DOCSLIB.ORG

University of Victoria Special Collections Freund, Gisèle SC043

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Victoria Special Collections Freund, Gisèle SC043 University of Victoria Special Collections Freund, Gisèle SC043 Title Gisèle Freund fonds Dates 1963-1966 Extent 11 cm of textual records 161 photographs Biographical Sketch Gisèle Freund was a photographer and writer who lived in Paris, France. Freund collaborated on the book "James Joyce in Paris: His Final Years" with V.B. Carleton (Verna). Scope and Content The fonds consists mainly of manuscript, correspondence, and photographs relating to the book "James Joyce in Paris: His Final Years". Included are a typescript "On Photographing Joyce" with holo. notes; Freund's photographs with a typescript list of those not included in the book; Carleton's typescript and her typescript translation of the preface; a dummy copy for the book; galley proofs; a paste up of the title page; and a few photos and sample text. Also included are: a newspaper account of the book in “Le Figaro”; a holograph preface written by Simone de Beauvoir; release letters from people included in the book, among them Henry Miller. Finding Aids File list available. Title Source Title based on the contents of the fonds. Freund, Gisèle 1997-039 Materials related to "James Joyce in Paris: His Final Years by Gisèle Freund and V.B. Carleton with a Preface by Simone de Beauvoir PR6019/O9Z5333/1965 Box 1 1.1 Private correspondence 1963-1965 relating to James Joyce in Paris, plus Freund's tss of her Joyce Homage Lecture, 1966. item #31 1.2 GF's First Notes of Text. item #2 tss. text of book item #3 tsc. GF's "On Photographing Joyce" item #4 tsc, corr. Verna Carleton's translation of Simone de Beauvoir's Preface item #5 tls to Verna Carleton. 12 July 64 item #9 mss. Simone de Beauvoir's Preface, with hls 26 Feb 65 item #12 hls from Sylvia Beach, with env. 12 Nov 56 item #13 Utrillo xmas card from Moune and Stuart Gilbert. [1965?] item #14 tls from Bryher. 25 Avril 65 item #15 tls from Isobel Wilder. 30 Sept 65 item #16 tls from Stephen J. Joyce. 07 May 65 item #17 hls from Elizabeth Bowen. 17 May 65 item #18 hls from Maria Jolas. 26 Feb 65 item #19a holo. note from Maria Jolas. 1964 item #19b hls from Henry Miller. 11 Jan 65 item #20 tls from Jules Romains. 15 Avril 65 item #21 tls from M. Brandin. 17 Mai 65 item #22 tls from Leonard Woolf. 22 Apr 65 item #23 E.M. Forster permission slip, plus holo. note item #24 tss from Lucie Leon-Noel, plus mss item #25 permissions forms sent by GF - to publish their photos in the book - item #26 and returned (signed) by: André Breton André Malraux Elizabeth Bowen Lucie Leon-Noel Philippe Soupault Jules Romains Samuel Beckett Simone de Beauvoir Jean-Paul Sartre François Mauriac Maria Jolas Stuart Gilbert Stephen Spender Giorgio Joyce Stephen Joyce Henry Miller Thornton Wilder Jean Paulhan copy of "Le Figaro" 20 Jan 66, with Joyce article item #29 captions for photographs list of Freund photographs that do not appear in book 1.3 mock-up of title page (NY) item #1 mock-up of title page & frontispiece (NY) item #6 Galley proofs item #7 tss, corr. list of photos item #8 mock-up of title page (London) mock-up of title page (NY) dummy of book Birthday tribute to James Joyce item #28 Freund Photographs for book 1.4 James Joyce – corrected proof of Work in Progress (Finnegan's Wake) Transition #1 Eugéne Jolas and Joyce ... les epreine de Finnegans Wake. Paris 1938 #1 th The 17 arondissement of Paris where most of the apartments are – situated where Joyce lived #3 He lived several years [at] Av. Charles Floquet #3 Joyce at home #4 le pont des Arts. 1929 #5 Chalaud sur la Seine. Paris, 1930. #6 Joyce guided by Jolas coming out of his house – with the concierge #8 Just outside the French Academy. a member 30s #9 Fishermen of quai Bourbon (île St. Louis). on extreme right l'Hotel de Ville, to the left île de la Cité. Paris, 1932. #9 Champs Elysées (still with cobblestones). 1932 #10 Rue dans les Faubouges. 1962 #11 Paris Stockmarket. 1932 #12 th Streetmarket in the 14 arondissement. 1938 #13 Shop. early 30s #14 Clochards derrière les Halles. 1937 #15 Attitude of Joyce. #16 Rue de l'Odéon. 1938 #16 In bookshop "Shakespeare and Co." #17 Joyce in rue de l' Odeon #17a Attitude of Joyce #18 Paul Valéry, Georges Duhamel and Marcel Buteron (specialist of Stendhal)in the hall of the institute. 1937 #19 [In bookshop "Shakespeare and Co."] #19 [In bookshop "Shakespeare and Co."] #20 1.5 André Gide et "la petite dame" Mme. van Rysselberghe ... dans l'appartementde Mme. van R. ... #21 Paul Valéry #21 [James Joyce at Shakespeare and Co.] #22 Paul Claudel, of the Academie Française, a violent adversaire of Joyce. 30s #23 Lise and Jules Romains. 1939 #24 François Mauriac. 1939 #24 Henry de Montherlant. 1939 #25 André Breton. 1954. at the Fleamarket #25 Léon-Paul Fargue #26 Léon-Paul Fargue [diff. shot] #26 Philippe Soupault #27 Paul Eluard. 1939 #28 André Malraux. 1934 #28 André Malraux en 1935 #28 Jean-Paul Sartre in the 30s #29 Stephen [Joyce's grandson] with dog Schiap. (named after Sciaparelli who gave the dog to the Joyces) #30 Simone de Beauvoir. rue de la Bucherie #31 [James Joyce] with grandson Stephen #31 La Seine in the 30s #32 André Maurois in the 30s #32 Sylvia Beach in the 30s #33 T.S. Eliot reads his poems at Shakespeare and Co. 1936 #34 Stephen Spender. 1939 #35 Henri Michaux #35 Thornton Wilder. 1937 #36 E.M. Forster in the 30s #37 Jolas reading out of Revue ... to Joyce #38 Aldous Huxley in the 30s #38 Henry Miller #39 1.6 Bryher in the 30s #40 Correcting proofs of "Finnegan's Wake" #40 Samuel Beckett #41 Gisèle Freund photographing Joyce and Adrienne Monnier before Sylvia Beach's bookshop "Shakespeare and Co." rue de l'Odeon #41 Virginia and Leonard Woolf in the 30s #42 James Joyce and Eugene Jolas in Paris street (street Edmond Valentin) #43 James Joyce and Adrienne Monnier in rue de l'Odeon #43 Paris quai #45 Entrance to Valèry Larbaud's house, rue Cardinal Lemoine #46 House of Valèry Larbaud at 71 rue du Cardinal Lemoine. One of those streets behind the Panthèon in the latin quarter #46 Jean Paulhan #47 Louis Gillet #48 Henri Matisse in the 30s #49 Jean Schlumberger in the 30s #50 Twilight on the quai #51 Henri Matisse #52 Joyce and taxi #52 Rue Scheffer – house of Giorgio Joyce where the pix of J. with his family were taken #53 Colette in the 30s #55 4 generations of Joyces: James Joyce with son Giorgio and grandson Stephen under the portrait of Joyce's father, painted by the Irish painter Patrick Tuohy #55 James Joyce with his son Giorgio [& dog]. 1938 #57 James Joyce with his son Giorgio #57 Helen Fleischmann (wife of Giorgio), son Giorgio, grandson Stephen &Joyce (with dog) #58 1.7 other pix of Tuileries #60 [James Joyce] #61 mains de Joyce [on cane] #62 Joyce nearly blind with celebrated cane [hands] #62 Joyce with taxi [about to enter] #64 Place des Ternes #65 [Joyce paying for taxi] #65 Bd. St. Germain #66 one of the cafés where Joyce spent many hours – Chez Francis, Place d'Alvia? #66 defilé of the troops in the 30s (war approached) #67 onlookers #68 H.G. Wells. 1939 #69 last picture of Sylvia Beach #69 Lucie Leon #70 Fouquet's on Champs Elysées #71 Elisabeth (sic) Bowen #71 Samuel Beckett (one sees his strange eyes) #71a W.H. Auden #72 Victoria [Vita] Sackville-West in the 30s. dans son studio à Sissinghurst Castle au fond la photo de Virginia Woolf, sa grande amie #73 V. Sackville-West. 1938 #73 T.S. Eliot. 30s #74 view of Seine from île St. Louis #75 James Joyce. Portrait 1939 #76 [view over rooftops] #77 Bois de Boulogne #78 Lucie Leon, wife of the late Paul Leon, in her "Joyce Museum" in Paris #79 8. The Working table of Joyce and Paul Leon #81 Stuart Gilbert's house on île St. Louis, where Joyce went frequently #81 Maria Jolas before her bilingual school in Neuilly 60, rue Borghèse which she founded in 1933. Till 1940. (Stephen Joyce went there from 1937-1939) #82 Stuart Gilbert, one of the few intimate friends of Joyce #83 [James Joyce] #83 James Joyce. 1939 #84 Paris #84 Rive gauche, early 30s #85 Marche aux pieces, Paris #86 rue St. Denis #87 Joyce's chair at Paul Leon's house #87 Seine – Winter #88 Unnumbered photographs 9. Sylvia Beach before Shakespeare & Co. 30s La Seine avec le Pont d'Alma Henry Miller 14 juillet – St. Germain des Prés Seine (view of vert galant) Lucie Leon 2 square Robiac – VIIe Leonard Woolf in the 30s a car accident in the early 30s James Joyce. Paris 1938 le pont des Artes Jean Supervielle in the 30s Louis Aragon 1939 Seine Winter James Joyce, Sylvia Beach, and Adrienne Monnierin Sylvia's bookshop Shakespeare and Co., between the two wars Champ de Mars Autumn on the Seine "Petite Boutique". Paris 1938 André Gide at home. Paris 1938 André Gide sous le masque de leopardi, at his home. Paris 1938 André Breton. 1939 La Seine (30s) Metro Sevres-Babylone near Hotel Lutecia from where Joyce left Paris Dec. 24, 1940 Paris concierge [tss, corr. page of Joyce's Finnegan's Wake] June 1928, p. 7-8 Prix Nobel de Littérature.
Load more

Recommended publications
  • 'A True Magic Chamber': the Public Face of the Modernist Bookshop
    ‘A True Magic Chamber’: The Public Face of the Modernist Bookshop Andrew Thacker Modernist Cultures 11.3 (2016): 429–451 DOI: 10.3366/mod.2016.0149 © Edinburgh University Press www.euppublishing.com/loi/mod Abstract This article explores the role of bookshops in the construction of a public for modernism and analyses a number of bookshops committed to promoting modernist culture, such as those run by Sylvia Beach (Shakespeare and Company), Adrienne Monnier (La Maison des Amis des Livres), and Frances Steloff (Gotham Book Mart). It also considers how the bookshop is a fulcrum between commerce and culture, a key issue for contemporary modernist studies, and discusses aspects of bookshop culture that seem to operate ‘beyond’ the market. One example is that of We Moderns, a catalogue issued by the Gotham Book Mart in 1940 and which represents a fascinating example of the print culture of the modernist bookshop. Drawing upon the work of Mark Morrisson and Lawrence Rainey, the article also evaluates the position of the bookshop within debates around modernism and the public sphere. The Business of the Magic Chamber A member of the public strolling through Paris in the early 1920s who drifts onto the Left Bank in search of culture, might find themselves in the triangle of small streets between the grander avenues of Boulevard St. Michel and the Boulevard St. Germain in the 6th Arrondissement. These are the streets around the Sorbonne and, as such, there are many bookshops servicing the university. Thinking it might be fun to buy a book, a modern or contemporary book, they stroll up Rue de l'Odéon, across from the National Theatre, spying a likely looking bookshop and decide to enter.
    [Show full text]
  • Dial M for Marianne: the Dial’S Refusals of ‘Work in Progress’
    GENETIC JOYCE STUDIES – Issue 15 (Spring 2015) Dial M for Marianne: The Dial’s Refusals of ‘Work in Progress’ Ronan Crowley University of Passau Joyce was extremely anxious to introduce his heroine to readers in the United States. Aiming high, I sent her off to the Dial, hoping its editor, Marianne Moore, would find her attractive. I was glad to get word that the Dial had accepted the work, but it turned out that this was a mistake. It had come in when Miss Moore was away, and she was reluctant to publish it. The Dial didn’t back out altogether. I was told, however, that the text would have to be considerably cut down to meet the requirements of the magazine. Now Joyce might have considered the possibility of expanding a work of his, but never, of course, of whittling it down. On the other hand, I couldn’t blame the Dial for its prudence in dealing with a piece so full of rivers that they might have been overflooded at 152 West Thirteenth Street. I was sorry about ‘A.L.P.’s’ failure to make the Dial. Joyce, who was still in Belgium, was not surprised. ‘Why did you not bet with me?’ he wrote. ‘I should have won something.’ He added that he regretted the loss of a ‘strategical position’. Joyce always looked upon his Finnegans Wake as a kind of battle.1 In this characteristically muddled account, Sylvia Beach provides the canonical version of ‘Work in Progress’s’ rejection by the Dial. Implicit in her reference to rivers and the witty image of the flooded Greenwich Village office, explicit in the inclusion of its title is Beach’s conviction that at issue was the ‘Anna Livia Plurabelle’ section (I.8) of the Wake.
    [Show full text]
  • France En Vacances, by Amit Pieter 11 Peaceful Paris, by Natalie Hideg 12 Les Bals Des Pompiers, by Tenday O
    Spire The Beacon on the Seine July/August 2014 The American Church in Paris ACP Spire, July / August 2014 In this issue Thoughts from the Rev. Dr. Scott Herr 3 Vacation Bible School, by Allison Wheeler 4 InSpired, by Rev. Michelle Wahila 5 Painting with the Spirit, review by Rev. Scott Herr 6 Success: Run to Jerusalem, by Megan Staley The present persecuted Church, by Rev. Dan Haugh 7 Wedding goodbye, by Ilinca Mreana 8 Working weddings, by Rev. Kit Schooley 9 Summer in Paris Summer listings, by Karen Albrecht 10 France en vacances, by Amit Pieter 11 Peaceful Paris, by Natalie Hideg 12 Les bals des pompiers, by Tenday O. Chirawu 13 Who put that Bible in my hotel room? by Amit Pieter 14 Summer walking tours, by Rebecca Brite 14 200th anniversary Stratford-on-Odéon, by Rebecca Brite 15 ACP history, by Alison Benney 16 Paris libéré, by Lisa Previtt 18 Paris Home Companion, by Tim Holm 19 Care & feeding of ACP receptionists, by Alison Benney 20 Summer Music Notes, by Fred Gramann Back from over the wall 21 Heartfelt music from Hartford 23 Broadway comes to ACP 25 International music festival at ACP 25 Youth choirs concert, by Ellen Kountz 27 Still Point, Fete de la Musique 27 Movie Discussion Group 28 ACP missions Greetings from Tanzania, by JoAnn Neal 30 Rafiki village, Uganda, by Patti Lafarge 33 Following our Destiny, by Destiny E. Ryales 33 July/August calendar 34 On the cover: Photo by Fred Gramann The American Church in Paris 2 ACP Spire, July / Augustwww.acparis.org 2014 65 quai d’Orsay, 75007 Paris +331.40.62.05.00 Thoughts from The Rev.
    [Show full text]
  • Anglophone Literary Development in 1920'S Paris
    Anglophone literary development in 1920’s Paris Adrien Pernelet To cite this version: Adrien Pernelet. Anglophone literary development in 1920’s Paris. Education. 2019. hal-02351043 HAL Id: hal-02351043 https://hal-univ-fcomte.archives-ouvertes.fr/hal-02351043 Submitted on 6 Nov 2019 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. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Mémoire présenté pour l'obtention du Grade de MASTER “Métiers de l’Enseignement, de l’Éducation et de la Formation” Mention 2nd degré – ANGLAIS sur le thème Anglophone literary development in 1920's Paris HALVERSON, Krista. A History of the Rag & Bone Shop of the Heart. Paris: Shakespeare and Company, 2016, p.371. Projet présenté par Adrien PERNELET Directrice : Mme Jennifer MURRAY (UFR SLHS, ESPE de Franche-Comté) Assesseur : Mme Isabelle SICARD (UFR SLHS, ESPE de Franche-Comté) Année universitaire 2018 – 2019 Acknowledgments: I am grateful to Mrs Jennifer MURRAY for her patience and constructive guidance that helped me carrying out this project. I am also grateful to my parents for having supported my studies to their own extent. I would like to thank Emilie MARGUET for always being there for me and for believing in my work and believing in me.
    [Show full text]
  • Bricktop and Sylvia Beach in Interwar Paris. (Under the Direction of Dr
    ABSTRACT BILLHEIMER, SARAH GRACE. Champagne and Shakespeare: Bricktop and Sylvia Beach in Interwar Paris. (Under the direction of Dr. Katherine Mellen Charron.) The names “Bricktop” and “Sylvia Beach” appear sprinkled throughout histories of the expatriate experience of Paris in the 1920s and ‘30s. Bricktop’s nightclubs on the Right Bank of the Seine River, and Shakespeare and Company, Sylvia Beach’s bookshop on the river’s Left Bank, served as two of the most popular gathering places for Paris’s native and foreign residents. Sylvia Beach is well-represented in scholarly studies of the Lost Generation of writers, artists, and intellectuals, and was the subject of a lengthy biography, but Bricktop has received less serious attention. This thesis compares and contrasts her life with that of her contemporary Sylvia Beach, in an attempt to establish Bricktop as Beach’s equal in the position of hostess to the City of Light’s illustrious expatriates. Relying on archival sources, each woman’s own published account of her life in Paris, the published letters and remembrances of fellow expatriates, and related secondary sources, this study thus also challenges the simplistic divisions that have crept into our common conceptions of interwar Paris. Literary memoirs like Ernest Hemingway’s A Moveable Feast, or even scholarly treatments such as William A. Shack’s chronicle Harlem in Montmartre: A Paris Jazz Story Between the Great Wars, have contributed to a stratified portrait of Paris’s expatriate community, often separated according to gender, race, class, profession, and location. While such distinctions certainly did exist, examining the lives and careers of Bricktop and Sylvia Beach reveals a fascinating, and more complicated network of social and commercial connections among the various sets of international celebrities in Paris than we have usually acknowledged.
    [Show full text]
  • Modernismi Riviste DEF.Pdf
    a cura di Caroline Patey e Edoardo Esposito I modernismi delle riviste. Tra Europa e Stati Uniti. Ledizioni Questo volume si stampa con il contributo del Dipartimento di Lingue e Letterature Straniere dell’Università degli Studi di Milano. © 2017 Ledizioni LediPublishing Via Alamanni, 11 – 20141 Milano – Italy www.ledizioni.it [email protected] Caroline Patey e Edoardo Esposito (a cura di), I modernismi delle riviste. Tra Europa e Stati Uniti. Prima edizione: novembre 2017 ISBN cartaceo: 978-88-6705-664-4 Copertina e progetto grafico: ufficio grafico Ledizioni Informazioni sul catalogo e sulle ristampe dell’editore: www.ledizioni.it Le riproduzioni a uso differente da quello personale potranno avvenire, per un numero di pagine non superiore al 15% del presente volume, solo a seguito di specifica autorizzazione rilasciata da Ledizioni.. Testi e testimonianze di critica letteraria Collana diretta da Edoardo Esposito e Laura Neri, Università di Milano Comitato scientifico Enza Biagini, Università di Firenze Roberto Ludovico, University of Massachusetts Amherst Caroline Patey, Università di Milano Tim Parks, Università IULM Daniela La Penna, University of Reading Indice Edoardo Esposito, Introduzione 9 Andrew Thacker, Verso una mappa delle riviste moderniste. Alcune considerazioni di metodo 13 Anna Boschetti, Il modernismo a Parigi prima della guerra. Apollinaire & cie, attraverso le riviste. 33 Pier Carlo Bontempelli, La nascita del moderno in Germania: riflessioni su un concetto controverso 49 Massimiliano Tortora, Modernismo e modernisti nelle riviste fasciste 73 Anne Reynes-Delobel, «Broom» (1921-1924): poetiche di avanguardia e prospettive transnazionali 95 Martina Ciceri, Da Anton Čechov a Virginia Woolf: Free Russia, ovvero un’‘archeologia’ proto-modernista 115 Michele Sisto, La letteratura tedesca del «Baretti»:Piero Gobetti e la genesi di un nuovo habitus editoriale (1919-26) 131 Caroline Patey, Gita al faro in abiti francesi.
    [Show full text]
  • REVOLT, THEY SAID. 1 a Project by Andrea Geyer
    REVOLT, THEY SAID. 1 a project by Andrea Geyer INSTALLATION MUSEUM OF MODERN ART NEW YORK Ida York Abelman (1908–2002) was a highly regarded Social OCTOBER 16th - NOVEMBER 27th 2015 Realist, known for the graphic work that she produced for the various Federal Art Projects in New York during the Depression. BIOGRAPHIES FOR DRAWING Her etchings and lithographs of the 1930s depict the difficult living conditions endured by many. Abelman also completed two murals for the Federal Art Projects: Lewiston Milestones in Lewiston, Illinois, and Booneville Beginnings in Booneville, Indiana, both extant. Her art training included the National Academy of Design, Grand Central Art School, College of the City of New York, and Hunter College, all in New York City. She was a member of the American Artists Congress and exhibited at the Museum of Modern Art, the Whitney Museum Louise Abbéma (1853–1927) was an artist known for her of American Art, and the Berkshire Museum, Massachusetts, portraits of notable figures of the Belle Époque, including among other venues. Her work is the collections of numerous Emperor Dom Pedro II of Brazil, architect Charles Garnier, and museums as well as the Library of Congress. actress Sarah Bernhardt. Bernhardt and Abbéma were lovers and exhibited artworks together at the 1893 World’s Columbian Gertrude Abercrombie (1909–1977) was an American Exposition in Chicago. Abbéma was a regular exhibitor at the painter. She spent much of her childhood traveling Europe with Paris Salon and regular contributor to the journals Gazette des her parents who toured with an opera company. The outbreak of Beaux-Arts and L’Art.
    [Show full text]
  • Valery Larbaud Et Le Groupe De L'odéon
    VALERY LARBAUD ET LE GROUPE DE L'ODÉON MARIBEL CORBÍ SÁEZ Universidad de Alicante RESUMEN El París de principios de siglo fue el escenario de una intensa actividad artística e intelectual en todos los généros. Gran número de artistas, ávidos de libertad, acudieron a la ciudad de las luces en busca de un ambiente propicio a la creación y contribuyeron junto a sus colegas franceses a la renovación de las artes. Muy a menudo se oye hablar de los grandes como Picasso, Poulenc, Valéry o Joyce y sin embargo poco se dice de aquellas personas que hicieron posible su advenimiento a la fama. En el área de literatura y en especial en los años veinte hubo dos mujeres y un hombre -Adrienne Monnier, Sylvia Beach y Valéry Larbaud- que contribuyeron al éxito de muchos autores. El "riche amateur" al timón del barco "Odéonie" permitió al grupo de l'Odéon navegar sobre el immenso océano de una literatura sin frontera. Palabras clave: Larbaud, Monnier, Beach, Odéon, Modernismo. RÉSUMÉ Paris en début de siècle fut la scène d'une intense activité intellectuelle et artistique dans tous les domaines. Grand nombre d'artistes, avides de liberté, arrivaient à la ville des lumières à la recherche d'une atmosphère propice à la création et contribuèrent aux côtés de leurs collègues français au renouveau des arts. Bien souvent nous entendons parler des grands comme Picasso, Valéry ou Joyce, et cependant ceux qui per- mirent leur avènement à la gloire sont restés pratiquement dans l'ombre. Dans le domaine littéraire, et en par- ticulier dans les années vingt, il y eut deux femmes et un homme -Adrienne Monnier, Sylvia Beach et Valéry Larbaud- qui contribuèrent au succès de maints auteurs.
    [Show full text]
  • Adrienne Monnier Ou Le Commerce De L'esprit
    Adrienne Monnier ou le commerce de l’esprit L’histoire littéraire est pleine de héros. Pour n’effleurer que la France, écoutez les échos que produisent, aux côtés de ces personnages de papier que sont Pantagruel, Phèdre, Saint-Preux, Charlus, Claudine, Nadja, Aurélien, Bardamu, Lol V. Stein, les noms bien réels de Rabelais, Montaigne, Racine, Rousseau, Flaubert, Colette, Proust, Aragon, Céline, Duras, Modiano, Ernaux, Echenoz, mais aussi Calmann-Lévy, Corti, Flammarion, Grasset, Gallimard… Galerie vivace, grouillante, traversée de compagnonnages, d’amitiés et de rivalités féroces, de jalousies mortelles comme de solidarités d’exception. Ce monde saturé de patronymes et d’épopées éditoriales, dont les historiens fouillent inlassablement les archives et détaillent le récit, a aussi ses personnages intermédiaires. Ni tout à fait dans l’ombre, ni tout à fait dans la lumière, entre la rue sur laquelle donnent leurs vitrines et l’arrière-boutique où s’amoncellent les cartons du dernier office, les libraires sont ces figures de l’entre-deux, passeurs, intercesseurs, au beau milieu de l’univers du livre et de la circulation des savoirs. Observez leurs manœuvres. Regardez-les faire. Écoutez leurs conseils. Discutez avec eux. Dans cette histoire littéraire pleine de figures bruyantes, ces personnages le plus souvent anonymes ne sont secondaires que dans la mesure où, précisément, ils secondent, à savoir qu’ils aident, relaient, transmettent, établissent des passerelles et des liens, aussi discrets et déterminants que les verbes justement dits auxiliaires de notre grammaire. La librairie – espace et fonction – serait ce qu’en chimie comme en électronique on nomme une interface, à savoir une « surface de contact entre deux milieux », « un dispositif qui permet la communication et l’échange entre différents acteurs ».
    [Show full text]
  • The Textual State of James Joyce's Ulysses
    LAST WORD IN ART SHADES: THE TEXTUAL STATE OF JAMES JOYCE’S ULYSSES Kelly Lynn Tully-Needler Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University December 2007 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. __________________________________ Kenneth W. Davis, Ph.D., Chair Master’s Thesis Committee __________________________________ Jonathan R. Eller, Ph.D. __________________________________ William F. Touponce, Ph.D. ii DEDICATION For James Joyce iii ACKNOWLEDGMENTS It is not customary to thank the dead, but I am the beneficiary of so many who came before: Frank Budgen, John Yeats, William Butler Yeats, Ezra Pound, Harriet Shaw Weaver, Margaret Anderson, Jane Heap, John Quinn, John Rodker, Sylvia Beach, Adrienne Monnier, Maurice Darantiere, Robert McAlmon, Ernest Hemingway, Paul Léon, Morris Ernst, Alexander Lindey, and Justice John Woolsey. In so many ways, these individuals made Ulysses possible, and their work was an odyssey equal the epic struggle and the beloved modern epic by James Joyce. The artist and his advocates struggled against institutions and against the time-bound biases of moral judgment. In a strange replay of that early twentieth-century scandal, the editors, advisors, and administrators of the critical edition of Ulysses endured a scandal at the end of the twentieth century. Ulysses is a difficult work even with a reliable text; thank you Richard Ellmann, Clive Hart, Philip Gaskell, Peter du Sautoy, Wolfhard Steppe, Claus Melchior, Michael Groden, and A.
    [Show full text]
  • Dissertation Compiled
    AudioTextual: Modernism, Sound Recordings, and Networks of Reception Brandon Michael Walsh Newport News, Virginia Bachelor of Arts with Distinction, University of Virginia, 2009 Master of Arts, University of Virginia, 2011 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia May 2016 i Abstract Recent studies of the relationship between literary modernism and mass culture have focused on print and periodical forms as evidence of modernism’s deep and complex engagement with both its narrow circle of initiates and a wider audience. But print was not the only mode in which its audience received and reacted to these difficult works of literature: authors often recorded readings in their own voices years or even decades later, and these recordings offered new opportunities for listeners to engage with the materials. AudioTextual aims to reorient the conversation around literary modernism towards this often heard but little discussed audio archive by examining how Anglo- American modernists engaged with new devices for sound recording and the threats and opportunities these media offered for community, the page, and the embodied voice. The project at once shows the still unrecognized extent of the modernist encounter with new technologies of sound and listens closely to audio recordings of modernist works as they form a network of modernist distribution and reception that transcends accounts limited by genre and nation. My work examines sound recording and Anglo-American literary modernism through re-readings of key texts and close listenings of recordings by James Joyce, Langston Hughes, Virginia Woolf, and amateur readers of the same.
    [Show full text]
  • Freud's Drive: Psychoanalysis, Literature and Film
    Freud’s Drive Psychoanalysis, Literature and Film Teresa de Lauretis 9780230_524781_01_prex.qxd 20-3-08 06:43 PM Page i Language, Discourse, Society Series Editors: Stephen Heath, Colin MacCabe and Denise Riley Selected published titles: Teresa de Lauretis FREUD’S DRIVE Psychoanalysis, Literature and Film Mark Nash SCREEN THEORY CULTURE Richard Robinson NARRATIVES OF THE EUROPEAN BORDER A History of Nowhere Lyndsey Stonebridge THE WRITING OF ANXIETY Imaging Wartime in Mid-Century British Culture Ashley Tauchert ROMANCING JANE AUSTEN Narrative, Realism and the Possibility of a Happy Ending Reena Dube SATYAJIT RAY’S THE CHESS PLAYERS AND POSTCOLONIAL THEORY Culture, Labour and the Value of Alterity John Anthony Tercier THE CONTEMPORARY DEATHBED The Ultimate Rush Erica Sheen and Lorna Hutson LITERATURE, POLITICS AND LAW IN RENAISSANCE ENGLAND Jean-Jacques Lecercle and Denise Riley THE FORCE OF LANGUAGE Geoff Gilbert BEFORE MODERNISM WAS Modern History and the Constituency of Writing Stephen Heath, Colin MacCabe and Denise Riley (editors) THE LANGUAGE, DISCOURSE, SOCIETY READER Michael O’Pray FILM, FORM AND PHANTASY Adrian Stokes and Film Aesthetics James A. Snead, edited by Kara Keeling, Colin MacCabe and Cornel West RACIST TRACES AND OTHER WRITINGS European Pedigrees/African Contagions Patrizia Lombardo CITIES, WORDS AND IMAGES 9780230_524781_01_prex.qxd 20-3-08 06:43 PM Page ii Colin MacCabe JAMES JOYCE AND THE REVOLUTION OF THE WORD Second edition Moustapha Safouan SPEECH OR DEATH? Language as Social Order: a Psychoanalytic Study Jean-Jacques
    [Show full text]