some fifteen years after Celine's own war experience, Voyage revisits Celine's war past in a fictional, pseudo-autobiographical setting Celine's narrative of past and self, however, owes little to the facts of his experience Indeed, his fictional self- portrait as the coward and would-be deserter, Bardamu, is astonishing from someone who was a decorated hero of the Great War In Voyage, Celine remembers, it seems, only to forget As such, it embodies in one site of memory Paul Ricoeur's notion of modem memory sick with 'le trop de memoire ic i, le trop d'oubli ailleurs' 7 This extraordinary novel, however, carries a force of conviction and an aspiration to truth- otelling which is unmistakable So, what does Celine remember7 How does he remember7 And why does Celine remember the way that he does7 What truth or truths of memory, if any, does Voyage have to offer in relation to the Great War and its consequence7 What, indeed, is its value as witness7 This is our subject17

The Contours of Trauma

This study examines Céline's rewriting of his memory of war and self in Voyage by placing it, first of all, within the context of a war that marked a transition from heroic to debased consciousness. Soldiers on all sides left for war with enthusiasm only to find themselves locked into a paradigm of murderous geopolitical stasis. The Great War was dominated by technology and marked the end of a 'vertical' mode of heroism which had endured since time immemorial. Forced into the ground for protection the soldier was no longer a hero standing, facing death, but a coward hiding from it. The Great War was unprecedented in its capacity for slaughter and would kill ten million men, almost one and a half million of them French. Celine's own death encounter when wounded in October 1914 initiates him into the very heart of this experience of death. His witness to war, expressed in Voyage, is the direct outcome of this initiation. While this study is intent on illuminating the totality of Voyage's relationship to the experience of the Great War, any approach to Voyage as memory must take the trauma of Céline's encounter with death into account. Voyage is a novel haunted by death. Voyage 'peut être considéré comme la description des rapports qu'un homme entretient avec sa propre mort,' wrote Georges Bataille.^ This 'description' brings us into the very core of Céline's memory, the memory of a soldier traumatised by war and raises the question, given the pseudo-autobiographical nature of Voyage, how much of Bardamu's war trauma is Céline's? For many Céline scholars the notion of a Céline traumatised by his war experience is readily acceptable. 'La guerre, c'est le souvenir écrasant de Céline,' wrote Pol Vandrommc in 1963.10 For Maurice Rieuneau, perhaps the first commentator to focus on

Voyage as a novel of the Great

War, Céline's writing was bom in its entirety out of his war experience.11 'La guerre explique tout,' Célinc's biographers, François Gibault and Frédéric Vitoux, propose without hesitation.12 For his part, André Malraux averred, while not directly implicating Céline's war experience, 'l'expérience humaine qui faisait la base solide du Voyage rclcvc de l'intensité particulière de la névrose.'13 Still the gap between Bardamu and Céline does not close. One of the most notable commentators on18 Voyage, Maric-Christine Bellosta, states what is certainly the majority view on Céline and the representation of trauma in Voyage, when she argues that Bardamu's trauma is nothing other than a pretext or strategy employed by Céline 'pour se défaire du " réalisme" \ 14 Historian Jean Bastier is, indeed, the first Céline scholar, to our knowledge, to clearly affirm that Céline was 'shell-shocked' at Poelkapclle in 1914,15 an affirmation of trauma this present study will build and expand upon. The assertion of trauma in Céline is, more often than not, presented in a general way as if war must always be traumatising and there has been no real effort to examine the inner reality or nature of Celine's war trauma and its interplay with Voyage as this present study does. Indeed, the question of trauma is often confused by seemingly gratuitous remarks about Céline's mental stability. This is a tradition which began a long time ago, inaugurated by H.-E. Kaminski responding to Céline's pamphlet Bagatelles pour un massacre by asking, 'Il est fou?... Probablement.'16 It is a tradition upheld by Milton Hindus who, visiting Céline in his post-Second World War Denmark hideout, described him as 'full-fledged fou' ' A tradition supported by such as Pierre de Boisdeffre suggesting that 'il était sûrement un peu dingue.'18 Other commentators have proven much more sophisticated. Jean-Pierre Richard identified what he called Céline's 'nausée', an elemental malaise derived from a revelation of the body's 'manque de tenue', its tendency to disintegration and dissolution. The site of this revelation, Richard situates in 'le traumatisme déchirant de la guerre', without investigating the nature of this trauma in its context of war and the memory of war.10 We shall, however, return to Richard's 'nausée' in the course of our study. Julia Kristcva occupied similar territory to Richard when she made of Céline's 'abjection' an expression of almost biblical revulsion at existence. Kristeva's concept of the 'abject', central to her understanding of Céline, takes her into deep psychoanalytical waters. 'J'imagine un enfant ayant avalé trop tôt ses parents,' writes Kristeva, launching on her chosen theme, 'qui s'en fait " tout seul" peur et, pour se sauver, rejette et vomit ce qu'on lui donne, tous les dons, les objets. Il a, il pourrait "voir, le sens de l'ûbjCCt/* It is not the war, in other words, which has disturbed Céline, but rather his 'ayant avalé trop tôt ses parents'.19 A number of notable 'psychocritical* studies of Céline have associated his trauma with a Freudian model of 'narcissistic infantile sexuality'. The Freudian model advances that trauma is revealed by the war rather than produced by it.21 As we shall see it is a model of combat trauma which has been seriously questioned and, indeed, contradicted since at least the Second World War. The result of the application of these theories to Céline is predictable with all roads in psychoanalysis leading back toquotesdbs_dbs26.pdfusesText_32

[PDF] Bleu, blanc, rouge. - Yves

[PDF] bleu-violacé de myrtilles

[PDF] Bleue - AJCP 12 - Support Technique

[PDF] Bleue judo - Anciens Et Réunions

[PDF] Bleuet nain Avertissement N° 7 – 16 juin 2015 ALTISE

[PDF] Bleyle - Langenargen

[PDF] Blick am Abend National - Anciens Et Réunions

[PDF] Blick auf Oberleuken

[PDF] Blick in d speicher Volksbanken der Region wollen

[PDF] Blick ins Buch - Eulenspiegel Verlagsgruppe

[PDF] Blickpunkt Ausgabe 21-2012

[PDF] Blickpunkt Wirtschaft Volksbank

[PDF] blickpunkt • ost - Herz Jesu - Diözese Rottenburg Stuttgart

[PDF] blicos 05. Asociaciones del Sector

[PDF] BLIGH ISLAND MARINE PROVINCIAL PARK