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217.More information
Abstract : Mountain and spas from Michelet to Montaigne. Montaigne (Journal of a journey in Italy) and Michelet (Mountain) convey a litterary mood to the oldest certififed touristic activity, trips to watering places. Under the pretext of taking the waters, the thermal tourism associates society clientèle with therapeutic ritual and imaginery involvement in profundity, origin and vital fluid. This original synthesis generates a specific architecture which strongly marks the feet ot the mountains. It also allows entertainment and games of chance to get on well with ascetic sanatary conceptions. This mixture of futility and discipline outlines the image of an immemorial tourism.
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218.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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220.More information
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.