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When editing Théophile de Viau's Oeuvres diverses, Jean-Pierre Chauveau chose a style of presentation that broke away from that of his predecessors. Rejecting generic classification and the reprise of fugitive works intended to retrace the poet's courtesan career, he organized the work's chronological trajectory based on the stages of Viau's “dramatic destiny” (success, disgrace, prison, death) while selecting those poems most immediately and emotionally accessible to readers taken aback by the mournful title of the final verses of the poet, dead at 36: Après m'avoir tant fait mourir. Thanks to these different updating modes, the anthology finds a legitimate place in the “Poésie/Gallimard” collection, devoted for the most part to the distribution of contemporary French and foreign poetry. As well, it resonates, in the early twenty-first century, with the history of the preceding century marked by the persecution of artists and intellectuals.
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La monarchie française a collecté un nombre impressionnant de documents géographiques décrivant ses colonies. Notre questionnement nous a mené à sonder plus finement l'implication de l’État dans une activité intellectuelle qui consiste à observer, consigner et représenter graphiquement un territoire colonial. En abordant divers types de documents propres au corpus à l’étude – cartes topographiques, cartes cadastrales, cartes hydrographiques, cartographie générale – nous avons pu non pas dresser un portrait exhaustif de cette production, mais évoquer de nombreux enjeux propres aux thèmes nombreux qu’ils interpellent, notamment la délimitation d’un territoire colonial, la cartographie courtisane, les mécanismes de validation des savoirs, les spécialisations requises pour produire un savoir utile, l’usage réel des savoirs géographiques produits. Considérant ces questions importantes traitées actuellement par l’historiographie qui s’interroge de …
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The composition of Chansons de Bilitis by French composers in the first decades of 20th century implied a direct confrontation with Debussy's cycle, published in 1899. Concert reviews of the 1920s-1930s—when the canonization of Debussy was at its high—offer interesting material for studying the discourse about the composers who created their own Chansons de Bilitis. Reviews often cite Debussy's cycle—which was performed constantly—as a reference. Composers could not write their own Bilitis without considering Debussy's. Therefore, the study of the new Chansons brings up relevant questions about the composers' attitude towards Debussy's work: Are more recent Bilitis an explicit homage to Debussy? Are they influenced by the master's work in a more implicit way? Or do they definitely take a distance from their illustrious predecessor? Two authors in particular are the object of the present comparative study: Charles Koechlin and Georges Dandelot. This analysis focuses on their text choice, dramaturgy and compositional technique. 's mélodies are very far from Debussy's imagined Greece, while Dandelot toggles between the imitation of Debussy style and the decontextualized appropriation of some of its distinctive features.The comparison between the Chansons de Bilitis by Debussy and by other composers is relevant about the compositional reception of Debussy. Moreover, some stylistic and aesthetic specificities of Debussy's cycle emerge from the comparative analysis.
Keywords: Chansons de Bilitis, Debussy, influence, mélodie française, Chansons de Bilitis, Debussy, influence, French mélodie
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Quebec feminist theories are silent when it comes to sexuality as perceived in law and its impact on women. In addition, any future examination of this matter will require the importing of a theory on sexuality to form the basis of any critique. Michel Foucault's theory on sexuality as set forth in Histoire de la sexualité may seem appropriate for such purposes. But his treatise conceals in an anarchistic way an arbitrary approach to history and a patriarchal view of women's sexuality. Foucault's study investigates the past in a dogmatic way, namely via a contemporary distortion of the historic and documentary reality of the ages he studies : the seventeenth, eighteenth and nineteenth centuries and Antiquity. Furthermore, owing to his theory regarding power, Foucault does not see and identify the social control over women's sexuality throughout Antiquity as a dominator-dominated relationship. As the Ancients before him, he excludes women from his research on sexuality, except regarding sexuality in marriage. He endorses misogynous prejudices as though they were normal practices and thereby perpetuates the male-dominating view of women. Consequently, it is preferable to avoid resorting to such a theory as the basis of a feminist critique of sexuality as perceived in law.
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ABSTRACTHow should life be filmed? Chad filmmaker Mahamat Saleh Haroun asks the question in Bye bye Africa (1998). He does not have the answer and can only attempt and explore the issue. He defines his film as a film à tiroirs : in the face of contemporary dissensions, African filmmakers can only open drawers crammed with questions, uncertainty and doubt. The ones Haroun opens in Bye bye Africa seem to me emblematic of a thematic, and therefore aesthetic quest very strongly present in recent films by francophone filmmakers of African origin now living in Europe : memory and responsibility.