DOCSLIB.ORG

University Microfilms International 300 N

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University Microfilms International 300 N INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University Microfilms International 300 N. ZEEB RD., ANN ARBOR, Ml 48106 8121844 Pin t e r, M a r t h a Pe r e sz l en y i THEATRICALITY IN THE LATE FARCE OF MOLIERE: 1666 - 1671 The Ohio State University Ph.D. 1981 University Microfilms International300 N. Zeeb Road, Ann Arbor, M I 48106 Copyright 1981 by Pinter, Martha Pereszlenyi All Rights Reserved THEATRICALITY IN THE LATE FARCE OF MOLI^RE: 1666 - 1671 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Martha Peresslenyi Pinter, B.A., M.A. ****** The Ohio State University 1981 Reading Committee: Approved By Dr. Charles G. S. Williams Dr. Pierre Astier Adviser Dr. Margarita Levisi Department of Romance Languages ACKNOWLEDGMENTS I would like to acknowledge my adviser, Dr. Charles G. S. Williams, whose course on Molifere inspired me to pursue further work and research, and who unselfishly gave me many hours of his time, help, and encouragement. I would also like to thank my friends, colleagues, and family, especially my mother, father, and husband, for their loving support. VITA November 8, 1948 .......... Born, Braunau-am-Inn, Austria 1970 ....................... B.A. , magna cum laude, The Cleveland State Unxversity, Cleveland, Ohio 1970-1971 ................. University Fellow, The Ohio State University, Columbus, Ohio 19 71 ....................... Scholarship, Bryn Mawr College in Avignon, France 1971-1975 ................. Teaching Associate, The Ohio State University, Columbus, Ohio 1972 ....................... M.A., The Ohio State Univer­ sity, Columbus, Ohio 19 75 ....................... Instructor, The College of Wooster, Wooster, Ohio 19 75-1976 ................. Assistant Professor, Slippery Rock State College, Pennsyl­ vania 19 77 - present ............ Co-ordinator, The French Individualized Instruction Program, The Ohio State Uni­ versity, Columbus, Ohio, formerly through a Grant by The National Endowment for the Humanities FIELDS OF STUDY Major Field: French Literature Seventeenth Century. Dr. Charles G. S. Williams, Dr. Hugh M. Davidson iii Eighteenth Century. Dr. Hugh M. Davidson, Dr. Ronald C. Rosbottom Sixteenth Century. Dr. Robert Cottrell Nineteenth Century. Dr. Charles Carlut Twentieth Century. Dr. Pierre Astier Medieval and Linguistics. Dr. Hans-Erich Keller Minor Field: Spanish Literature Medieval: Dr. Aristobulo Pardo Golden Age: Dr. Margarita Levisi iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS.................................... ii VITA .............................................. iii Chapter I. INTRODUCTION ............................... 1 A. "Le Premier farceur de France": An Overview of the Topic .......... 1 B. Etat present: Molifere and Farce ........ 6 C. Molifere andthe Italian Connection: La Commedia dell'arte ................... 12 D. Etat present: The Commedia dell1arte . 15 E. Molifere's Theatricality: Towards a Definition and a Description............. 19 1. The Comic Aesthetic................... 20 2. Theatre as Ritual ................... 21 3. The B a r o q u e ....................... 24 F. Molifere, homme de thfeatre: Etat prisent . 2 8 1. The "New View" of Moore and Bray . 28 2. Molifere the Formalist................. 30 a. "Structure Studies"................. 30 b. Rastier, Relyea, et al.: The Semiotic View . ........ 35 c. Anthologies ....................... 37 3. Molifere Dramaturge ................... 41 4. Performance and Spectacle: Actors and Directors . ..................... 4 3 G. Three Late Farces: The Politics of Self-Parody ............................. 48 II. A. The "Farceur," His Art in 1666: Spectacle and Performance ........... 6 8 B. The Question of "Sources" ............... 80 1. Parody: Literary Sources and Their U s e .................................... 80 a. Le Vilain m i r e ..................... 82 b. La Femme m u e t t e ................... 93 2. Self-Parody: Alceste and the Sganarelles........................... 95 v Chapter Page C. Theatruro m u n d i ............................. 104 1. Moliere and "the Doctors": The Craft of Farce in the "Medical Plays" and "impie en m^decine" .... 104 2. Play as Game: A Freudian Interpretation ....................... 119 D. Conventions ............................... 125 1. The "Theatricality" of Speech and Gesture: A Game T h e o r y ....... 125 2. From Rite and Ritual to Fantaisie v e r b a l e ........................ 134 3. Mask T ........................ 138 III.- GEORGE DANDIN, OR, MEGALOMANIA SHATTERED . 150 A. The "Farceur," His Art in 166 8: Spectacle and Performance ............... 150 B. The Question of "Sources" ............... 150 1. Parody: Dramatico-literary Sources and Their U s e ......................... 180 a. Medieval Farce, "Lessons," and the Theme of Cuckoldry............. 180 b. Calmo's Rhodiana, and the Influence of Boccaccio ............. 194 2. Self-Parody....................... 199 a. Molihr6's Preliminary Sketch: La Jalousie du Barbouill£ ........ b. Moli&re1s "Unreconstructed Heroes" . 206 C. Theatrum M u n d i ....................... 212 1. The Dreamworld: An Absurd Nightmare . 212 2. Marriage, the Illusion of Marriage, and the Rituals of Illusion...... 216 D. Conventions: Unmasking Through Speech, Gesture, and C o s t u m e ................. 221 IV. LES FOURBERIES DE SCAPIN OR, MEGALOMANIA RE-ESTABLISHED ............................. 2 35 A. The "Farceur," His Art in 1671: Spectacle and Performance ............... 2 35 B. The Question of "Sources": "Je prends mon bien oh je le trouve" ............... 255 1. Theatrical "Borrowings": Practicality and Parody ............... 256 a. Latin Comedy: Terence’s Phormio . 256 b. Moliere and the Italian Theatrical T r a d i t i o n ..................... 262 c. Contemporary French Comedy ........ 26 7 vi Chapter Page 2. Moli^re's’Own Repertoire: Self-Parody and Stagecraft ......................... 2 72 a. Miscellaneous Borrowings ............. 2 73 b. L'Etourdi ........................... 277 C. Theatrum Mundi ......... 280 1. Dom Juan, Mascarille, and Scapin .... 281 2. Scapin as Valet/Servant Character .... 286 D. Conventions: The Mask of the Mechanical B a l l e t ........................................ 288 V. CONCLUSION ...................................... 304 BIBLIOGRAPHY 315 CHAPTER I INTRODUCTION A. "Le Premier farceur de France"; An Overview of the Topic It is possible to trace Molifere's early relationship with farce. We know that his father had access to a number of loges or boutiques at the foire Saint-Germain. Le Boulanger de Chalussay in Elomire Hypocondre (16 70) claims that Molifere had a role with the opferateurs Orvifetan and Bary. In Les Vferitables Prfetieuses (1660), Somaize accuses him of having been a student of Guillot- Gorju (d.1648) and implies that the latter’s widow sold him his memoirs. Grimarest in La Vie de M. de Molifere (1705) tells the story that Grandfather Cressfe often took the young Jean-Baptiste to the Hdtel de Bourgogne and as a consequence, Molifere's father feared that his son might become a comfedien.^ Around the time of the Fronde (164 8-16 53), the Parisian public seems to have tired of the farce in the tradition of farceurs such as Tabarin (d.1633), a farceur of the Pont-Neuf; Gautier-Garguille (d. 16 32-16 34 ?); Gros-Guillaume (d. 1634) , Turlupin (d. 1637) ; Alizon and 2 Guillot-Gorju. Tallemant des Rfeaux also mentions the 1 decline of farce during this period: "Jodelet, pour un faring naif, est un bon acteur; il n'y a plus de farce qu'au Marais oh il est, et c'est fe cause de luy qu'il y 3 en
Load more

Recommended publications
  • Reviews of Recent Publications
    Studies in 20th Century Literature Volume 19 Issue 2 Article 10 6-1-1995 Reviews of recent publications Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons, German Language and Literature Commons, Modern Literature Commons, and the Spanish and Portuguese Language and Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation (1995) "Reviews of recent publications," Studies in 20th Century Literature: Vol. 19: Iss. 2, Article 10. https://doi.org/10.4148/2334-4415.1376 This Book Review is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Reviews of recent publications Abstract Adelson, Leslie A. Making Bodies Making History: Feminism and German Identity by Sander L. Gilman Barrat, Barnaby B. Psychoanalysis and the Post-Modern Impulse: Knowing and Being Since Freud's Psychology by Mitchell Greenberg Calinescu, Matei. Rereading by Laurence M. Porter Donahue, Neil H. Forms of Disruption: Abstraction in Modern German Prose by Burton Pike Feminisms of the Belle Epoque, A Historical and Literary Anthology. Jennifer Waelti-Walters and Steven C. Hause, Eds. (Translated by Jette Kjaer, Lydia Willis, and Jennifer Waelti-Walters by Christiane J.P. Makward Hutchinson, Peter. Stefan Heym: The Perpetual Dissident by Susan M. Johnson Julien, Eileen. African Novels and the Question of Orality by Lifongo Vetinde Kristof, Agota. Le Troisième Mensonge by Jane Riles Laronde, Michel.
    [Show full text]
  • 1629 Corneille Pierre Mélite C 1630 Corneille Pierre Clitandre Ou L
    1629 Corneille Pierre Mélite C 1630 Corneille Pierre Clitandre ou l'innocence persécutée TC 1632 Corneille Pierre La Veuve C 1632 Corneille Pierre Mélanges poétiques 1633 Corneille Pierre La Galerie du Palais C 1634 Corneille Pierre La Suivante C 1634 Corneille Pierre La Place Royale ou l'Amour extravagant C 1635 Corneille Pierre Médée T 1636 Corneille Pierre L'Illusion comique C 1637 Corneille Pierre Le Cid TC 1637 Corneille et 4 autres La Grande Pastorale 1640 Corneille Pierre Horace T 1642 Corneille Pierre Cinna T 1643 Corneille Pierre Polyeucte T 1643 Corneille Pierre La Mort de Pompée T 1643 Corneille Pierre Le Menteur C 1644 Corneille Pierre La Suite du Menteur C 1645 Corneille Pierre Rodogune T 1645 Corneille Pierre sixains pour Valdor "Le Triomphe de Louis le Juste" 1646 Corneille Pierre Théodore T 1647 Corneille Pierre Héraclius T 1650 Corneille Pierre Andromède T 1650 Corneille Pierre Don Sanche d'Aragon CH 1651 Corneille Pierre Nicomède T 1651 Corneille Pierre trad. de l'"Imitation de Jésus-Christ", 20 ch. 1652 Corneille Pierre Pertharite T 1659 Corneille Pierre Oedipe T 1660 Corneille Pierre La Toison d'or (T à machines) 1662 Corneille Pierre Sertorius T 1663 Corneille Pierre Sophonisbe T 1664 Corneille Pierre Othon T 1666 Corneille Pierre Agésilas T 1667 Corneille Pierre Attila T 1669 Corneille Pierre trad. de l'"Office de la Vierge" 1670 Corneille Pierre Tite et Bérénice T 1671 Corneille + Molière/Quinault Psyché CB 1672 Corneille Pierre Pulchérie T 1674 Corneille Pierre Suréna T 1654 Molière L'Etourdi 1656 Molière Le Dépit
    [Show full text]
  • Presentazione Di Powerpoint
    COMMEDIA DELL’ARTE Pietro Bertelli - "Zanne Maschere" (1642) Gabriele Bella, Ciarlatani nella piazzetta San Marco a Venezia, XVIII secolo, Venezia, Galleria Querini Stampalia Giacomo Franco: "Ciarlatani in Piazza San Marco" - (1610) A troupe of Comici dell'Arte (detail.), K. Dujardins, 1657 Paul Scarron's Roman Comique (1676) Lorenzo Vaccaro, 1560- 1580. Raccolta Fossard Francatrippa, Stoccolma, Recueil Fossard Lorenzo Vaccaro, 1560- 1580. Stoccolma, Recueil Fossard Lorenzo Vaccaro,Raccolta Fossard Recueil Fossard Arlecchino Recueil Fossard Arlecchino Alessandro Scalzi/ Alessandro Padovano, scala dei buffoni (Narrentreppe) Castello di Trausnitz,Landshut,1578 circa Alessandro Scalzi/ Alessandro Padovano, scala dei buffoni (Narrentreppe) Castello di Trausnitz,Landshut,1578 circa Alessandro Scalzi/ Alessandro Padovano, scala dei buffoni (Narrentreppe) Castello di Trausnitz,Landshut,1578 circa Antonio Ponzano Decorazione in fregio al soffitto Castello di Trausnitz (Baviera),1591 Molière, Jodelet, Poisson, Turlupin, Le Capitan Matamore, Arlequin, Guillot Gorju, Gros Guillaume, Le Dottor Grazian Balourd, Gaultier Garguille, Polichinelle, Pantalone, Phillipa (on the balcony), Scaramouche, Briguelle, Trivelin. Une représentation de la commedia dell'arte par la troupe des Gelosi (1571-1604) : peinture flamande de la fin du XVIe siècle conservée au musée Carnavalet à Paris. Pittore fiammingo, Commedia dell’arte a la cour de Charles IX, Bayeux (Francia), Museo Baron Gerard La serenata di Pantalone, sec.XVI Anonimo fiammingo, Commedia dell’Arte, Sarasota, Ringling Museum Dionisio Minaggio, Libro delle piume, tavola 26 Agostino Carracci, Ritratto di Giovanni Gabrielli detto il Sivello, Roma, Biblioteca del Burcardo, XVI secolo, incisione. Scapino, incisione di Jacques Callot, XVII secolo, Milano, Civica Raccolta delle stampe "Bertarelli. Buffetto (Carlo Cantù) 18th-Century Engraving of Commedia Dell’arte Actors on Stage.
    [Show full text]
  • An Anthropology of Gender and Death in Corneille's Tragedies
    AN ANTHROPOLOGY OF GENDER AND DEATH IN CORNEILLE’S TRAGEDIES by MICHELLE LESLIE BROWN (Under the Direction of Francis Assaf) ABSTRACT This study presents an analysis of the relationship between gender and death in Corneille’s tragedies. He uses death to show spectators gender-specific types of behavior to either imitate or reject according to the patriarchal code of ethics. A character who does not conform to his or her gender role as dictated by seventeenth-century society will ultimately be killed, be forced to commit suicide or cause the death of others. Likewise, when murderous tyrants refrain from killing, they are transformed into legitimate rulers. Corneille’s representation of the dominance of masculine values does not vary greatly from that of his contemporaries or his predecessors. However, unlike the other dramatists, he portrays women in much stronger roles than they usually do and generally places much more emphasis on the impact of politics on the decisions that his heroes and heroines must make. He is also innovative in his use of conflict between politics, love, family obligations, personal desires, and even loyalty to Christian duty. Characters must decide how they are to prioritize these values, and their choices should reflect their conformity to their gender role and, for men, their political position, and for females, their marital status. While men and women should both prioritize Christian duty above all else, since only men were in control of politics and the defense of the state, they should value civic duty before filial duty, and both of these before love. Since women have no legal right to political power, they are expected to value domestic interests above political ones.
    [Show full text]
  • From the Tragic to the Comic in Corneille
    Trinity University Digital Commons @ Trinity Modern Languages and Literatures Faculty Research Modern Languages and Literatures Department 2005 Over the Top: From the Tragic to the Comic in Corneille Nina Ekstein Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/mll_faculty Part of the Modern Languages Commons Repository Citation Ekstein, N. (2005). Over the top: From the tragic to the comic in Corneille. In F. E. Beasley & K. Wine (Eds.), Intersections: Actes du 35e congrès annuel de la North American Society for Seventeenth-Century French Literature, Dartmouth College, 8-10 mai 2003 (pp. 73-84). Tübingen, Germany: Narr. This Contribution to Book is brought to you for free and open access by the Modern Languages and Literatures Department at Digital Commons @ Trinity. It has been accepted for inclusion in Modern Languages and Literatures Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Over the Top: From the Tragic to the Comic in Corneille by NINA EKSTEIN (Trinity University) The notions of tragedy and comedy that one can intuit from the theater of Corneille are markedly different from those found in other authors of the period. This is but one aspect of a larger issue concerning Corneille's placement in the hallowed pantheon of literary history. He is one of the major canonical authors and yet he often disconcerts.1 He was one of the principal theorists of drama in the seventeenth century and yet he took a number of stands in direct and lonely opposition to his peers.
    [Show full text]
  • Download Teachers' Notes
    Teachers’ Notes Researched and Compiled by Michele Chigwidden Teacher’s Notes Adelaide Festival Centre has contributed to the development and publication of these teachers’ notes through its education program, CentrED. Brink Productions’ by Molière A new adaptation by Paul Galloway Directed by Chris Drummond INTRODUCTION Le Malade imaginaire or The Hypochondriac by French playwright Molière, was written in 1673. Today Molière is considered one of the greatest masters of comedy in Western literature and his work influences comedians and dramatists the world over1. This play is set in the home of Argan, a wealthy hypochondriac, who is as obsessed with his bowel movements as he is with his mounting medical bills. Argan arranges for Angélique, his daughter, to marry his doctor’s nephew to get free medical care. The problem is that Angélique has fallen in love with someone else. Meanwhile Argan’s wife Béline (Angélique’s step mother) is after Argan’s money, while their maid Toinette is playing havoc with everyone’s plans in an effort to make it all right. Molière’s timeless satirical comedy lampoons the foibles of people who will do anything to escape their fear of mortality; the hysterical leaps of faith and self-delusion that, ironically, make us so susceptible to the quackery that remains apparent today. Brink’s adaptation, by Paul Galloway, makes Molière’s comedy even more accessible, and together with Chris Drummond’s direction, the brilliant ensemble cast and design team, creates a playful immediacy for contemporary audiences. These teachers’ notes will provide information on Brink Productions along with background notes on the creative team, cast and a synopsis of The Hypochondriac.
    [Show full text]
  • 2011 Shelf-Registration Document
    welcome ! Shelf-Registration Document 2011 Mercialys – 2011 Shelf-Registration Document 10, rue Cimarosa - 75016 Paris Tél. : +33 01 53 70 23 20 E-mail : [email protected] www.mercialys.com www.mercialys.com Shelf-Registration Document 2011 summary Summary 1. Business review (Financial statements for the year ended December 31, 2011) An excellent year in 2011: robust performance and growth throughout the year . 4 A year during which Mercialys stepped up its value creation strategy further . 4 A year confirming the solidity of Mercialys’s business model . 5 2. Financial report Financial statements . 7 Review of activity in 2011 and lease portfolio structure . 10 Review of consolidated results . 12 Subsequent events . 19 Outlook . 19 Review of the results of the parent Company, Mercialys SA . 20 Subsequent events following the Board of Directors meeting of February 9, 2012 that approved 2011 financial statement . 21 3. Portfolio and Valuation Portfolio valued at Euro 2,640 million at December 31, 2011 . 22 A diversified portfolio of retail assets . 24 Presence in areas with strong growth potential . 25 4. Stock market information Trading volume and share price over the last 18 months (source: Euronext Paris) . 31 Breakdown of share capital and voting rights at January 31, 2012 . 32 Crossing of share ownership thresholds . 32 Share buy‑back program . 33 Shareholders’ agreement . 35 Dividend policy . 36 Communication policy . 37 5. Corporate Governance Board of Directors and Executive Management . 38 Statutory Auditors . 56 Chairman’s Report . 58 Statutory Auditors’ report prepared in accordance with Article L 225. ‑235 of the French Commercial Code (“Code de commerce”), on the report prepared by the Chairman of the Board of Directors of Mercialys .
    [Show full text]
  • The Plays of Moliere Viewed As Commentary on Women and Their Place in Society
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1943 The Plays of Moliere Viewed as Commentary on Women and Their Place in Society Helen A. Jones Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the French and Francophone Literature Commons Recommended Citation Jones, Helen A., "The Plays of Moliere Viewed as Commentary on Women and Their Place in Society" (1943). Master's Theses. 631. https://ecommons.luc.edu/luc_theses/631 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1943 Helen A. Jones OO:MMENTARY ON WOlIEN.. .AND THEIB PLACE IN SOOlEY BELEN A. JONES I .. OF TfIE 11lQUIRlUtENTS :roR THE DlfGRD OF M.AS.rER OF ARTS IN LOYOLA. UNIVERSITY ... october 1943 TABlE OF CONT1m!B Page INTRODUCTION • • • • • • • • • 111 Chapter • I. MOLIERE AND HIS TIMES • • • • • 1 II. RIGHTS OF WOMEN • • • • • • 16 III. SOCIAL flESPONSIBILITIES OF WOJ/lEN • • 35 IV. CRITICAL DISCUSSION • • • • • 54 v. CONCLUSION • • • • • • • 66 BIBLIOGRAPRY • • • • • • • • • 68 ; .. INl'BODUCTION The purpose ot this paper is to consider views on rights and re- sponsibilit1es ot wceen as revealed in the'comedies ot Moliere. In dis- ...., cussing these Views, the writer will attempt to show that, on the Whole, these plays present a unitied, consistent body ot commentary on women and their place in society.
    [Show full text]
  • The Misanthrope, Tartuffe, and Other Plays Free
    FREE THE MISANTHROPE, TARTUFFE, AND OTHER PLAYS PDF Moliere,Maya Slater | 400 pages | 15 Jul 2008 | Oxford University Press | 9780199540181 | English | Oxford, United Kingdom The Misanthrope: Study Guide | SparkNotes The play satirizes the hypocrisies of French aristocratic society, but it also engages a more serious tone when pointing out the flaws that all humans possess. As a result, Tartuffe is much uncertainty about whether the main character, Alceste, is supposed to be perceived as Tartuffe hero for his strong standards of honesty or whether and Other Plays is supposed to be perceived as a fool for having such idealistic and unrealistic views about society. He believed that the audience should be supporting Alceste and his views about society rather than disregarding his idealistic notions and belittling him as a character. Much to the horror of Tartuffe friends and companions, Alceste rejects la politessethe social conventions of the seventeenth- century French ruelles later called salons in the The Misanthrope century. His deep The Misanthrope for her primarily serve to counter his negative expressions The Misanthrope mankind, since the fact that he has such feelings includes him amongst those he so fiercely criticizes. When Alceste insults a sonnet written by the powerful noble Oronte, he is called to stand trial. Refusing to dole out false compliments, he is charged and humiliated, and resolves on self-imposed exile. She has written identical love letters to numerous suitors including to Oronte and broken her vow to favor him above all others. He gives her an ultimatum: he will forgive Tartuffe and marry her if she runs away with him to exile.
    [Show full text]
  • Botting Fred Wilson Scott Eds
    The Bataille Reader Edited by Fred Botting and Scott Wilson • � Blackwell t..b Publishing Copyright © Blackwell Publishers Ltd, 1997 Introduction, apparatus, selection and arrangement copyright © Fred Botting and Scott Wilson 1997 First published 1997 2 4 6 8 10 9 7 5 3 Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 IJF UK Blackwell Publishers Inc. 350 Main Street Malden, MA 02 148 USA All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form Or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher's prior consent in any fo rm of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. British Library Cataloguing in Publication Data A CIP catalogue record for this book is available from the British Ubrary. Library of Congress Cataloging in Publication Data Bataille, Georges, 1897-1962. [Selections. English. 19971 The Bataille reader I edited by Fred Botting and Scott Wilson. p. cm. -(Blackwell readers) Includes bibliographical references and index. ISBN 0-631-19958-6 (hc : alk. paper). -ISBN 0-631-19959-4 (pbk. : alk. paper) 1. Philosophy. 2. Criticism. I. Botting, Fred.
    [Show full text]
  • Italian Theater Prints, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt9b69q7n7 No online items Finding aid for the Italian theater prints, ca. 1550-1983 Finding aid prepared by Rose Lachman and Karen Meyer-Roux. Finding aid for the Italian theater P980004 1 prints, ca. 1550-1983 Descriptive Summary Title: Italian theater prints Date (inclusive): circa 1550-1983 Number: P980004 Physical Description: 21.0 box(es)21 boxes, 40 flat file folders ca. 677 items (623 prints, 13 drawings, 23 broadsides, 16 cutouts, 1 pamphlet, 1 score) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The Italian theater prints collection documents the development of stage design, or scenography, the architecture of theaters, and the iconography of commedia dell'arte characters and masks. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in Italian Access Open for use by qualified researchers. Publication Rights Contact Library Reproductions and Permissions . Preferred Citation Italian theater prints, ca. 1550-1983, Getty Research Institute, Research Library, Accession no. P980004. http://hdl.handle.net/10020/cifaP980004 Acquisition Information Acquired in 1998. Processing History The Italian theater prints collection was first processed in 1998 by Rose Lachman. Karen Meyer-Roux completed the processing of the collection and wrote the present finding aid in 2004. Separated Materials All of the approximately 4380 secondary sources from the Italian theater collection were separated to the library. In addition, ca. 1500 rare books, some of which are illustrated with prints, have also been separately housed, processed and cataloged.
    [Show full text]
  • 2011 Activity Report Mercialys – 2011 Activity Report Activity – 2011 Mercialys
    welcome ! 2011 Activity Report Mercialys – 2011 Activity Report Activity – 2011 Mercialys 10, rue Cimarosa - 75016 Paris Tél. : +33 01 53 70 23 20 E-mail : [email protected] www.mercialys.com www.mercialys.com OUr GrOUP Profi le Chairman’s message .................... 2 Corporate Governance ............... 6 2011 Highlights ............................. 8 Key fi gures ................................... 10 OUr ValUes Making you feel at home The Esprit Voisin concept: Mercialys’s trademark ....................................... 14 Refl ecting local identity ..................................... 16 Useful ideas ......................................................... 18 Shopping centers in line with their customers ........................................... 20 Responsible retailers and citizens .................. 22 OUr aiM A new way of looking at retail Valentine Grand Centre shopping center: a story shared with the people of Marseille ............... 26 “Esprit Voisin“ concept at the heart of... ....................... 32 Partnerships creating value ............................................... 37 The art of transformation .................................................. 39 Entrepreneurial spirit .......................................................... 40 2006-11: the Alcudia years ............................................ 42 2012: The “Foncière Commerçante” strategy .............. 43 In 2012, they will also adopt the “Esprit Voisin” concept... ............................................ 44 OUR GROUP MERCIALYS Activity Report
    [Show full text]