Documents found
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This article expresses some thoughts on the problematic relations between the French speaking writers and the French literary establishment They are rarely awarded great French literary prizes and this invites us to examine the reasons why there is such an imbalance between the European French written and the French overseas litteratures, the former being more often awarded than the latter. The history of literary prizes reveals that, first of all, they have always been the theatre of conflicts of interest within the French literary circles. Contrasted publishing realities, marketing connected, ideological or aesthetical motivations explain that the French speaking writers have difficultes to be literary honoured in France.
Keywords: Literary prizes, French written litteratures, identity, publishing, consecration, Prix littéraires, consécration, littératures francophones, édition, identité
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This paper begins by situating the curiosity of writers of the interwar period towards cannibalism, and then proposes an analysis of two adventure stories by Renée Dunan: the novella Uzcoque and the novel Kaschmir. Jardin du Bonheur. Cannibalism is approached in two ways — literally and metaphorically — within plots whose main issue is to show what women are capable of.
Keywords: Anthropophagie, polyandrie, guerre des sexes, récits d'aventures, Renée Dunan, femmes, Anthropophagy, polyandry, war of the sexes, adventure stories, Renée Dunan, women
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236.More information
The paper deals with Gauguin's geographical identities. It shows that the painter is not attached to a specific place, but is rather longing for the Elsewhere. This exoticism is shared with other orientalist artists, but his quest goes further. He longs for a more authentic human experience and expression, and hopes to find it in the "Savage", a figure of the Other defined by Geography. Gauguin wants to get away from the West and from the straitjacket of civilization. His journey is a quest for his identity. Gauguin's case shows that geographical identities have not necessarily something to do with territories, but may result from a complex and individual construction. The actor's representations and choices should then be taken seriously and be analyzed as elements of personal geographical identities, which may come to complement collective ones based on territories.
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In France different institutional and cultural obstacles did not prevent the civil society from expressing itself in vigorous writings, even if the State pretends to be the only one able to impose its views in a one-to-one relation in this field. It is possible to distinguish three different periods in the history of petitions. The first, from the end of the nineteenth century to 1918, was defined by the deformation, by ideological excess of serious debates on a threatened or destroyed heritage (reaction, confusion of aesthetic and political systems, antidericalism, xenophobic nationalism). The second one, from 1920's to 1930s, was marked by the development of heritage lobby concerned with modernism : it did not only want to defend the city (especially Paris) against racketeer property business, but to promote a new urban scheme. As for the artistic avant-guard, it was hostile to heritage, assimilated to an attachment to the past. In the last period studied, from 1960's to 1980's, a new heritage front was developed, larger and more anti-establishment than the latter, notably during the now famous "Bataille des Halles" (against the destruction of the old glass-covered market built by Baltard). Nowadays, battles for old stones are no longer the domain of French intellectuals, but of local users of Heritage.
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"Traditional History" and "new History": Lucien Febvre's Assessment of the Struggle between the two In this text, Lucien Febvre is called upon not so much. to analyse historiography between the wars as to explain the challenges and factors involved in the confrontation between two forms of history: traditional history and a new type of history oriented towards synthesis. The main interest of this : text lies in recalling : that, immediately after the end of World War I, L. Febvre began taking actions in view of "re-politicising" the social sciences, focusing on redefining the discipline in scientific terms and reformulating the social function of history. His critical action must be grasped in this especially his polemical reports against Charles Seignobos who was neither his sole, nor even his favourite, target.
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Art and the State at the beginning of the Third Republic or, On the conditions for the impossibility of policy formation. There were major obstacles to achieving a policy on the arts at the beginning of the Third Republic: the hostility of the artists themselves, the unstable position of politicians and civil servants, and the lack of clear-cut administrative organization. In a process in which each of these three elements was both the cause and effect of the other two, the hesitation of government agents and institutional instability laid the foundation for what had produced them: the representation of an irreconcilable antagonism between art and the state built by artists.