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Litterature Francaise Contemporaine
MASTER ’S PROGRAMME ETUDES FRANCOPHONES 2DYEAR OF STUDY, 1ST SEMESTER COURSE TITLE LITTERATURE FRANCAISE CONTEMPORAINE COURSE CODE COURSE TYPE full attendance COURSE LEVEL 2nd cycle (master’sdegree) YEAR OF STUDY, SEMESTER 2dyear of study,1stsemester NUMBER OF ECTS CREDITS NUMBER OF HOURS PER WEEK 2 lecture hours+ 1 seminar hour NAME OF LECTURE HOLDER Simona MODREANU NAME OF SEMINAR HOLDER ………….. PREREQUISITES Advanced level of French A GENERAL AND COURSE-SPECIFIC COMPETENCES General competences: → Identification of the marks of critical discourse on French literature, as opposed to literary discourse; → Identification of the main moments of European and especially French culture that reflect the idea of modernity; → Indentification of the marks of the modern and contemporary dramatic discourse, as opposed to the literary discourse in prose and poetry; → Identification of the stakes of critical and theoretical discourse, as well as of the modern dramatic one, according to the historical and cultural context in which the main studied currents appear; → Interpretative competences in reading the studied texts and competence of cultural analysis in context. Course-specific competences: → Skills of interpretation of texts; → Skills to identify the cultural models present in the studied texts; → Cultural expression skills and competences; B LEARNING OUTCOMES → Reading and interpretation skills of theoretical texts that is the main argument for the existence of a literary French metadiscourse → Understanding the interaction between literature and culture in modern and contemporary society and the possibility of applying this in connection with other types of cultural content; C LECTURE CONTENT Introduction; preliminary considerations Characteristics; evolutions of contemporary French literature. The novel - the dominant genre. -
Sociology of Paris Match Covers, 1949-2005 Alain Chenu
From paths of glory to celebrity boulevards: Sociology of Paris Match covers, 1949-2005 Alain Chenu To cite this version: Alain Chenu. From paths of glory to celebrity boulevards: Sociology of Paris Match covers, 1949-2005. 2008. hal-00972809 HAL Id: hal-00972809 https://hal-sciencespo.archives-ouvertes.fr/hal-00972809 Preprint submitted on 3 Apr 2014 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. From paths of glory to celebrity boulevar s: Sociology of Paris Match covers, 1949-2005 Alain Chenu Notes & Documents n° 2008-05 Octobre 2008 Résumé : La construction sociale e la cél*brit* engage une relation triangulaire entre es personnalit*s, es publics et es m* ias. On abor e ici son *tu e en consi *rant comme cél,bre toute personne nominativement i entifiable repr*sent*e une fois au moins, e 1949 - 2005, en couverture e l.heb oma aire français .images .actualit*s g*n*rales Paris Match. 85 0 es su1ets trait*s concernent es cél*brit*s. La istribution es scores e cél*brit* 2mesur*s en nombre e couvertures) appara4t comme tr,s in*galitaire. -
Le Métier D'écrire
Le Métier d'écrire Jean-Luc Delblat LE MÉTIER D'ÉCRIRE Entretiens avec Lucien Bodard, Alphonse Boudard, Bernard Clavel, Pierre Daninos, Michel Déon, Dominique Fernandez, Françoise Giroud, Jacques Laurent, Françoise Mallet-Joris, Félicien Marceau, Gabriel Matzneff, Robert Merle, François Nourissier, Henri Queffélec, Robert Sabatier, Françoise Sagan, Michel Tournier et Vercors. COLLECTION DOCUMENTS / LITTÉRATURE le cherche midi éditeur 23, rue du Cherche-Midi 75006 Paris Édition originale Droits de traduction et de reproduction réservés pour tous pays. La loi du 11 mars 1957 interdit les copies ou reproductions destinées à une utilisation collective. Toute représentation ou reproduction intégrale ou partielle, faite par quelque procédé que ce soit - photographie, photocopie, microfilm, bande magnétique, disque ou autre - sans le consentement de l'éditeur ou du Centre français d'exploitation du droit de copie est illicite et constitue une contrefaçon sanctionnée par les articles 425 et suivants du Code pénal. © le cherche midi éditeur, 1994. En hommage à Vercors et Henri Queffélec Aux Bruller et Patricia Mesplié Le métier d'écrire Il n'existe aucune loi qui régisse le métier de romancier. Ce recueil, qui regroupe les impressions de dix-huit écrivains, ne peut être exhaustif sur ce vaste sujet. Si certains collectionnent les best-sellers, la méthode idéale qui permettrait à tout écrivain débutant d'écrire un chef-d'œuvre n'existe pas. En rencontrant ces auteurs reconnus, j'ai cherché, à travers un questionnaire simple, direct, favorable au dialogue, à brosser un instantané sur les métho- des de travail de chacun donnant le choix au lecteur de comparer à loisir leurs réponses à chacune de ces questions, voire d'en éluder. -
1952 Paris: Waiting for Godot and the Great Quarrel
C HAPTER 3 1952 Paris: Waiting for Godot and the Great Quarrel En attendant, essayons de converser sans nous exalter, puisque nous sommes incapables de nous taire.1 In the meantime let us try and converse calmly, since we are incapable of keeping silent.2 —Estragon in Waiting for Godot 1952 Paris was not a silent place. Earlier, after the bombs fell on Europe, there was not exactly calm after the storm. Even though a renewed hope in peace briefly followed the end of the war, imme- diately after there was the overwhelming prospect of rebuilding Europe after the devastation it had endured.3 As I attempt to show, the nonlinear historical progression following WWII provided 1952 Paris with a situation rife with philosophical conflict. The philo- sophical (and, in a sense, political) debate that Camus and Sartre had in Les Temps modernes in mid-1952 was indicative of the his- torical moment, much like the philosophical conversations that Samuel Beckett engaged with in Waiting for Godot. I argue that Waiting for Godot explores the same (epistemological) dilemma that Merleau-Ponty says defined his era: being versus doing. Post-WWII France As Tony Judt argues, three problems were in the forefront in the first 18 months following the Allied victory: a lack of food, a M. Y. Bennett, Words, Space, and the Audience © Michael Y. Bennett 2012 82 W ORDS,SPACE, AND THE A UDIENCE devastated German economy, and the lack of American dollars.4 Judt sums up the sense of hopelessness that most Europeans felt in 1947 by quoting Janet Flanner, who was reporting form Paris in March 1947: There has been a climate of indubitable and growing malaise in Paris, and perhaps all over Europe, as if the French people, or all European people, expected something to happen, or worse, expected nothing to happen.5 Europe and Europeans certainly felt a sense of despair: the sense of despair so often read in plays from the “absurdists,” if you will, like Beckett’s Waiting for Godot. -
Four SIMONE DE BEAUVOIR AS MEDIATOR for FOREIGN
Four SIMONE DE BEAUVOIR AS MEDIATOR FOR FOREIGN LITERATURE IN LES TEMPS MODERNES Stève Bessac-Vaure This chapter studies the role of Simone de Beauvoir in Les Temps Modernes, a French journal edited by Jean-Paul Sartre. Beauvoir played a pivotal role, being in charge of literary publications. This function allowed her to publish works of numerous foreign authors according to her existentialist conception of literature, a conception that mixes philosophy and fiction to promote human freedom. By favoring foreign existentialist literature, Beauvoir contributes to the development of a transnational literary movement. She is in stark opposition to another inter- national literary movement, socialist realism, whereas Sartre was a Communist fellow traveler. 1. Introduction According to Nicole Racine, while “female intellectuals were long left out of intellectual history” (2003, p. 341, translation mine), Simone de Beauvoir endures as one of the most renowned, analyzed French intellectuals. Howev- er, her role in Les Temps Modernes—a politico-cultural journal edited by Jean-Paul Sartre—remains underappreciated. At its inception, in 1945, Beau- voir was on the editorial board along with Raymond Aron, Colette Audry, René Etiemble, Michel Leiris, Albert Ollivier, Maurice Merleau-Ponty, Jean Paulhan, Jean Pouillon, Pierre Uri, and Sartre. The intention of the journal was to enable readers—intellectuals and students alike—to understand the world by publishing literature and studies on international events. Contributors to Les Temps Modernes promoted dem- ocratic socialism with national independence, then called neutralism, a politi- cal movement that attracted numerous French intellectuals. In 1948–1949, neutralist intellectuals founded the Rassemblement Démocratique Révolu- tionnaire (RDR), which was a political failure. -
Le Palmarès Croisé
Le palmarès croisé 1988 L’EXPOSITION COLONIALE - Erik Orsenna (Seuil) INGRID CAVEN - Jean-Jacques Schuhl (Gallimard) L’EXPOSITION COLONIALE - Erik Orsenna (Seuil) 2000 ALLAH N’EST PAS OBLIGÉ - Ahmadou Kourouma (Seuil) UN GRAND PAS VERS LE BON DIEU - Jean Vautrin (Grasset) ROUGE BRÉSIL - Jean-Christophe Rufin (Gallimard) 1989 UN GRAND PAS VERS LE BON DIEU - Jean Vautrin (Grasset) 2001 LA JOUEUSE DE GO - Shan Sa (Grasset) LES CHAMPS D’HONNEUR - Jean Rouaud (Minuit) LES OMBRES ERRANTES - Pascal Quignard (Grasset) 1990 LE PETIT PRINCE CANNIBALE - Françoise Lefèvre (Actes Sud) 2002 LA MORT DU ROI TSONGOR - Laurent Gaudé (Actes Sud) 1991 LES FILLES DU CALVAIRE - Pierre Combescot (Grasset) LA MAÎTRESSE DE BRECHT - Jacques-Pierre Amette (Albin Michel) LES FILLES DU CALVAIRE - Pierre Combescot (Grasset) 2003 FARRAGO - Yann Apperry (Grasset) TEXACO - Patrick Chamoiseau (Gallimard) 1992 LE SOLEIL DES SCORTA - Laurent Gaudé (Actes Sud) L’ÎLE DU LÉZARD VERT - Edouardo Manet (Flammarion) 2004 UN SECRET - Philippe Grimbert (Grasset) 1993 LE ROCHER DE TANIOS - Amin Maalouf (Grasset) TROIS JOURS CHEZ MA MÈRE - François Weyergans (Grasset) CANINES - Anne Wiazemsky (Gallimard) 2005 MAGNUS - Sylvie Germain (Albin Michel) 1994 UN ALLER SIMPLE - Didier Van Cauwelaert (Albin Michel) LES BIENVEILLANTES - Jonathan Littell (Gallimard) BELLE-MÈRE - Claude Pujade-Renaud (Actes Sud) 2006 CONTOURS DU JOUR QUI VIENT - Léonora Miano (Plon) LE TESTAMENT FRANÇAIS - Andreï Makine (Mercure de France) 1995 ALABAMA SONG - Gilles Leroy (Mercure de France) LE TESTAMENT FRANÇAIS -
Briefings on Existence
Briefings on Existence A Short Treatise on Transitory Ontology Alain Badiou TRANSLATED. LDITLD, AND WITH AN INTRODUCTION BY Norman Madarasz State University of New York Press Tins work is published with support from the French Ministry of Culture / National Book Center. Ouvrage public arec I'aide du Ministere fran^ais charge de la Culture’ / Centre national du livre. Originally published in France under the title Court Traitc d’ontologie transitoire Copyright: © 1998, Editions de Seuil All rights reserved English translation made by agreement with Editions du Seuil Published by State University of New York Press, Albany English translation © 2006 State University of New York All rights reserved Printed in the United States of America For information, address State University of New York Press 194 Washington Avenue, Suite 305, Albany, NY 12210-2384 Production by Diane Ganeles Marketing by Susan M. Petrie Library of Congress Cataloging-in-Publication Data Badiou, Alain. [Court traite d'ontologie transitoire. English] Briefings on existence : a short treatise on transitory ontology / Alain Badiou ; translated, edited and with an introduction by Norman Madarasz. p. cm. — (SUNY series, intersections— philosophy and critical theory) Includes bibliographical references and index. ISBN-13: 978-0-7914-6803-6 (hardcover : alk. paper) ISBN-10: 0-7914-6803-8 (hardcover : alk. paper) ISBN-13: 978-0-7914-6804-3 (pbk. : alk. paper) ISBN-10: 0-7914-6804-6 (pbk. : alk. paper) 1. Ontology. 1. Madarasz, Norman. II. Title. III. Intersections (Albany, NY) BD3 12.B3213 2006 I I I— dc22 2005033878 10 98765432 I I call “transitory ontology” the ontology unfolding between the sci ence of Being qua Being, that is, the theory of the pure manifold, and the science of appearing, that is, the logic of the consistency of actually presented universes. -
Complicity and Memory in Soldiers’ Testimonies of the Algerian
Edinburgh Research Explorer Complicity and memory in soldiers’ testimonies of the Algerian War of decolonisation in Esprit and Les Temps modernes Citation for published version: McDonnell, H 2020, 'Complicity and memory in soldiers’ testimonies of the Algerian War of decolonisation in Esprit and Les Temps modernes', Memory Studies, vol. 13, no. 6, pp. 952-968. https://doi.org/10.1177/1750698018784130 Digital Object Identifier (DOI): 10.1177/1750698018784130 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Memory Studies Publisher Rights Statement: The final version of this paper has been published in Memory Studies, July 2018 by SAGE Publications Ltd, All rights reserved. © Hugh McDonnell, 2018. It is available at: https://journals.sagepub.com/doi/10.1177/1750698018784130 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Complicity and Memory in Soldiers’ Testimonies of the Algerian War of Decolonisation in Esprit and Les Temps modernes In March 1962 Jean-Marie Domenach, director of the French journal Esprit, upbraided his counterpart at Les Temps modernes, Jean-Paul Sartre, in a review of his famous introduction to Frantz Fanon’s The Wretched of the Earth. -
Paul Fournel Ecrivain, Membre De L'oulipo LES
Paul Fournel Ecrivain, membre de l’OULIPO LES ECRIVAINS DE RAYMOND QUENEAU Raymond Queneau vivait avec les écrivains, travaillait avec les écrivains, buvait avec eux, partait en vacances avec eux. Tout comme ses journaux rendent un compte scrupuleux de ses lectures, ils nous révèlent au jour le jour les rencontres avec tel ou tel : auteur étranger de passage, habitués de la NRF, membres de l’écurie Gallimard, auteurs en quête d’éditeur, proches comme Sartre ou Vian, amis fidèles comme Salacrou ou Bataille. Il ne semble pas y avoir eu de compagnons alternatifs dans la vie de Queneau, pas de personnages animés par des passions annexes, pêcheurs à la ligne, coureurs cyclistes, copocléphiles [copocléphile: «copoclé-» abréviation de « COllection de POrte-CLÉs»], aquariophiles. Toute sa vie est centrée autour des écrivains et des créateurs dont les ressorts ne sont pas fondamentalement différents : peintres, musiciens, metteurs en scène, mathématiciens. Queneau les observe, note leurs petitesses, déjoue leurs stratégies. Il est au spectacle. Travailler chez Gallimard dans les années 40-70 c’est se trouver au cœur de la cible. Tout ce qui s’écrit de littérature dans le monde passe par là. Après avoir collaboré quelques temps avec la NRF, Queneau entre en 1938 dans la maison comme spécialiste du domaine anglo-américain. Dans le dispositif complexe et compétitif des éditions de la rue Sébastien Bottin, Queneau se taille au fil des ans une place de choix, même s’il n’est pas assis sur un trône et s’il prend sa part de coups (à la face et dans le dos). -
Jean-Paul Sartre and the Algerian Revolution: 1954-1962
https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work 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 Enlighten: Theses https://theses.gla.ac.uk/ [email protected] JEAN-PAUL SARTRE AND THE ALGERIAN REVOLUTION: 1954-1962 BY ABDELMADJID AMRANI B.A. ALGIERS UNIVERSITY, (1981) M. LiTT. GLASGOW UNIVERSITY, (1985) A THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY, PH.D. DEPARTMENT OF MODERN HISTORY FACULTY OF ARTS UNIVERSITY OF GLASGOW FEBRUARY 1990 i ProQuest Number: 10970983 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10970983 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. -
Gender and the Politics of Decolonization in Early 1960S French Cinema
This is a repository copy of Gender and the politics of decolonization in early 1960s French cinema. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/142211/ Version: Accepted Version Article: Sharpe, M (2019) Gender and the politics of decolonization in early 1960s French cinema. Journal of European Studies, 49 (2). pp. 163-183. ISSN 0047-2441 https://doi.org/10.1177/0047244119837478 © 2019, The Author(s). This is an author produced version of an article published in the Journal of European Studies. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Gender and the politics of decolonization in early 1960s French cinema Erotophilic and politically sublimated are two barbs frequently mobilized to critique the imaginary of early 1960s French cinema. Erotophilic as, for the most part, -
Mémoires D'une Anne
MÉMOIRES D'UNE ANNE Anne-Marie Cazalis Mémoires d'une Anne Stock Tous droits réservés pour tous pays © 1976, Editions Stock. 1947, au Café de Flore. Derrière moi, Gréco et Marc Doelnitz. Nous découvrons avec étonnement ce que l'on écrit sur nous et sur les autres. Existentialistes ? Peut- être. Mais si peu. Le titre que je déchiffre : « L'assassin sans visage »... Photo Paris-Match Collection de l'auteu Je danse avec Boris Vian au Club du Vieux-Colombier. Boris devait mourir jeune. Comme mon ami Roger Nimier, qui danse à l'extrême-droite. Boris et Roger ne se connaissaient pas. Nous avons tous l'air un peu absent. Juliette (Gréco) Anne Marie Cazalis). ;s deux Muses de Saint- Germain-des-Prés », rousse (c'est moi) la brune est elle). Photo Georges Photo « Le Matin » ul Valéry, ternel avec moi. me conseillait : La facilité est le emier de tous les ns à condition de jamais s'en vir. » disait aussi : 1 n'y a pas bons souvenirs. » , pardon de ne pas voir écouté ! Photo Georges Damb La danse avec le poète. Le poète, c'est Jean Cocteau. J'ai eu la joie de tourner pour lui « Orphée ». Un petit rôle. A Michèle, Christian et Francis Monod. En souvenir de notre enfance. A chacun de gouverner ses pro- pres diables. ALAIN La vérité est une puissance à la- quelle rien ne résiste et la raison conjure le démon du mensonge. IBN KHALDÛN C'était, en réalité, au moment où il se trouvait en ces lieux que ses yeux les voyaient le moins.