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Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
Selected writings illuminate a century of international dance.
Orestes was produced in 1750, an experiment which intensely interested the literary world and the public. In his Dedicatory Letters to the Duchess of Maine, Voltaire has the following passage on the Greek drama: "We should not, I acknowledge, endeavor to imitate what is weak and defective in the ancients: it is most probable that their faults were well known to their contemporaries. I am satisfied, Madam, that the wits of Athens condemned, as well as you, some of those repetitions, and some declamations with which Sophocles has loaded his Electra: they must have observed that he had not dived deep enough into the human heart. I will moreover fairly confess, that there are beauties peculiar not only to the Greek language, but to the climate, to manners and times, which it would be ridiculous to transplant hither. Therefore I have not copied exactly the Electra of Sophocles-much more I knew would be necessary; but I have taken, as well as I could, all the spirit and substance of it."
The cradle of ballet, tracing the origin of ballet as a theatre art back to its foundation by Louis XIV in 1669.
It is a close study of four novels by Boris Vian. It aims to show how L'Ecume des jours, L'Automne a Pekin, L'Herbe rouge and L'Arrache-coeur form a unified and coherent tetralogy. By establishing close links between these four texts, it becomes possible to achieve a more comprehensive understanding, not only of the significance of the tetralogy in exposing a complex and multi-layered novelistic strategy at the heart of the vianesque, but of the individual novels as autonomous creations. An examination of the novels reveals that they are not merely joined to one another via a superficial network of textual similarities (that which I refer to as intratextuality), but that this intertwining is emblematic of a common method of narrative construction. Each Vian novel is dependent, for a thorough understanding of the text to be possible, upon the multiple lines of external influence running through it. The sources of this influence (which I refer to as intertextuality) are located in various major texts of twentieth century literature, anglophone as well as francophone. Thus, in each instance the narrative is driven by a complicated interaction of intratextuality and intertextuality."
Fiction. Translated from the French by Paul Knobloch. Originally published in 1947. "In the Exopotamian desert, where hepatrols blossom and children collect little animals called sandpeepers, the sun shines in an unusual way: it produces eerie black zones whose mysteries remain unexplained. Above all, Vian's pecurilar way with language proves that, indeed, life in the desert is equal to none. Since unusual language is bound to produce unusual fiction, it follows that the story does not take place in the fall, nor is it set in China" - from the Foreword by Marc Lapprand. The fourth novel by Vian, who was a contemporary of Sartre and Beauvoir. His innovative style, cutting-edge during his lifetime, but only successful in the sixties, made him an icon of the May 1968 student movement.
Why do so many operas end in suicide, murder, and death? Why do many characters in large-scale operas exhibit neurotic behaviors worthy of psychoanalysis? Why are the legendary grands operas - much celebrated in their time - so seldom performed today?
A narrative about an engineer, Wolf, who invents a bizarre machine that allows him to revisit his past and erase inhibiting memories.
The Habsburg courtier Charles-Joseph Prince de Ligne seduced and symbolized eighteenth-century Europe. Speaking French, the international language of the day, he travelled between Paris and St Petersburg, charming everyone he met. He stayed with Madame du Barry, dined with Frederick the Great and travelled to the Crimea with Catherine the Great. But Ligne was more than a frivolous charmer. He participated in and recorded some of the most important events and movements of his day: the Enlightenment; the struggle for mastery in Germany; the decline of the Ottoman Empire; the birth of German nationalism; and the wars to liberate Europe from Napoleon. He had surprisingly radical views, believing for example in property rights for women, legal rights for Jews and the redistribution of wealth. He was also a highly respected writer and his books on gardens, his letters from the Crimea and his epigrams are considered minor classics of French literature.