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This book expounds fruitful ways of analysing matters of ecology, environments, nature, and the non-human world in a broad spectrum of material in French. Scholars from Canada, France, Great Britain, Spain, and the United States examine the work of writers and thinkers including Michel de Montaigne, Victor Hugo, Émile Zola, Arthur Rimbaud, Marguerite Yourcenar, Gilbert Simondon, Michel Serres, Michel Houellebecq, and Éric Chevillard. The diverse approaches in the volume signal a common desire to bring together form and content, politics and aesthetics, theory and practice, under the aegis of the environmental humanities.
Volume 39 of FLS French Literature Series features ten articles on the topic of the environment in French and Francophone Literature and Film. Contributors engage with the work of such authors, filmakers and cartoonists as Michel Serres, Luc Ferry, Patrice Nganang, Marie Darrieussecq, Yann-Arthus Bertrand and Plantu, and such topics as human zoos, eco-colonialism, queer theory, and the environmental catastrophes of WWI and, globally, of human civilization as recorded in the recent eco-documentary, HOME. Wide-ranging, provocative and topical these articles both broaden and deepen the efficacy of ecocriticism as a tool for enriching our understanding of the field beyond the English and American “nature writing” at the theory’s core.
"A new novel from the author of Oleander Girl, a novel in stories, built around crucial moments in the lives of 3 generations of women in an Indian/Indian-American Family"--
The majority of these collected essays date from 1992 onwards, three of them having been specially expanded for this volume. Drawing on recent archival research and new musicological theory, they investigate distinctive qualities in French opera from early opéra comique to early grand opera. ’Media’ is interpreted in terms of both narrative systems and practical theatre resources. One group of essays identifies narrative systems in ’minuet-scenes’, in the diegetic romance, and in special uses of musical motives. Another group concerns the theory and æsthetics of opera, in which uses of metaphor help us interpret audience reception. A third group focuses on orchestral and staging practices, brought together in a new theory of the 'melodrama model’ linking various genres from the 1780s with the world of the 1820s. French opera’s relation with literature and politics is a continuing theme, explored in writings on prison scenes, Ossian, and public-private dramaturgy in grand opera. David Charlton has written widely on French music and opera topics for over 25 years. The selection of his articles presented here focuses on the period 1730-1830 when Paris was a hotbed of influential ideas in music and music theatre, with many of these ideas taken up by foreign composers. This volume assesses the French contribution to the development of Classical and Romantic styles and genres which has hitherto not received the attention it deserves.
Music! It is the great pleasure of this city, the great occupation of the drawing-rooms, which have banished politics, and which have renounced literature, from ennui. Jules Janin, An American in Paris, 1843 Afternoon and evening entertainments in the drawing rooms of the aristocracy and upper middle classes were a staple of cultural life in nineteenth-century Paris. Music was often a feature of these occasions and private salons provided important opportunities for musicians, especially singers, to develop their careers. Such recitals included excerpts from favourite operas, but also the more traditional forms of French song, the romance and its successor the m die. Drawing on extensive research into the musical press of the period, David Tunley paints a vivid portrait of the nineteenth-century Parisien salons and the performers who sang in them. Against this colourful backdrop, he discusses the development of French romantic song, with its hallmarks of simplicity and clarity of diction. Combined with Italian influences and the impression made by Schubert's songs, the French romance developed into a form with greater complexity - the m die. Salons, Singers and Songs describes this transformation and the seeds it sowed for music by later composers such as Faur Duparc and Debussy.
French Écocritique is the first book-length study of the culturally specific ways in which contemporary French literature and theory raise questions about nature and environment. Stephanie Posthumus’s ground-breaking work brings together thinkers such as Guattari, Latour, and Serres with recent ecocritical theories to complicate what might otherwise become a reductive notion of "French ecocriticism." Working across contemporary philosophy and literature, the book defines the concept of the ecological as an attentiveness to specific nature-culture contexts and to a text’s many interdiscursive connections. Posthumus identifies four key concepts, ecological subjectivity, ecological dwelling, ecological politics, and ecological ends, for changing how we think about human-nature relations. French Écocritique highlights the importance of moving beyond canonical ecocritical texts and examining a diversity of cultural and literary traditions for new ways of imagining the environment.
A collection of letters by Meyerbeer, the operatic composer who died in 1864. Critics have recently re-evaluated his work, recognizing his musical craftmanship, his dramatic sense and his influence on later operatic composers. The editors also edited Letters and Diaries of Meyerbeer.
Is ecology in the process of becoming the object of our contemporary passions, in the same way that Fascism was in the 30s, or Communism under Stalin? In The New Ecological Order, Luc Ferry offers a penetrating critique of the ideological root of the "Deep Ecology" movement spreading throughout the United States, Germany, and France. Traditional ecological movements, or "democratic ecology," seek to protect the environment of human societies; they are pragmatic and reformist. But another movement has become the refuge both of nostalgic counterrevolutionaries and of leftist illusions. This is "deep ecology." Its followers go beyond practical critique of human greed and waste: they call into question the very possibility of human coexistence with nature. Ferry launches his critique by examining early European legal cases concerning the status and rights of animals, including a few notorious cases where animals were brought to trial, found guilty, and publicly hanged. He then demonstrates that German Romanticism embraced certain key ideas of the deep ecology movement concerning the protection of animals and the environment. Later adopted by the Nazis, many of these ideas point to a profoundly antihumanistic component of deep ecology that is compatible with totalitarianism. Ferry shows how deep ecology casts aside all the gains of human autonomy since the Enlightenment. Far from denying our "duty in relation to nature," The New Ecological Order offers a bracing caution - against the dangers of environmental claims and, more important, against the threat to democracy contained in the deep ecology doctrine when pushed to its extreme.