Etudes Anglaises - N1/2015

Etudes Anglaises - N1/2015

          
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About the Book

Agnes DERAIL-IMBERTEros et Ares: les enfants de la guerre dans Billy Budd, Sailor de Melville Cette etude se propose de lire Billy Budd, Sailor comme une fable juridique qui dramatise, dans un double contexte de guerre et de mutinerie, le conflit entre la violence d'une innocence exceptionnelle (Billy) et celle du mal absolu (Claggart). L'une et l'autre, hors la loi, recele une menace insurrectionnelle que la souverainete politique (celle du capitaine Vere), pour se maintenir, doit reprimer. Le jugement de Vere - l'execution de Budd -, s'exercant au nom de la violence legale, met en oeuvre une strategie qui enrole la puissance cohesive d'Eros au service de la loi mar- tiale, dans une operation qui vise a naturaliser et a sublimer la violence arbitraire de l'etat d'exception.Against a backdrop of war and mutiny, Billy Budd, Sailor can be read as a juridical drama staging the conflict between the exceptional violence of utmost innocence (Billy's) and that of absolute evil (Claggart's). Both infringe the law and both are pregnant with a threat of insurrection which political sovereignty (captain Vere's) must eradicate for the sake of its own integrity. Vere's sentence condemning Budd to death in the name of legal violence partakes of a complex strategy whose aim is to summon Eros's cohesive power in order to buttress martial law and to naturalize and sublimate the arbitrary violence of the state of exception.Michael GILLESPIEThe Picture of Dorian Gray as a Postmodern Work Despite the wide range of interpretative approaches to The Picture of Dorian Gray that have appeared since its publication, all seem to assume that a particular set of values or beliefs-traditional Judeo-Christian morality, cultural attitudes, nationa- list dispositions, or queer inclinations-is integral to Wilde's narrative. This essay challenges the value of any metaphysical reading by asserting that the world of The Picture of Dorian Gray is delineated in strictly physical terms and so is best as a Post-Modern work. Through close reading, this essay shows key points in the narrative that highlight the absence of all values and that underscore the view that characters behave according to strictly material considerations. In the end the essay concludes that Wilde presents a world as grim and bleak as anything found in the works of Samuel Beckett.Malgre les nombreuses interpretations dont a fait l'objet The Picture of Dorian Gray depuis sa publication, tous les critiques semblent penser qu'un ensemble de valeurs ou de croyances-qu'il s'agisse de la morale judeo-chretienne, de positions culturelles, de dispositions nationalistes ou de l'homosexualite-fait partie inte- grante du roman de Wilde. Cet essai remet en question la pertinence de toute lec- ture metaphysique en affirmant que le monde de The Picture of Dorian Gray est delimite en termes strictement physiques et que l'on ici affaire plutot a une oeuvre post-moderne. En se fondant sur une lecture detaillee, cet essai montre que des points-cles dans le recit mettent en evidence l'absence de toute valeur et soulignent l'idee que les personnages se comportent en fonction de considerations purement materielles. En conclusion, cet article souligne que Wilde donne a voir un monde aussi sombre que celui de Samuel Beckett.Christopher S. NASSAARHidden Meanings and the Failure of Art: Wilde's A Woman of No ImportanceComplexity is the hallmark of Oscar Wilde's mature works. From "Lord Arthur Savile's Crime" through The Picture of Dorian Gray and Salome, there is an incre- dible amount of complexity wherever we look. When we reach A Woman of No Importance, however, the complexity apparently disappears, and the play is usually read as a conventional Victorian melodrama. A deeper look at the play reveals veiled references to Farquhar, Hawthorne, Arbuthnot and Baudelaire. The refe- rences point to a deep hidden meaning in the play. Traced carefully, they reveal Mrs. Arbuthnot as a deeply corrupt woman who is unaware of the dark recesses of evil within herself. Unfortunately, this suppressed undercurrent of meaning is too dee- ply buried and very difficult to detect, which has led people in general to accept the surface meaning as the true one. The play is thus a stylistic failure, although its veiled thematic content is quite profound.La complexite caracterise les oeuvres d'Oscar Wilde, de "Lord Arthur Savile's Crime" jusqu'a The Picture of Dorian Gray et Salome, alors que, dans A Woman of No Importance, celle-ci parait moins evidente, la piece etant le plus souvent lue comme un melodrame victorien conventionnel. Cependant, si on analyse la piece de plus pres, on y decele des references voilees a Farquhar, Hawthorne, Arbuthnot et Baudelaire. Celles-ci soulignent qu'il y a dans la piece un sens cache, et une analyse detaillee revele que Mrs Arbuthnot est en fait une femme corrompue et inconsciente du mal tapi en elle. Malheureusement, parce que celui-ci est profondement enfoui, on s'en est souvent tenu a une lecture superficielle de la piece. Celle-ci est donc, en un sens, un echec stylistique en depit de sa profondeur thematique.Nathalie SAUDO-WELBYNarratorial authority in Sarah Grand's Beth Book (1897) The Beth Book, a partly autobiographical narrative, is a feminist Bildungsroman told in the third person. Historical, religious and scientifc discourses combine to give authority to the narrator's vision of Beth, so that the narrator is fnally in a position to award Beth the title of female genius. Yet, very little is said of the con- tent of Beth's "art for man's sake;" the title and the content of her non-fction book are not described; and the novel's last words are the name of her "Knight," a writer who believes in woman's genius to reveal man's own. Avoiding the most direct form of didacticism, Sarah Grand has shifted the emphasis away from Beth's message to women to the narrator's work of authorizing Beth to progress to her position of public speaker. In the process, this narrator is given a historical consciousness and a sex.The Beth Book est un roman d'apprentissage feministe au contenu en partie auto- biographique. Fondant son autorite sur une analyse historique et un discours reli- gieux et scientifque, l'instance narrative fnit par octroyer a Beth le titre de genie feminin. Pourtant, un vide entoure le contenu de l'art pour l'homme de Beth; de son ouvrage, on ne sait ni le titre ni le contenu mais seulement qu'il ne s'agit pas de fction; les derniers mots du roman sont le nom de son Chevalier, un ecri- vain qui croit que le genie des femmes consiste a susciter celui des hommes. Tout en evitant les formes de didactisme les plus directes, Sarah Grand a place au centre de son roman engage la tache de la narratrice omnisciente qui va faire progresser Beth en position d'orateur de genie. Au cours de ce processus, la narratrice acquiert une conscience historique et un sexe.Pierre LONGUENESSEYeats et le melange des genres: du texte a la sceneDans le projet de theatre de l'imagination formule par Yeats des 1890, le Verbe poetique est porteur d'un pouvoir visionnaire, par la performativite de son enoncia- tion concrete portee par le corps de ce que l'on n'appelle pas encore, avec Georges Banu, un acteur-poete . Ce projet fait de l'ecriture dramatique un objet multi- forme, ou le drame n'a de sens que mis en tension par ce qui le menace dans sa purete generique: la narration, le chant, la danse. ll conduit le dramaturge vers des collaborations audacieuses sur les scenes de ses creations, entre musiciens, compo- siteurs, et danseurs. En somme, loin de menacer son theatre, ces figures d'un hors-champ artistique sont ce qui en constitue l'expression par excellence, puisque, par le theatre, est devolu au verbe le pouvoir extra-ordinaire de faire sur- gir, par sa physicalite propre, aussi bien le souffle du chant que le rythme du corps dansant.In the Theatre of Imagination conceived by Yeats in the 1890s, the poetic Verb is given the power to create visions through the concrete physicality of its uttering by the performing body of what Georges Banu will later call an "acteur-poete". This project transforms dramatic writing process into the creation of a multiform object, in which the issue of the drama is brought out by the tension between oppo- site mediums: theatre on the one hand, singing, dance, tale on the other hand. . . This exploration involves Yeats in original collaborations on stage with composers, musicians, and dancers. In short, these manifestations of an artistic "hors-champ," far from threatening the drama, become on the contrary the core of its expression, as a new power is, on stage, devoted to the Verb: the extra-ordinary power to arise the pneuma of singing as well as the rhythm of the dancing body.Anne MOUNIC"To tell and be told": war poetry as the "transmission of sympathy" War poetry raises a paradox: the destructive collective imposition which weighed upon each soldier during the Great War triggered off new individual awareness and led to a questioning of the values that had prevailed until then, and notably idealis- tic philosophy. Discussing the paradox, we shall oppose tragedy and the individual epic, catharsis and empathy, the choice of death and the choice of life. The Great War writings will be placed in their literary and philosophical context, before and after.La poesie de guerre souleve un paradoxe: la contrainte collective de destruction qui pesa sur chaque soldat durant la Grande Guerre suscita une nouvelle conscience singuliere, menant a un questionnement des valeurs et, notamment, de la philoso- phie idealiste. Discutant ce paradoxe, nous opposerons la tragedie a l'epopee indi- viduelle, la catharsis a l'empathie, le choix de la mort a celui de la vie. Les ecrits de la Grande Guerre seront places dans leur contexte litteraire et philosophique, avant et apres.Olivier HERCENDCinema, the mind and the reader in Virginia Woolf's The Mark On the Wall Taking up David Trotter's Cinema and Modernism, this article emphasises the strong links that exist between Virginia Woolf's thoughts on cinema and the new techniques and notions that she develops in "The Mark on the Wall." Indeed, her depiction of the mind's process fosters the image of a fragmented world, a succes- sion of images that come under no authoritative order or meaning: a mere mon- tage. But cinema also contains the promise of an artistic answer to the fragmentation of the modern condition. Through a renewal of textual co-operation, Woolf opens her reader to the possibilities of what I choose to call an "aesthetics of juxtaposi- tion."Reprenant les idees exprimees dans Cinema and Modernism, de David Trotter, cet article relie la pensee de Virginia Woolf sur le cinema aux techniques et aux notions nouvelles qu'elle developpe dans The Mark on the Wall . De fait, en tentant de decrire le fonctionnement de l'esprit, elle fait naitre l'image d'un monde fragmente, une succession d'images qui ne tombent sous l'autorite d'aucun ordre ni d'aucune signification essentiels: en un mot, un montage. Mais le cinema est egalement la source d'une reponse artistique a la fragmentation de la condition moderne. En renouvelant les modalites de la cooperation textuelle, Woolf ouvre son lecteur aux possibilites d'une esthetique de la juxtaposition .Antonia RIGAUDLes Europeras de John Cage: de l'opera au cirqueCet article interroge le rapport ambigu qu'entretint John Cage avec le theatre tout au long de sa carriere. Influence tres tot par Artaud et Stein, il ne cesse de faire reference au theatre et concoit son art comme une reflexion sur la theatralite et la notion de performance. Ses Europeras, a la fin de sa carriere, permettent de mettre en avant la maniere dont il a cherche a la fois a inscrire ses experimentations artis- tiques dans le champ theatral tout en faisant sortir le theatre des codes memes de la scene. La place centrale que Cage donne au theatre, bien qu'il ne produise que de tres rares oeuvres theatrales, temoigne de son desir de penser le theatre non pas en tant que medium mais en tant que lieu d'experimentation.This article addresses John Cage's ambiguous relationship with theatre throughout his career. Influenced early by Artaud and Stein, he often referred to theatre and understood his own art project as a reflection on theatricality and performance. The Europeras, written late in his career, testify to his attempt to associate his artistic experimentation with theater while pushing on the limits of theatre. The prominent position Cage gave to the theatre in contrast to the rarity of his theatrical work pieces is emblematic of his ambition to re-think the theatre as a locus of experimentation.


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Product Details
  • ISBN-13: 9782252039823
  • Publisher: Klincksieck
  • Publisher Imprint: Klincksieck
  • Language: French
  • Returnable: N
  • Weight: 700 gr
  • ISBN-10: 2252039825
  • Publisher Date: 13 May 2015
  • Binding: Paperback
  • No of Pages: 128
  • Series Title: Etudes Anglaises


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