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Journal articles on the topic 'Jean Racine'

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Published: 4 June 2021
Last updated: 18 May 2024

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1

Phillips, Henry, and Georges Forestier. "Jean Racine." Modern Language Review 103, no. 2 (April 1, 2008): 536. http://dx.doi.org/10.2307/20467828.

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2

Hawcroft, Michael. "Jean Racine." French Studies 61, no. 1 (January 1, 2007): 93–94. http://dx.doi.org/10.1093/fs/knl203.

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3

Desnain, Veronique, and Jean Rohou. "Jean Racine. 'Andromaque'." Modern Language Review 97, no. 1 (January 2002): 187. http://dx.doi.org/10.2307/3735645.

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4

Shaw, David, and Ronald W. Tobin. "Jean Racine Revisited." Modern Language Review 96, no. 2 (April 2001): 498. http://dx.doi.org/10.2307/3737393.

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5

Dalla Valle, Daniela. "Jean Racine, Ifigenia." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 451. http://dx.doi.org/10.4000/studifrancesi.8903.

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6

Tobin, Ronald W. "Jean Racine (review)." L'Esprit Créateur 47, no. 1 (2007): 109–10. http://dx.doi.org/10.1353/esp.2007.0029.

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7

Anderson, Claudia. "Phaedreby Jean Racine." Voice and Speech Review 3, no. 1 (January 2003): 319–20. http://dx.doi.org/10.1080/23268263.2003.10739429.

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8

Musio, Cristina. "Jean Racine, Les Plaideurs." Studi Francesi, no. 153 (LI | III) (December 1, 2007): 653. http://dx.doi.org/10.4000/studifrancesi.9525.

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9

Garbagnati, Lucile. "Andromaque de Jean Racine." Coulisses, no. 13 (January 1, 1996): 77–78. http://dx.doi.org/10.4000/coulisses.4357.

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10

Phillips, H. "Review: Jean Racine: 'Andromaque'." French Studies 56, no. 3 (July 1, 2002): 396. http://dx.doi.org/10.1093/fs/56.3.396.

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11

Dalla Valle, Daniela. "Jean Racine, Gli attaccabrighe." Studi Francesi, no. 155 (LII | II) (October 1, 2008): 450. http://dx.doi.org/10.4000/studifrancesi.8902.

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12

Phillips, Henry. "Jean Racine by Georges Forestier." Modern Language Review 103, no. 2 (2008): 536–37. http://dx.doi.org/10.1353/mlr.2008.0172.

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13

Downey, C. T. "Esther (Tragedie de Jean Racine)." Music and Letters 87, no. 3 (August 1, 2006): 494–96. http://dx.doi.org/10.1093/ml/gcl043.

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14

Harris, J. "Jean Racine, Life and Legend." French Studies 62, no. 1 (January 1, 2008): 79–80. http://dx.doi.org/10.1093/fs/knm264.

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15

Trujillo Silva, Joaquín. "Monsters in Law: una lectura de Ester, de Jean Racine." Sur y Tiempo: Revista de Historia de América 3, no. 5 (January 28, 2022): 1–27. http://dx.doi.org/10.22370/syt.2022.5.3127.

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El ensayo revisa en los diálogos-no-filosóficos la aparición de los monstruos en contextos normativos (moral en Racine; social en Ibsen y político en Brecht) (secciones 1, 2, 3). En su sección principal (4), explora cómo es que en la “tragedia” Esther, de Jean Racine, el monstruo aparece al menos como soberano y como consejero del soberano. Concluye que, a través de su propuesta de diálogo, Jean Racine intenta influir sobre el soberano mediante su segunda esposa, tal como Mardoqueo lo había hecho a través de la reina Ester, en el libro del Tanaj hebreo.
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16

Hadas, R. "Jean Racine: From Iphigenie en Aulide." Literary Imagination 10, no. 1 (January 1, 2008): 47–50. http://dx.doi.org/10.1093/litimag/imm109.

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17

Ekstein, Nina. "Jean Racine Revisited (review)." L'Esprit Créateur 40, no. 2 (2000): 99–100. http://dx.doi.org/10.1353/esp.2010.0096.

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18

Fontes, Joaquim Brasil. "O palácio cego de Racine." Letras Clássicas 1, no. 1 (October 14, 1997): 97. http://dx.doi.org/10.11606/issn.2358-3150.v1i1p97-132.

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No prefácio a Fedra, encenada pela primeira vez em 1677, Jean racine declara que sua peça se inspira em Eurípides, sem fazer qualquer alusão explícita a Sêneca, inegavelmente o autor antigo com o qual dialoga com mais freqüência em sua tragédia. Esse estudo procura sublinhar a presença de Phedra em Phèdre, de Sêneca em Racice (por intermédio de temas, vocabulário e estrutura dramática), indicando, ao mesmo tempo, e tentando explicar outra censura imposta ao mito pelo dramaturgo francês: o apagamento de Diana, figura que parece ser indispensável ao desenvolvimento da tragédia.
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19

Brodsky, Claudia. ""The Impression of Movement": Jean Racine, Architecte." Yale French Studies, no. 76 (1989): 162. http://dx.doi.org/10.2307/2930167.

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20

Pavesio, Monica. "Jean Racine, Breve storia di Port-Royal." Studi Francesi, no. 179 (LX | II) (September 1, 2016): 322–23. http://dx.doi.org/10.4000/studifrancesi.4353.

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21

Deregnoncourt, Marine. "Le parlé-chanté dans Phèdre de Jean Racine et Partage de midi de Paul Claudel." Quêtes littéraires, no. 6 (December 30, 2016): 46–55. http://dx.doi.org/10.31743/ql.210.

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In this article we will seek to answer how, in Phèdre to Jean Racine and Noon’s Sharing to Paul Claudel, the « parlé-chanté » is particularly significant. To do so, this article will be divided in three parts. In the first part, the « parlé-chanté » will be defined and linked to Arnold Schoenberg’s Sprechgesang. While the second part will issue on Phèdre by Jean Racine, the third and final part will focalize on Paul Claudel's Noon’s Sharing. By focusing on the two aforesaid plays we will try to prove that the operatic voice is always present in the acting choices and that the two playwrights accustomed the dramatic rules of their time.
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22

Cunha, Viviane. "Racine e Port Royal: um jardim inesquecível." Revista do Centro de Estudos Portugueses 30, no. 44 (December 31, 2010): 73. http://dx.doi.org/10.17851/2359-0076.30.44.73-97.

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<p>Este trabalho apresenta uma tradução, seguida de uma análise de 14 estrofes, das 54 que compõem as <em>7 Odes a Port Royal</em>, de Jean Racine. Focalizando o <em>locus amoenus, </em>procura relacionar o texto do grande dramaturgo francês com o contexto histórico evocado nos poemas, particularmente com o jansenismo.</p> <p>Ce travail présente une traduction suivie d’une analyse de 14 strophes sur les 54 qui composent les <em>7 Odes à Port Royal de Jean Racine</em>. En se concentrant sur le <em>locus amoenus</em>, on essaye d’établir un lien entre le texte du grand dramaturge français et le contexte historique évoqué dans les poèmes, en particulier avec le jansénisme.</p>
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23

Sala Valldaura, Josep María. "La «Ifigenia» y la tragedia en el siglo XVIII." Cuadernos de Estudios del Siglo XVIII, no. 20 (October 4, 2017): 129–54. http://dx.doi.org/10.17811/cesxviii.20.2010.129-154.

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Este trabajo sitúa Ifigenia, traducción de Jovellanos de la tragediaIphigénie de Jean Racine, en el marco cultural y político en que fue realizada. Se analiza la posible interpretación que Jovellanos hizo del original francés a partir de la traducción y del contexto históricoliterario. Se compara Ifigenia con Munuza y El delincuente honrado y con otras tragedias y versiones coetáneas.PALABRAS CLAVE: Neoclasicismo, Tragedia, Jovellanos, Racine, Ifigenia.
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24

Guandalini, Bruno. "Droit de l’arbitrage: Autor: Jean-Baptiste Racine." Revista Brasileira de Arbitragem 13, Issue 52 (December 1, 2016): 250–52. http://dx.doi.org/10.54648/rba2016062.

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25

Smith, Richard Langham, Les Talens Lyriques, and Christophe Rousset. "Pascal Collasse: Les Cantiques Spirituels de Jean Racine." Musical Times 135, no. 1819 (September 1994): 575. http://dx.doi.org/10.2307/1003312.

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26

PHILLIPS, J. H. "Review. Andromaque. Edition de Jean-Pierre Collinet. Racine." French Studies 50, no. 1 (January 1, 1996): 77. http://dx.doi.org/10.1093/fs/50.1.77-a.

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27

CAMPBELL, J. "Review. Jean Racine: Entre sa carriere, son oeuvre et son Dieu. Rohou, Jean." French Studies 47, no. 3 (July 1, 1993): 322. http://dx.doi.org/10.1093/fs/47.3.322.

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28

Steigerwald, Jörn. "Von der Liebestragödie zur Tragödie der Liebe: Jean Racines Phèdre." Volume 62 · 2021 62, no. 1 (October 1, 2021): 181–210. http://dx.doi.org/10.3790/ljb.62.1.181.

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From Love Tragedy to the Tragedy of Love: Jean Racine’s Phèdre The article focuses on Jean Racine’s last secular tragedy Phèdre and argues that the drama is based, on the one hand, on the French concept of love tragedy, established in the 1630s and reconfigured in the 1650s as a gallant tragedy. On the other hand, Racine radicalises this dramatic concept and fulfils it by combining different models of this dramatic concept in one tragedy. Instead of a modern gallant love tragedy, like Nicolas Pradon’s Phèdre et Hippolyte, Racine stages a tragedy of love that ends with the decline of two (royal) families, produced by the revenge of the goddess of love, Venus. According to this, Phèdre is not an exemplary tragedy of French classicism but rather a radical endpoint of French tragedy in the 17th century.
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29

FATHALLAH, Naoufel. "L'Écriture du furor par Sénèque et Racine : l’exemple de Phèdre." ALTRALANG Journal 5, no. 01 (June 10, 2023): 221–29. http://dx.doi.org/10.52919/altralang.v5i01.276.

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The Writing of Furor by Seneca and Racine: The Example of Phèdre ABSTRACT: In his tragedy, Phaedra, Seneca portrayed a queen damned, doomed and ravaged by lovesickness. Jean Racine followed his Latin predecessor and tried to analyse the major causes of the furor that seizes the queen. Through this study, we will highlight two different conceptions of dolor that constitute the reflections of two original visions of the world and of things. This research work, revolving around the dramaturgical, aesthetic and ideological dimensions of the Greek myth, is realized in a philological and comparative approach. RÉSUMÉ : Dans la tragédie La Phaedra, Sénèque a mis en scène une reine damnée, condamnée et ravagée par la maladie d’amour. Jean Racine a emboîté le pas à son prédécesseur latin et a tenté en outre d’analyser les causes profondes du furor qui s’empare de la reine. A travers, cette étude, nous avons mis l’accent sur deux conceptions différentes du dolor qui constituent les reflets de deux visions originales du monde et des choses. Ce travail de recherche, qui s’articule autour des dimensions dramaturgiques, esthétiques et idéologiques du mythe grec, est ainsi réalisé dans une approche philologique et comparative
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30

Barnwell, H. T., and Charles Bernet. "Le Vocabulaire des tragedies de Jean Racine: Analyse statistique." Modern Language Review 80, no. 3 (July 1985): 715. http://dx.doi.org/10.2307/3729325.

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31

Fièvre, Paul. "Traitement des textes : Bérénice, Mithridate, Britannicus, de Jean Racine." Littératures classiques 26, no. 1 (1996): 187–216. http://dx.doi.org/10.3406/licla.1996.2436.

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32

Planche-Touron, Marie-Claire. "Jacques de Sève illustrateur du théâtre de Jean Racine." Dix-huitième Siècle 37, no. 1 (2005): 513–35. http://dx.doi.org/10.3406/dhs.2005.2691.

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33

Wilbur, R. "Jean Racine: Act One of The Suitors (Les Plaideurs)." Literary Imagination 3, no. 3 (January 1, 2001): 283–302. http://dx.doi.org/10.1093/litimag/3.3.283.

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34

Revely-Calder, Cal. "Racine Lighting Beckett." Journal of Beckett Studies 25, no. 2 (September 2016): 225–42. http://dx.doi.org/10.3366/jobs.2016.0172.

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Critics have recently begun to pay attention to the influence Jean Racine's plays had on the work of Samuel Beckett, noting his 1930–31 lectures at Trinity College Dublin, and echoes of Racine in early texts such as Murphy (1938). This essay suggests that as well as the Trinity lectures, Beckett's later re-reading of Racine (in 1956) can be seen as fundamentally influential on his drama. There are moments of direct allusion to Racine's work, as in Oh les beaux jours (1963), where the echoes are easily discernible; but I suggest that soon, in particular with Come and Go (1965), the characteristics of a distinctly Racinian stagecraft become more subtly apparent, in what Danièle de Ruyter has called ‘choix plus spécifiquement théâtraux’: pared-down lighting, carefully-crafted entries and exits, and visual tableaux made increasingly difficult to read. Through an account of Racine's dramaturgy, and the ways in which he structures bodily motion and theatrical talk, I suggest that Beckett's post-1956 drama can be better understood, as stage-spectacles, in the light of Racine's plays; both writers give us, in Myriam Jeantroux's phrase, the complicated spectacle of ‘un lieu à la fois désert et clôturé’. As spectators to Beckett's drama, by keeping Racine in mind we can come to understand better the limitations of that spectatorship, and how the later plays trouble our ability to see – and interpret – the figures that move before us.
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35

Sebastià-Sáez, María. "Ambrose Philips’ "The Distrest Mother": The myth of Andromache in English (Neo)classicism." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 16/2 (June 20, 2019): 109–24. http://dx.doi.org/10.26881/bp.2019.2.07.

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The focus of this paper is an analysis of the Ambrose Philips (1674- 1749) neoclassical tragedy “The Distrest Mother” (1712). This play is an adaptation of Jean Racine’s (1639-1699) “Andromaque”(1667), which is, in turn, an adaptation of the Euripides’ ancient Greek tragedy “Andromache” (ca. 426 BC). Philips’ tragedy is an example of an early English adaptation from Racine. Philip took Racine’s play and moulded it to appeal to English taste. Therefore, this study shall analyse Philips’ play focusing on his innovations, mainly in comparison with the Racine version, but also with the ancient Greek myth.
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36

Delay, Katia. "Mise en scène de Lorraine Pintal, Andromaque de Jean Racine." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 18 (1995): 258. http://dx.doi.org/10.7202/041274ar.

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37

Phillippo, Susanna. "The Legacy of Homer: the Iliad Annotations of Jean Racine." L'antiquité classique 65, no. 1 (1996): 1–29. http://dx.doi.org/10.3406/antiq.1996.1240.

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38

Phillips, H. "Racine infiniment. By Jean Emelina. Paris, SEDES, 1999. 207 pp." French Studies 55, no. 1 (January 1, 2001): 88–89. http://dx.doi.org/10.1093/fs/55.1.88.

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39

GOSSIP, C. J. "Review. La Liberte et le destin dans le theatre de Jean Racine. Suivi de deux essais sur le theatre de Jean Racine. Zimmermann, Eleonore M." French Studies 40, no. 1 (January 1, 1986): 71. http://dx.doi.org/10.1093/fs/40.1.71-a.

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40

van Oostveldt, Bram, and Stijn Bussels. "The Sublime and French Seventeenth-Century Theories of the Spectacle: Toward an Aesthetic Approach to Performance." Theatre Survey 58, no. 2 (April 19, 2017): 209–32. http://dx.doi.org/10.1017/s0040557417000072.

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Theatre scholars and historians assume too easily that theoretical reflection on the performative qualities of the theatre began only in the eighteenth century. In mid-eighteenth century France, writers and philosophers such as Denis Diderot, Jean le Rond D'Alembert, Jean-Jacques Rousseau, Antoine-François Riccoboni, or Jean-Georges Noverre (to name but a few) showed a passionate interest in the aesthetics and the morality of performance practices in dramatic theatre, music theatre, or dance. Compared to this rich diversity of ideas in the eighteenth century, seventeenth-century French writings on theatre and the performing arts seem, at first sight, far less interesting or daring. However, this is merely a modern perception. Our idea of le théâtre classique is still rather reductionist, and often limited to the theatrical canon of Pierre Corneille, Jean Racine, and Molière. It affords a view of the performing arts that is dominated by tragedy and comedy and that, firmly embedded within a neo-Aristotelian poetics, privileges dramatic concerns above performative interests.
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41

ŠUMAN, Záviš. "Dissimulation au service de la Providence dans Esther de Jean Racine." Écho des études romanes 13, no. 2 (December 11, 2017): 325–36. http://dx.doi.org/10.32725/eer.2017.041.

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42

Rudy, Elizabeth M. "Making a classic modern: Pierre Didot l’aîné’s illustratedŒuvres de Jean Racine." Word & Image 30, no. 2 (April 3, 2014): 104–16. http://dx.doi.org/10.1080/02666286.2013.857962.

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43

Mentheour, Jennifer Tamas-Le. "Correspondance. Jean Racine. Ed. Jean Lesaulnier. Bibliothèque des correspondances 92. Paris: Honoré Champion, 2017. 702 pp. €95." Renaissance Quarterly 71, no. 4 (2018): 1571–72. http://dx.doi.org/10.1086/702130.

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44

Planche, Marie-Claire. "Britannicus de Jean Racine, des illustrations marquées par une histoire du goût au xviii e siècle." Littératures classiques N° 109, no. 3 (June 13, 2023): 53–69. http://dx.doi.org/10.3917/licla1.109.0053.

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Le théâtre de Jean Racine fut illustré avec la plus grande régularité tout au long du xviii e siècle. Pour comprendre la manière dont l’iconographie a pu s’inscrire dans une tradition ou évoluer, nous avons choisi de nous intéresser à la tragédie Britannicus , dont le fameux récit du banquet fut le sujet du premier frontispice. Nous proposons une réflexion sur le principe de réillustration à partir d’un ensemble d’estampes.
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45

Martinello, Lisa. "Die „Grande Nation“ und der „Fall Google“: Jeanneneys und Racines Digitalisierungsstrategien und die aktuelle französische Digitalisierungsstrategie." Bibliotheksdienst 57, no. 12 (November 24, 2023): 680–90. http://dx.doi.org/10.1515/bd-2023-0096.

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Zusammenfassung Der Artikel stellt die Reaktionen der ehemaligen Präsidenten der französischen Nationalbibliothek auf Google Books einander gegenüber. Er legt die Kritikpunkte Jean-Noël Jeanneneys dar, der Kooperationen von Bibliotheken mit kommerziellen Unternehmen wie Google ablehnte und sich mit Europeana für ein europäisches Gegenprojekt einsetzte. Kontrastiert mit Jeanneneys Einstellung wird die Offenheit seines Nachfolgers Bruno Racine gegenüber Massendigitalisierungsprojekten mit kommerziellen Partnern. Abschließend wird ein Ausblick auf die Digitalisierungspolitik der Nationalbibliothek unter der aktuellen Leitung gegeben.
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46

MASKELL, D. W. "Review. Bajazet. Edition presentee, etablie et annotee per Christian Delmas. Racine, Jean." French Studies 51, no. 3 (July 1, 1997): 317. http://dx.doi.org/10.1093/fs/51.3.317.

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47

MASKELL, D. W. "Review. Britannicus. Edition presentee, etablie et annotee par Georges Forestier. Racine, Jean." French Studies 51, no. 3 (July 1, 1997): 317. http://dx.doi.org/10.1093/fs/51.3.317-a.

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48

Reilly, M. "Jean Racine Revisited. By Ronald W. Tobin. New York, Twayne Publishers, 1999." French Studies 54, no. 4 (October 1, 2000): 507–8. http://dx.doi.org/10.1093/fs/54.4.507-a.

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49

KIRKNESS, J. "Review. Le Vocubulaire des tragedies de Jean Racine: Analyse statistique. Bernet, Charles." French Studies 43, no. 1 (January 1, 1989): 85. http://dx.doi.org/10.1093/fs/43.1.85.

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50

Le Scanff, Yvon. "Jean-Paul Clergeot , Ecorce blanche , Librairie-Galerie Racine, 2009, 78 pages, 15 €." Études Tome 412, no. 4 (March 30, 2010): XI. http://dx.doi.org/10.3917/etu.4124.0551k.

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