DOCSLIB.ORG

The Thinking Notebooks of André Du Bouchet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Thinking Notebooks of André Du Bouchet The Thinking Notebooks of André du Bouchet By Sandra K. Simmons A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (French) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 05/17/12 The dissertation is approved by the following members of the Final Oral Committee: Steven Winspur, Professor, French Richard Goodkin, Professor, French Névine El-Nossery, Assistant Professor, French Ernesto Livorni, Professor, Italian Brian Hyer, Professor, Music Theory © Copyright by Sandra K. Simmons 2012 All Rights Reserved i I dedicate this work to my son, Jacques Lee Gleizer-Simmons, with love and hope always. ii Acknowledgement page In deep gratitude and joyful acknowledgment, it is my privilege to have this opportunity to thank so many people for their accompaniment in the evolution of this project. First and foremost, I must express my wholehearted gratitude to my advisor, Steven Winspur, without whom I would never have been able to finish this work. His patient readership of my unwieldy words brought sense to many an abrupt sentence. But it is his sensitivity to the process of writing and thinking, and his understanding of a walking poet, that has made it such a pleasure to have worked alongside him. To others in my committee, notably Ernesto Livorni and Richard Goodkin, who have been part of the conversation, and thus the intellectual honing of ideas, I am indebted for certain suggestions that gave me much-needed direction as well as for seeds of other writings to come. Another committee member, Brian Hyer, through his own passion for innovative and interdisciplinary approaches to works of art (music in particular) inspired me to look at du Bouchet’s work from a different angle, and I am so very thankful for having been part of his experience as a music theorist. To Névine El-Nossery, who also served on my committee, I am especially grateful for her kind and generous way of mentoring me through the process of writing. Many others have been an integral part of the development of this dissertation, some more directly and others more discreetly. Anne de Stael du Bouchet graciously opened her home to me, allowing me to peruse the manuscript notebooks and also shared with me several meals. She deserves my heartfelt thanks for her generosity and support. As well, I am grateful to Jean-Pascal Léger and Michel Collot who permitted me to join their colloquium, “Présence d’André du Bouchet” organized at Cerisy-la-Salle (2010), in honor of du Bouchet’s work, thanks also to (grâce à) Edith Heurgon. Many of the scholars, poets and artists present then also gave me insightful comments about my second chapter, and I thank them for their interest in my work. I thank those with whom I participated in a dissertation group (Olivia Donaldson, Beth Schewe, and Hanna Nyala West as well as Nataša Bašić and Preea Leelah) for the time they spent reading my rough drafts, writing comments, and discussing the process. Walks with Olivia and Beth, and also with Gwenola Caradec (to whom I owe my third chapter’s ecocritical base) while hashing out thoughts on our respective subjects brought unexpected results, and often made the work we were doing more relevant somehow. Although more rare, conversations with Franz Voelker usually shed light on aspects I was unsure about, and so I owe him thanks for sharing his thoughts with me. I am grateful to the group of thinkers with whom I have had the privilege to interact in the elaboration of the theory known as Textique (which informed my understanding of various modes found on a page of written word) and to Jean Ricardou for his patient encouragement as a thinking writer. I also owe my complete gratitude to Michel Sirvent who set me on this exceptional journey of reading du Bouchet’s poetry. iii Finally, I must thank those who supported me in my personal life, allowing me to focus on this endeavor and to each one of them (Linda Brindeau, Trena Caldwell, Geneviève Guetemme, Herb and Rosemary Wang, The Elbaums, Micah Zwern, Dorothy Simmons, Pam Simmons-Brooks, Debra Simmons, Jacques Gleizer-Simmons, Gene Simmons, and Dorothy Richter), I owe more than words can express. I am especially grateful for my father’s help in getting through the long process. I also thank my sisters, mother, and son for their inextinguishable faith in me. The loss of my brother, Jon Eric Simmons, in the midst of writing this dissertation made me appreciate the quiet moments of relationship that are always unfolding among us. And in line with that kind of appreciation, I also am profoundly thankful for the writings of André du Bouchet. iv Table of contents Introduction to a Walking Poet p. 1-7 I. Walking through Writing pp. 8-69 Use of the Carnet p. 8 Rhythm of Walking and Writing p. 20 Gesture and the Hand p. 35 From e-motion to feeling p. 45 Return of the Same p. 55 Gesturing Toward Words p. 57 II. (S)pacing the Page pp. 70-138 Graphic Elements p. 72 Musical Arrangements p. 103 Visual Reversibility p. 107 Painting with Words p. 124 III. Reading across Spaces pp. 139-197 Questions of Relationship p. 141 Reading the Traces p. 155 Three Hinged Spaces: souffle, face, jour p. 170 Ethical Conclusions p. 198-200 v List of Illustrations 1. Carnet Manuscrit non-dated, André du Bouchet p. 10 2. Carnet Manuscrit 1967, André du Bouchet p. 14 3. Joachim’s Dream, painting by Giotto p. 94 4. Ace 1962, painting by Rauschenberg p. 96 5. Tête d’homme, drawing by Alberto Giacometti p. 99 6. Sans titre, encre de chine by Tal-Coat p. 108 7. Syncopated Texture (In Imaginary Music), by Tom Johnson p. 111 8. Carnet Manuscrit 1951 p. 114 9. L’Inhabité (incipit), André du Bouchet p. 127 10. Peinture, pp. 16-17, André du Bouchet p. 129 vi Note to Readers The unconventional use of punctuation in contemporary poetry often characterizes the experimental nature of these writings, as is the case for André du Bouchet, who pushes the limits of what punctuation does within the structure of syntactical flow. In the interest of clarity, I have chosen to use the French system of punctuation, as opposed to an American (MLA) style, where quotation marks are concerned. In the former, punctuation of the critical text is not included in the part cited, whereas in the latter all punctuation cited belongs to the original text. This should allow the reader of my dissertation to distinguish between punctuation that is clearly part of the work cited (even if many of the excerpts are set apart from the main text rather than cited within quotes) and marks of punctuation that I am using in my own writing. Where du Bouchet’s words are also accompanied by punctuation, and where I have chosen to use quotation marks, it seems necessary in the context of my arguments for the distinction to be transparent. This is the case for the example on page 81 which illustrates why this distinction is necessary. In in the excerpt I cite of du Bouchet’s book-length poem Aujourd’hui c’est, it is important to note how the fragments are bordered by unconventional punctuation (“couler ici comme la pierre coule.” and “si pierre,”). Therefore, in order to remain as consistent as possible throughout my dissertation, I have continued the French system in all other citations, including those not taken from poetry, even in the bibliography. I hope this will provide a coherent way to make note of the poet’s experimentations. 1 Introduction Born in France (1924), André du Bouchet spent 1941-1948 in Massachusetts, where his family had fled during the Occupation, leaving France on foot (his journey took him from war- torn Paris across the Pyrenees Mountains of Pau in the south), with only one book under his arm (Bailly’s Greek dictionary). After finishing the last semester of his secondary studies in Connecticut at the Loomis School he graduated summa cum laude with a Bachelor of Arts in Greek at Amherst, then studied comparative literature at Harvard where he received a Master’s of Arts, so it was only after his return to his native land that he regained his mother tongue. Translator and art critic, his first collections of poetry (Air, Le Moteur Blanc) are published in France upon the encouragement of Pierre Reverdy. He also publishes criticism and translations of poets such as Baudelaire (Baudelaire Irrémédiable), Victor Hugo, and Paul Celan. The way he positions phrases in groups, visually similar to the spacing of Mallarmé’s Coup de dès, stuns his peers. Some critics (notably Francis Ponge) have viewed his writing as a continuation of the Mallarméan aesthetic, though du Bouchet’s syntax interrupts, breaks apart, even obliterates perfected language.1 His poems are often composed of continual pages of fragments with no page numbers. If du Bouchet’s goal is to maintain the moment of perception this would explain the reason for ongoing movement as part of his experiment of pattern and perception. 1 In a handwritten hommage to the poet’s spatial style, Francis Ponge wrote: “’Inimitables’, disais-je, mais c’est dans la mesure où cette originalité se manifeste visiblement (et même, comme on dit, saute aux yeux) dans la disposition des mots en archipel (Hölderlin) ou en constellation (Mallarmé), qu’elle a été très imitée ou pour mieux dire plagiée”. (“Pour André du Bouchet (Quelques notes)”. L'Ire des Vents, N◦ 6-8, Espaces pour André du Bouchet, 1983, p.
Load more

Recommended publications
  • 74 the Seventeenth Century Article by Alain on Saint-Simon,142 and E
    74 The Seventeenth Century article by Alain on Saint-Simon,142 and E. Delval draws from Limbo an early pamphlet, Telemacomanie, in which a con­ temporary busybody dares to measure himself against Fenelon. 143 THE EIGHTEENTH CENTURY By H. TEMPLE PATTERSON [The place of publication is Paris unless otherwise stated. An asterisk denotes that a book does not deal exclusively with the eighteenth century] I. GENERAL LANGUAGE. F. Brunot, Histoire de la Langue Fra1Zfaise: La Rivolution et l'Empire, ii: Les ivenements, les institutions et la langue, Colin, 660 pp. HISTORY OF LITERATURE. E. Abry, P. Crouzet, J. Beroes et J. Leger, Les Grands Ecrivains de France illustres, iv: Le dix-huitibne siecle, Didier, 424 pp.-P. Russel, The Glittering Century, N.Y., Scribner (18th-century studies).-Chapman, Cons, Levengood and Vree­ land, Anthology of Eighteenth Century French Literature, Princeton Univ. Press, 1937, 529 pp. RELIGION AND THOUGHT. G. Dumas, Histoire du Journal de Trevoux depuis 170ljusqu'en 1762, Boivin, 1936, 210 pp.-·M. Nicholson, A World in the Moon: A Study of the Changing Attitude toward the Moon in the 17th and 18th Centuries, Smith Coll. Studies in Mod. Lang., 1936,72 pp.-H. Hastings,ManandBeastinFrench Thought of the Eighteenth Century, Baltimore, Johns Hopkins Press, and D.U.P. II. FOREIGN RELATIONS AND COMPARATIVE LITERATURE FOREIGN INFLUENCES IN FRANCE. T. J. Beck, Northern Antiquities in French Learning and Literature (1755-1855), vol. ii: The Odin Legend and the Oriental Fascination, N.Y., Columbia Univ. (re­ viewed P. van Tieghem, RLC, juillet-sept. I936).-D. S. von Mohrenschildt, Russia in the Intellectual Life of Eighteenth-century France, D.U.P.-·N.
    [Show full text]
  • Exoticism and the Jew: Racine's Biblical Tragedies by Stanley F
    Exoticism and the Jew: Racine's Biblical Tragedies by Stanley F. Levine pour B. Ponthieu [The Comedie franchise production of Esther (1987) delighted and surprised this spectator by the unexpected power of the play itself as pure theater, by the exotic splendor of the staging, with its magnificent gold and blue decor and the flowing white robes of the Israelite maidens, and most particularly by the insistent Jewish references, some of which seemed strikingly contemporary. That production underlies much of this descussion of the interwoven themes of exoticism and the Jewish character as they are played out in Racine's two final plays.] Although the setting for every Racinian tragedy was spatially or temporally and culturally removed from its audience, the term "exotic" would hardly be applied to most of them. With the exception of Esther and Athalie, they lack the necessary 'local color' which might give them the aura of specificity.1 The abstract Greece of Andromaque or Phedre, for example, pales in comparison with the more circumstantial Roman world of Shakespeare's Julius Caesar and Titus Andronicus, to say nothing of the lavish sensual Oriental Egypt in which Gautier's Roman de la Momie luxuriates. To be sure, there are exotic elements, even in Racine's classical tragedies: heroes of Greco-Roman history and legend, melifluous place and personal names ("la fille de Minos et de Pasiphae"), strange and barbaric customs (human sacrifice in Iphigenie). Despite such features, however, the essence of these plays is ahistorical. Racine's Biblical tragedies present a far different picture. Although they may have more in common 52 STANLEY F.
    [Show full text]
  • French Department Faculty 33 - 35 French Department Awards 36 - 38 French House Fellows Program 39
    Couverture: La Conciergerie et le Pont au Change, Paris TABLE OF CONTENTS Page Course Descriptions 2 - 26 French 350 27 French 360/370 28 - 29 Linguistics and Related Course Descriptions 30 French Advanced Placement Policies & Language Requirements 31 Requirements for the Major 31 The French Cultural Studies Major 31 Maison Française/French House 32 Wellesley-in-Aix 32 French Department Faculty 33 - 35 French Department Awards 36 - 38 French House Fellows Program 39 French Department extensions: Sarah Allahverdi (781) 283-2403 Hélène Bilis x2413 Venita Datta x2414 Sylvaine Egron-Sparrow x2415 Marie-Cecile Ganne-Schiermeier x2412 Scott Gunther x2444 Andrea Levitt x2410 Barry Lydgate, Chair x2404/x2439 Catherine Masson x2417 Codruta Morari x2479 Vicki Mistacco x2406 James Petterson x2423 Anjali Prabhu x2495 Marie-Paule Tranvouez x2975 French House assistantes x2413 Faculty on leave during 2012-2013: Scott Gunther (Spring) Andrea Levitt (Spring) Catherine Masson Vicki Mistacco (Fall) James Petterson (Spring) Please visit us at: http://web.wellesley.edu/web/Acad/French http://www.wellesley.edu/OIS/Aix/index.html http://www.facebook.com/pages/Wellesley-College-French- Department/112088402145775 1 FRENCH 101-102 (Fall & Spring) Beginning French I and II Systematic training in all the language skills, with special emphasis on communication, self- expression and cultural insight. A multimedia course based on the video series French in Action. Classes are supplemented by regular assignments in a variety of video, audio, print and Web-based materials to give students practice using authentic French accurately and expressively. Three class periods a week. Each semester earns 1.0 unit of credit; however, both semesters must be completed satisfactorily to receive credit for either course.
    [Show full text]
  • Potentialités Poétiques, Finalité Ontologique De La Violence Chez Jacques Dupin
    Une “ matière d’infini ” : potentialités poétiques, finalité ontologique de la violence chez Jacques Dupin. Pour une approche Laël Millo To cite this version: Laël Millo. Une “ matière d’infini ” : potentialités poétiques, finalité ontologique de la violence chez Jacques Dupin. Pour une approche. Sciences de l’Homme et Société. 2019. dumas-02567116 HAL Id: dumas-02567116 https://dumas.ccsd.cnrs.fr/dumas-02567116 Submitted on 7 May 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNE « MATIERE D’INFINI » : POTENTIALITES POETIQUES, FINALITE ONTOLOGIQUE DE LA VIOLENCE CHEZ JACQUES DUPIN. POUR UNE APPROCHE. Mémoire de recherche de LAËL MILLO rédigé sous la direction de Madame ANNE GOURIO présenté pour le Master Recherche de Lettres modernes Université de Caen-Normandie, 2019 Jury de soutenance : . Madame ANNE GOURIO, Maître de conférences en Littérature française du XXème siècle. Madame MARIE-HELENE BOBLET, Professeur des universités, Littérature française des XXème et XXIème siècles. Illustration de couverture : Alberto Giacometti, Homme et femme, bronze, 1926. Page | 1 DIRE : « MERCI » Je voudrais adresser mes premiers remerciements à ma mère, LAURENCE, à mon père, DANIEL et à ma sœur, LISA, pour leur affection, leur soutien, leur enthousiasme ; à ma tante, SANDRA, pour son affection et ses encouragements constants.
    [Show full text]
  • Claude Esteban
    europe revue littéraire mensuelle CLAUDE ESTEBAN BERNARD MANCIET mars 2010 CLAUDE ESTEBAN (1935-2006) est l’un des poètes majeurs de notre temps. Dans sa quête toujours renouvelée d’un dialogue entre l’univers des signes et la saveur concrète du monde sensible, son œuvre nous touche par sa limpidité et sa nudité sincère. Placée sous le signe de l’alliance mystérieuse d’une plénitude et d’un manque, elle dit à la fois l’impermanence et la splendeur des choses. Même quand elle nous parle du malheur et de l’inconsolable chagrin, c’est avec une délicatesse et une pudeur qui donnent aux mots leur plus grand pouvoir de suggestion, et à l’émotion sa plus durable intensité. Claude Esteban fut aussi un prosateur admirable. Comme l’écrit ici même Jacques Dupin : « En prose, qu’il s’interroge sur l’art ou sur la poésie, il est porté par un lyrisme très surveillé, une ardeur empreinte de sévérité dont sa phrase s’allège en développements ondoyants et précis qui atteignent le grand style, sans complaisance ni affectation. Les poèmes en revanche restent au contact d’une réalité immédiate, d’une pauvreté familière attentive aux créatures les plus petites et les plus proches. Ils se gardent d’élever la voix pour écouter le battement d’une vérité intérieure. Deux visages d’un être divisé, deux faces complémentaires séparées par un ravin, un gisement de silence d’où Claude Esteban tirait la richesse, la justesse de sa poésie. » Xavier Bruel, Jean-Michel Maulpoix, Jacques Dupin, Yves Bonnefoy, Esther Tellermann, Luis Antonio de Villena, Michel Deguy, Kadhour Méry, Dominique Viart, Michael Brophy, Michael Bishop, Georges Molinié, Marie-Claire Bancquart, Jean-Baptiste Para, Benoît Conort, Alain Mascarou, Marie-Claire Zimmermann, Dawn Cornelio, Angela Serna, Laura Legros, Pierre Vilar, Gérard Farasse, Jean-Patrice Courtois, Emmanuel Rubio, Didier Alexandre, Michel Jarrety.
    [Show full text]
  • The Launch of an Undergraduate Research Journal
    The Reception of Literature in France during the Revolution: An Analysis of Reviews of Women Writers in the Mercure de France, 1791-1795 by Jonathan Durham, Department of French Studies, University of Warwick [1] ABSTRACT This paper is based on part of a pan-European research project carried out between 2004 and 2007, the aim of which was to create an index of female authors. The full results may be found in the database WomenWriters, available at www.databasewomenwriters.nl. One section of this project involved listing and analysing all works, both fiction and theatre, which were reviewed during the period 1791 to 1795 in the Mercure de France, the government-funded state journal which was produced during the Ancien Régime. Given the generally accepted view that the French Revolution marked a watershed in literary production, establishing what was being published and reviewed at that time is crucial for our understanding of the changing socio-political literary climate. The eighteenth century was the period of Enlightenment, and many women were active in writing at this time. It was expected, therefore, that a significant number of works written by women would be reviewed in the Mercure. However, this was not the case and so the project was expanded to include an analysis of the development of the Mercure during the Revolutionary years, the theatre of the Revolution, and the status of female authors in French Revolutionary society. This analysis forms the basis of the first part of this article; the second part examines the reviews of the only two female- authored publications to appear in the Mercure during the period 1791-1795, Elizabeth Inchbald’s Simple Histoire [Simple Story] and Charlotte Smith’s Célestine, ou la victime des Préjugés [Celestina].
    [Show full text]
  • 19Th and 20Th Century French Exoticism
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 19th and 20th century French exoticism: Pierre Loti, Louis-Ferdinand Céliné , Michel Leiris, and Simone Schwarz-Bart Robin Anita White Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the French and Francophone Language and Literature Commons Recommended Citation White, Robin Anita, "19th and 20th century French exoticism: Pierre Loti, Louis-Ferdinand Céĺ ine, Michel Leiris, and Simone Schwarz-Bart" (2004). LSU Doctoral Dissertations. 2593. https://digitalcommons.lsu.edu/gradschool_dissertations/2593 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. 19TH CENTURY AND 20TH CENTURY FRENCH EXOTICISM: PIERRE LOTI, LOUIS-FERDINAND CÉLINE, MICHEL LEIRIS, AND SIMONE SCHWARZ-BART A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Doctor of Philosophy in The Department of French Studies by Robin Anita White B.A. The Evergreen State College, 1991 Master of Arts Louisiana State University, 1999 August 2004 ACKNOWLEDGEMENTS This work is dedicated to my family and friends who lent me encouragement during my studies. They include my parents, Joe and Delsa, my brother and sister-in-law, and many others. I would like to express gratitude for the help I received from the Department of French Studies at LSU, in particular, Dr.
    [Show full text]
  • Racine and Barthes: the Power of Love
    Racine and Barthes: The Power of Love Delphine Calle hat does a seventeenth-century playwright share with a modern W literary critic? Not much, one would think. Yet Jean Racine and Roland Barthes owe a debt to each other. When in 1963 Barthes writes Sur Racine, the essay contributes to the notoriety of its author, who, in return, dusts off the work and image of Racine. Central for both writers’ success is their account of the love theme in tragedy. The passions assure Racine’s triumph during his life and his poetic legacy in the centuries to come, until Barthes daringly shakes their foundations. In this essay, I want to show the importance of the love theme both for the plays of Racine and for Barthes’ essay on them, for it divides critics and public, from the seventeenth century to the twentieth century. To Love or Not to Love The seventeenth century bore witness to a growing interest in passion and love.1 Philosophers (Malebranche, Descartes)2, theologians (François de Sales, Fénelon)3, and moralists (Pascal, La Rochefoucauld, La Bruyère)4 engaged in fierce debates on the theme of love and passions. The numerous publications of love stories, in chronicles and novels, reflect the new taste and demands of the educated part of society: the idyllic novel of the pastoral, the gallant discussions on questions d’amour, the libertine genre and Madame de Lafayette’s masterpiece, La Princesse de Clèves, all represent heroes exploring the delights and the torments of (erotic) passion.5 The genre of tragedy is a bit more reluctant to embrace this love theme.6 Until the mid-century Pierre Corneille decides on the tragic genre.
    [Show full text]
  • The Parallel Canons at the Opéra and the Comédie-Française at the End Databases, Revenues, & Repertory: the French Stage Online, 1680-1793 of the Ancien Régime
    Databases, Revenues, & Repertory: The French Stage Online, 1680– 1793 • Databases, Revenues, & Repertory: The French Stage Online, 1680-1793 The Parallel Canons at the Opéra and the Comédie- Française at the End of the Ancien Régime William Weber Published on: Oct 08, 2020 DOI: 10.21428/671d579e.244e34b0 License: Creative Commons Attribution 4.0 International License (CC-BY 4.0) Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 • The Parallel Canons at the Opéra and the Comédie-Française at the End Databases, Revenues, & Repertory: The French Stage Online, 1680-1793 of the Ancien Régime The Opéra, or the Académie royale de musique, had a lot to do with the Comédie-Française in the long term. Formed eleven years apart—the Opéra in 1669 and the Comédie-Française in 1680—the two institutions were given similar monopolies by the monarchy and as such took central roles within the entertainment world and public life. What is particularly striking is that both theaters developed remarkably powerful canons of great works by, on the one hand, Jean-Baptiste Poquelin or Molière, Pierre Corneille, and Jean Racine, and on the other by Jean-Baptiste Lully and Jean-Philippe Rameau. Works by the two composers and the three playwrights can be considered to have played the role of high canon in the repertories of the two theaters. This essay will show how parallel canons evolved at the Opéra and the Comédie-Française and entered into periods of major change in the 1770s and 1780s. On the one hand, the arrival of Christoph- Willibald Gluck as the principal composer at the Opéra in 1774 led to the abandonment of its old repertory, save for Jean-Jacques Rousseau’s Le Devin du village, premiered in 1752, and stimulated an intense controversy as to the relative merits of music by Gluck and by Niccolò Piccinni, and indeed the whole future of French opera.
    [Show full text]
  • The Eighteenth-Century French Novel and Marriage on Women's Terms
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Outlandish Fictions: The Eighteenth-Century French Novel and Marriage on Women's Terms Ekaterina R. Alexandrova University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the English Language and Literature Commons, European Languages and Societies Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Alexandrova, Ekaterina R., "Outlandish Fictions: The Eighteenth-Century French Novel and Marriage on Women's Terms" (2012). Publicly Accessible Penn Dissertations. 487. https://repository.upenn.edu/edissertations/487 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/487 For more information, please contact [email protected]. Outlandish Fictions: The Eighteenth-Century French Novel and Marriage on Women's Terms Abstract ABSTRACT OUTLANDISH FICTIONS: THE EIGHTEENTH-CENTRY FRENCH NOVEL AND MARRIAGE ON WOMEN'S TERMS Ekaterina R. Alexandrova Joan DeJean Focusing on plots that depict life after marriage, this dissertation studies the novel as a medium for imagining a spousal relationship transformed to promote new positive social, political, and familial roles and possibilities for women. I re-establish these fictions' thrust as primarily concerned with individual freedom and fulfillment, atherr than with affection in marriage. I begin by exploring the relationship between the rising appeal of conjugal sentiment and the novel, situating the genre within the general context of social and political shift in eighteenth-century France. Viewing emergent subversive marriage plots in light of the founding seventeenth-century tradition tying the novel genre to women's interests, I suggest that attempts to contain fictions deemed outlandish" " may have warped our present vision of the "heroine's plot," or the range of roles and experiences imagined for women by Enlightenment novelists.
    [Show full text]
  • ROGER-Academic Publications
    Update Philippe Roger in dialogue with Régis Debray on the «americanization» of France, in Alain Finckelkraut’s France-Culture radio program Répliques (1st of July, 2017, 53 mn). Podcast : https://www.franceculture.fr/emissions/repliques «L’Amérique et nous» ACADEMIC PUBLICATIONS 1- BOOKS (author or co-author) 1- Sade . La Philosophie dans le pressoir, Paris, Grasset, 1976, 225 p. 2- Roland Barthes, roman, Paris, Grasset, 1986, 355 p. Paperback edition : Paris, Livre de Poche, Biblio-Essais, 1990, 440 p. Chinese translation : China Renmin University Press, 2013. 3- L’Ennemi américain. Généalogie de l’antiaméricanisme français, Paris, Seuil, 2002, 602 p. (Prix Aujourd’hui 2003. Also nominated for the Prix du Livre politique 2003.) French paperback edition : Paris, «Points Seuil», 2004, 602 p. English edition : The American Enemy. The History of French Anti-Americanism, translated by Sharon Bowman, The University of Chicago Press, Chicago & London, 2005 ; paperback edition, 2007. (Prize for best non-fiction book translated from the French, awarded by the Gould Foundation and the French- American Foundation, 2006.) Chinese translation : Pékin, Xin Hua, 2004. Arabic translation : Cairo, Presses de l’Institut pour la culture, 2005. Italian translation : Palermo, Sellerio Ed., 2008. Japanese translation : Hosei University Press, 2012. 4- (co-author with Y. Hersant, T. Pavel & L. Proguidis), Romanzo a romanzesco, Pesaro (Italie), Metauro Edizioni, 2004, 120 p. (publication in Italian) 5- (co-author with A. Compagnon & E. Marty), Barthes’ Inheritance, Tokyo, Misuzu Shobo, 2008 (publication in Japanese) 6- Pour une nouvelle pensée de midi, illustrated with photographs by Nicola Amato, Bari, per conto della Federazione delle Alliances Françaises d’Italia, 2008, 34 p.
    [Show full text]
  • "Encourager Le Commerce Et Répandre Les Lumiʹere" : the Press, the Provinces and the Origins of the Revolution in Fr
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2001 "Encourager le commerce et répandre les Lumiʹere" : the press, the provinces and the origins of the Revolution in France: 1750-1789 Stephen Auerbach Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Auerbach, Stephen, ""Encourager le commerce et répandre les Lumiʹere" : the press, the provinces and the origins of the Revolution in France: 1750-1789" (2001). LSU Doctoral Dissertations. 1042. https://digitalcommons.lsu.edu/gradschool_dissertations/1042 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. "ENCOURAGER LE COMMERCE ET RÉPANDRE LES LUMIÈRES:" THE PRESS, THE PROVINCES AND THE ORIGINS OF THE REVOLUTION IN FRANCE: 1750-1789 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Stephen Auerbach B.A., University of Michigan, 1991 M.A., University of Chicago, 1993 December 2000 ACKNOWLEDGEMENTS I have piled up many debts in the course of planning, researching, and writing this dissertation. These are the sorts of debts that can never be repaid, only acknowledged. As the editors of the Journal de Guienne figured out over two hundred years ago, sometimes the only way to repay people for their help and kindness is to put their names in print.
    [Show full text]