Ilidaile De SEVIGNE and the INTELLECTUAL LIFE of HER
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The Fetishization of Firearms in African-American Folklore and Culture
THE FETISHIZATION OF FIREARMS IN AFRICAN-AMERICAN FOLKLORE AND CULTURE A Dissertation Presented to The Faculty of the Graduate School University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by RAYMOND MELTON JAVON SU8MMERVILLE Dr. Anand Prahlad, Dissertation Supervisor DECEMBER 2016 © Copyright by Raymond Melton Javon Summerville 2016 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled: The Fetishization of Firearms in African-American Folklore and Culture presented by Raymond Summerville, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Anand Prahlad Professor Karen Piper Professor Joanna Hearne Professor Richard Callahan For my mother, Mrs. Sheila Bernice Almond Summerville September 24, 1956—March 1, 2016 ACKNOWLEDGEMENTS I would like to thank my parents, Melton and (the late) Sheila Summerville for instilling in me their work ethic and strong values. All of my friends, immediate and extended family who have volunteered their generous support over the years. I would especially like to thank my advisor Dr. Anand Prahlad for all of his creative insights, constructive feedback, and guidance. He has been an exceptional role model who has encouraged me to continue to strive to reach my personal and professional goals. I would like to thank Dr. Lawless for her valued teachings and for supporting my initial interest in folklore studies. I would also like to thank all of my committee members, Dr. Hearne, Dr. Callahan, and Dr. Piper. Their continued support has been vital. -
La Princesse De Clèves
$)*+$,& DE L. B./$ILLE 75 r"e de la Roq"ette * 7'%11 !-R7 888.theatre*#astille.com La Princesse de Clèves dossier d’accompagnement Mise en scène et interprétation Marcel Bozonnet D'après le roman de Madame de La Fayette 9 janvier > 19 janvier 2014 ! 21 " Dimanche à 17 h. Relâche le 13 janvier. Service des Relations avec le !"#lic #icolas $rans% $ %1 &3 57 57 17 ( nicolas@theatre*#astille.com &lsa 'edadouche $ %1 &3 57 7% 73 ( elsa@theatre*#astille.com Christophe Pinea( $ %1 &3 57 81 ,3 ( cpinea"@theatre*#astille.com -vec le so"tien de la Direction r./ionale des a00aires c"lt"relles d'1le*de*France*Ministère de la 2"lt"re et de la 2ommunication3 de la 4ille de !aris et de la r./ion d'1le*de*France. 1 L. P,0#C&//& -& CL*1&/ D-9 2:;;: !:;7;: <27=;= <> ? !:RSO99: 9': ; ;R-9@A7LL: 97 79D7FFÉRE9; B :; <> L'-M<UR : ;ROA4: ;<AC<URS MDL= -AE ? -FF-7R: B3 2F-2A9 - :S 79;=RD;S !RO!R:S. d'après le roman de Madame de La 2a%ette adaptation .lain 3aep44el Marcel Bozonnet ? Me voilà3 de nouvea"3 a" cG"r des mise en scène et interprétation plaisirs et des di00icult.s3 à apprendre3 voire Marcel Bozonnet ressasser3 ma chère lan/"e d" E477e siècle. :n elle3 je vois #ien "ne 0ois de pl"s3 6"e lumières vont d'"n mHme pas la #ea"t. stricte et 5o6l )o(r7eigt l'horre"r3 et je red.couvre avec "ne 0orce inaccout"m.e 6"e l'.cole d" pl"s grand chorégraphie maintien cache "n la#oratoire de cris. -
(In)Authenticité: De Brûler À La Manière De La Glace
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 (In)Authenticité: De Brûler à la Manière de la Glace Elizabeth Jane Israel Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the European History Commons, European Languages and Societies Commons, and the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Israel, Elizabeth Jane, "(In)Authenticité: De Brûler à la Manière de la Glace" (2017). Senior Projects Spring 2017. 235. https://digitalcommons.bard.edu/senproj_s2017/235 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. (In)Authenticité: De Brûler à la Manière de la Glace Senior Project Submitted to The Division of Languages and Literature of Bard College by Elizabeth Israel Annandale-on-Hudson, New York May 2017 Acknowledgements To my advisor and teacher of four years, Marina Van Zuylen, for helping me realize my love of French and the joy of literature. Thank you for introducing me to La Nouvelle Héloïse and Le Rouge et le Noir, the books that inspired this project. -
Outkast'd and Claimin' True
OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIPHOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON (Under the direction of Judith Preissle) ABSTRACT The hiphop community of practice encompasses a range of aesthetic values, norms, patterns, and traditions. Because of its growth over the last three decades, the community has come to include regionallyspecific networks linked together by community members who engage in meaningful practices and experiences. Expressed through common language ideologies, these practices contribute to the members’ communal and individual identity while simultaneously providing platforms to articulate social understandings. Using the constructs of community of practice and social networks, this research project is an interpretive study grounded primarily in the use of lyrics and interviews to investigate the linguistic patterns and language norms of hip hop’s southern network, placing emphasis on the Atlanta, Georgia southern hiphop network. The two main goals are to gain an understanding of the role of school in the cultivation of the network and identify the network’s relationship to schooling and education. The purpose is to identify initial steps for implementing a hiphop pedagogy in curriculum and instruction. INDEX WORDS: Hiphop community of practice, social network, language ideology, hiphop generation, indigenous research, schooling, education OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIPHOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON B.S., The University of Georgia, 1996 M.A., Pepperdine University, 1998 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2007 ã 2007 Joycelyn A. -
Printable PDF of Entire Volume (2005)Cahiers Du Dix-Septième X, 1
TABLE OF CONTENTS Claude Abraham. Comment peut-on être femme? ……………..…1 Nancy Arenberg. Mirrors, Cross-dressing and Narcissism in Choisy’s Histoire de Madame la Comtesse des Bar- res……………………………………………...…………......11 Mark Bannister. The Mediatization of Politics during the Fronde: Condé’s Bureau de Presse…………………………………...31 Roger W.Herzel. Célimène's Last Word………………………...45 Allen G.Wood. Opening Moves, Dialectical Opposites, and Mme Pernelle……………………………………………………....55 Barbara Woshinsky. Desert, Fortress, Convent, Body: the Alle- gorical Architecture of Nervèze’s L’Hermitage de l’Isle saincte…………………………………………………..……67 Sonia Gadhoum. L’éducation du noble dans le Dictionnaire uni- versel d’Antoine Furetière…………………………………...75 Andy Wallis. Frisquemore: A Northern Passage to Literary Crea- tion………………………………………………...…………95 i Comment peut-on être femme? by Claude Abraham Est-il besoin de rappeler que, pour l’intelligence et l’esprit, Marie de Médicis valait beaucoup mieux que son fils, mais ne put régner que pour lui en tant que régente et que si Louis XIV appe- lait Madame de Maintenon «votre solidité», ce n’était pas pour sa musculature, et aussi que la plus riche héritière de son temps, la Grande Mademoiselle, ne put disposer librement ni de son bien ni de sa personne? Comment, sous de telles conditions, une femme intelligente se définit-elle? A la question trop facilement provoca- trice par laquelle débute mon propos, on pourrait en substituer une autre: comment, étant femme (au dix-septième siècle), peut-on être? Et par suite, que peut-on être? C’est à la recherche d’une ré- ponse que je me suis (re)penché sur un sujet qui m’intéresse depuis longtemps : le portrait .. -
Estremo, Un Bresciano Dietro «Voce» Di Madame «Voce», Anche Il Giovane Bre- Sciano Approda Al Festival Di Sanremo
GIORNALE DI BRESCIA · Giovedì 18 febbraio 2021 45 > SPETTACOLI Renga: «Canto il bello delle piccole cose Spero che sia il Festival della ripartenza» Con «Quando trovo te» la sua nona volta sul palco dell’Ariston: «Un po’ rock, un po’ stile Timoria» nuova normalità in tempi di Protagonisti lockdown? È pure una questione d’età, probabilmente. Se ci aggiun- Enrico Danesi giamo un film al cinema, ogni tanto, e una capatina al risto- rante, per quanto mi riguarda sonoa posto: a casac’è qualco- «Finalmente torno su un sa di bello che ti aspetta, e che palco, torno a fare il mio lavo- quasi sempre coincide con la ro.Credocheil Festivaldi San- felicità. La canzone racconta remo possa essere il simbolo di un uomo che cammina per di una ripartenza: la riaccen- strada, in preda a un tormen- sione dei motori, in particola- toesistenziale, ecomincia a ri- re nel settore dello spettacolo, cordare ciò che aveva nasco- che in questi mesi è stato tra- sto, messo al riparo, nella sua scurato.Saràun’edizione sen- mente: riaffiorando, i ricordi za pubblico, e per- glisvelano il valore ciòresterànegli an- Ai più giovani delle piccole cose nali come qualco- tra i Big che salvano la vita. L’artista. Il bresciano Francesco Renga è pronto per il suo nono Festival di Sanremo // FOTO TONI THORIMBERT sa di unico... alme- lui augura Come è nata? no lo spero!». «che affrontino Durante il pri- La conferenza mo lockdown ho ascoltare, ricevendo il premio Ingara tra iBig ci sonomol- l’esperienza con stampa su Zoom fatto un trasloco. -
La Finta Giardiniera Karthäuser • Ovenden • Penda • Chappuis • Rivenq • Im • Nagy Freiburger Barockorchester René Jacobs Franz Liszt
LA FINTA GIARDINIERA KARTHÄUSER • OVENDEN • PENDA • CHAPPUIS • RIVENQ • IM • NAGY FREIBURGER BAROCKORCHESTER RENÉ JACOBS FRANZ LISZT Sommaire Contents / Inhalt Plages CD / Tracklisting / Index 3 La finta giardiniera - Silke Leopold 7 Un opéra de Mozart ...encore jamais joué sur aucune scène - René Jacobs 9 Une version retrouvée - Milada Jonášová 15 Synopsis 38 La finta giardiniera - Silke Leopold 17 A Mozart opera “not yet seen on any stage” - René Jacobs 19 Contemporary Prague copies - Milada Jonášová 24 Synopsis 39 La finta giardiniera - Silke Leopold 27 Eine Mozart-Opera „...noch auf keiner Bühne erschienen” - René Jacobs 29 Die Náměšť -Fassung - Milada Jonášová 35 Die Handlung 40 Textes chantés et traductions 43 Sung texts & translations / Libretto und Übersetzungen Notes / Anmerkungen 97 Les interprètes / The performers / Die Besetzung 98 CD 1 1 | Ouverture 4’22 17 | Recitativo Podestà: Evviva, evviva! 1’02 2 | ATTO PRIMO 5’05 Scena nona Scena prima Serpetta: In questa casa non si può più stare No.1 Introduzione 18 | No.9a Cavatina Serpetta: Un marito oh dio, vorrei 2’18 Ramiro, Podestà, Sandrina, Nardo, Serpetta: Che lieto giorno Recitativo Nardo: Come in questa canzone 3 | Recitativo Podestà, Ramiro, Serpetta, Nardo, Sandrina: 1’56 No.9b Cavatina Nardo: Un marito, oh dio, vorresti Viva, viva il buon gusto 19 | Recitativo Serpetta, Nardo: Bravo, signor buffone 1’17 4 | No.2 Aria Ramiro: Se l’augellin se n’ fugge 3’59 20 | No.10 Aria Serpetta: Appena mi vedon 3’19 5 | Scena seconda 2’19 21 | Scena decima 4’59 Recitativo Podestà, Serpetta, -
The Name of the Game and the Game of the Name in La Princesse De Cleves
The Name of the Game and the Game of the Name in La Princesse de Cleves by Michael Paulson One of the most intriguing features about Madame de La Fayette's chief novel, La Princesse de Cleves, is the lack of proper first or so-called Christian names among the chief protagonists as well as among the secondary figures. The undergraduate reader--and even the graduate student reading the novel for the first time—must strive arduously to make headway through the seemingly endless list of titles and epithets such as "ce prince," "cette heritiere," and "cette princesse." Moreover, the typical reader is overwhelmed by the high degree of "perfection" (or perhaps the author's exaggeration) at the Valois court, a type of pre-Eldorado of nobility where every court member's apparent excellence shines in contrast against everyone else's outstanding features; this highly-polished world seems to imply an underlying mediocrity on the part of all but a select few. All appear jewels in a crown: outstanding if viewed by themselves, but easy to overlook in their collective context, overshadowed by equally brilliant lights viewed together. Some hypothetical questions which this paper will attempt to resolve are (1) does naming or non-naming hold a function in this novel? (2) who are those who have first names? (3) what is the heroine's given name? Madame de La Fayette limits her use of full names to a total of twenty-four figures in La Princesse de Cleves, not all of whom can be considered outstanding within the framework of the novel. -
Gemelli È Platino! in Soli Tre Mesi L’Album Ottiene La Certificazione FIMI-Gfk
ERNIA Gemelli è Platino! In soli tre mesi l’album ottiene la certificazione FIMI-GfK Dopo i sold-out con mesi di anticipo delle date di Milano e Roma, si aggiungono nuovi concerti in tutta Italia È bastato il tempo di un'estate perché Gemelli, il terzo album solista di Ernia, ottenesse lo status di disco di platino, dopo aver bruciato le tappe conquistando il disco d'oro in sole tre settimane. Per il giovane artista milanese, la stagione appena trascorsa è stata caratterizzata da una pioggia di certificazioni: oltre all'album, infatti, anche il fortunatissimo singolo Superclassico è arrivato al platino. Ottime anche le performance nelle chart: dopo il debutto in testa alla classifica FIMI-GfK, a nove settimane dall'uscita Ernia è tuttora saldamente nella top 3 degli album, oltre che nella top 5 dei singoli e alla n°2 della Spotify Top 50 con Superclassico, con quasi due milioni e mezzo di ascolti settimanali. Dopo i sold-out a tempo di record della doppia data di Milano (4 e 5 marzo 2021 al Fabrique) e di quella di Roma (12 marzo 2021 all'Orion), continua ad arricchirsi il calendario di concerti di Ernia, che annuncia numerose nuove date in tutta Italia: dove non specificato altrimenti, le prevendite apriranno martedì 15 settembre alle ore 14.00, come sempre sul circuito Ticketone. gio 04/03 Milano, Fabrique (SOLD-OUT) ven 05/03 Milano, Fabrique (SOLD-OUT) gio 11/03 Roma, Orion (prevendite già aperte) ven 12/03 Roma, Orion (SOLD-OUT) sab 20/03 Firenze, Viper sab 27/03 Padova, Hall ven 02/04 Napoli, Casa della Musica sab 10/04 Nonantola (MO), Vox sab 17/04 Venaria Reale (TO), Teatro Concordia sab 24/04 Senigallia (AN), Mamamia sab 08/05 Milano, Fabrique (prevendite già aperte) Ernia, all'anagrafe Matteo Professione, nasce 26 anni fa e cresce nelle strade della periferia Ovest di Milano, dove vive, venendo a contatto con le situazioni più diverse e con tutte le sottoculture urbane tipiche dei primi anni '00, l'hip hop in primis. -
Framing the Police: Scudery's Secret Critique of Louis XIV by Margaret
Framing the Police: Scudery's Secret Critique of Louis XIV by Margaret Anne Trotzke "Si vous jugez sur les apparences en ce lieu-ci, repondit Mme de Chartes, vous serez souvent trompee: ce qui parait n'est presque jamais la veritS." Madame de La Fayette La Princesse de Cleves Madeleine de Scudery's La Promenade de Versailles (1669) appears to be a glorifying description of Louis XIV's palace, followed by a courtly romance. However, the mystification of Versailles and of Louis' court serves as a cloaking device for the political debate in the text, which raises daring questions about the concept of the hereditary monarchy. The novel that ostensibly champions Louis XIV contains subversive passages hidden within the romanesque story, a secret critique designed to fool the police. The reaction of the 17th-century French absolutist monarchy to political commentary mandated that Scudery's critique be secret. By associating Louis XIV and his splendid court with the Sun, the most powerful source in the Universe, the spectacle of Versailles was brilliantly conceived to empower the Sun-King, absolutely. As Conley states in the foreword to the translation of Marin's Le Portrait du Roi: Whoever institutes a collectively imaginary order monitors the desires and dreams of multitudes. Power is therefore enabled as much or more from control of ideas about life as from that of military forces or other visibly repressive agencies...The king's means of control are not those of a repressive agency, but rather as multifariously 170 MARGARET TROTZKE autonomous but homologous styles of aura...The king's effect produced it consciously...(vii, xii) The court of Versailles is, par excellence, a "collectively imaginary order," with its concomitant control of ideas and therefore its pervasive power. -
The Seventeenth Century Paul Scott, University of Kansas
THE SEVENTEENTH CENTURY Paul Scott, University of Kansas This survey covers the years 2011 and 2012 1. General Christopher Coski, From Barbarism to Universality: Language and Identity in Early Modern France, Columbia, South Carolina U.P. 2011, suggests that Descartes’s views on expression paved the way for Vaugelas’s grammatical aesthetics, ultimately leading to the notion of the superiority of Fr. to other nations. C. maintains that the Fr. preoccupation with language is not merely a ‘simple jingoistic reflex’ but rather a collective desire to match Antiquity and assume a dynamic intellectual force in this quest for parity. Isabelle Landy-Houillon, Entre philologie et linguistique. Approches de la langue classique, Garnier, 473 pp., is a collection of previously published articles with a 10-page introduction and a fresh essay entitled ‘Autour des synonymes: “copia et richesse de la langue française” (XVIe-XVIIIe siècle)’ (23–38). Larry F. Norman, The Shock of the Ancient: Literature and History in Early Modern France, Chicago U.P., 2011, viii + 288 pp., revisits the Quarrel of the Ancients and Moderns not only in order to understand the polemic debates of the actors (such as Boileau and Perrault) but also to explore the ‘disturbing, even explosive power’ with which ancient texts were invested by vested parties, thereby redirecting scholars of our period to the importance of these literary wars. Carine Luccioni, Les Rencontres d’Apollon et Saturne, Garnier, 988 pp., is a hefty yet well- ordered treatise on melancholy and all of its corollaries, looking at a host of manifestations such as penitence and love-sickness. -
Le Repos Au Détriment De L'amour
LUNDS UNIVERSITET SPRÅK-OCH LITTERATURCENTRUM – FRANSKA Le repos au détriment de l’amour Étude de La Princesse de Clèves de Madame de La Fayette à la lumière du « désir triangulaire » de René Girard Antoine Arab Mémoire FRAK11 VT 18 : Profil littéraire Directrice : Annika Mörte Alling Antoine Arab Mémoire : La Princesse de Clèves Table des matières Table des matières ................................................................................................................................... 2 1 Introduction .......................................................................................................................................... 3 2 Madame de Lafayette et le roman ........................................................................................................ 5 3 L’ambivalence d’un milieu splendide et flottant .................................................................................. 8 4 Le mariage arrangé de la Princesse .................................................................................................... 11 5 L’impact de la cour sur la Princesse : le coup de foudre .................................................................... 13 6 La pesanteur de la passion .................................................................................................................. 15 7 L’amortissement du désir passionnel ................................................................................................. 20 Conclusion ............................................................................................................................................