Works
- 1748 -- Mémoire historique sur l'origine des Huns et des Turcs
- 1757 -- Histoire generale des Huns, des Mongoles, des Turcs el des autres Tartares occidentaux, 3 vols. Paris: Desaint & Saillant. OCLC 5153747
- 1761 -- Recherches sur les Navigations des Chinois du Cote de l'Amerique, et sur quelques Peuples situés a l'extremite orientale de l"asie.
- 1789 -- An historical essay on the origin of the Oriented characters in the Royal printing-house, on the works which have been printed at Paris, in Arabic in Syriac, in Armenian, &c. and on the Greek characters of Francis I. commonly called the King's Greek. London: OCLC 45767900
- 1824 -- Supplément a L'Histoire Générale Des Huns, Des Turks Et Des Mogols. with Osip Ivanovich Senkovskīĭ, Muhammad Yūsuf ibn Khawājah Baqā, Józef Se︣kowski, Muḥammad Yūsuf. Paris: Imprimerie de l'Académie Impériale des Sciences. OCLC 221450524
Read more about this topic: Joseph De Guignes
Famous quotes containing the word works:
“We thus worked our way up this river, gradually adjusting our thoughts to novelties, beholding from its placid bosom a new nature and new works of men, and, as it were with increasing confidence, finding nature still habitable, genial, and propitious to us; not following any beaten path, but the windings of the river, as ever the nearest way for us. Fortunately, we had no business in this country.”
—Henry David Thoreau (1817–1862)
“The works of women are symbolical.
We sew, sew, prick our fingers, dull our sight,
Producing what? A pair of slippers, sir,
To put on when you’re weary or a stool
To stumble over and vex you ... “curse that stool!”
Or else at best, a cushion, where you lean
And sleep, and dream of something we are not,
But would be for your sake. Alas, alas!
This hurts most, this ... that, after all, we are paid
The worth of our work, perhaps.”
—Elizabeth Barrett Browning (1806–1861)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)