Programme Bajazet 20/21
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Jean Racine (1639-1699)
Jean Racine (1639-1699) Biographie ean Racine (22 décembre 1639 à 21 avril 1699) naquit à la Ferté Milon, dans l'Aisne. Issu d'un milieu bourgeois plutôt, il fut orphelin de mère à 2 ans et de père à 4 ans. Il fut alors J (1643) recueilli par ses grands-parents maternels. Les relations avec l'abbaye janséniste de Port-Royal imprégnèrent toute la vie de Racine. Il y subit l'influence profonde des «solitaires» et de leur doctrine exigeante. L'une de ses tantes y fut religieuse ; sa grand-mère s'y retint à la mort de son mari (1649). L'enfant fut alors admis aux Petites Écoles à titre gracieux. Deux séjours dans des collèges complétèrent sa formation : le collège de Beauvais (1653-1654) et le collège d'Harcourt, à Paris, où il fit sa philosophie (1658). À 20 ans, nantis d'une formation solide mais démuni de biens, Racine fut introduit dans le monde par son cousin Nicolas Vitart (1624-1683), intendant du duc de Luynes. Il noua ses premières relations littéraires (La Fontaine) et donna ses premiers essais poétiques. En 1660, son ode la Nymphe de la Seine à la Reine, composée à l'occasion du mariage de Louis XIV, retint l'attention de Charles Perrault. Mais, pour assurer sa subsistance, il entreprit de rechercher un bénéfice ecclésiastique et séjourna à Uzès (1661-1663) auprès de son oncle, le vicaire général Antoine Sconin. Rentré à Paris en 1663, il se lança dans la carrière des lettres. 140101 Bibliotheca Alexandrina Établi par Alaa Mahmoud, Mahi Rabie et Salma Hamza Rejetant la morale austère de Port-Royal et soucieux de considération mondaine et de gloire officielle, Racine s'orienta d'abord vers la poésie de cour : une maladie que contracta Louis XIV lui inspira une Ode sur la convalescence du Roi (1663). -
Seminar Demonstration Files
Demonstration of overlays (i) 1 Seminar demonstration files Overlays (I) Denis Girou June 2002 With Acroread, CTRL-L switch between full screen and window mode Seminar demonstration files – Overlays (I) Version 1.0 – June 2002 Denis Girou Demonstration of overlays (i) 2 1 – Introduction . 3 2 – Cumulative overlays . 8 3 – Cumulative overlays with PSTricks nodes . 16 4 – Progressive overlays . 17 5 – Progressive overlays with PSTricks nodes . 18 6 – External files inclusion . 19 Seminar demonstration files – Overlays (I) Version 1.0 – June 2002 Denis Girou Demonstration of overlays (i) 3 1 – Introduction ☞ Overlays are a key feature for interactive screen presentations ☞ Seminar implement since it beginning a powerful mechanism for the management of overlays (in fact, it is only an encapsulation of the general PSTricks mechanism for overlays, implemented in the PostScript language – but such a mechanism is really useful only for slides!) ☞ It was written to be able to generate several plastic slides which will be superimposed on a projector. Nevertheless, exactly the same mechanism work too for screen oriented presentations. ☞ The overlays also allow to compose animated graphics, if the PDF file viewver allow to show the slides automatically (as Acrobat Reader does) – see sem-dem6.pdf ☞ The only change that we made concern the total number of overlays allowed on the same slide: we increase the limit from 10, which is clearly not enough for screen presentations, and specially for 2 animated graphics, to 676 (26 ) Seminar demonstration files – -
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. -
Mithridate Ou Beaucoup De Bruit Pour Rien. Racine, Le Politique Et Le Tragique ” Arnaud Rykner
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scientific Publications of the University of Toulouse II Le Mirail " Mithridate ou beaucoup de bruit pour rien. Racine, le politique et le tragique " Arnaud Rykner To cite this version: Arnaud Rykner. " Mithridate ou beaucoup de bruit pour rien. Racine, le politique et le tragique ". Suzanne Guellouz. Racine et Rome, Paradigme, pp.199-205, 1995. <halshs-00630082> HAL Id: halshs-00630082 https://halshs.archives-ouvertes.fr/halshs-00630082 Submitted on 7 Oct 2011 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. In Racine et Rome, sous la direction de Suzanne Guellouz, Orléans, Paradigme, 1995, p. 199-205. Mithridate ou beaucoup de bruit pour rien (Racine, le politique et le tragique) Paradoxal en plus d’un point, Mithridate l’est notamment par l’accueil qui lui a été fait au fil des siècles. Assez largement sacrifié par la critique moderne, qui ne s’y intéresse le plus souvent qu’au sein d’études générales sur Racine, la pièce est apparemment la moins appréciée des oeuvres de la “maturité” (d’Andromaque à Phèdre). -
Select Bibliography
Select Bibliography COLLECTED WORKS CEuvres, ed. P. Mesnard, 8 vols and 2 albums (Hachette, 1865-73, etc.) ('Les Grands Ecrivains de la France'). Theatre complet, ed. G. True, 4 vols (Societe des Belles-lettres, 1929-30) ('Les Textes fran<;:ais'). Original spelling and punctuation. CEuvres completes, ed. R. Picard, 2 vols (Galhmard, 1950), ('Bibliotheque de la Pleiade'). The latest complete and scholarly edition. Theatre complet, ed. M. Rat (Garnier, 196o). CEuvres completes, ed. P. Clarac (Seuil and Macmillan Co. of New York, 1962) ('L'Integrale'). No variants given. SINGLE PLAYS (a) English editions; introduction and commentary in English except where stated. Britannicus, ed. P. Butler (Cambridge U.P., 1967). Extensive biblio- graphy. --ed. W. H. Barber (Macmillan and StMartin's P., 1967). Berenice, ed. W. S. Maguinness (Manchester U.P., 1929, 1956). - ed. C. L. Walton (Oxford U.P., 1965). Bajazet, ed. C. Girdlestone (Blackwell, 1955). Entirely in French. Mithridate, ed. G. Rudler (Blackwell, 1943). Entirely in French. Phedre, ed. R. C. Knight (Manchester U.P., 1943, 1955). Athalie, ed. P. France (Oxford U.P., 1966). (b) Collection 'Mises en Scene' (Editions du Seuil). Line-by-line commentaries by producers of noteworthy Paris productions, illustra ted (but without scholarly authority). Bajazet, mise en scene et commentaires de X. de Courville (1947). Phedre, mise en scene et commentaircs de J.-L. Barrault (1946, 1959). Athalie, mise en scene et commentaires de G. le Roy (1952). 232 SELECT BIBLIOGRAPHY ENGLISH TRANSLATIONS In blank verse unless otherwise stated. (Racine's poetic style being what it is, no translation must be expected to convey the full flavour.) The Dramatic Works of]. -
The Body and the Senses in Racine's Theatre
The Body and the Senses in Racine’s Theatre Carolyn Hammond Rosen Royal Holloway, University of London PhD 1 Declaration Of Authorship I Carolyn Rosen declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. The Body and the Senses in Racine’s Theatre ……………………………………………………………………………………………………………………… I confirm that: 1. This work was done wholly or mainly while in candidature for a research degree at Royal Holloway, University of London; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published work of others, this is always clearly attributed; 4. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; 5. I have acknowledged all main sources of help; 6. Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. None of this work has been published before submission. Signed: Carolyn Rosen……………………………………………………………… Date: ………20 December 2015……………………………………………… 2 Abstract The Body and the Senses in Racine’s Theatre Until now, critics have not made full use of the perceptual awareness with which Racine endows his characters. This particular consciousness lends itself to a study inspired by phenomenology. Racine’s characters are fascinating because their language and action speak to the dramatist’s sophisticated portrayal of embodied sense experience. -
Bajazet, Tragédie
BAJAZET TRAGÉDIE RACINE, Jean 1672 Publié par Gwénola, Ernest et Paul Fièvre, Septembre 2015 - 1 - - 2 - BAJAZET TRAGÉDIE Par Mr RACINE À PARIS, Chez PIERRE LE MONNIER, vis à vis la Porte de l'Église de la Sainte-Chapelle, à l'image Saint Louis. M. DCC. LXXII. AVEC PRIVILÈGE DU ROI. - 3 - Première préface (édition 1672) Quoique le sujet de cette tragédie ne soit encore dans aucune histoire imprimée, il est pourtant très véritable. C'est une aventure arrivée dans le sérail, il n'y a pas plus de trente ans, M. le comte de Cézy était alors ambassadeur à Constantinople. Il fut instruit de toutes les particularités de la mort de Bajazet ; et il y a quantité de personnes à la cour qui se souviennent de les lui avoir entendu conter lorsqu'il fut de retour en France. M. le chevalier de Nantouillet est du nombre de ces personnes, et c'est à lui que je suis redevable de cette histoire, et même du dessein que j'ai pris d'en faire une tragédie. J'ai été obligé pour cela de changer quelques circonstances, mais comme ce changement n'est pas fort considérable, je ne pense pas aussi qu'il soit nécessaire de le marquer au lecteur. La principale chose à quoi je me suis attaché, ç'à été de ne rien changer ni aux mœurs ni aux coutumes de la nation, et j'ai pris soin de ne rien avancer qui ne fut conforme à l'histoire des Turcs et à la nouvelle Relation de l'empire ottoman, que l'on a traduite de l'anglais. -
Fatality As Portrayed in the Tragedies of Racine
FA'l'ALITY IN RACINE! S TRAGEDIES FATALITY AS PORTRAYED IN THE TRAGEDIES OF RACINE by NORM1\ NEITA: NELSON, B. A., u. W. I. A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements _for the Degree Master of Arts McHaster University Oct_ober 1969 }mSTER OF ARTS (1969) HcHASTER UNIVERSITY (Romance Languages) Hamilton, Ontario TITLE: Fatality as Portrayed in the Tragedies of Racine AU'THOR: Norma Neita Nelson, B.l-i., U.lti].I. SUPERVISOR: Dr. G. A. Warner NUMBER OF PAGES: vi, 104 SCOPE AND CONTENTS: A discussion of Fatali-ty, its origin in the theatre; its effect on French tragedians up to Racine and its p()rtrayal in Racinian tragedy. ii PREFACE Volumes have been vJritten about Racine, his life, works and religion; and rightly so, since he is not only one of the leading divinities of the French Pantheon but one of the world's greatest tragic dramatists. This thesis makes no claim of producing novel and astounding discoveries or views. It is simply t.he product of an intimate acquaintance with Racine and a deep admiration for his work. From this acquaintance formulates a burning question: Wha·t caused Racine to presen·t in his theatre, a tragic art almost ignored by the major tragic dramatists of his era? Did this sense of fatality come from the Greeks or his own temperament, from his Jansenist upbringing or his ex.perience in life? An attempt has been made to embody in this st~).dy. most of the import~ant results of Racinian research and to give a carefully weighted but person~l judgment on this aspect of his work. -
Chance in the Tragedies of Racine
Campbell, J. (2009) Chance in the tragedies of Racine. In: Lyons, J. and Wine, K. (eds.) Chance, Literature, and Culture in Early Modern France. Ashgate, pp. 111-122. ISBN 9780754664352 http://eprints.gla.ac.uk/24349/ Deposited on: 11 February 2010 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk John Campbell, ‘Chance in the Tragedies of Racine’, in Chance, Literature, and Culture in Early Modern France , ed. by John Lyons and Kathleen Wine (Burlington, VT: Ashgate, 2009), pp. 111-22. Chance in the tragedies of Racine Is the outcome of Racine’s tragedies decided by a throw of the dice? Put like this, the question invites skepticism, if not derision. Racine? Chance would be a fine thing! The reaction is understandable. Of all the great tragedies in world literature that are still performed and read, those of Racine are commonly presented as deliberately logical structures, pieces of intricate dramatic clockwork in which chance has no place. Georges Forestier has argued persuasively that these plays are carefully constructed in order to arrive at a preordained conclusion, seen as the starting-point of the playwright’s whole creative endeavor.1 Other critics have tried to demonstrate how Racine arouses interest and emotion through a carefully worked plot, and without any reliance on the gratuitous. 2 After all, are chance and coincidence not defining characteristics of melodrama? 3 And melodrama might seem, on the face of it, at an uttermost remove from Racine’s tragedies, with their Aristotelian hinterland, severely 1 See Racine, Théâtre, Poésie , ed. -
Britannicus, Berenice, Bajazet), with Parallels in Sartre
Reilly, Mary (1997) The language of power relationships in Racine (Britannicus, Berenice, Bajazet), with parallels in Sartre. PhD thesis http://theses.gla.ac.uk/6549/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Mary Reilly THE LANGUAGE OF POWER RELATIONSHIPS IN RACINE (BRITANNICUS, BERENICE, BAJAZEn, WITH PARALLELS IN SARTRE A Ph.D thesis for the Faculty of Arts of the University of Glasgow June 1997 For my mother, Margaret, and the memory of my father, Edward (1942-95) ABSTRACT This study is concerned with the way in which Racine, particularly through his use of language, dramatises areas of tension inherent in the concept of power. Considering three plays from Racine's middle period (}3ritannicus, Bajazet and Berenice), Chapter One seeks to uncover the basis of political power. Taking as its starting point the ambivalence underpinning the term legitimacy, Section A examines the foundations of power in the sense of political and moral authority. Section B in turn looks at the implications of these findings for the nature and operation of power, while Section C highlights the discrepancy between real and imagined power, by raising the all important question as to its locus. -
Alexandre Le Grand, Tragédie
ALEXANDRE LE GRAND TRAGÉDIE RACINE, Jean 1666 Publié par Gwénola, Ernest et Paul Fièvre, Septembre 2015 - 1 - - 2 - ALEXANDRE LE GRAND TRAGÉDIE À PARIS chez THÉODORE GIRARD, dans la Grand salle du côté de la Cour des Aides, à l'Envie. M. DC. LXVI. AVEC PRIVILÈGE DU ROI. - 3 - AU ROI. SIRE, Voici une seconde entreprise qui n'est pas moins hardie que la première. Je ne me contente pas d'avoir mis à la tête de mon ouvrage le nom d'Alexandre, j'y ajoute encore celui de VOTRE MAJESTÉ, c'est-à-dire que j'assemble tout ce que le siècle présent et les siècles passés nous peuvent fournir de plus grand. Mais, SIRE, j'espère que VOTRE MAJESTÉ ne condamnera pas cette seconde hardiesse, comme elle n'a pas désapprouvé la première. Quelques efforts que l'on eût faits pour lui défigurer mon héros, il n'a pas plutôt paru devant elle, qu'elle l'a reconnu pour Alexandre. Et à qui s'en rapportera-t-on, qu'à un roi dont la gloire est répandue aussi loin que celle de ce conquérant, et devant qui l'on peut dire que tous les peuples du monde se taisent comme l'Écriture l'a dit d'Alexandre ? Je sais bien que ce silence est un silence d'étonnement et d'admiration, que jusques ici la force de vos armes ne leur a pas tant imposé que celle de vos vertus. Mais, SIRE, votre réputation n'en est pas moins éclatante, pour n'être point établie sur les embrasements et sur les ruines ; et déjà VOTRE MAJESTÉ est arrivée au comble de la gloire par un chemin plus nouveau et plus difficile que celui par où Alexandre y est monté. -
Andromache, Phaedra, Athaliah
Jean Racine ANDROMACHE, PHAEDRA, ATHALIAH Introduction Chronology PARALLEL TEXTS Andromache Phaedra Phaedra (version for radio drama) Athaliah Glossary Further Reading and Links [The word NOTE in either the original or translated text indicates a crux of translation that is explored further in the Notes. Click on NOTE to be taken to the relevant discussion, and then on RETURN to come back to the text]. © www.tclt.org.uk 2003 INTRODUCTION Five specific features of Racine’s language (rhyme, rhythm, syntax, diction, and image) are worth exploring in response to the question: INTRODUCTION Rhyme Translating Racine One immediate and major feature to be confronted in translating Racine is whether to retain or discard the rhyming couplets in which his plays are written. Certainly, there are a number of advantages in retaining such a rhyme-scheme. The sound-world evoked clearly signals that the plays are Three hundred or so years after Jean Racine’s death in 1699, the best indeed a historical, and not a contemporary, utterance; and the drama is reason for offering a new translation of his work may also seem the most unambiguously positioned within past time. The couplets draw attention, ironic: that his plays continue to appear untranslatable. Indeed, there could also, to the shaped form of the expression, which can often be tellingly be few better summaries of his current position within the English- counterpointed against content that is tense with uncertainty or speaking world than the opening words of L.P. Hartley’s The Go- irresolution. In Richard Wilbur’s words, ‘irrational leaps of the self- Between: ‘The past is a foreign country: they do things differently there.’ deceiving mind’ can often be sharply highlighted by the ‘contrasting Between Racine and us, the countless separations of time, of place, of coherence of the form, which embodies an ideal of high and orderly human perception and behaviour, seem to generate a sense of cultural consciousness’.