From the contents: Beckett and the quest for meaning (Martin Esslin). - Beckett's tonic laughter (Manfred Pfister). - The magic triangle: James Joyce, Samuel Beckett, Arno Schmidt (Friedhelm Rathjen). - Beckett performed in Italy (Annamaria Cascetta). - Beckett and synaesthesia (Yoshiki Tajiri). - Beckett versus the reader (Michael Guest).
This volume is mainly a collection of papers presented at the 1995 Mandelieu conference in France which brought together artists and critics. The theme was that of contemporary African theatre in the former British and French empires. The contributions are of interest to those working in theatre generally and to those specialising in African performance, development studies and comparative literature. The varied topics include: popular theatre, Soyinka and France, syncretic theatre, comparisons between Anglophone and Francophone theatre in the Cameroon, censorship, development theatre and Sony Labou Tansi. There are also interview with Southern African writers and pieces of creative writing.
Filmmakers have drawn inspiration from the pages of Emile Zola from the earliest days of cinema. The ever-growing number of adaptations they have produced spans eras, genres, languages, and styles. In spite of the diversity of these approaches, numerous critics regard them as inferior copies of a superior textual original. But key novels by Zola resist this critical approach to adaptation. Both at the level of characterization and in terms of their own textual inheritance, they question the very possibility of origin, be it personal or textual. In the light of this questioning, the cinematic versions created from Zolas texts merit critical re-evaluation. Far from being facile copies of the nineteenth-century novelists works, these films assess their own status as adaptations, playing with both notions of artistic creation and their own artistic act. Kate Griffiths is a lecturer in French at Swansea University.
Au cours des sept années d'existence de notre revue, nous avons pu être témoins d'un bon nombre de controverses concernant l'oeuvre de Beckett, que ce soit au sujet des publications posthumes ou bien par rapport aux représentations de ses pièces. Plus généralement, il existe aussi quantité de controverses portant sur la genèse et la transmission de ses textes, ses propres traductions inclus. Enfin, dans la recherche beckettienne récente, on peut repérer diverses controverses sur les rapports qu'entretient cette oeuvre avec les perspectives et les stratégies postmodernes entre autres. Nous publions dans notre 'numéro sept' 31 approches fort variées de cette problématique par autant de beckettiens chevronnés.
Pas de sexe avec un homme en dehors du jeu : lorsque Kate signe son contrat pour participer à une émission de télé-réalité, les règles sont très claires. Si elle veut parvenir jusqu’à la finale, séduire le bachelor et empocher l’argent, la jeune femme doit s’abstenir de tout contact masculin en-dehors du plateau de télévision. Il n’y a qu’un problème : Cooper. C’est un joueur de poker sexy rencontré loin des caméras, et qui est tombé sous le charme de Kate. Le coup de foudre a été réciproque, mais la jeune femme sait qu’elle n’a pas le droit de céder. Question de volonté. Piqué au vif, Cooper décide de passer à l’offensive : il fera tout pour avoir ce qu’il veut. Et ce qu’il veut, c’est Kate... Il a juré de la conquérir. Elle a interdiction de céder...
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This book constitutes the strictly refereed proceedings of the 9th International Conference on Computer Aided Verification, CAV '97, held in Haifa, Israel, in June 1997. The volume presents 34 revised full papers selected from a total of 84 submissions. Also included are 7 invited contributions as well as 12 tool descriptions. The volume is dedicated to the theory and practice of computer aided formal methods for software and hardware verification, with an emphasis on verification tools and algorithms and the techniques needed for their implementation. The book is a unique record documenting the recent progress in the area.
A bilingual collection of essays on the aesthetics of Gilles Deleuze, Discern(e)ments highlights what is at stake in Deleuzian philosophy of art. It traces the reception of Deleuzian thought in a broad range of disciplines and gauges its use-value in each of them. Following the dynamics between structure and becoming that punctuates Deleuzian aesthetics, Discern(e)ments sketches and erases boundaries between methods and traditions in philosophy and art theory, as well as in literary, performance and film studies. Offering both numerous case-studies as well as theoretical outlines, Discern(e)ments engages faculties, disciplines and criticisms not in a mere exchange of points of view, but in heterogenesis mapping out further discernments in Deleuzian aesthetics.
Where, when, and why did European Romantics take to Shakespeare? How about Shakespeare's reception in enduring Neoclassical or in popular traditions? And above all: which Shakespeare did these various groups promote? This collection of essays leaves behind the time-honoured commonplaces about Shakespearean translation (the 'translatability' of Shakespeare's forms and meanings, the issue of 'loss' and 'gain' in translation, the distinction between 'translation' and 'adaptation', translation as an 'art'. etc.) and joins modern Shakespearean scholarship in its attempt to lay bare the cultural mechanisms endowing Shakespeare's texts with their supposedly inherent meanings. The book presents a fresh approach to the subject by its radically descriptive stance, by its search for an adequate underlying theory along interdisciplinary lines, and not in the least by its truly European scope. It traces common trends and local features not just in France and Germany, but also in Hungary, Italy, the Netherlands, Portugal, Russia, Scandinavia, and the West Slavic cultures.
SBT/A 19 features selected papers from the Borderless Beckett / Beckett sans frontières Symposium held in Tokyo at Waseda University in 2006. The essays penned by eminent and young scholars from around the world examine the many ways Beckett's art crosses borders: coupling reality and dream, life and death, as in Japanese Noh drama, or transgressing distinctions between limits and limitlessness; humans, animals, virtual bodies, and stones; French and English; words and silence; and the received frameworks of philosophy and aesthetics.The highlight of the volume is the contribution by Nobel Laureate J. M. Coetzee, the special guest of the Symposium. His article entitled “Eight Ways of Looking at Samuel Beckett” introduces a variety of novel approaches to Beckett, ranging from a comparative analysis of his work and Melville's Moby Dick to a biographical observation concerning Beckett's application for a lectureship at a South African university. Other highlights include innovative essays by the plenary speakers and panelists – Enoch Brater, Mary Bryden, Bruno Clément, Steven Connor, S. E. Gontarski, Evelyne Grossman, and Angela Moorjani – and an illuminating section on...
This collection of nineteen essays focuses on the ways in which, in England, France and Spain, the Renaissance made propagandistic, or aesthetic, use of the image in various spectacles. Under surface differences between genres, what emerges is a surprising similarity in tactics and response, which invites further questioning about image elaboration and its reception.
All the papers in the volume are original research papers, discussing fundamental properties of stochastic processes. The topics under study (martingales, filtrations, path properties, etc.) represent an important part of the current research performed in 1996-97 by various groups of probabilists in France and abroad.
Bringing allegory into the light from the neglect into which it fell means focusing on the wondrous heights of the human spirit in its significance for culture. Contemporary philosophies and literary theories, which give pre-eminence to primary linguistics forms (symbol and metaphor), seem to favor just that which makes intelligible communication possible. But they fall short in accounting for the deepest subliminal founts that prompt the mind to exalt in beauty, virtue, transcending aspiration. The present, rich collection shows how allegory, incorporating the soaring of the spirit, offers highlights for culture, with its fluctuations and transformation. This collective effort, rich in ideas and intuitions and covering a vast range of cultural manifestations, is a pioneering work, retrieving the vision of the exalted human spirit, bringing together literature, theatre, music and painting in a variety of revealing perspectives. The authors include: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas. For...
This volume offers challenging assessments of the reconfigurations that have shaped Anglophone and Francophone Canadian literatures in the last decades of the twentieth century. Focusing on the pursuit of an ever-elusive «Canadianness» in literary texts, it documents the astonishing range of Canadian diasporic identities that have recently emerged in the Canadian literary landscape. The contributors to this volume boldly transgress the widely held critical assumptions of postcolonialism in their examination of the literary representations of contemporary Canada's many «Others». Ce volume rassemble nombre d'analyses innovatrices des reconfigurations qui ont caractérisé les littératures canadiennes anglophones et francophones durant les dernières décennies du vingtième siècle. Tout en se concentrant sur la quête de l'insaisissable «Canadianité» en littérature, l'ouvrage démontre l'étonnante diversité des identités diasporiques qui ont récemment émergé dans le paysage littéraire canadien. Les contributeurs de ce volume transgressent audacieusement les certitudes généralement acquises du postcolonialisme afin de mieux décrire les représentations...
The work of Louis-René des Forêts, exemplary in its global austerity, its obsessive but lucid preoccupations, its aesthetically attuned yet unpretentious manner, had received only intermittent, if at times privileged attention until Yves Bonnefoy's subtle and penetrating analyses appeared recently in the Nouvelle Revue Française. Des Forêts' poetics emerges today as at once existentially and aesthetically challenging, contestatory, bleak some would argue, and yet recuperative, resilient, intuitively alert to states of being our century, and even his own work, can find difficult to embrace. The tensions of role playing and authenticity are ever manifest, and simple, transitive depiction vies thus with the intransitivity of fiction. Identity easily dislodges itself and the meaning of our doing is thrown into doubt and disarray. Beyond, but also through such dramas - of man and writer - Des Forêts struggles, however, to stabilise the claims of the kingdoms of love, of other, of otherness; the excarnate tussles with the incarnate; futility stares in amazement upon simplicity, childhood, mystery... John Naughton's study, eloquent, patient, discreet yet deftly perceptive, helps...
Lola et Sasha ont été sélectionnées pour faire un stage de patinage à New York. Le rêve !Mais très vite, elles réalisent que les méthodes américaines nécessitent beaucoup d’efforts : entraînements intensifs, balance ultra-connectée qui détecte l’ingestion du moindre donut. En plus, on les pousse à être rivales. Sont-elles prêtes à sacrifier autant pour l’amour du patin ?
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta,...
Vartanian (1922-97) offered this set of three essays to the series editors just before he died and had no opportunity to write a general introduction explaining the direction they take. However, they were deemed to be a major contribution to the study of the French Enlightenment and are presented as
Le défi du patrimoine immatériel est de capturer l'essence du spectacle : l'idée de « capture » a cela d'intéressant qu'elle suppose que les professionnels impliqués dans la SIBMAS soient comme des chasseurs, sur la piste, de toutes sortes de façons, afin de coincer et de recueillir un petit quelque chose d'éphémère, qui en vaut la peine, et qui nous en apprend sur nous-mêmes et sur notre monde. Certains chasseurs se servent des bases de données, d'autres des écrits ou des images - mais tous partagent un même objectif : ne pas laisser se perdre un moment spécial, magique, que seule la vie du spectacle peut générer. The challenge of intangible heritage is to capture the essence of performance: the idea of capturing is interesting as it implies that the professionals, involved in SIBMAS, are on a hunt, a hunt in a number of different ways to pin down and preserve something ephemeral and something worth preserving, something that tells us more about ourselves and the world we live in. Some hunters use the database, some the written word, some the camera but all share a common goal: not to let go of a particular moment, a magic moment that only the live event can...
Despite a burgeoning interest in transatlantic and regional studies, the long-standing cultural connections between francophone communities on both sides of the Atlantic have received little critical attention. Transatlantic Passages presents essays, interviews, and images that address the often-neglected cultural commerce integral to understanding historical and contemporary identities in Quebec and francophone Europe.
This study is based on an analysis of videos and transcripts of five films Fric-frac, Circonstances atténuantes, Le Jour se lève, La Règle du jeu and Hôtel du Nord. These films are examples of planned and artificial language. The book looks at the evidential value of these data and assesses the extent to which stereotyped and scripted language can contribute to an understanding of spoken Parisian usage by looking at phonetics, syntax, discourse, lexis and pragmatics. By comparing traditional research carried out by scholars in the nineteenth century and earlier with Parisian data collected and analysed by twentieth-century researchers, the work attempts to identify the salient features that both script-writers and actors in these films considered to be characteristic of social-group differences at that time.
Selected papers from the Archimedia conference held Oct. 2000, Brussels.
Fourteen essays map Canadian literary and cultural products via advances in digital humanities research methodologies.
This volume constitutes a collection of over 40 articles selected from contributions to the Sydney Symposium of January 2003 that - as a part of an International Sydney Festival - was one of the major events related to Samuel Beckett of the last decade. The three sections of the book reflect the most vibrant fields of research in Beckett studies today: Intertextuality and Theory, Philosophy and Theory and Textual Genesis, Contextual Genesis and Language. Scholars from all over the world participating in this collection testify to the durable and universal nature of interest in Beckett's work.