Documents found
-
-
-
1073.
-
-
1075.
-
-
1077.More information
Conceived somewhat in the style of the 'Mirrors of Princes' tradition composed of educational tracts addressed to future monarchs dating back to the 9th century, these late sixteenth-century treatises of royal eloquence are intended to serve the Prince and edify his speech. For this reason, they invite examination as princely 'Institutions of Oratory'. The ideal portrait of the king, forever haunted by a general fear of conferring royalty upon an ass, is one of a 'learned and well-spoken' prince. Education and eloquence therefore constitute two royal virtues which allow the sovereign to distinguish himself from the people and render himself worthy of the admiration of all subjects. This primary relation between learning and eloquence taken as fundamental elements of royal power is the main concern of the present study and analysis. We shall examine the case of three 'rhetorics', composed for the use of Henry III with the intention of informing himself as a model of the 'well-spoken king'.
-
1078.More information
At the heart of this reflection is a hypothesis: some of Tierno Monénembo’s novels seem to be characterized by the depiction of characters who fail in the face of adversity. Whether it is the absurd and bitter failure of the intellectual Diouldé upon his definitive return to his native country after his years of study in Hungary in Les Crapauds-Brousse (1979), the aborted heroic dream of Sanderval in Le Roi de Kahel (2008) or the sentimental and family failure of Juliana in Les Coqs cubains chantent à minuit (2015), Tierno Monénembo’s novels not only summon up African social, cultural and political turpitudes through characters who fail in the accomplishment of their missions, but they also offer a lucid reflection on the place of the adventurer and the intellectual in contemporary African societies. Based on this observation, this article attempts to demonstrate that the novels Les Crapauds-Brousse and Les Coqs cubains chantent à minuit can be read as novels of failure in the sense that they describe the physical and moral suffering of the characters in a situation of failure and the social and political violence of which they are often victims. It will involve, on the one hand, examining the forms and issues of this failure, and on the other hand, questioning the social and political determinants that support the dramatic invention of the novels.
-
1079.More information
The Theatrephone, the telephone, the phonograph and the gramophone, all of them technologies based on the principle of blind listening, have each been used variously by radio, theatre, as well as cinema. Such amplified sounds are disincarnate, spectral presences. This form of listening is still found in contemporary plays when voices get severed from bodies and noises unhinged from objects. One finds it in the plays of Maurice Maeterlinck (The Blind, Intruder, Interior, The Death of the Tintagiles), Samuel Beckett (The Last Tape, Eh Joe, Not I, Rockaby, Embers), Carlo Emilio Gadda (Eros e Priapo, San Giorgio in Casa Brocchi), Ibsen (En Folkefiende, Gengangere, Bygmester Solness, Når vi døde vågner), Jean Tardieu (Une voix sans personne), Marguerite Duras (L'Amante anglaise, India Song, Savannah Bay) and several others. This article offers suggestions for developing an archaeology of mise-en-scene regarding this form of listening by examining a few devices in use at the end of the 19th century, a period rich in technological innovations.
Keywords: écoute aveugle, théâtre, cinéma, radio, disque, bande magnétique, archives théâtre, Maurice Materlinck, Blind Listening, Sound, Theater, Cinema, Radio, Maurice Materlinck