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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.
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.
Examines the way in which Sophocles' play "Oedipus Tyrannus" and its hero, Oedipus, King of Thebes, were probably received in their own time and place, and relates this to twentieth-century receptions and interpretations, including those of Sigmund Freud.
Most human action has a technical dimension. This book examines four components of this technical dimension. First, in all actions, various individual, organizational or institutional agents combine actional capabilities with tools, institutions, infrastructure and other elements by means of which they act. Second, the deployment of capabilities and means is permeated by ethical aspirations and hesitancies. Third, all domains of action are affected by these ethical dilemmas. Fourth, the dimensions of the technicity of action are typical of human life in general, and not just a regional or culturally specific phenomenon. In this study, an interdisciplinary approach is adopted to encompass the broad anthropological scope of this study and combine this bigger picture with detailed attention to the socio-historical particularities of action as it plays out in different contexts. Hermeneutics (the philosophical inquiry into the human phenomena of meaning, understanding and interpretation) and social science (as the study of all human affairs) are the two main disciplinary orientations of this book. This study clarifies the technical dimension of the entire spectrum of human action ranging from daily routine to the extreme of violent protest.
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."
Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.
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.
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."