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Books on the topic 'Ubu roi (Jarry, Alfred)'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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1

Etude sur Alfred Jarry, Ubu roi. Paris: Ellipses, 2007.

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2

Jopeck, Sylvie. Etude sur Alfred Jarry, Ubu roi. Paris: Ellipses, 2007.

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3

Henri, Béhar, ed. Ubu roi. Paris: Larousse, 1985.

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4

Jarry, Alfred. Ubu roi. Marseille: A. Dimanche, 1996.

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5

Jarry, Alfred. Ubu roi, ou, Les Polonais. Anjou, Québec: Éditions CEC, 2011.

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6

Jarry, Alfred. Ubu roi [videorecording] / by Alfred Jarry ; a production for the Open University. Princeton: Films for the Humanities, 1999.

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7

Jean-Claude, Dinguirard, and Gayot Paul, eds. Ubu roi: Texte intégral : avec une chronologie d'Alfred Jarry, du Père Ubu, ume bibliographie, des textes de Jarry sur Ubu et le théâtre, des jugements, des notes, des questions. Paris: Bordas, 1986.

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8

Régibier, Philippe. Ubu sur la berge: Alfred Jarry à Corbeil, 1898-1907. Paris: Presses du Management, 1999.

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9

Payne, Richard. Alfred Jarry's Circus Ludicrous presents "Boss Ubu": A full-length clown play celebrating Jarry's "Ubu Roi" of 1896 in the spirit of the 1980's. Toronto: Playwrights Canada Press, 1988.

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10

Ubu roi: Alfred Jarry. Bertrand Lacoste, 1993.

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11

Ubu roi, alfred jarry : Livre du professeur. Hatier, 2002.

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12

Jarry, Alfred. Ubu Roi. Editions Flammarion, 2002.

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13

Jarry, Alfred. Ubu roi. Pocket, 2000.

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14

Jarry, Alfred. Ubu roi. Gallimard, 2000.

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15

Ubu roi. garnier, 2000.

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16

Shtutin, Leo. Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.001.0001.

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This study explores the interrelationship between spatiality and subjecthood in the work of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. Concerned with various modes of poetry and drama, it also examines the cross-pollination that can occur between these modes, focusing on a relatively narrow corpus of core texts: Mallarmé’s Igitur (c.1867–70) and Un coup de dés (1897); Apollinaire’s ‘Zone’ (1912) and various of his calligrammes; Maeterlinck’s early one-act plays—L’Intruse (1890), Les Aveugles (1890), and Intérieur (1894); and Jarry’s Ubu roi (1896) and César-Antechrist (1895). The poetic and dramatic practices of these four authors are assessed against the broader cultural and philosophical contexts of the fin de siècle. The fin de siècle witnessed a profound epistemological shift: the Newtonian–Cartesian paradigm, increasingly challenged throughout the nineteenth century, was largely dismantled, with ramifications beyond physics, philosophy and psychology.
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17

Ubu roi d'Alfred Jarry, livre du professeur. Hatier, 2003.

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18

Jarry: Ubu Roi (Critical Guides to French Texts, No 69). Grant & Cutler, 1988.

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19

Subversive Poetics of Alfred Jarry: Ubusing Culture in the Almanachs du Pere Ubu. Taylor & Francis Group, 2012.

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20

Shepherd-Barr, Kirsten E. 1. Realism, naturalism, and symbolism. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199658770.003.0002.

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The two decades from 1880 to 1900 are astonishing not just for the new ideas about drama and the radical changes in theatre practice and playwriting, but for the pace of those developments. ‘Realism, naturalism, and symbolism’ considers the realism of Ibsen’s plays; the naturalism inspired by the increasingly scientific context of late 19th-century Europe; the comedies of Oscar Wilde and George Bernard Shaw; the controversial works of Elizabeth Robins and Alfred Jarry’s Ubu Roi (1896); the symbolism of Belgian playwright Maurice Maeterlinck; and the tragic-comedy of Anton Chekhov. The common features running through these radically different new tendencies were experimentation, innovation, and language.
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21

Dworkin, Craig. Helicography. punctum books, 2021. http://dx.doi.org/10.53288/0352.1.00.

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Part art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson’s iconic 1970 artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies. Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are the consequences of their physical metamorphoses? What other equivalences follow in turn, and where do their surprising historical, cultural, and mechanical connections lead? This book considers a number of forms in order to find out: the fluid vortices of whirlpools, hurricanes, and galaxies; the delicate shells of snails and the threatening pose of rattlesnakes; prehistoric ferns and the turns of the inner ear; the monstrous jaws of ancient sharks; a baroque finial scroll on a bass viol; a 19th-century watch spring; phonograph discs and spooled film; the largest open-pit mine on the planet. The result is a narrative laboratory for the “science of imaginary solutions” proposed by Alfred Jarry (whose King Ubu also plays a central role in the story told here), a work of fictocriticism blurring form and content, and the story of a single instant in time lost in the deserts of the intermountain west.
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