DOCSLIB.ORG

The University of Chicago Notes Taking Sides: Social

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The University of Chicago Notes Taking Sides: Social THE UNIVERSITY OF CHICAGO NOTES TAKING SIDES: SOCIAL AND AESTHETIC MEANINGS OF MUSIC IN THE NOVEL A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ROMANCE LANGUAGES AND LITERATURES BY VEERLE DIERICKX CHICAGO, ILLINOIS JUNE 2020 COPYRIGHT 2020 VEERLE DIERICKX For August TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................................................................................. vi ABSTRACT .................................................................................................................................. vii CHAPTER I: INTRODUCTION .................................................................................................... 1 . MUSIC AND LITERATURE ........................................................................................................ I . WAGNERISM ........................................................................................................................... J . MUSIC AND THE NOVEL ......................................................................................................... L . APPROACH ............................................................................................................................ HJ . CHAPTER OUTLINE ................................................................................................................ HN CHAPTER II: THE FIGURE OF THE COMPOSER .................................................................. 27 . FROM PAINTER TO COMPOSER: THE ARTIST NOVEL ............................................................. KH . THE ROMAN FLEUVE .............................................................................................................. JH . THE METAPHOR OF THE RIVER ............................................................................................. JM . MUSICAL BORDERS .............................................................................................................. JP GERMAN MUSIC ..................................................................................................... 48 FRENCH MUSIC ...................................................................................................... 57 . JEAN-CHRISTOPHE’S MUSIC: A UNIFYING FORCE ................................................................ VL . DESCRIBING MUSIC ............................................................................................................... LK CHAPTER III: LISTENING AS A SOCIAL PRACTICE ........................................................... 82 . A VERSATILE AUTHOR ......................................................................................................... PJ . MUSIC-POETRY VS. MUSIC-NOVEL ...................................................................................... PV . MUSIC AND LE MONDE RÉEL ................................................................................................. NI . “LA MUSIQUE, C’EST L’ART IDEAL” ...................................................................................... NM . PRIVATE DISTRACTION VS. SOCIAL AFFINITY ...................................................................... HHI . VEHICLES OF ARAGON’S MESSAGE ..................................................................................... HIV CHAPTER IV: MUSIC AS A FORMAL MODEL ................................................................... 130 . INSIDE “L’ECOLE DU REFUS:” “L’ECOLE DU REGARD” VS. “L’ECOLE DE L’ECOUTE” ........... HKI . “MUSIC IS NECESSARY” ....................................................................................................... HKN . TUNE IN TO A SONATINA ..................................................................................................... HJV . THE OPEN WORK ................................................................................................................ HMN . “L’ÉCOLE DE L’INTERPRÈTE” .............................................................................................. HVL . CINEMATIC INTERPRETATION OF THE SCORE ........................................................................ HLH . THE AESTHETICS OF INTERMEDIALITY ................................................................................ HLN EPILOGUE ................................................................................................................................. 182 APPENDIX A: COMMENTS ON MUSICAL SCORES IN JEAN-CHRISTOPHE ................. 190 APPENDIX B: DIABELLI SCORES IN THE MODERATO CANTABILE NOVEL ............... 198 iv APPENDIX C: DIABELLI SCORES IN THE MODERATO CANTABILE FILM ................... 202 APPENDIX D: MUSICAL WORKS CITED ............................................................................. 208 . MUSICAL WORKS MENTIONED IN LITERARY WORKS ........................................................ I[P . OTHER MUSICAL WORKS CITED ........................................................................................ I[P BIBLIOGRAPHY ....................................................................................................................... 210 v ACKNOWLEDGMENTS First and above all I would like to thank Alison James, not only for her dedicated teaching which led me to the inspiration behind this dissertation, but also for her invaluable input and constant guidance as my dissertation chair and throughout my academic career. She taught me that the pleasure of writing resides in nuances and subtleties expressed by an open mind; and that working across the arts requires this form of openness. I am also indebted to the support of my other esteemed committee members, Berthold Hoeckner, Robert Morrissey and Alexander Roose, for their insightful readings and observations of my work as well as their probing questions. Berthold Hoeckner’s musicological insights, in particular, were indispensable for the interdisciplinary nature of this project, for which I am very grateful. I would also like to thank professors outside my committee who shared their knowledge and experience: Daisy Delogu, Philippe Desan, Larry Norman, Thomas Pavel and Justin Steinberg from the University of Chicago, Françoise Gaillard and Sylvain Menant from the University of Paris and Sorbonne University, and Pierre Schoentjes from Ghent University. I also greatly appreciate the friendship and advice I have received from many of my wonderful colleagues, particularly Chiara, Elizabeth, Fay, Linsey, Mar, Monica and Rebecca. A very special thanks goes to Martina Munsters, former Dean of Students, whose careful attention to the students’ wellbeing helped me balance scholarly performance and motherhood. Finally, my love and gratitude go to my family: my son, August, for his patience and curiosity; my parents, Griet and Erwin, for their unwavering support which made the completion of this project possible; and all my friends near and far, whose encouragement and cheer often kept me going. I also thank my grandmother, Cécile, whose wisdom is always an inspiration. vi ABSTRACT This dissertation studies the role of music in the twentieth-century French novel. It identifies a tension between Western classical music as a model of (social or aesthetic) harmony and the idea of notes taking sides. Novels take sides in debates about music and aesthetics, or explore the contested meanings of music in social/political contexts. I argue that music, as a social phenomenon, allows Romain Rolland (in Jean-Christophe [1904-1912]), Louis Aragon (in Les voyageurs de l’impériale [1942]) and Marguerite Duras (in Moderato cantabile [1958]) to deal with a whole host of social, cultural and political issues, as well as to seek new approaches to the novel at different moments in history. Each writer adopts a particular perspective on music as a site of both harmony and conflict: through the figure of the composer (Rolland), the character of the listener (Aragon), and through music as a formal model (Duras). Via a fictional composer, Rolland theorizes a music that can cross national boundaries, within a novel that—inspired by Wagner’s music—challenges the representational conventions of 19th-century naturalism. Aragon combines a realist representation of the social meanings of music and musical taste, with a social(ist) denunciation of bourgeois decadence and capitalism. While also depicting music’s entanglements with social class, Duras’ Moderato cantabile draws on two overlapping models of music that reflect the writer’s distinctive position within 1950s experimental literature. My study reveals a progressive shift away from the political potential of music toward an individual quest for transcendence—a tendency that will be continued in contemporary musical novels. vii CHAPTER I: INTRODUCTION In Louis Aragon’s Les voyageurs de l’impériale (1942), the protagonist, named Pierre Mercadier, affirms that music is the ideal art form, harmonious and impartial: “La musique, c’est l’art idéal, on met dedans ce qu’on veut. Les notes ne prennent pas parti, tout s’y résout dans l’harmonie.” While Aragon’s character is expressing a widespread idea, I argue that the musical experience is not per se disinterested or unbiased. As I will show, there is a tension in the twentieth-century French novel between music as a model of (social or aesthetic) harmony and the idea of notes taking sides. For instance, novels take sides in debates about music, or use music to take sides in broader aesthetic debates, or show how musical notes take on
Load more

Recommended publications
  • FHISO CFPS 21: Proposal for Handling Personal Names
    CFPS 21 (Call for Papers Submission number 21) Proposal for Handling Personal Names Submitted by: Proctor, Tony Type: Technical proposal Created: 2013-03-19 Last updated: 2013-04-20 URL: Most recent version: http://fhiso.org/files/cfp/cfps21.pdf This version: http://fhiso.org/files/cfp/cfps21_v1-1.pdf Description: Proposal for Handling Personal Names Keywords: Personal-names, Culture-neutral Family History Information Standards Organisation, Inc. http://fhiso.org/ Contents 1. Abstract ........................................................................................................................................... 3 2. Proposal ........................................................................................................................................... 3 2.1 Name Structure ......................................................................................................................... 3 2.2 Time Dependency ..................................................................................................................... 3 2.3 Name Types .............................................................................................................................. 4 2.4 Name Matching ........................................................................................................................ 4 2.5 Sorting and Collation ................................................................................................................ 4 3. Not Covered or Not Required .......................................................................................................
    [Show full text]
  • Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K
    Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K. A. Applegate Jeffrey Archer Diana Athill Paul Auster Wasi Ahmed Victoria Aveyard Kevin Baker Mark Allen Baker Nicholson Baker Iain Banks Russell Banks Julian Barnes Andrea Barrett Max Barry Sebastian Barry Louis Bayard Peter Behrens Elizabeth Berg Wendell Berry Maeve Binchy Dustin Lance Black Holly Black Amy Bloom Chris Bohjalian Roberto Bolano S. J. Bolton William Boyd T. C. Boyle John Boyne Paula Brackston Adam Braver Libba Bray Alan Brennert Andre Brink Max Brooks Dan Brown Don Brown www.downloadexcelfiles.com Christopher Buckley John Burdett James Lee Burke Augusten Burroughs A. S. Byatt Bhalchandra Nemade Peter Cameron W. Bruce Cameron Jacqueline Carey Peter Carey Ron Carlson Stephen L. Carter Eleanor Catton Michael Chabon Diane Chamberlain Jung Chang Kate Christensen Dan Chaon Kelly Cherry Tracy Chevalier Noam Chomsky Tom Clancy Cassandra Clare Susanna Clarke Chris Cleave Ernest Cline Harlan Coben Paulo Coelho J. M. Coetzee Eoin Colfer Suzanne Collins Michael Connelly Pat Conroy Claire Cook Bernard Cornwell Douglas Coupland Michael Cox Jim Crace Michael Crichton Justin Cronin John Crowley Clive Cussler Fred D'Aguiar www.downloadexcelfiles.com Sandra Dallas Edwidge Danticat Kathryn Davis Richard Dawkins Jonathan Dee Frank Delaney Charles de Lint Tatiana de Rosnay Kiran Desai Pete Dexter Anita Diamant Junot Diaz Chitra Banerjee Divakaruni E. L. Doctorow Ivan Doig Stephen R. Donaldson Sara Donati Jennifer Donnelly Emma Donoghue Keith Donohue Roddy Doyle Margaret Drabble Dinesh D'Souza John Dufresne Sarah Dunant Helen Dunmore Mark Dunn James Dashner Elisabetta Dami Jennifer Egan Dave Eggers Tan Twan Eng Louise Erdrich Eugene Dubois Diana Evans Percival Everett J.
    [Show full text]
  • Antoine De Chandieu (1534-1591): One of the Fathers Of
    CALVIN THEOLOGICAL SEMINARY ANTOINE DE CHANDIEU (1534-1591): ONE OF THE FATHERS OF REFORMED SCHOLASTICISM? A DISSERTATION SUBMITTED TO THE FACULTY OF CALVIN THEOLOGICAL SEMINARY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY THEODORE GERARD VAN RAALTE GRAND RAPIDS, MICHIGAN MAY 2013 CALVIN THEOLOGICAL SEMINARY 3233 Burton SE • Grand Rapids, Michigan • 49546-4301 800388-6034 fax: 616 957-8621 [email protected] www. calvinseminary. edu. This dissertation entitled ANTOINE DE CHANDIEU (1534-1591): L'UN DES PERES DE LA SCHOLASTIQUE REFORMEE? written by THEODORE GERARD VAN RAALTE and submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy has been accepted by the faculty of Calvin Theological Seminary upon the recommendation of the undersigned readers: Richard A. Muller, Ph.D. I Date ~ 4 ,,?tJ/3 Dean of Academic Programs Copyright © 2013 by Theodore G. (Ted) Van Raalte All rights reserved For Christine CONTENTS Preface .................................................................................................................. viii Abstract ................................................................................................................... xii Chapter 1 Introduction: Historiography and Scholastic Method Introduction .............................................................................................................1 State of Research on Chandieu ...............................................................................6 Published Research on Chandieu’s Contemporary
    [Show full text]
  • ענליוו – Wilna – – Wilno – Vilnius
    – Wilna – ווילנע – Wilno – Vilnius צו אבזערווירן און צו טראכטן… מו״לים ומתרגמים יידיים של ספרות הוגי דעות גרמניים Yiddish Publishers and TranslaTors of German auThors ThrouGh The lens of Their books ביום 23 ספטמבר 1943 חוסל גטו וילנה, כשנתיים לאחר שהוקם על ידי הגרמנים. היהודים שעוד היו בגטו גורשו או נרצחו בפונאר הסמוך. באלימות ובחוסר אנושיות הגיעה לקיצה היסטוריה בת מאות שנים של "ירושלים של הצפון" או "ירושלים דליטא", כפי שכונתה וילנה היהודית. אוצרות תרבותיים שמקורם ב"ייִדיִש לאַ נד" ובמיוחד בווילנע, שמה היידי של בירת ליטא וילנה היום, אינם משתקפים בנוף הספרותי והתאטרלי העכשווי במקום. תעשיית הוצאות הספרים של אז מציגה את העניין הרב שגילה קהל הקוראים בספרות היידית, כמו גם בתרגומים ליידיש של מחברים אירופאיים, ובמיוחד גרמנים. תרבות הקריאה תרמה, במיוחד בתוך חומות הגטו, להישרדות רוחנית. On September 23, 1943 the Vilna Ghetto, established two years earlier by occupying German forces, was liq- uidated, and the remaining Jews were either deported or murdered in the nearby Ponar Woods. With this act of brutality and inhumanity, the centuries old history of the so-called “Jerusalem of the North” or “Jerusalem of Lithuania” ended. The cultural treasures generated into a “Yidishland”, particularly in Vilna – the Yiddish name of the Lithuanian capital Vilnius – are reflected not only in the theatrical and literary worlds. The publishing indus- try of the time attested to a lively interest among reader- ship in Yiddish literature, but also on Yiddish translations of European, especially German authors. Reading helped facilitate intellectual survival, especially in the Ghetto. דער ווילנער ֿפאַ רלאַ ג ֿפון בּ. קלעצקין. בּ אָ ר י ס אָ ר ק אַ ד י י ו ו י ץ ק ל ע צ ק י ן )1875-1937( נולד הוצאות לאור, בתי דפוס בהרודיץ׳, וייסד בית הוצאה לאור משלו׃ דער Publishing Houses, Printers ווילנער ֿפאַ רלאַ ג ֿפון בּ.
    [Show full text]
  • Surnames in Europe
    DOI: http://dx.doi.org./10.17651/ONOMAST.61.1.9 JUSTYNA B. WALKOWIAK Onomastica LXI/1, 2017 Uniwersytet im. Adama Mickiewicza w Poznaniu PL ISSN 0078-4648 [email protected] FUNCTION WORDS IN SURNAMES — “ALIEN BODIES” IN ANTHROPONYMY (WITH PARTICULAR REFERENCE TO POLAND) K e y w o r d s: multipart surnames, compound surnames, complex surnames, nobiliary particles, function words in surnames INTRODUCTION Surnames in Europe (and in those countries outside Europe whose surnaming patterns have been influenced by European traditions) are mostly conceptualised as single entities, genetically nominal or adjectival. Even if a person bears two or more surnames, they are treated on a par, which may be further emphasized by hyphenation, yielding the phenomenon known as double-barrelled (or even multi-barrelled) surnames. However, this single-entity approach, visible e.g. in official forms, is largely an oversimplification. This becomes more obvious when one remembers such household names as Ludwig van Beethoven, Alexander von Humboldt, Oscar de la Renta, or Olivia de Havilland. Contemporary surnames resulted from long and complicated historical processes. Consequently, certain surnames contain also function words — “alien bodies” in the realm of proper names, in a manner of speaking. Among these words one can distinguish: — prepositions, such as the Portuguese de; Swedish von, af; Dutch bij, onder, ten, ter, van; Italian d’, de, di; German von, zu, etc.; — articles, e.g. Dutch de, het, ’t; Italian l’, la, le, lo — they will interest us here only when used in combination with another category, such as prepositions; — combinations of prepositions and articles/conjunctions, or the contracted forms that evolved from such combinations, such as the Italian del, dello, del- la, dell’, dei, degli, delle; Dutch van de, van der, von der; German von und zu; Portuguese do, dos, da, das; — conjunctions, e.g.
    [Show full text]
  • Claude Simon: the Artist As Orion
    Claude Simon: The Artist as Orion 1blind Orion hungry for the morn1 S.W. Sykes Thesis submitted for the Degree of Doctor of Philosophy University of Glasgow 1973 ProQuest Number: 11017972 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 11017972 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ACKNOWLEDGEMENTS My thanks are due to Dr Stanley Jones, of the French Department in the University of Glasgow, for the interest shown and advice given during the supervision of this thesis; to the Staff of Glasgow University Library; and to / A M. Jerome Lindon, who allowed me to study material kept in the offices of Editions de Minuit. TABLE OF CONTENTS SUMMARY INTRODUCTION CHAPTER I Prolegomena to Le Vent Early Writings 19^5-5^ CHAPTER II Chaos and the Semblance of Order Le Vent 1957 CHAPTER III The Presence of the Past: L 'Herbe 1958 CHAPTER IV The Assassination of Time: La Route des Flandres i960 CHAPTER V A Dream of Revolution:. Le Palace 1962 CHAPTER VI •A pattern of timeless moments': Histoire 1967
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • Poétique De La Mémoire Dans Hiroshima, Mon Amour
    UNIVERSITÉ DU QUÉBEC À MONTRÉAL POÉTIQUE DE LA MÉMOIRE DANS HIROSHIMA, MON AMOUR MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES PAR MAGALI BLEIN Juin 2007 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Au terme du présent mémoire, je désire témoigner toute ma gratitude à ma directrice de recherches, Mille Johanne Villeneuve, pour ses conseils judicieux, sa disponibilité, sa rigueur et sa patience. La pertinence et la qualité de ses corrections auront permis de rehausser la valeur de ce travail.
    [Show full text]
  • The Theory of the Modern Stage
    The Theory of the Modern Stage AN INTRODUCTION TO MODERN THEATRE AND DRAMA EDITED BY ERIC BENTLEY PENGUIN BOOKS Contents Preface by Eric Bentley 9 Acknowledgements 17 PART ONE TEN MAKERS OF MODERN THEATRE ADOLPHE APPIA The Ideas of Adolphe Appia Lee Simonson 27 ANTONIN ARTAUD The Theatre of Cruelty, First and Second Manifestos Antonin Artaud, translated by Mary Caroline Richards 55 Obsessed by Theatre Paul Goodman 76 BERTOLT BRECHT The Street Scene Bertolt Brecht, translated by John Willett 85 On Experimental Theatre Bertolt Brecht, translated by John Willett 97 Helene Weigel: On a Great German Actress and Weigel's Descent into Fame Bertolt Brecht, translated by John Berger and Anna Bostock 105 E. GORDON CRAIG The Art of the Theatre, The First Dialogue E. Gordon Craig 113 A New Art of the Stage Arthur Symans 138 LUIGI PIRANDELLO Spoken Action Luigi Pirandello, translated by Fabrizio Melano 153 Eleanora Duse Luigi Pirandello 158 BERNARD SHAW A Dramatic Realist to His Critics Bernard Shaw 175 Appendix to The Quintessence of Ibsenism Bernard Shaw 197 KONSTANTIN STANISLAVSKY Stanislavsky David Magarshack 219 Emotional Memory Eric Bentley 275 CONTENTS RICHARD WAGNER The Ideas of Richard Wagner Arthur Symons 283 W. B. YEATS A People's Theatre W. B. Yeats 327 A Theory of the Stage Arthur Symons 339 EMILE ZOLA From Naturalism in the Theatre, Emile Zola, translated by Albert Bermel 351 To Begin Otto Brahm, translated by Lee Baxandall 373 PART TWO TOWARDS A HISTORICAL OVER-VIEW GEORG BRANDES Inaugural Lecture, 1871 Georg Brandts, translated by Evert Sprinchorn 383 ARNOLD HAUSER The Origins of Domestic Drama Arnold Hauser, translated in collaboration with the author by Stanley Godman 403 GEORGE LUKACS The Sociology of Modern Drama George Lukdcs, translated by Lee Baxandall 435 ROMAIN ROLLAND From TTie People's Theatre, Romain Rolland, translated by Barrett H.
    [Show full text]
  • Introduction 1. the Dreyfus Affair and the Birth of the 'Intellectuals'
    Notes Introduction 1.]. Guehenno, Journal des annees noires (1940-1944), Gallimard, 1947, p. 205. Quote brought to my attention by Jennifer Lefevre. 2. K. Reader, 'The Intellectuals: Notes towards a Comparative Study of Their Position in the Social Formations of France and Britain', Media, Culture and Society, 1982 (4), pp. 263-73, p. 266. 3. M. Leymarie, Les Intellectuels et Ia politique, Presses Universitaires de France (Collection Que sais-je?), 2001, p. 11. 4. J.-P. Sartre, 'Plaidoyer pour les intellectuels', in J.-P. Sartre, Situations VIII, Gallimard, 1972, p. 377. 5. For a recent study on female intellectuals, see N. Racine and M. Trebitsch, Intellectuelles. Du genre en histoire des intellectuels, Editions Complexe, 2004. 1. The Dreyfus Affair and the Birth of the 'Intellectuals' 1. E. Weber, France, Fin de Siecle, The Belknap Press of Harvard University Press, 1986, p. 66. 2. Ibid., p. 46. 3. At the end of 1871 Parisians opposed to the government of Adolphe Thiers elected a revolutionary council in Paris. Thiers fled to Versailles and subsequently organised a siege of the city in order to wrest control from the Communards. In May the Versailles troops entered Paris and at the end of the month the Commune was defeated. ln the bloody reprisals that followed some 18,000 Parisians died and almost 7,000 were deported. Communes were also crushed in other French cities and the repression cast a long shadow over relations between radicals and conservatives for years to come. 4. In 1815, after the fall of Napoleon, the monarchy was restored (Louis XVIII, 1815-25; Charles X, 1825-30).
    [Show full text]
  • Rethinking the Dynamics of Music and Nationalism
    Rethinking the Dynamics of Music and Nationalism University of Amsterdam, 26-29 September 2017 Conference Booklet Organizational committee: Prof. dr. Joep Leerssen, Professor of Modern European Literature, University of Amsterdam dr. Kasper van Kooten, Postdoctoral Research Fellow, University of Amsterdam 1 Table of Contents: Schedule p. 3 Abstracts p. 10 Practical Information p. 44 2 Schedule: Tuesday 26 September Opening of Conference Location: Vlaams Cultuurhuis De Brakke Grond, Nes 45, 1012 KD Amsterdam (close to Dam Square) 18.30 Registration, coffee and tea 19.00 Kasper van Kooten, Postdoctoral research fellow, Modern European Literature, University of Amsterdam – Welcome and introduction 19.05 Katharine Ellis, Professor of Music, University of Cambridge – Nationalism, Ethnic Nationalism, and the Third Republic’s Folk Music Problem 19.50 Joep Leerssen, Professor of Modern European Literature, University of Amsterdam – The Persistence of Voice: Instrumental Music and Romantic Orality of the Late John Neubauer (1933-2015) 20.10 Krisztina Lajosi-Moore, Assistant Professor in Modern European Literature and Culture, University of Amsterdam, and Kasper van Kooten – Opera and National Identity-Articulation in Germany and Hungary 20.30 – 21.15 Audience questions and panel discussion – The Outer Edges of National-Classical Music: Territory, Society, Tradition 21.15 - 22.00 Drinks 3 Wednesday 27 September Location: De Rode Hoed, Cultureel Centrum, Keizersgracht 102, 1015 CV Amsterdam Room: Vrijburgzaal Banningzaal 09.00-10.00 Keynote: Graeme
    [Show full text]
  • Speaking Through the Body
    DE LA DOULEUR À L’IVRESSE: VISIONS OF WAR AND RESISTANCE Corina Dueñas A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (French). Chapel Hill 2007 Approved by: Advisor: Dominique Fisher Reader: Martine Antle Reader: Hassan Melehy Reader: José M. Polo de Bernabé Reader: Donald Reid © 2007 Corina Dueñas ALL RIGHTS RESERVED ii ABSTRACT CORINA DUEÑAS: De la douleur à l’ivresse: Visions of War and Resistance (Under the direction of Dominique Fisher) This dissertation explores the notion of gendered resistance acts and writing through close readings of the personal narratives of three French women who experienced life in France during the Second World War. The works of Claire Chevrillon (Code Name Christiane Clouet: A Woman in the French Resistance), Marguerite Duras (La Douleur), and Lucie Aubrac (Ils partiront dans l’ivresse) challenge traditional definitions of resistance, as well as the notion that war, resistance and the writing of such can be systematically categorized according to the male/female dichotomy. These authors depict the day-to-day struggle of ordinary people caught in war, their daily resistance, and their ordinary as well as extraordinary heroism. In doing so, they debunk the stereotypes of war, resistance and heroism that are based on traditional military models of masculinity. Their narratives offer a more comprehensive view of wartime France than was previously depicted by Charles de Gaulle and post-war historians, thereby adding to the present debate of what constitutes history and historiography.
    [Show full text]