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This contribution tries to expound and explain the dilemm of the nineteenth-century French theatre : whether accept the dramatic conventions of the time and give up any possibility of creation ; or resolutely refuse them in order to promote a « theatre of the future », and at the same time for go any possibility of success. From 1870 on, Villiers de l'Isle-Adam is maybe the best illustration of the second option, even though the young Symbolist generation professed a great admiration for him. Therefore this very moment of crisis deserves to be analysed. Thus one can understand why drama remained the great literary ambition throughout the nineteenth century, but yet failed to impose new dramatic values, and this despite a very acute awareness of the general mediocrity which was prevalent on the contemporary stage.
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Intellectual generations, Michel WinockThe notion of generation can be particularly fruitful for the history of intellectuals, provided not too much is asked of it : it allows both description and explanation, emphasizes the major collective moments and helps relate individual itineraries better with them. It can be used to propose a stratigraphy of the history of the French intelligentsia, from the generation of the Dreyfus affair to that of 1968, and including e.g. the generation of the depression or that of the Cold War. Seemingly chaotic behavior, itineraries and phenomena become thereby more intelligible.
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