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Anna Langfus a contribué à un renouvellement majeur de la littérature de la Shoah, qui, avant ses publications, était largement dominée par le récit du témoin. Elle est l’auteure de pièces de théâtre et de trois romans : Le Sel et le soufre (1960), Les Bagages de sable (1962), lauréat du prix Goncourt, et Saute, Barbara (1965). Bien qu’ayant vécu les horreurs du génocide, elle n’a pas exprimé sa souffrance par l’autobiographie. Dans son œuvre elle explore, sans pathos, la tragédie des survivants atteints par ce qu’elle appelle « la maladie de la guerre ». Ce livre étudie, entre autres, la spécificité des textes de Langfus. Ecrits à une époque où prévalait l’ethos de la victimisation, de la repentance et parfois du manichéisme, ils nous invitent à tenir à distance toute idéalisation ou fausse consolation.
Anna Langfus participated in a major renewal of Holocaust literature which had been mainly testimonial and witness-focused prior to her publications. She is the author of theater plays and of three novels: Le Sel et le soufre (1960), Les Bagages de sable (1962), awarded with the Prix Goncourt, and Saute, Barbara (1965). She experienced the horrors of the Holocaust, but she refused to express her grief through autobiography. Through her work she explores, without pathos, the tragedy of those who survived, and what Anna Langfus herself calls “la maladie de la guerre”: the war disease. This books examines, among other issues, the specificity of Langfus’s texts. Written at a time when an ethos of victimization, repentance, and sometimes Manichaeism was dominant, Langfus’s they urge us to keep any form of idealization or false consolation at a distance.
Anna Langfus participated in a major renewal of Holocaust literature which had been mainly testimonial and witness-focused prior to her publications. She is the author of theater plays and of three novels: Le Sel et le soufre (1960), Les Bagages de sable (1962), awarded with the Prix Goncourt, and Saute, Barbara (1965). She experienced the horrors of the Holocaust, but she refused to express her grief through autobiography. Through her work she explores, without pathos, the tragedy of those who survived, and what Anna Langfus herself calls “la maladie de la guerre”: the war disease. This books examines, among other issues, the specificity of Langfus’s texts. Written at a time when an ethos of victimization, repentance, and sometimes Manichaeism was dominant, Langfus’s they urge us to keep any form of idealization or false consolation at a distance.
Series:
Francopolyphonies, Volume: 34
Anna Langfus a contribué à un renouvellement majeur de la littérature de la Shoah, qui, avant ses publications, était largement dominée par le récit du témoin. Elle est l’auteure de pièces de théâtre et de trois romans : Le Sel et le soufre (1960), Les Bagages de sable (1962), lauréat du prix Goncourt, et Saute, Barbara (1965). Bien qu’ayant vécu les horreurs du génocide, elle n’a pas exprimé sa souffrance par l’autobiographie. Dans son œuvre elle explore, sans pathos, la tragédie des survivants atteints par ce qu’elle appelle « la maladie de la guerre ». Ce livre étudie, entre autres, la spécificité des textes de Langfus. Ecrits à une époque où prévalait l’ethos de la victimisation, de la repentance et parfois du manichéisme, ils nous invitent à tenir à distance toute idéalisation ou fausse consolation.
Anna Langfus participated in a major renewal of Holocaust literature which had been mainly testimonial and witness-focused prior to her publications. She is the author of theater plays and of three novels: Le Sel et le soufre (1960), Les Bagages de sable (1962), awarded with the Prix Goncourt, and Saute, Barbara (1965). She experienced the horrors of the Holocaust, but she refused to express her grief through autobiography. Through her work she explores, without pathos, the tragedy of those who survived, and what Anna Langfus herself calls “la maladie de la guerre”: the war disease. This books examines, among other issues, the specificity of Langfus’s texts. Written at a time when an ethos of victimization, repentance, and sometimes Manichaeism was dominant, Langfus’s they urge us to keep any form of idealization or false consolation at a distance.
Anna Langfus participated in a major renewal of Holocaust literature which had been mainly testimonial and witness-focused prior to her publications. She is the author of theater plays and of three novels: Le Sel et le soufre (1960), Les Bagages de sable (1962), awarded with the Prix Goncourt, and Saute, Barbara (1965). She experienced the horrors of the Holocaust, but she refused to express her grief through autobiography. Through her work she explores, without pathos, the tragedy of those who survived, and what Anna Langfus herself calls “la maladie de la guerre”: the war disease. This books examines, among other issues, the specificity of Langfus’s texts. Written at a time when an ethos of victimization, repentance, and sometimes Manichaeism was dominant, Langfus’s they urge us to keep any form of idealization or false consolation at a distance.
These volumes offer the first critical edition of the Chronique d’Ernoul and the so-called Colbert-Fontainebleau (or Acre) Continuation of William of Tyre in over 150 years. The material is accompanied by an extensive introduction, glossary and bibliography. These two thirteenth-century narratives recount the story of the crusades and the Latin East. Both are anonymous; both employed the French vernacular and both contain accounts that are essential for anyone studying the subject.
The Chronique d’Ernoul was completed in the 1230s in northern France. The main part of the Colbert-Fontainebleau Continuation of William of Tyre dates to the late 1240s and is a reworking of Ernoul with material going up to 1277; it was composed in the Latin East.
The Chronique d’Ernoul was completed in the 1230s in northern France. The main part of the Colbert-Fontainebleau Continuation of William of Tyre dates to the late 1240s and is a reworking of Ernoul with material going up to 1277; it was composed in the Latin East.
Series:
Rulers & Elites, Volume: 20
Author:
This book is the first to explore the rich festival culture of late sixteenth- and early seventeenth-century France as a tool for diplomacy. Bram van Leuveren examines how the late Valois and early Bourbon rulers of the kingdom made conscious use of festivals to advance their diplomatic interests in a war-torn Europe and how diplomatic stakeholders from across the continent participated in and responded to the theatrical and ceremonial events that featured at these festivals. Analysing a large body of multilingual eyewitness and commemorative accounts, as well as visual and material objects, Van Leuveren argues that French festival culture operated as a contested site where the diplomatic concerns of stakeholders from various national, religious, and social backgrounds fought for recognition.
Series:
Rulers & Elites, Volume: 20
Author:
This book is the first to explore the rich festival culture of late sixteenth- and early seventeenth-century France as a tool for diplomacy. Bram van Leuveren examines how the late Valois and early Bourbon rulers of the kingdom made conscious use of festivals to advance their diplomatic interests in a war-torn Europe and how diplomatic stakeholders from across the continent participated in and responded to the theatrical and ceremonial events that featured at these festivals. Analysing a large body of multilingual eyewitness and commemorative accounts, as well as visual and material objects, Van Leuveren argues that French festival culture operated as a contested site where the diplomatic concerns of stakeholders from various national, religious, and social backgrounds fought for recognition.
Médée, Clytemnestre, Phèdre
Author:
This study breaks with traditional readings in terms of tragic model and tragic hero in the works of Racine and Corneille. It departs from the critical tradition of examining the tragic hero as an isolated figure, defined by autonomy; it approaches the behaviour of Médée, Clytemnestre, and Phèdre from a relational perspective. It argues that these female characters belong to the tragic hero category, hold valid and valuable ethical positions and deserve to be treated as equal to their male counterparts. It also redefines the way we look at the tragic dynamic. The characters are no longer antagonists but inadvertent collaborators working towards the tragic outcome in order to satisfy desires and beliefs about themselves and the world that are deeply rooted in their psyche. This book shows that alternative interpretations of the behaviour of Médée, Clytemnestre and Phèdre can be obtained and must be obtained by applying modern methodologies in order to challenge the biased readings from the past and to see these characters in a new light.
Médée, Clytemnestre, Phèdre
Author:
This study breaks with traditional readings in terms of tragic model and tragic hero in the works of Racine and Corneille. It departs from the critical tradition of examining the tragic hero as an isolated figure, defined by autonomy; it approaches the behaviour of Médée, Clytemnestre, and Phèdre from a relational perspective. It argues that these female characters belong to the tragic hero category, hold valid and valuable ethical positions and deserve to be treated as equal to their male counterparts. It also redefines the way we look at the tragic dynamic. The characters are no longer antagonists but inadvertent collaborators working towards the tragic outcome in order to satisfy desires and beliefs about themselves and the world that are deeply rooted in their psyche. This book shows that alternative interpretations of the behaviour of Médée, Clytemnestre and Phèdre can be obtained and must be obtained by applying modern methodologies in order to challenge the biased readings from the past and to see these characters in a new light.
Revue Annuelle Bilingue / An Annual Bilingual Review
Marcel Proust Aujourd’hui is an international bilingual review that wants to be a meetingplace for Proust scholars as well as for all those readers of the Recherche who desire to know how the research on his work is developing today. General issues alternate with issues on a specific subject.
Marcel Proust Aujourd’hui est une revue internationale bilingue qui veut être un forum aussi bien pour les spécialistes de l’oeuvre de Proust que pour tout lecteur désirant se renseigner sur l’évolution des recherches proustiennes. Des numéros généraux alternent avec des numéros orientés suivant une thématique spécifique.
Marcel Proust Aujourd’hui est une revue internationale bilingue qui veut être un forum aussi bien pour les spécialistes de l’oeuvre de Proust que pour tout lecteur désirant se renseigner sur l’évolution des recherches proustiennes. Des numéros généraux alternent avec des numéros orientés suivant une thématique spécifique.
Le dandy entre littérature et histoire
Volume Editor:
Narcisse ? Cambrioleur ? Illusionniste ? Le dandy n’arrête pas de changer de rôles, de se mettre en scène afin de protéger son moi véritable et garder son indépendance. Or, ne l’oublions pas, sa première obligation est d’étonner. En tant que maître du jeu des apparences, il s’invente des poses et s’amuse à cacher son visage derrière de nombreux masques pour dérouter son public. De Fortunio à Arsène Lupin, de Saint-Just à Romain Gary, sans oublier la femme dandy, les seize études du présent ouvrage font défiler une exceptionnelle galerie de figures qui jalonnent l’histoire du dandysme. On y découvrira l’art d’être dandy et des incarnations inattendues, voire surprenantes de ce personnage mystérieux, aussi bien littéraires qu’historiques. Haut les masques donc ! Que le spectacle commence !
Narcissus? Burglar? Illusionist? The dandy never stops changing roles, putting himself on stage in order to protect his true self and maintain his independence. But let us not forget that his first obligation is to amaze. As a master of appearances, he invents poses and derives pleasure from hiding his face behind multiple masks to confuse his audience. From Fortunio to Arsène Lupin, from Saint-Just to Romain Gary, without forgetting the female dandy, the sixteen studies in this book present an exceptional gallery of figures that delineate the history of dandyism. We will discover the art of being a dandy and unexpected, even surprising incarnations, both literary and historical, of this mysterious character. So, masks up! Let the show begin!
Narcissus? Burglar? Illusionist? The dandy never stops changing roles, putting himself on stage in order to protect his true self and maintain his independence. But let us not forget that his first obligation is to amaze. As a master of appearances, he invents poses and derives pleasure from hiding his face behind multiple masks to confuse his audience. From Fortunio to Arsène Lupin, from Saint-Just to Romain Gary, without forgetting the female dandy, the sixteen studies in this book present an exceptional gallery of figures that delineate the history of dandyism. We will discover the art of being a dandy and unexpected, even surprising incarnations, both literary and historical, of this mysterious character. So, masks up! Let the show begin!
Le dandy entre littérature et histoire
Volume Editor:
Narcisse ? Cambrioleur ? Illusionniste ? Le dandy n’arrête pas de changer de rôles, de se mettre en scène afin de protéger son moi véritable et garder son indépendance. Or, ne l’oublions pas, sa première obligation est d’étonner. En tant que maître du jeu des apparences, il s’invente des poses et s’amuse à cacher son visage derrière de nombreux masques pour dérouter son public. De Fortunio à Arsène Lupin, de Saint-Just à Romain Gary, sans oublier la femme dandy, les seize études du présent ouvrage font défiler une exceptionnelle galerie de figures qui jalonnent l’histoire du dandysme. On y découvrira l’art d’être dandy et des incarnations inattendues, voire surprenantes de ce personnage mystérieux, aussi bien littéraires qu’historiques. Haut les masques donc ! Que le spectacle commence !
Narcissus? Burglar? Illusionist? The dandy never stops changing roles, putting himself on stage in order to protect his true self and maintain his independence. But let us not forget that his first obligation is to amaze. As a master of appearances, he invents poses and derives pleasure from hiding his face behind multiple masks to confuse his audience. From Fortunio to Arsène Lupin, from Saint-Just to Romain Gary, without forgetting the female dandy, the sixteen studies in this book present an exceptional gallery of figures that delineate the history of dandyism. We will discover the art of being a dandy and unexpected, even surprising incarnations, both literary and historical, of this mysterious character. So, masks up! Let the show begin!
Narcissus? Burglar? Illusionist? The dandy never stops changing roles, putting himself on stage in order to protect his true self and maintain his independence. But let us not forget that his first obligation is to amaze. As a master of appearances, he invents poses and derives pleasure from hiding his face behind multiple masks to confuse his audience. From Fortunio to Arsène Lupin, from Saint-Just to Romain Gary, without forgetting the female dandy, the sixteen studies in this book present an exceptional gallery of figures that delineate the history of dandyism. We will discover the art of being a dandy and unexpected, even surprising incarnations, both literary and historical, of this mysterious character. So, masks up! Let the show begin!
Volume Editor:
Depuis des décennies, les écrivain/es, cinéastes, artistes et autres s’intéressent à la problématique féminine dans leurs productions artistiques. Leurs productions narratives variées mettent en discussion les termes de féminismes et de sororités dans des contextes culturels et politiques divers. Notre livre se propose d’explorer les différents aspects de la solidarité féminine et du féminisme, des combats individuels et communs des femmes et de leur affirmation sociale à travers les époques et les divers continents. Le livre est conçu comme une approche diachronique, interdisciplinaire et intergénérationnelle à la thématique des féminismes contemporains vus à travers les liens de sororité et de solidarité féminine (ou bien de leur manque) au long des siècles et dans les différentes aires de la francophonie. Les angles théoriques sont divers : théories de genre, théories raciales, théories sociocritiques, théories anthropologiques, Girlhood Studies et Cultural Studies entre autres.
For decades now, writers, filmmakers, artists and others have been interested in the feminine issue in their artistic works. Their narratives bring to the light terms such as feminisms and sororities in diverse political and cultural contexts. Our book aims to explore different aspects of feminism and solidarity, of female individual and group struggles and of their social affirmation through the centuries and on different continents. The volume follows a diachronic, interdisciplinary and intergenerational approach on the topic of contemporary feminisms seen through the lens of feminine sororal and solidarity links (or through their lack of) during centuries and in different Francophone geographies. A diverse theoretical approach is present in the volume: from gender theories, racial theories, socio-critical and anthropological theories to Girlhood Studies and Cultural Studies among others.
For decades now, writers, filmmakers, artists and others have been interested in the feminine issue in their artistic works. Their narratives bring to the light terms such as feminisms and sororities in diverse political and cultural contexts. Our book aims to explore different aspects of feminism and solidarity, of female individual and group struggles and of their social affirmation through the centuries and on different continents. The volume follows a diachronic, interdisciplinary and intergenerational approach on the topic of contemporary feminisms seen through the lens of feminine sororal and solidarity links (or through their lack of) during centuries and in different Francophone geographies. A diverse theoretical approach is present in the volume: from gender theories, racial theories, socio-critical and anthropological theories to Girlhood Studies and Cultural Studies among others.
Volume Editor:
Depuis des décennies, les écrivain/es, cinéastes, artistes et autres s’intéressent à la problématique féminine dans leurs productions artistiques. Leurs productions narratives variées mettent en discussion les termes de féminismes et de sororités dans des contextes culturels et politiques divers. Notre livre se propose d’explorer les différents aspects de la solidarité féminine et du féminisme, des combats individuels et communs des femmes et de leur affirmation sociale à travers les époques et les divers continents. Le livre est conçu comme une approche diachronique, interdisciplinaire et intergénérationnelle à la thématique des féminismes contemporains vus à travers les liens de sororité et de solidarité féminine (ou bien de leur manque) au long des siècles et dans les différentes aires de la francophonie. Les angles théoriques sont divers : théories de genre, théories raciales, théories sociocritiques, théories anthropologiques, Girlhood Studies et Cultural Studies entre autres.
For decades now, writers, filmmakers, artists and others have been interested in the feminine issue in their artistic works. Their narratives bring to the light terms such as feminisms and sororities in diverse political and cultural contexts. Our book aims to explore different aspects of feminism and solidarity, of female individual and group struggles and of their social affirmation through the centuries and on different continents. The volume follows a diachronic, interdisciplinary and intergenerational approach on the topic of contemporary feminisms seen through the lens of feminine sororal and solidarity links (or through their lack of) during centuries and in different Francophone geographies. A diverse theoretical approach is present in the volume: from gender theories, racial theories, socio-critical and anthropological theories to Girlhood Studies and Cultural Studies among others.
For decades now, writers, filmmakers, artists and others have been interested in the feminine issue in their artistic works. Their narratives bring to the light terms such as feminisms and sororities in diverse political and cultural contexts. Our book aims to explore different aspects of feminism and solidarity, of female individual and group struggles and of their social affirmation through the centuries and on different continents. The volume follows a diachronic, interdisciplinary and intergenerational approach on the topic of contemporary feminisms seen through the lens of feminine sororal and solidarity links (or through their lack of) during centuries and in different Francophone geographies. A diverse theoretical approach is present in the volume: from gender theories, racial theories, socio-critical and anthropological theories to Girlhood Studies and Cultural Studies among others.
Volume 1 of the two-volume set MMed 135: These volumes offer the first critical edition of the Chronique d’Ernoul and the so-called Colbert-Fontainebleau (or Acre) Continuation of William of Tyre in over 150 years. The material is accompanied by an extensive introduction, glossary and bibliography. These two thirteenth-century narratives recount the story of the crusades and the Latin East. Both are anonymous; both employed the French vernacular and both contain accounts that are essential for anyone studying the subject.
The Chronique d’Ernoul was completed in the 1230s in northern France. The main part of the Colbert-Fontainebleau Continuation of William of Tyre dates to the late 1240s and is a reworking of Ernoul with material going up to 1277; it was composed in the Latin East.
The Chronique d’Ernoul was completed in the 1230s in northern France. The main part of the Colbert-Fontainebleau Continuation of William of Tyre dates to the late 1240s and is a reworking of Ernoul with material going up to 1277; it was composed in the Latin East.