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Journal articles on the topic 'French art song'
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1
Leonard, Douglas. "The Art of Walt Whitman's French in "Song of Myself"." Walt Whitman Quarterly Review 3, no. 4 (April 1, 1986): 24–27. http://dx.doi.org/10.13008/2153-3695.1118.
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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ALDEN, JANE. "Excavating Chansonniers: Musical Archaeology and the Search for Popular Song." Journal of Musicology 25, no. 1 (January 1, 2008): 46–87. http://dx.doi.org/10.1525/jm.2008.25.1.46.
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What constitutes popular song? This seems an unlikely question to raise in connection with chansonniers copied in the Loire Valley during the later decades of the fifteenth century. But in fact it was a special preoccupation with France's popular musical heritage that led to the discovery in the nineteenth century of the largest two such manuscripts——the Laborde and Dijon Chansonniers. A government-sponsored search for materials emblematic of national identity was directly responsible, in 1857, for bringing the Laborde Chansonnier to light. Although this manuscript was deemed ““unable to qualify for the distinction of popularity,”” when the Dijon Chansonnier emerged——at approximately the same time——there was a scholarly consensus regarding its popular contents. Since ancient popular songs were believed to represent the indigenous heritage of the French people, the ““Frenchness”” of the songs unearthed was of paramount importance. But as many of the composers found in the Loire Valley chansonniers were born in areas under Burgundian control, their Frenchness was not self-evident. The earliest explorations of the formes fixes chanson repertory were made as part of the search for the true songs of the people. Later scholars rejected the idea that polyphonic art songs, composed by known individuals, could be part of a popular song tradition. But in focusing on the composers in these manuscripts, rather than the artifacts themselves, they divorced this repertory from its historical context. In the 1920s, a group of scholars working in Paris offered a broader approach, one that considered the manuscripts as art objects in their own right. The pioneering work of these scholars suggested a type of inquiry that remains relevant today.
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VanHandel, Leigh, and Tian Song. "The Role of Meter in Compositional Style in 19th Century French and German Art Song." Journal of New Music Research 39, no. 1 (March 2010): 1–11. http://dx.doi.org/10.1080/09298211003642498.
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Oboladze, Tatia. "The Myth of the City in the French and the Georgian Symbolist Aesthetics." International Journal of Social Sciences and Humanities Invention 5, no. 3 (March 16, 2018): 4519–25. http://dx.doi.org/10.18535/ijsshi/v5i3.07.
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“Modern Art is a genuine offspring of the city… the city created new images, here the foundation was laid for the literary school, known as Symbolism…The poet’s consciousness was burdened by the gray iron city and it poured out into a new unknown song” (Tabidze 2011: 121-122), - writes Georgian Symbolist Titsian Tabidze in his program article Tsisperi Qantsebit (With Blue Horns). Indeed, in the Symbolist aesthetics the city-megalopolis, as a micro model of the material world, is formed as one of the basic concepts.
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Ustinovskaya, Alena. "ПЕРЕВОД КАК ДИАЛОГ ТРАДИЦИЙ И КУЛЬТУР («АНАКРЕОНТИЧЕСКАЯ ПЕСЕНКА» Н. С. ГУМИЛЕВА)." Проблемы исторической поэтики 18, no. 4 (November 2020): 288–305. http://dx.doi.org/10.15393/j9.art.2020.8722.
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The article is devoted to the analysis of the Anacreontic Song by Théophile Gautier, translated by N. S. Gumilev, which is examined against the background of the Russian and global Anacreontic tradition. Imitation of Anacreon is rooted in antiquity: his figure became a symbol of light lyric poetry that glorified sensual pleasures. Anacreon’s own legacy is not as extensive as pseudo-Anacreontic poetry: this tradition is present in English, French, German, Italian and Russian literature. In the process of translating Odelette anacréontique by Théophile Gautier, Gumilev enters into intercultural and inter-traditional communication: his translation is a dialogue with both the French poet and the Anacreontic and pseudo-Anacreontic genre tradition. Despite the statements N. S. Gumilev proposed in his theoretical works on translation issues, which stated that it is necessary to rely on the original text during translation, and that deviations and loose retellings are unacceptable, in some cases he still departs from the original text, deliberately building the subtext of the poem that is absent in the original. Gumilev’s translation makes Gautier’s poem “more Anacreontic” than the original: Gumilev intensifies the motives of love, pleasure, sensual pleasure that are significant for pseudo-Anacreontics, introduces the image of wine as a symbol of love that was absent in the original. Gumilev’s translation solutions considered in the article represent a kind of editing of Gautier’s text that approximated it to the complex of motives traditionally associated with the work of Anacreon.
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Dillon, Emma. "The Art of Interpolation in the Roman de Fauvel." Journal of Musicology 19, no. 2 (2002): 223–63. http://dx.doi.org/10.1525/jm.2002.19.2.223.
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The music of Paris, BN fonds fr. 146 has long held a special place in medieval musicology as one of the most abundant records of musical taste and style in the early decades of the 14th century, particularly so in its famous version of the Old French satire of the Roman de Fauvel, interpolated with no less than 169 musical items. In the last decade, however, perspective on the manuscript has radically altered in a new climate of interdisciplinary research. If there was once a tendency for scholars to extrapolate information from the manuscript, to allow its abundant visual, musical, literary and political texts to speak of cultures exterior to the book's bindings, recent collaborative approaches have focused attention on how those different media work together within the boundaries of the parchment. One consequence of such an approach is to raise new questions about music's role in the book, most particularly about its relationship to the narrative into which it is cast. This study explores perhaps the most startling and perplexing aspect of music's position in Fauvel: the numerous occasions where music is uncued and unprepared in the narrative. I focus on the most famous moment of narrative disjunction brought about by the presence of song: the interpolated bifolio, 28 bis and ter, containing the lai Pour recouvrer alegiance. Long viewed by musicologists as an ill-conceived afterthought, it is suggested that the song's intrusion (narrative and bibliographic) may be interpreted poetically, as a moment of lyric suspension engineered by its singer, Fauvel, in der to defer his lady's final, deadly refusal of his marriage suit. That deferral occurs not just in an abstract moment of lyrical time, but in the real, unfurling space of the parchment: As time passes (the reader turning the folios), Fortuna's impatience finally becomes palpable as she dramatically enters the landscape of the song in its closing moments. Song may thus be understood to occupy not only time but also space; the manuscript, it is argued, is witness to a new form of music-making in France at the turn of the 14th century, music-making that is material as well as sonic.
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Faber, Riemer A. "INTERMEDIALITY AND EKPHRASIS IN LATIN EPIC POETRY." Greece and Rome 65, no. 1 (March 15, 2018): 1–14. http://dx.doi.org/10.1017/s0017383517000183.
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The concept of intermediality arose in the theoretical discourse about the relations between different systems or products of meaning, such as the relations between music and art, or image and text. The word gained currency in the 1980s in German- and French-language studies of theatre performance, and in scholarship on opera, film, and music, in order to capture the notion of the interconnections between different art forms. For reasons of utility, the concept has been divided into three kinds: intermediality may refer to the combination of media (as in opera, in which music, dance, and song are conjoined into one aesthetic experience); the transformation or transposition of media (as in a film version of a book); and intermedial references or connections, whereby attention is drawn to another system of meaning, as in the references in literature to a work of art. The term has entered the field of classics especially via the study of the relations between the narrative and inscriptional modes in literary epigram.
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Di Grazia, Donna Marie. "Melodies en 2 volumes, and: The Art of French Song: 19th and 20th Century Repertoire, and: 10 Melodies, and: 11 Melodies (review)." Notes 58, no. 2 (2001): 430–33. http://dx.doi.org/10.1353/not.2001.0196.
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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.
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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
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Kochetkova, Ulyana E. "PHONETIC ENVIRONMENT EFFECT ON /R/ ARTICULATION IN FRENCH SUNG SPEECH." Theoretical and Applied Linguistics, no. 1 (2017): 16–27. http://dx.doi.org/10.22250/2410-7190_2017_3_1_16_27.
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This study analyses occurrence of the uvular and alveolar /r/ in French sung speech; its material includes Art Songs written by French composers of the late 19th - early 20th century. At the first stage of this study the uvular consonant occurrence in different age groups of singers is compared, the main /r/_articulation model is considered for every singer. Then deviations from the alveolar articulation model, i. e. changes to the uvular /r/, are analyzed in various phonetic environment. The current study's results enable to conclude that (i) most of the alveolar [r] are maintained after the breath pause and before the semivowels, (ii) the uvular articulation exists in the Art Songs interpretation by French operatic singers representing different age groups.
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van Orden, Kate. "FemaleComplaintes: Laments of Venus, Queens, and City Women in Late Sixteenth-Century France*." Renaissance Quarterly 54, no. 3 (2001): 801–45. http://dx.doi.org/10.2307/1261925.
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This essay studies a large repertory of French laments (complaintes,) written in the voices of women. As a feminine counterpart to masculine love lyric, thecomplaintearose from an alternative poetics, treating subjects excluded fromfin amors, such as death, crime, and war. Essentially, lyric assigned erotic longing to men and mourning to women. The unusual subject matter accommodated by thecomplaintes, coupled with a set of material and musical forms locating them amid the cultures of cheap print, psalmody, and street song, ultimately embroiled them in the battles of the religious wars. Thus female voices came to trumpet confessional politics in songs that levied lyric, gender, and faith to serve in civil war.
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Youens, Susan. "Swan Songs: Schubert's ‘Auf dem Wasser zu singen’." Nineteenth-Century Music Review 5, no. 2 (November 2008): 19–42. http://dx.doi.org/10.1017/s1479409800003359.
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The following inquiry began as an echo of my preoccupation long ago and far away with settings of late nineteenth-century French poetry. Mallarmé's ‘le cygne/signe’ arrives too late (involuntarily, I recall the immortal line ‘What time's the next swan?’) to be a player in the creation of Schubert's songs, but the great French poet had recourse to some of the same signifying swans at work in this composer's chosen poem by Friedrich Leopold zu Stolberg-Stolberg. Struck by an analogy in the words for D. 774 (published in March 1827 as op. 72), I dug a little deeper and discovered multiple specimens of these emblematic creatures from Greek and Roman literature, medieval lore, Reformation iconography and Romantic art.
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Marynchak, A. V. "Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 213–29. http://dx.doi.org/10.34064/khnum2-18.12.
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The objectives of the research. The article is devoted to the study of the main parameters of the Marian theme embodiment in the art of music, with highlighting the aspects of history and genre stylistics. It is noted that the choice of the topic is related to the study of the works by the Kharkiv composer of Polish origin Konstanty Antoni Gorski, who worked in Kharkiv for many years (1880–1910) and belongs to the founders of his academic musical culture. The article lays the methodological basis for studying interpretation of the Marian theme in the works by this author, for that the analysis of the relevant sources (theological, musicological, etc.) has been carried out to derive the genre-stylistic classifications for this phenomenon (confessional, genre, national classifications). The results of the study. It is noted that the Marian theme in music can be classified as one of its central themes. This is due to the general ethical and natural content of the European music of the academic layer, which itself, as it is known, originated from the Church music and retained the features of high contemplation inherent in the cult genres, which determined the prospect line for the subsequent development of the Christian world music. The study emphasizes that the image of the Blessed Virgin Mary acts as a part and an important component of the New Testament, where two her main hypostases are presented. The Virgin Mary is honored and praised, firstly, as the Mother of the Son of God, who experienced suffering with him for the good of humanity, and secondly, as the intercessor and guardian of people who believe in her divine power and destiny. Here, the two interpretations of the Blessed Virgin’s image should be borne in mind, which are implemented at the confessional level – in the Catholic and Orthodox liturgical service. The whole branch of knowledge, called Mariology, is devoted to the study of these issues in the European theology and art history. The musical aspects of this field, presented in the monograph by O. Nemkova (2013), are closely related to religious teachings, as well as to their secular reflection at the level of the genre, style and stylistics of the musical works. The musical interpretation of the Blessed Virgin’s image, coming from Catholicism is based on the postulates of Her Divine destiny, which is reflected in the canonical texts in Latin, among which two main ones stand out – “Stabat Mater” and “Salve Regina”. These texts are realized in the cantata genre, the basis of which is the style of da chiesa, that is, the concerto itself in the church that accompanies the service in honor of Virgin Mary. The latter takes place in such holidays: Conception of Mary by Her mother Anna, Nativity of Mary, Presentation of Mary, Annunciation, Dormition of the Mother of God. The prayer “Ave Maria” is also very popular, and it has become for many European authors the basis of both applied religious and secular works, an example of which is the music of Early Baroque, Romanticism and Modern times. The secularization processes that began in the music of the Christian world on the turn of the Late Renaissance and Baroque (the watershed here is the 1600 year, the official year of the opera genre birth), called to life two groups of works on Marian themes: 1) the compositions nearby to the canonical original, as a rule, Latin texts (they were distributed among Catholics by religion and in Catholic countries); 2) the works modified, based on translations and free narrations of canonical texts given in the national languages and in suitable stylistics of one or another national culture (this is characteristic of Protestantism, as well as of Orthodoxy). There is also a deep line of interpretation of the Blessed Virgin’s image, personifying the eternal idea of motherhood and femininity, which is equally characteristic of many national musical cultures, in particular, the non-religious wave that manifested itself in Slavic music, first at the turn of the 19th – 20th centuries, and then – during the last two decades of the 20th century. It is noted that Gorski, remaining a devout Catholic by the nature of his activity in such interfaith cultural center as Kharkiv in the late 19th – the first two decades of the 20th centuries, embodied in his work the traditions and demands coming from the Polish (Catholic) as well as the Ukrainian (Orthodox) and French and German (Lutheran, Protestant) musical cultures. On this basis, three of his opuses devoted to Virgin Mary arose: the Catholic cantata “Salve Regina” (for voice, violin and organ), the concerto-cantata in French “Salutation a la Sainte Vierge” (for soprano accompanied by choir, organ, string quintet and two French horns), and the choral concerto for the Orthodox mixed choir “Zriaszcze mia bezglasna” on the Old Slavonic text. Each of these works is a special genre form, with which Gorski works as with a standard model equipped with a lexical layer of a certain musical stylistics, primarily national. The Polish song and romanza sources are traced in the first of the works, along with the obvious influence of the opera arias. In the cantata on the French text, echoes of not only opera scenes are heard, but also the elements of the programme music, story-telling, characteristic of French musical style. Finally, the Orthodox choral Concerto on the Old Slavonic text demonstrates the typical genre of the Ukrainian music – the large form intended for collective choral performance that was the equivalent of a symphony in the Western European musical culture. Conclusion. It is proved that, guided by the world experience, Konstanty Antoni Gorski embodies all these models in three Marian works – the canonical church cantata, the larger-scale secular cantata, the a cappella choral concerto, while remaining a composer with original and unique intonational thinking. Gorski in these three compositions appears as a neoclassic, subordinating the original genres to his own creative intentions, which makes the music of these compositions comprehensible and accessible to a wide audience. It was that for the purpose to popularize the opuses by Gorski this article has been written.
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Nikolenko, R. V. "Historical retrospective in the composer creativity by M.-A. Hamelin." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 238–52. http://dx.doi.org/10.34064/khnum1-56.15.
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Introduction. Art would always be a great mirror that reflects various historical epochs with their unique philosophical ideals, aesthetic and ethical principles, and the twenty-first century is no exception in this sense. At the same time, a specific feature of contemporary art is the desire to actualize the heritage of past centuries in the conceptual dialogue of cultures remote in time and space – a tendency that belongs to the basic philosophical and aesthetic characteristics of postmodernism as the dominating cultural paradigm of the XXI century. In modern musical art, the actualization of cultural heritage occurs in many ways, among which the most well-known and studied are citation, collage and stylization. All these phenomena are the subject of close attention of musicologists and cultural scientists. It is worth referring to the famous works of U.Eco, F.Jameson, V. Bibler. Of the Ukrainian musicologists who study these phenomena, let’s call D. Ruzhinskaya, O. Protopopova, O. Samoilenko. But music practice constantly generates new phenomena that also require attention. A striking example of the original use of musical material from previous eras is the compositional work of the Canadian virtuoso pianist Marc-André Hamelin. Having received recognition as an outstanding performer, he also created his own recognizable writing style, and his opuses are of undoubted interest for the music community. The objective of this article is to consider the specifics of the postmodern tendency to actualize the cultural heritage of the past and implementation of this intention on the example of the composer creativity by M.-A.Hamelin. This research is based on structural-functional and genre-style methods. The methodological basis is the works of U. Eco, F. Jameson, V. Bibler, dedicated to the philosophical and aesthetic concepts of postmodernism and, especially, the dialogue of cultures, which reflect the problem of interaction of the old and new in modern art. Research results. The compositions by M.-A. Hamelin are presented now by a significant number of piano miniatures, the cycle of “12 Etudes in all minor keys”, by variation cycles and transcriptions. Most of them involve someone else’s thematic material in one way or another. It can be presented as quotations, which, however, are not entered in the original form, but undergo certain changes at the first appearance. One of the ways of the composer’s interpretation of thematicism is to transfer melodies to a new multi-voiced context, which is so different from the original one that a theme is no longer just a new re-harmonization. For example, M.-A. Hamelin’s Toccata is based on the melody of the famous Renaissance song “L’homme armé” (“The Armed Man”). This work was commissioned as a mandatory piece for the Fifteenth international Van Cliburn piano competition. Using a song theme in the Toccata genre, M.-A. Hamelin accelerates movement not only due to the tempo (molto movimentato, ansioso (ma non senza nobiltà)), but also the relentless movement of the sixteen in the accompaniment, creating the effect of continuous development. The important point in the composer interpretation of the source material is also the “register” transformations of the melody transferring in different octaves. The bright example of reinterpretation of the thematic material of the Renaissance is the variation cycle “Pavane Variée” on the theme “Pavane Belle qui tiens ma vie” borrowed from Tuano Arbo’s treatise “Orchesografia”. This work, like the previous one, was written to order: for the ARD International music competition 2014. When presenting the Pavane theme, the composer almost exactly preserves its original appearance, but makes small changes in the harmony that “modernize” the theme. Further development of the theme is based on a significant transformation of its textural and figurative content. The variation cycle as a whole is characterized by a modified harmonic component, thanks to which the Pavane finds itself in atypical conditions, and as if it begins to “talk” in the musical language of impressionism and jazz, as well as gets away on a rather significant distance from the original theme. For example, in variations No. 1, 2, 4, 5, 7, 8, 9, only the general outline of the topic is guessed. In addition to the actual themes of past eras, M.-A. Hamelin sometimes uses old musical forms, filling them with new content. Such example is Ländler III from the collection of plays, which is called “Con intimissimo sentimento”. In this work, the artist imitates the form of an old French couplet Rondó, the peculiarity of which is the thematic similarity between the refrain and the episodes and the immutability of the refrain itself. Precisely following this specific form, M.-A. Hamelin creates a vivid theme for the refrain and develops it in three episodes. At the same time, by its harmonious language, the play approaches to the style of M. Ravel, and is interpreted in an impressionistic character. Conclusions. Referring to the musical heritage of past eras, M.-A. Hamelin covers various historical periods of time. The composer does not limit himself to the use of musical themes, but also refers to early musical forms. Considering the ways of processing themes in the work of M.-A. Hamelin, it is worth highlighting the desire to exhibit the material in a modified form, while the degree of change can be quite different: from a slight modification of the melody and harmony, to a fairly significant change in the harmony and texture of the theme. However, in both cases, the themes are recognizable, and their form is preserved. It is also noteworthy that the Renaissance themes chosen by the author are moved to an atypical virtuoso context, since they are included in the works written to order for music competitions, however, this interpretation gives more freedom for its disclosure in various aspects. When using old forms, M.-A. Hamelin fills them with a new harmonious meaning and combines the various genre elements (such as the features of Landler and Rondó). Through the interaction of forms, genres and harmonic means belonging to different epochs, M.-A. Hamelin’s works possess the effect of a cultural polylogue, which makes it possible to consider retrospection an important feature of his compositional thinking.
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Welch, Ellen R. "The Confusion of Diverse Voices: Musical and Social Polyphony in Seventeenth-Century French Opera." Renaissance Quarterly 73, no. 2 (2020): 567–94. http://dx.doi.org/10.1017/rqx.2020.5.
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This essay explores how two early modern French writers considered choral music in opera as a figure for society. Pierre Corneille, in his musical tragedy “Andromède,” and scientist and critic Claude Perrault, in several texts about music and acoustics, made subtle apologies for the polyphonic choral song condemned by many contemporaries as unintelligible. Beyond defending the aesthetic value of choral music, Corneille and Perrault associated multi-part song with collective vocalizations offstage, in the real world. Their instructions on how to appreciate choral interludes in opera also served, therefore, to train listeners to attend to the polyphony of society.
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Clément, Catherine. "The Weary Sons of Freud." Feminist Review 26, no. 1 (July 1987): 43–58. http://dx.doi.org/10.1057/fr.1987.19.
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This article brings together two excerpts from the forthcoming book, The Weary Sons of Freud (Verso/New Left Books, 1987) by Catherine Clément, translated from the French by Nicole Ball. It also includes an edited version of the book's Introduction by Ann Rosalind Jones. Feminist Review would like to thank her for her help in editing this piece, and also Verso/New Left Books for permission to reproduce these extracts.
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Ruytenbeek, Nicolas. "Les actes de langage indirects sont-ils tous conventionnels ?" Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 47, no. 2 (November 30, 2012): 258–82. http://dx.doi.org/10.1075/rro.47.2.03ruy.
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This paper focuses on the variety of ways to communicate a directive illocutionary act in modern French. I argue that every type of directive speech act can be regarded as stemming from a convention, be it a linguistic one, for on-record speech acts, or a discursive one, for off-record speech acts. The various acceptations of the “conventionality” applied to on-record indirect speech acts (ISAs) are reconsidered. More specifically, I claim that the distinction, in terms of politeness, between on-record and off-record ISAs does not coincide with the opposition between conventional and non-conventional speech acts. Second, I show that it is necessary to identify two types of conventions or communicative strategies to perform off-record directives. The first consists in referring to a reason to act; the second is evoking the requested action.
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Samsun, Meysem. "The end of art as a capitalist discourseKapitalist bir söylem olarak sanatın sonu." International Journal of Human Sciences 12, no. 2 (November 23, 2015): 1239. http://dx.doi.org/10.14687/ijhs.v12i2.3427.
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<p>In the present paper, the claim, art or painting is going through its end, is evaluated as a capitalist discourse; and some related samples were analyzed in terms of how they were passivized and become dysfunctional by the capitalist system. French thinker Jean Baudrillard is the most effective and distinguished sample of the claim, the end of art. In this point, after evaluating Danto’s ideas from the modern perspective, the claim of “end of art” will be discussed through Baudrillard’s post-modern perspective. When Baudrillard directed his gaze onto the world of art, the situation he saw was not a very optimistic one. Modern art and post-modern art, in which the thinker is also included, is the production of the Western World. As a result, in this sense, the literature of art is merely valid for the modern art taking its roots from the Western World and this domain of thinking. According to Baudrillard, art has lost its own privilege and purpose; it is not made for development of culture, but for consumption of this culture; and instead of existing through its own content of meaning, it has been unconsciously spread over all segments of the society. As a result, the discussion of what is art and what is not has progressively become more ambiguous.</p><p> </p><p><strong>Özet</strong></p><p>Bu çalışmada sanatın ya da resmin sonunun geldiği savı kapitalist bir söylem olarak değerlendirilmiş, sanatın kapitalist sistem tarafından nasıl edilgen ve işlevsiz kılındığına ilişkin örneklendirmelerle işlenmiştir. Sanatın sonu sav’ının, bu örneklendirme ile, en etkili duayen ismi Fransız düşünür Jean Baudrillard’dır. Burada, modern anlamda Danto’nun görüşlerine yer verildikten sonra ‘’sanatın sonu’’ savı, postmodern anlamda, Baudrillard üzerinden tartışılacaktır. Baudrillard bakışını sanat dünyasına çevirdiğinde gördüğü manzara iç açıcı değildir. Burada bahsedilen çağdaş sanat, postmodern sanat, düşünürün de içinde bulunduğu Batı dünyasının üretimidir. Dolayısıyla, bu bağlamda literatür, sadece Batı dünyası ve bu düşünce dünyasından beslenen çağdaş sanat için geçerlidir. Baudrillard’a göre sanat artık sahip olduğu ayrıcalığı ve amacını yitirmiş, kültürü geliştirmek için değil, tüketilmek için yapılmış ve kendi anlam içeriği ile var olmak yerine toplumun tüm katmanlarına bilinçsizce yaydırılmış ve neyin sanat olup neyin sanat olmadığı tartışmaları iyice bulanıklaşmıştır.</p>
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MOUSSAVI ROZATI, Parissa, Hamid Reza SHAIRI, Parivash SAFA, and Roya LETAFATI. "LE NIVEAU DE L’INTERACTION DE LA DIDACTIQUE DE FLE AVEC L’ART." FRANCISOLA 1, no. 2 (March 1, 2017): 175. http://dx.doi.org/10.17509/francisola.v1i2.5555.
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RÉSUMÉ. Aujourd’hui, les courants pédagogiques modernes dans le domaine de la didactique des langues telle que l’approche interdisciplinaire permettent au linguiste de franchir les frontières de sa discipline afin d’acquérir un enseignement-apprentissage plus efficace, approprié à la situation d’apprentissage. Vu le vaste domaine de l’interdisciplinarité, nous allons nous borner aux interactions entre l’art et l’enseignement-apprentissage du français. Cet article s’interroge sur le niveau d’interaction entre l’art et la didactique de FLE en Iran. A cette fin, nous essaierons d’enrichir notre recherche par une enquête de terrain qui consistera à démontrer la place et la fonction de l’art dans l’enseignement / apprentissage du français en Iran. Nous nous penchons dans cette recherche sur les rapports bénéfiques entre la didactique de FLE et l’art, ces derniers sont basés sur les sensations, les émotions, les prédilections, etc. Notre objectif principal est de montrer en quoi l’interdisciplinarité peut être un atout pour les apprenants iraniens. Mots-clés : apprenant, art, didactique de FLE, interdisciplinarité. ABSTRACT. Today, modern pedagogical trends in the field of language teaching as the interdisciplinary approach allows the linguist to cross borders of discipline in order to acquire more effective teaching-learning appropriate to the learning situation. Given the broad field of interdisciplinary, we will be limited ourselves to the interaction between art and the teaching and learning of French. This article examines the level of interaction between art and the teaching of FLE in Iran. To this end, we will try to enrich our research through field investigation will be to demonstrate the place and function of art in the teaching / learning of French in Iran. We focus in this research on the beneficial relationship between the teaching of FLE and art, they are based on sensations, emotions, predilections etc. Our main goal is to show how interdisciplinary can be an asset for Iranian students. Keywords: learner, art, didactics of french as a foreign language, interdisciplinary.
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Butterfield, Ardis. "Repetition and Variation in the Thirteenth-Century Refrain." Journal of the Royal Musical Association 116, no. 1 (1991): 1–23. http://dx.doi.org/10.1093/jrma/116.1.1.
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Is there an answer to the question ‘what is a refrain?’ Traditionally, scholars of thirteenth-century French song begin their reply by noting that a refrain is the characteristic formal feature of a rondeau, that is, an element which is repeated, usually with a separate half-repetition, in alternation with a strophic ‘respond’:Aaliz main se leva,bon jor ait qui mon cuer a!Biau se vesti et para,desoz l'aunoi.Bon jor ait qui mon cuer an'est pas o mot.Moreover, most modern attempts to define refrains have explicitly begun by collecting rondeaux. But since only a small proportion of refrains occurs in rondeaux (in van den Boogaard's bibliography approximately one tenth), it is clearly not a comprehensive definition.
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BERGERON, KATHERINE. "A Bugle, A Bell, A Stroke of the Tongue: Rethinking Music in Modern French Verse." Representations 86, no. 1 (2004): 53–72. http://dx.doi.org/10.1525/rep.2004.86.1.53.
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ABSTRACT The synesthetic quality of timbre——referring to the ““color”” of an instrument or voice——held special appeal for French symbolist poets in the years before 1900. This essay explores the writings of Rimbaud and Mallarméé, as well as those of their younger disciples, to ponder the meaning of timbre, and what it might have to say about the ““music”” of French poetry. If the concept of timbre encourages us to hear a different kind of music in the poem, it also encourages us to rethink song. The essay concludes with a brief reflection on the poetic music produced by French composers of the same generation, in the form of mute and expressionless méélodies.
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Berard, Christopher. "King Arthur’s Charter: A Thirteenth-Century French Satire Against Bretons." Journal of the International Arthurian Society 8, no. 1 (September 1, 2020): 3–37. http://dx.doi.org/10.1515/jias-2020-0002.
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AbstractOn the verso of the last leaf of a twelfth-century manuscript containing the poetry of Hilarius, a student of Abelard, appears a faux charter purporting to have been issued by Arthur, king of the Britons, in the hundredth year of his immortality. In the act, Arthur thanks the descendants of his British subjects for their fidelity and grants them an exclusive franchise to fish in secret rivulets. The privilege contains two prohibitions: one prohibiting Britons from wearing shoes and the other prohibiting them from owning cats. This article provides a diplomatic edition, English translation and analysis of King Arthur’s Charter. It identifies the strange stipulations of the charter as tropes of anti-Breton satire, attested also in the Privilège aux Bretons (c. 1240), an Old French song that mocks the customs and occupations of impoverished Breton immigrants to thirteenth-century France.
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Dreyer, Serge. "Langage corporel et interculturalité. Une étude de cas à Taiwan." Voix Plurielles 10, no. 2 (November 28, 2013): 22–30. http://dx.doi.org/10.26522/vp.v10i2.838.
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Le langage corporel est souvent le parent pauvre en didactique du français langue étrangère que ce soit dans les recherches théoriques ou en classe de langue. Il constitue pourtant une sérieuse source d’interférences dans les situations de communication interculturelle. Cet article traite d’une approche originale du langage corporel en classe de français en s’appuyant sur les arts de la scène. La pratique du clown, du mime, la technique de déambulation en défilé de mode et quelques exercices de taiji quan (un art martial chinois) sont sollicités dans le cadre d’un cours visant à entrainer des apprenants de Taiwan à l’exercice du discours en public dans une perspective du langage corporel.
Body Language and Cross-cultural Studies: A case study in Taiwan
Body language is often neglected in theory and practice in the field of teaching French as a foreign language. This happens in spite of its importance in the many aspects of miscommunication between people of different cultures. This article deals with an original approach of body language by using various stage arts in the class of French. Exercises of clown, mime, catwalking and taiji quan (a Chinese martial art) are used to train students from Taiwan in the practice of oral discourse while focusing on body language.
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Declerck, Mathieu, Yun Wen, Joshua Snell, Gabriela Meade, and Jonathan Grainger. "Unified syntax in the bilingual mind." Psychonomic Bulletin & Review 27, no. 1 (December 10, 2019): 149–54. http://dx.doi.org/10.3758/s13423-019-01666-x.
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AbstractAre syntactic representations shared across languages, and how might that inform the nature of syntactic computations? To investigate these issues, we presented French-English bilinguals with mixed-language word sequences for 200 ms and asked them to report the identity of one word at a post-cued location. The words either formed an interpretable grammatical sequence via shared syntax (e.g., ses feet sont big – where the French words ses and sont translate into his and are, respectively) or an ungrammatical sequence with the same words (e.g., sont feet ses big). Word identification was significantly greater in the grammatical sequences – a bilingual sentence superiority effect. These results not only provide support for shared syntax, but also reveal a fascinating ability of bilinguals to simultaneously connect words from their two languages through these shared syntactic representations.
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O'Brien, Charles. "Songs in French-language cinema:Coeur de Lilas(1932) in national and transnational context." Studies in French Cinema 11, no. 2 (May 2011): 101–10. http://dx.doi.org/10.1386/sfc.11.2.101_1.
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Ravelhofer, Barbara. "Burlesque Ballet, a Ballad and a Banquet in Ben Jonson's The Gypsies Metamorphos'd (1621)." Dance Research 25, no. 2 (October 2007): 144–55. http://dx.doi.org/10.3366/drs.2007.25.2.144.
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In summer 1621, George Villiers, then Marquess of Buckingham, invited the king and an exclusive circle of courtiers to inaugurate his newly restored countryside residence Burley-on-the-Hill in Rutland, Lincolnshire. On this occasion, he commissioned Ben Jonson with a masque, The Gypsies Metamorphos'd, in which he himself and various friends performed as dancing, pick-pocketing and palm-reading gipsies. The Gypsies Metamorphos'd was a risqué piece which experimented with innovative features, some of them outrageous. In particular, Jonson and his collaborators drew upon French-style ballet and banqueting fashions which they combined with traditional English music and song. This essay explains the reason for these artistic choices.
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Komlós, Katalin. "“Il pleure dans mon coeur”: Verlaine, Debussy, Kodály." Studia Musicologica 58, no. 3-4 (December 2017): 321–27. http://dx.doi.org/10.1556/6.2017.58.3-4.2.
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The poetry of Paul Verlaine inspired several songs by Debussy. Il pleure dans mon coeur is no. 2 in the cycle Ariettes oubliées. The same poem is used as a motto for a short piano piece by Zoltán Kodály: no. 3 in the Seven Pieces for Piano, op. 11 (Esik a városban). The paper describes the madrigalesque word painting of Kodály’s composition on the one hand, and analyzes the modes of its melodic material on the other. In a broader context, the influence of French art (the music of Debussy in particular) on the artistic development of the young Kodály is discussed, as well as the two composers’ mutual estimation of each other.
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Kleinman, Julie. "‘All daughters and sons of the Republic’? Producing difference in French education." Journal of the Royal Anthropological Institute 22, no. 2 (March 28, 2016): 261–78. http://dx.doi.org/10.1111/1467-9655.12401.
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Freeman, Sara. "‘Each in our open-ended way, we are multitudinous’—Les Nombres, by Andrée Chedid." Theatre Research International 23, no. 3 (1998): 249–54. http://dx.doi.org/10.1017/s0307883300020010.
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The Lebanese-French playwright Andrée Chedid begins her play, Le Montreur (1967), with a song sung by ‘une—ou plusieurs—voix’. As the voice becomes voices become voice, the song addresses the audience saying, ‘Ce soir, ce soir, ce soir, amis, / Le Sire Montreur nous dévoilera: / L'unité et la pluralité des choses!’ Like the image of many voices among one voice, the trope of the ‘unity and plurality of things’ is arguably Chedid's vision of human consciousness—a consciousness that is both one and many; a consciousness that is embedded in a relationship with the other, which is figured as a connectedness that makes society. In Les Nombres (1965) and Bérénice d'Egypte (1962), through her writing and use of theatrical space and sound, Chedid constructs a unique vision of consciousness—configured as a vital empathy with the multitudes. She centres her revolutionary vision of consciousness on her women characters, who, by interacting with ‘the multitudes’ (le peuple, la foule, les nombres) open the possibility that human connectedness can make consciousness multiple and thereby transcends the dichotomies of self and other.
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Beer, Jeanette. "The Song in the Story: Lyric Insertions in French Narrative Fiction, 1200- 1400.Maureen Barry McCann Boulton." Speculum 73, no. 4 (October 1998): 1119–21. http://dx.doi.org/10.2307/2887380.
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Kelly, Douglas. "From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry.Sylvia Huot." Speculum 65, no. 1 (January 1990): 177–78. http://dx.doi.org/10.2307/2864509.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.
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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Nelson, Robert J. "Two Frances: Impressed and Suppressed Voices in French Literature from "The Song of Roland to Waiting for Godot"." Journal of Aesthetic Education 30, no. 2 (1996): 93. http://dx.doi.org/10.2307/3333194.
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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.
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Branger, Jean-Christophe. "‘There Must Be Something There That We Don't Know About’: Massenet and Lucy Arbell." Cambridge Opera Journal 30, no. 2-3 (November 2018): 186–213. http://dx.doi.org/10.1017/s0954586719000065.
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AbstractLucy Arbell (1878–1947) assumed an important position in Massenet's compositional process and output. Beginning with Ariane in 1906, he wrote principal or secondary roles for the singer in all of his operas, as well as the celebrated song cycle Expressions lyriques (1909–1911). Despite Massenet's admiration, the French contralto was received ambivalently by critics and she fell into oblivion soon after his death. For some, her talents as an actress could not make up for the mediocre quality of her voice. Drawing on unpublished and hitherto unknown archival documents, this article explores Arbell's career, which has been largely overlooked by scholars. I reveal how her career's evolution was intimately connected to the professional and sentimental relationship between singer and composer. Massenet notably wrote roles for her that included extensive use of spoken declamation, which sets them apart in the history of opera.
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GAVAGNIN, STEFANO. "‘They Fell Like Meteorites’: Avatars of the Andean Sound and Their Reception by Italian Music Groups (1973–1996)." Twentieth-Century Music 17, no. 3 (October 2020): 381–99. http://dx.doi.org/10.1017/s1478572220000183.
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AbstractDespite the attention given to the transnational circulation of Andean music, its reception and adoption by European musicians have been rarely researched. This article focuses on the specific case of Italy, where the Andean music boom blended with that of the New Chilean Song in exile (1973–89) and where, in addition, repertoires and practices of both musics were adopted by dozens of local groups formed by young Italians. Those Italian groups – with their performative strategies and their choices of repertoires – provide a privileged lookout about how different representations of the andeaneity (the Nueva Canción Chilena with its ethical and political connotations, the musique des Andes of the French matrix, the autóctonas indigenist currents) interacted in creating an Italian imagery of the Andes. They also suggest how the adoption of ‘someone else's music’ can act, with its transcultural complexity, in the elaboration of personal narratives of identity.
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Barker, Anthony. "On Not Being Porn: Intimacy and the Sexually Explicit Art Film." Text Matters, no. 3 (November 1, 2013): 186–202. http://dx.doi.org/10.2478/texmat-2013-0034.
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Since the mid-twentieth century, we have passed from a time where sexual frankness was actively obstructed by censorship and industry self-regulation to an age when pornography is circulated freely and is fairly ubiquitous on the Internet. Attitudes to sexually explicit material have accordingly changed a great deal in this time, but more at the level of the grounds on which it is objected to rather than through a general acceptance of it in the public sphere. Critical objections now tend to be political or aesthetic in nature rather than moralistic. Commercial cinema still seems wary of a frank exploration of sexuality, preferring to address it tangentially in genres such as the erotic thriller. In Europe, an art house canon of sexually explicit movies has formed, starting with Bertolucci’s Last Tango in Paris (1972) and the French-produced In the Realm of the Senses (1976). This article looks at the steps taken since the 1970s to challenge out-of-date taboos and yet at the same time differentiate the serious film about se Xfrom both pornography (operating in parallel with mainstream cinema but in its shadow) and the exploitation film. After reviewing the art film’s relationship with both hard and soft core, two recent films, Intimacy (2000) and 9 Songs (2005), are analyzed for their explicit content and for the way they articulate their ideas about sex through graphic depictions of sexual acts. Compulsive and/or claustrophobic unsimulated sexual behaviour is used as a way of asking probing questions of intimacy (and its filmability). This is shown to be a very different thing from the highly visual and staged satisfactions of pornography.
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MEHRABI, Marzieh, Zeinab REZVANTALAB, and Zohreh EIVAZI ABHARI. "STRATÉGIES DE LA COMPRÉHENSION ÉCRITE DES APPRENANTS DÉBUTANTS." FRANCISOLA 1, no. 2 (March 1, 2017): 143. http://dx.doi.org/10.17509/francisola.v1i2.5552.
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RÉSUMÉ. L’objectif de la présente étude consiste à étudier les stratégies de la compréhension écrite chez les apprenants iraniens au niveau A1 et A2 et à accéder ainsi à une partie de leur processus mental. Une étude de terrain basée sur entretien semidirectif a été menée dans quatre instituts français à Téhéran. Les résultats montrent que la syntaxe et le lexique sont considérés de la part des apprenants comme des éléments facilitateurs, mais aussi comme une entrave lors de la compréhension écrite. D’après l’analyse des entretiens, les stratégies de « devinement ou d’inférence », et de « ressourcement », ainsi que les stratégies « affectives » notamment la technique de « l’esquive des difficultés » sont les plus fréquentes chez les interviewés. Mots-clés : apprenants débutants, compréhension écrite, FLE, stratégies d’apprentissage. ABSTRACT. The goal of this study is to explore the strategies of reading comprehension among Iranian learners at A1 and A2 levels and thereby access a part of their mental process. A field study based on semi-structured interview was carried out in four French institutes in Tehran. Our results demonstrate that the syntax and lexicon act as a double-edged sword. Although they facilitate learning process, but also are considered as obstacles in the reading comprehension. Regarding to interview analysis, our participants resorted to guessing / inductive inference, resourcing and affective strategies including the technique of "dodging difficulties". Keywords: beginning level learners, Reading comprehension, FFL (French as a ForeignLanguage), Learning strategies.
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Seipel, Michael M. O. "Social consequences of emerging and re-emerging infectious diseases." International Social Work 48, no. 1 (January 2005): 35–48. http://dx.doi.org/10.1177/0020872805048707.
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English Infectious diseases are responsible for nearly half of all deaths in developing countries. The re-emergence of old diseases and drug-resistant pathogens is creating enormous public health challenges. New diseases have been and are being detected. This article suggests that if we act quickly widespread outbreak can be averted. French Les maladies infectueuses sont responsables de près de la moitié des mortalités dans les pays en voie de développement. La re-émergence d'anciennes maladies et de pathologies résistantes aux médicaments présentent d'énormes défis aux systèmes de santé publique. De nouvelles maladies ont récemment été détectées et sont en train d'être détectées. Cet article suggère qu'une action rapide pourrait contrer une propagation à échelle épidémique. Spanish Las enfermedades infecciosas son la causa de la mitad del total de muertes en los países en vías de desarrollo. El resurgimiento de viejas enfermedades y la resistencia patógena a los medicamentos constituye un reto enorme para la salud pública. Recientemente han sido detectadas nuevas enfermedades. El presente artículo tiene el propósito de plantear que si se actúa oportunamente, puede prevenirse la propagación de epidemias.
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Crowley, Terence. "“Thunder Gusts”: Popular Disturbances in Early French Canada." Historical Papers 14, no. 1 (April 26, 2006): 11–32. http://dx.doi.org/10.7202/030833ar.
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Résumé L'auteur se penche sur les quelques occasions où les habitants de la Nouvelle-France se sont regroupés ou assemblés pour manifester collectivement bien que cela ait été illégal à l'époque. En général, ces démonstrations avaient lieu en temps de disette et de cherté des prix — particulièrement pendant les années 1704 à 1717 et 1757 à 1759 — mais il arrivait également qu'on s'assemble pour protester contre les corvées, ou encore, pour faire part de son mécontentement à l'égard de certaines mesures politiques ou religieuses. Ces contestations se déroulaient sensiblement de la même façon et pour les mêmes raisons qu'en France sauf qu'elles étaient, ici, à la fois moins fréquentes et moins violentes. On s'assemblait dans un but précis, on s'armait souvent et on proférait parfois des menaces mais, plus souvent qu'autrement, on se dispersait après avoir été entendu ou lorsque les soldats étaient appelés sur les lieux. Il faut dire que les autorités étaient indulgentes à l'égard des participants, probablement parce qu'elles considéraient ces attroupements comme quasi légitimes. Cette forme de contestation diminua pendant les trois premières décennies du régime britannique ; cependant, on trouva quand même moyen de résister à l'enrôlement dans la milice durant les années 1764, 1775 et 1794 de même qu'à la loi sur les chemins en 1796. Ceci se manifestant dans certaines des paroisses qui avaient fomenté des démonstrations populaires sous le régime français, l'auteur suggère qu'il y a là une tradition de contestation transmise d'une génération à l'autre. En somme, si les assemblées populaires ont, un peu partout, secoué la société au dix-huitième siècle, au Québec, elles n'ont pas suscité de changements radicaux avant l'avènement du dix-neuvième.
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Exhibition, Group. "Colour Constructs / Constructions en couleurs." ti< 7, no. 1 (March 31, 2018): 13–19. http://dx.doi.org/10.26522/ti.v7i1.1733.
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Colour Constructs / Constructions en couleursRodman Hall (30 Nov. 2017-4 March 2018)In fall 2017, Rodman Hall invites visitors to experience the exhibition Material Girls, which brings together Canadian and international female artists from across artistic disciplines and cultural backgrounds. Giving particular attention to the colourfulness and jubilance of this exhibition, in Colour Constructs, students in Visual Arts, Studies in Arts and Culture, and French Studies explore the materiality of colours in their own diverse ways. Student works are complemented by graffiti art by Niagara-based artist Mat Vizbulis, a classroom guest during the semester.A l’automne 2017, Rodman Hall invite ses visiteurs à l’exposition Material Girls, qui rassemble des femmes artistes canadiennes et internationales de diverses disciplines et cultures. Prêtant une attention particulière aux couleurs jubilantes de cette exposition, des étudiants d’Arts visuels, d’Etudes en arts et culture et d’Etudes en français explorent dans Constructions en couleurs la matérialité des couleurs. Leurs travaux sont accompagnés d’art graffiti de l’artiste Mat Vizbulis, basé dans la région du Niagara et un intervenant en cours pendant le semestre.Curators / Commissaires d’exposition: Catherine Parayre and Shawn Serfas
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Tomé, Mario. "Prononciation, littérature et apprentissage du français langue étrangère avec les medias sociaux." Anales de Filología Francesa 28, no. 1 (October 23, 2020): 673–88. http://dx.doi.org/10.6018/analesff.430211.
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Literature can provide all kinds of teaching materials for learning pronunciation of French as a foreign language (FLE), but practice and research in this area are still very little developed. New tools and social media can reverse this trend by promoting the oral production of learners and by integrating effective and motivating teaching tasks. For several years we have been conducting research on the applications of new technologies to teaching / learning FLE at the University of León in Spain and we have developed two pioneering and complementary databases: one on literary resources and the other on students' oral productions. We discuss in this article the French Literature Multimedia FLE project, an online audiovisual database on French literature for teaching and learning FLE and the Oral FLE Pronunciation project, an oral corpus of oral productions of Spanish learners of French as a foreign language. La littérature peut fournir toute sorte de matériaux pédagogiques pour l’apprentissage de la prononciation du français langue étrangère (FLE), mais la pratique et la recherche dans ce domaine sont encore très peu développées. Les nouveaux outils et médias sociaux peuvent inverser cette tendance en favorisant la production orale des apprenants et en intégrant des tâches pédagogiques efficaces et motivantes. Depuis plusieurs années nous menons des recherches sur les applications des nouvelles technologies à l’enseignement / apprentissage du FLE à l’Université de León en Espagne et nous avons élaboré deux bases de données pionnières et complémentaires: une sur des ressources littéraires et l’autre sur les productions orales des étudiants. Nous abordons dans cet article le projet Littérature Française Multimédia FLE, une base de données audiovisuelle en ligne sur la littérature française pour l’enseignement et apprentissage du FLE et le projet Oral FLE Prononciation, un corpus oral des productions orales des apprenants espagnols de français langue étrangère.
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Marcoline, Anne. "George Sand and Music Ethnography in Nineteenth-Century France." Nineteenth-Century Music Review 12, no. 2 (September 10, 2015): 205–25. http://dx.doi.org/10.1017/s1479409815000300.
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In Les Visions de la nuit dans les campagnes (1851–1853), George Sand responded to the French government’s newly announced project of collecting the ‘popular’ or folk songs of France, with a critique of their methods of collection as perfunctory. Sand was adamant not only about a more rigorous approach to amassing the nation’s folk songs but also about the inclusion of the music with the lyrics, and her concise, insightful critique of archival methods came after nearly two decades of her own occupation with rendering music in her fiction and, more immediately, a decade focused on folk music in many of what are known as her ‘rustic’ novels. In particular, I bring to the fore in this article discussions in Sand’s expansive novel Consuelo; La Comtesse de Rudolstadt (1842–1844) which both insist upon the historical, cultural and personal significance of the preservation of folk music and navigate the tensions of preserving an art form that is fundamentally non-static and ephemeral, in order to articulate the value Sand places on musical sensibility, memory and heritage. I argue that Les Visions de la nuit dans les campagnes stands along with Sand’s fiction as an ardent defense against the loss of the musical heritage of provincial France in the hands of the state’s archivists. This article thus situates George Sand’s investment in the cultural production from the Berry region within the early history of nineteenth-century music ethnography in France, while maintaining Sand’s own understanding of her cultural production as poetic rather than scientific.
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Muller, Catherine. "L’immersion fictionnelle, ou comment concilier art et émotion en cours de langue." Voix Plurielles 11, no. 1 (April 30, 2014): 89–100. http://dx.doi.org/10.26522/vp.v11i1.920.
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Cet article porte sur l’expérience artistique en classe de langue sous l’angle des réactions verbales. Nous proposons d’analyser les interactions orales recueillies lors d’une activité de commentaire de photographies mise en œuvre en classe de français enseigné comme langue étrangère auprès d’apprenants adultes en contexte pluriculturel. Notre perspective est focalisée sur l’une des formes de réception des œuvres, l’immersion fictionnelle. Grâce à une analogie perçue entre l’univers fictionnel et le monde réel, les apprenants construisent de l’empathie envers l’un des personnages de la photographie, ce qui les amène à participer pleinement à la fiction. Ce phénomène se manifeste par l’attribution de paroles aux personnages de l’image. C’est à travers la notion de polyphonie énonciative que nous étudions différents extraits recueillis devant la photographie Les mariés d’Arthur Tress. Lorsque les apprenants font précéder les énoncés des personnages d’un verbe introducteur, ils se comportent comme des metteurs en scène donnant des instructions à leurs comédiens. Lorsque leurs énoncés sont dépourvus de verbes de dire, ils incarnent véritablement les personnages à la manière d’acteurs.
Fictional Immersion: Combining Art and Emotion in the Language Classroom
Abstract: The article deals with the verbal reactions induced by an artistic experience in a language classroom. Our perspective is to analyze the oral interactions triggered by an activity asking adult learners to comment on photographs in lessons of French taught as a foreign language in a pluricultural context. This paper focuses on fictional immersion, which is one of the possible reactions to the pictures. As they perceive a form of analogy between the fictional universe and the real world, the students build empathy with one of the characters in the photograph, which encourages them to fully participate in the fiction. They speak the parts of the characters on the image. The notion of enunciative polyphony helps us to study different excerpts where the students comment on the photograph Bride and Groom by Arthur Tress. When the learners use a verb to introduce the characters’ utterances, they behave as stage directors giving instructions to actors. When they do not use such verbs, they truly embody characters, just like actors do.
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Beidler, Philip D. "South Pacific and American Remembering; or, “Josh, We're Going to Buy This Son of a Bitch!”." Journal of American Studies 27, no. 2 (August 1993): 207–22. http://dx.doi.org/10.1017/s0021875800031534.
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For many post-1945 Americans, the title South Pacific does not describe a text so much as a process of remembering. For the cultural historian, it offers an account of production. It is the relationship of these that will be my subject. The pattern of the former will largely depend, of course, on the rememberer – something of a book perhaps, a play, a movie, a song, another song. The latter, albeit complicated, is traceable. It has a literary provenance in a 1947 collection of fictional narratives by James A. Michener entitled Tales of the South Pacific, variously described as short stories or a novel, but always noted as winner of the Pulitzer Prize. In translation to Rodgers and Hammerstein's 1949 Broadway classic, it adds another Pulitzer and a paperback fortune for the original honoree: to one of the most celebrated runs in the golden era of the American musical. It parlays that success into one of the first widely popular 33⅓ RPM long-playing records, memorialized in its dramatic connection by a cover photograph of Mary Martin and Ezio Pinza in the lead roles of U.S. Navy nurse Nellie Forbush and French planter Emile DeBecque. It then reappears as a 1958 movie musical spectacular, leading to another joyride of the Michener narrative on the best-seller lists, and to yet another best-selling LP, now in stereo, with the cover photo of the lovers, here Mitzi Gaynor and Rozzano Brazzi, resituated against a Hollywood backdrop of wide-screen tropical splendors. Along the way, it proliferates into endless road productions and revivals; television showings and VCR rentals; re-recordings and new recordings on LP, tape, and compact disk.
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Cazes, Hélène. "Représentations des textes et des savoirs chez Charles Estienne : la « vive parole » d’un humaniste." Renaissance and Reformation 40, no. 3 (November 24, 2017): 187–216. http://dx.doi.org/10.33137/rr.v40i3.28741.
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Homme aux savoirs multiples et homme de vulgarisation, Charles Estienne (1514–1564) s’intéressa à la traduction et à l’édition théâtrale parallèlement à ses activités éditoriales et scientifiques, tant en latin qu’en français. Non pas en marge, mais au centre d’une carrière consacrée à la parole du partage des savoirs, l’intérêt pour le théâtre de Charles Estienne se manifeste d’abord par la traduction française d’une comédie italienne contemporaine, rééditée au moins deux fois, puis par des éditions annotées pour la jeunesse d’une comédie de Térence, l’Andrie, qui se continuent par la traduction française de cette comédie, accompagnée d’un traité sur les Jeux des Anciens. Ces deux pièces de théâtres sont représentatives de l’entreprise de Charles Estienne visant à rendre accessible à un plus grand public les grandes oeuvres du passé classique comme de la modernité italienne. Surtout, ces textes sont conçus pour la représentation, dans un cadre éducatif mais aussi, simplement, pour le plaisir du spectacle théâtral. La mise en français, mais aussi la mise en lisibilité (par des lexiques, annotations, commentaires, abrègements etc.) paraissent de fait constituer une mise sur scène du texte source, qui sera dit lors de la représentation mais également par son médiateur, le vulgarisateur (qui traduit, édite, rend compréhensible et diffuse). Ainsi, la traduction pour la scène illustre une parole humaniste, de la transmission et du partage des savoirs : une représentation de la reprise et de la vulgarisation.
A man of much learning and a man of popularisation, Charles Estienne (1514–1564) was interested in theatrical translation and edition both in Latin and in French, as well as in many other editorial and scientific activities. Interest in theatre was at the centre of Charles Estienne’s career consecrated to knowledge sharing; it manifested itself first in the French translation of a contemporary Italian comedy, re-edited at least twice. Then he produced several annotated editions for young people of a comedy by Terence, Andria. These were followed by the French translation of this same comedy, accompanied by a treatise on the Jeux des Anciens [Plays of the Ancients]. These two plays are representative of Charles Estienne’s endeavour to make the great works of from classical past as well as contemporary Italy accessible to a wider public. Above all, these texts are designed for performance, in an educational context but also simply for the pleasure of theatrical spectacle. The rendering of the French, and the rendering of readability (through lexica, annotations, commentaries, abridgements etc.) stage the source text, which would be spoken during the performance but also stage its mediator, the populariser (who translated, edited, made comprehensible and disseminated the text). Thus translation for the stage illustrated a humanist position on the transmission and sharing of knowledge: a performance of revival and popularisation.
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Watanabe, Hiroshi, and Linus Recht. "Alexis de Tocqueville and Three Revolutions: France (1789–), Japan (1867–), China (1911–)." International Journal of Asian Studies 17, no. 2 (July 2020): 163–81. http://dx.doi.org/10.1017/s1479591420000236.
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This essay is an attempt to think through the three revolutions, using Tocqueville's theory of “democracy” as a key. For Tocqueville, democracy is a society with “the equality of conditions” – in other words, a society that has no hereditary status system. In this sense, Chinese society since the Song Dynasty has been “democracy” as Tocqueville himself pointed out repeatedly. In his understanding, contemporary China was a “democratic society” and its form of government was highly centralized “despotism”; in sum, it was “democratic despotism.” Tocqueville was warning against the possible Sinification of America and Europe. Moreover, he thinks what the French Revolution brought about were mainly “the equality of conditions” and the establishment of centralized state power. The Meiji Revolution also realized these two things because it had not been “democratic” and the polity had been federal. On the other hand, in China, both had been actualized since the tenth century. Therefore, the Chinese Revolution which ended up with the establishment of the communist rule is very different from the other two revolutions.
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Artists and Authors, Multiple. "Manifestos in a Room / Manifestes dans une pièce." ti< 8, no. 1 (April 6, 2019): 18–31. http://dx.doi.org/10.26522/ti.v8i1.2168.
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In Fall 2018, artist Heather Hart installs a rooftop in the largest room of the Rodman Hall Art Centre for her exhibition Northern Oracle. She asks the question: “What do you want to say? Shout it from the rooftop!”
Throughout history, thinkers, authors and artists have eloquently expressed their views on cultural and social phenomena in manifestoes. The function of a manifesto is to convince a public and encourage creative thinking.
Reflecting on Heather Hart’s exhibition, students in Visual Arts, Studies in Arts and Culture, and French Studies at Brock University transform the Studio Gallery into a “manifesto room” in which they create their own statements, be they poetic, absurd or political, in English or in French. In a space that is both radical and respectful, visitors are invited to experience the pleasurable effects of surprise.
A l’automne 2018, l’artiste Heather Hart installe le toit d’une maison dans la plus grande salle du Centre d’art de Rodman Hall pour son exposition Northern Oracle. Elle pose ainsi la question suivante : « Que veux-tu dire ? Crie-le sur le toit ! »
Au cours du temps, penseurs, auteurs et artistes ont éloquemment exprimé dans des manifestes leurs vues sur des phénomènes culturels et sociaux. Un manifeste a pour fonction de convaincre un public et d’encourager une pensée créative.
En réponse à l’artiste, des étudiant.e.s d’Arts visuels, Etudes en arts et cultures et Etudes en français transforment la galerie Studio en « pièce manifeste » dans laquelle elles/ils créent leurs propres déclarations, que celles-ci soient poétiques, absurdes ou politiques, en anglais ou en français. Dans un espace à la fois radical et respectueux, les visiteuses et visiteurs sont invité.e.s à faire l’expérience d’agréables effets de surprise.
Curators / Commissaires – Catherine Parayre and / et Donna Akrey
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Toma, Cosmin. "De trop – l’infini. À l’écoute de Raphaël Cendo avec Jean-Luc Nancy." Voix Plurielles 11, no. 2 (December 3, 2014): 9–19. http://dx.doi.org/10.26522/vp.v11i2.1096.
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Qu’est-ce qu’une musique de fin de monde ? Avec son Introduction aux ténèbres (2009), le compositeur français Raphaël Cendo nous donne à entendre l’excès infini de la fin des fins, en travaillant à la fois ce qu’il appelle la « saturation » et l’« infrasaturation » du son à travers une partition où l’inachèvement est redéfini comme ce qui, dans l’art musical, est de trop, c’est-à-dire ce qui passe outre la création du monde. Une telle conception de la musique rappelle certains textes-clé du philosophe Jean-Luc Nancy (dont À l’écoute, TROP et « De l’œuvre et des œuvres »), où l’art des sons est repensé comme « ressentir » exemplaire, c’est-à-dire comme la structure même de la réflexion ou vibration d’un sens à la limite d’un monde finissant, jusqu’à l’excès d’une sorte de résurrection d’où le nom de Dieu a été évacué au nom de la musique des ténèbres.
ABSTRACT
What does music sound like at world’s end? With his Introduction aux ténèbres (Introduction to Darkness, 2009), French composer Raphaël Cendo scores the infinite excess of the end-all, simultaneously foregrounding what he calls the “saturation” and “infrasaturation” of sound. Indeed, his work redefines unfinishedness as that which lies in excess, overriding the creation of the world. This conception of music recalls some of French philosopher Jean-Luc Nancy’s key writings on the matter (most notably Listening, TROP and “De l’œuvre et des œuvres”), which rethink the art of sound as a particularly significant and intense kind of “feeling” or “sense”. More specifically, what is at stake here is the very structure that reflects meaning or sense when it reaches its end—the end of the world—sounding and resounding its way towards a kind of nameless, “godless” resurrection, where the music of darkness is all that’s left.