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201.More information
Is Huysmans' misogyny identical by nature to Michelet 's, Laforgue's or even Baudelaire's misogynies ? Can J.K. Huysmans be related to an old Christian misogynistic tradition ? Or is his misogyny, as well as his antisemitism, the matter of a more personal conflict and a sort of protection against the agressions of the outside world ? In other words should not we consider Huysmans' misogyny as the product of an inability to live, of a body and soul disorder, as one of the rites of preservation helping him to reach the Infinite. Is not this mystical quest a way to soothe Huysmans' conflictual nature in which, devout Catholicism, Marian cult, stupendous conversion along with dénégation of women, Jews, Free-masonry and Americanism are nothing but "recettes de l'absolu".
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Henry Bernstein's theatre encountered difficulties to find its place within the history of theatre. Which inner contradiction prevented it from being rigorously classified? On the one hand, the author takes up the dramaturgical model of the "well-made play" that is characterized by a closed and concentrated form, based on conflict and relayed by the characters. On the other hand, this model goes through various perturbations: Bernstein suspends the action, some parts of the drama are hypertrophied and the drama is novelized. The use of these two conflicting aesthetic forms results in the disorganization of the play, which is linked not to Bernstein's subversive goal but to his pragmatism. A pragmatism which shows how much Bernstein was aware of the artistic evolutions of his time. This aspect is also evidenced by the choice of the people he used to work with as well as the dramatic genres he adopted, both chosen in order to give him the best visibility within the theatre world.
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If mimetic space in poetry is caracterized by a specific organization of meaning, it is not only related to lived space, which guarantees the many possibilities of reading, but also to poetic space, that is governed by the configuration of interpretation and is leading to the general signification. The analysis of Maeterlinck's Serres chaudes confirms these relations between mimetic space, that is based on the opposition of inside and outside, lived space, resulting from the " displacement of everything ", and poetic space, that extends the figurativisation of " the contrasting " to a specific double hermeneutic configuration.
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Le fumier, the second instalment from Saint-Pol-Roux's dramatic trilogy Les grands de la Terre, was published in La revue blanche between May and August of 1894. The anarchist attacks of the two previous years had given rise to literary voices set out to castigate social structures with poetry, with La revue blanche even publishing a scene from Tête d'Or in May of 1895. Why poetry ? Because neither Saint-Pol-Roux nor Claudel would give in to argumentative plays. The allegorical Les grands de la Terre, dedicated to Henry de Groux and subtitled “fresques”, depicts the revolt of the poor. Yet, allegory is also a strategic ploy. Its publication in the quietly pro-anarchist La revue blanche requires that Le fumier be read in context with other published writings of the day, the obvious yet unscripted anarchist undertones of which were expressed through the infinitely equivocal tool that is allegory. From this standpoint, the allegory-driven poetic encryption in Le fumier would make a political weapon of such a tool.
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Although it may seem paradoxical to mention manifestoes given today's disintegration of artistic activities and movements, there was a late twentieth century return to the genre that paralleled a “crisis in contemporary art”. To wit, art critic Nicolas Bourriaud published Esthétique relationnelle in 1995, a book outlining a new theory based on a wide selection of stylistically and topically diverse previous works. While its theoretical approach links the book to the “avant-garde” manifesto, Bourriaud's quasi-sociological slant and his reliance on a legacy contrast with the polemical tone and the “tabula rasa” that characterise the “avant-garde”. Changes in the historical context can explain that important difference: in today's global village, contemporary artists create new forms of engagement and utopias far removed from their elders', thereby changing the modalities and finalities of the manifesto.