Contributors: Loïc Chalmel, Laurent Curelly, Gérard Danou, Michel Faure, Adriana de Feo, Marilina Gianico, Christine Hammann, Pascal Hintermeyer, David Le Breton, Filippo Sani, Catriona Seth, Marco Sirtori, Mathilde Vanackere.

At the end of the early modern period, the interpretation of pain is shaped by the epistemological reconfiguration that characterizes this transitional era. This volume brings together interdisciplinary contributions devoted to the narration and representation of pain during this pivotal period.

For more information, please follow the link : https://classiques-garnier.com/raconter-la-douleur-la-souffrance-en-europe-xviie-xviiie-siecles.html

Travel to Andalusia in the nineteenth century appears as a response to the dual mimetic and media revolution confronting literature at the time. The travel writers whose works are examined here : Laborde, Chateaubriand, Taylor, Irving, Gautier, Alexandre Dumas père, Botkin, Andersen, De Amicis, and others—engage in dialogue with the very instruments of modernity: lithography, photography, and journalistic literature.

For this reason, these literary works, which vary widely in genre and publication format (picturesque travel accounts, tales, serialized stories, letters, etc.), must be situated within the broader cultural environment linked to Andalusia during the period. This includes Richard Ford’s Spanish Handbook, the photographs of Charles Clifford and Jean Laurent, Owen Jones’s studies of the Alhambra, the Great Exhibition of London in 1851, and Gustave Doré’s illustrations for Davillier’s Spain.

At the end of this journey, one gains an understanding of how the encounter between a problematic genre, the travel narrative, and a space upon which multiple, sometimes contradictory, loci are projected : Andalusia gave rise to practices that reveal the impact of Romantic modernity on literature.

Publisher’s Description:

Proust viewed the First World War with compassion. He suffered alongside his fellow citizens while refusing to condemn the German people on account of the war. Yet this study opens up a previously unexplored avenue: through his daily reading of several newspapers, Proust developed a keen interest in military strategy, battle structures, the role of leadership, and the hidden intentions that must be deciphered. Influenced by the writings of exceptionally brilliant commentators : Joseph Reinach, Henry Bidou, and Colonel Feyler in Switzerland he became fascinated by themes that also interested the novelist of romantic jealousy above all: the mechanisms of deception.

Saint-Loup’s views on strategy highlight the major contemporary controversies of the time and can themselves be critically examined. The strategist and his military operations provide a detailed perspective on the writer situated at the heart of his work, while the scenes and debates of the Great War unfold before the reader’s eyes.

A character in countless works of fiction as well as documentaries, an image and an icon, Marilyn Monroe presents a major challenge of embodiment when portrayed on stage. How can one “perform” this cinematic image in the theater when her body, voice, and face are instantly recognizable? Which actresses can portray the many Marilyns she was the actress, the singer, the woman? And what exactly is being performed?

To stage Marilyn is also to replay the story of a Marilyn shaped by men producers, agents, journalists, and others. Through scholarly articles, personal testimonies, interviews, excerpts from plays, and other contributions, this volume sets out to explore these “theatrical Marilyns.”

Contents

Foreword (C. François-Denève and Florence Fix)

MARILYN QUEER
Oh my lady Marilyn, (Moni Grégo) extrait
Oh my lady Marilyn, (Moni Grégo) témoignage de l’autrice
« Marie-France ou Marilyn : L’actrice, la femme et leurs doubles dans le spectacle M. M. Maggie Moon : Mais qui était donc cette petite blonde ?(1974) » (Alexandre Moussa, Université Sorbonne nouvelle)
« Marie France ou la Marilyn du défilé-spectacle Mugler-Follies » (Paul Warnery et Pierre Philippe-Meden, Université Paul-Valéry Montpellier 3)
« Les scènes féminines, féministes et queer de Marilyn : Organic Marilyn de Catherine Beilin, Syndrome Marilyn de Julie Pichavant, Gwerz de Gwendal Raymond et Gilles Jacinto » (Muriel Plana, Université de Toulouse)
Marilyn Inside (Céline Barcaroli), note d’intention et entretien avec l’autrice
Marilyn Inside, entretien avec Emma Barcaroli, interprète de Marilyn

MARILYN INTIME : NORMA JEANE ET NOUS 
Marilyn, intime(Claire Borotra), extrait
Marilyn, intime(Claire Borotra), témoignage de l’autrice-interprète
Marilyn Monroe – Entretiens (Stéphanie Marc), témoignage de l’autrice-interprète
To be or not (solo) (Marie-Claire Cattino), extrait
To be or not (solo)(Marie-Claire Cattino), témoignage de l’autrice
Norma Jeane(Pierre Glénat), extrait
Norma Jeane (Pierre Glénat), témoignage de l’auteur
Marilyn, ma grand-mère et moi (Céline Milliat-Baumgartner), témoignage de l’autrice-interprète
Marilyn’s Dream Ou Le Rêve De Shakespeare (Elsa Solal), extrait
Marilyn’s Dream Ou Le Rêve De Shakespeare(Elsa Solal), témoignage de l’autrice

« ENCORE UN BIOPIC ! » : JOUER (AVEC) MARILYN 
Sept jours de réflexion ou le fantôme de Marilyn (Renaud Maurin), extrait
Sept jours de réflexion ou le fantôme de Marilyn (Renaud Maurin), témoignage de l’auteur
Norma Jeane (John Arnold), témoignage de Marion Malenfant, interprète
Marilyn en chantée (Sue Glover), extrait
Marilyn en chantée (Sue Glover), témoignage de Guy-Pierre Couleau, adaptateur et metteur en scène
« Sous le masque : déconstruire le mythe Marilyn Monroe par le rêve du théâtre (Krystian Lupa) » (Floriane Toussaint, Université de Caen)
Mudith Monroevitz, la réincarnation ashkénaze de Marilyn Monroe (Judith Margolin), témoignage de l’autrice-interprète
Monroe (Frédéric Vossier), témoignage de l’auteur
Pour Marilyn (Marc Israël-Le Pelletier), extrait
Pour Marilyn (Marc Israël-Le Pelletier), note d’intention de l’auteur
Double M(Anne-Pascale Patris), extrait
Double M (Anne-Pascale Patris), témoignage de l’autrice-interprète

D’UN VERTIGE L’AUTRE, ISABELLE ADJANI ET MARILYN MONROE 
Le Vertige Marilyn(Olivier Steiner), extrait
« Du Ravissement au Vertige : quand Marilyn Monroe et Isabelle Adjani se font signe » (Arnaud Duprat de Montero, Université de Rennes 2)
« Marilyn, je ne sais plus « (Olivier Steiner, auteur)
Le Vertige Marilyn (Emmanuel Lagarrigue, scénographe)
« Pourquoi Marilyn ? » (Isabelle Adjani, interprète)

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An important part of age-old human attempts to cope with the otherness of the dream is the so-called ‘dream-discourse’, which tries to explain the origin of dreams, their bizarre appearance, their functions, and the methods for detecting the information which they may contain. This collection of essays will reconstruct dream-discourses from many cultures and time periods, together with the dream knowledge of important literary authors. The scope of the contributions ranges geographically from India, China, and Korea to diverse European countries and historically from Antiquity to the present. Pour réduire autant que faire se peut l’altérité du rêve, l’humanité a développé divers discours portant sur son origine, sa bizarrerie, ses fonctions et significations. Les contributions de ce volume s’efforcent d’en retracer les lignes de force à travers différentes cultures et périodes, et tenant compte aussi des savoirs oniriques d’importants écrivains. Les essais recouvrent une aire géographique incluant l’Inde, la Chine et la Corée et un champ historique s’étendant de l’Antiquité à l’époque contemporaine. Including studies on / Avec des études portant sur : Gaudapada, Confucius, Ho Kyun, Ji Yun, Song Chewon, Homer, Aristotle, Cicero, Artemidorus, Augustine of Hippo, Hildegard of Bingen, Albertus Magnus, Thomas Aquinas, Béroalde de Verville, Athanasius Kircher, Descartes, Locke, Leibniz, Kant, Fichte, Schelling, Hegel, Novalis, Schubert, Troxler, Carus, Novalis, E. T. A. Hoffmann, Nodier, Nerval, Victor Hugo, Serrurier, Moreau de la Sarthe, Maury, Hervey de Saint-Denys, Baudelaire, Lautréamont, Freud, Jung, Proust, Joyce, Kafka, Marinetti, Tzara, Breton, representatives of current empirical dream research and many other dream theoreticians.

Pour plus d’informations, veuillez suivre le lien : https://www.verlag-koenigshausen-neumann.de/product_info.php/info/p8902_Theorizing-the-Dream–Savoir-et-th-ories-du-r-ve–Kulturwissenschaftliche-Traum-Studien–Bd–2–2018-.html

Imperial Politics and Colonial Ambitions in Frontier Detroit par Sämi Ludwig

In the mid-eighteenth century, the Ottawa leader Pontiac (also spelled Ponteach) headed an intertribal confederation that resisted British power in the Great Lakes region. This event was immortalized in the play Ponteach, or the Savages of America: A Tragedy. This work, attributed to the notoriously controversial frontier soldier Robert Rogers, was never performed. Nevertheless, it is one of the earliest theatrical representations of the region, portraying its hero in a way that challenges eighteenth-century constructions of Indigenous Americans.

Sämi Ludwig argues that the literary and artistic merits of Ponteach deserve further study. He examines questions of authorship and analyzes the content of the play, considering its many contradictions as revealing windows into the period. He thus suggests using Ponteach as a tool for better understanding British imperialism in North America and the emerging theatrical forms of the Early Republic.

Editor’s website: https://uwpress.wisc.edu/books/5798.htm

The University of Haute-Alsace held its 15th Doctoral Humanities Conference in a virtual format from 11 to 12 June 2020, titled (Dis)simulation. We invite you to discover the publication of the proceedings of these doctoral conferences.

Edited by Florence Puech, doctoral candidate at LISEC (ED 519), and Régine Battiston (ILLE), this volume constitutes Volume 4 of the JDH UHA proceedings, published since 2017. The contributors come from the universities of Haute-Alsace, Bologna, Strasbourg, and Lorraine.

Link to the publication: https://dialogues.hypotheses.org/journees-doctorales-des-humanites/dissimulation

The aim of this work is to demonstrate the influence of Dante’s oeuvre within the intellectual currents that flourished during the Renaissance—particularly in the Veneto—and that would later lead to the Enlightenment. A key concept in this investigation is memory, along with female figures who served as the basis for literary or artistic creations.

After defining the term ars memorativa and clarifying the authors’ position regarding its rules, the first part shows how rhetorical treatises could give rise to grotesque characters or situations in the Divine Comedy. In light of these principles, a close rereading of the poem reveals a structure not grounded in the number three or in theology, but in a more personal number for Dante—one he associates with Beatrice.

The practice of the art of memory does not guarantee poetic success, and the second part highlights the failures of a memory “cluttered” with images, to the point that language can no longer adequately convey them. During the Renaissance, the study follows the transformations of ars memorativa and how it came to serve freedom of thought by helping humanists free themselves from dogma.

Memory and its figures are also used to decipher the frescoes in Daniele Barbaro’s villa at Maser and to understand the growing importance of architecture as the “queen of knowledge.”

Le site de l’éditeur: https://www.peterlang.com/document/1140447

Source(s) is a journal of cultural history, history of representations, and cultural studies, founded at the University of Strasbourg in 2012. It is published in both print and electronic formats, and its articles are peer-reviewed through a double-blind review process.

Issue 18 (edited by N. Bourguinat and N. Dziub) was devoted to educational travel as a segment of travel writing, and more broadly to the representations and uses of travel as a pedagogical tool.

Pour en savoir plus : Arche unistra