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AbstractThe opposition of male and female is among the strongest in our social imagination. It is all the more interesting to follow an image that has its source in epic pomposity, but spreads into the burlesque register of the Enlightenment. A young man is said to have “the face of Adonis on the body of Hercules.” The expression returns in the writings of Voltaire and crystallizes the contradictions of a society that wishes to make the male body the subject, not the object, of desire and the incarnation of strength rather than beauty. The crisis of the Ancien Régime also centers on a form of libertinage where Faublas, impersonating a girl, takes the place of Valmont. The male can be split between opposing postulations as well. The figures of classical fiction experiment at times with the “metrosexuality” nowadays on display.
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In 1948, Elsa Triolet published L'inspecteur des ruines, a novel whose central part, entitled “ La loge des étrangers ”, represents an explicite intertextual reprisal of Hoffmann's Don Juan. The hero relives Hoffmann's adventure in Bramberg. Fascinated, the novelist closely follows the tale of her predecessor, but at the same time subtly subverts it by modifying elements of place and traits of characters. Doubly destroyed — in the ruins of war and in its very spirit — the Germany of the Romantics gives way to a historical fantasy whose cathartic properties allow the hero to survive.
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AbstractFor 40 years, historians of Québec literature focused their interest in the École littéraire de Montréal solely on its first period (1895-1900), when Émile Nelligan's star was shining. Free spirited at first, we are told the École then turned itself to regionalism and, in the words of Maurice Lemire, "liberty so sought after went somewhere else". Nevertheless, in Le Terroir, a review published in 1909 by the École, appears a group of poets and writers of various literary allegiances, some more adventurous than others, and where regionalism is only one of many voices expressed. Even more, the members' participation in Gustave Comte's journal La Semaine in 1909, which lead to the surprise resignation of Albert Ferland, the most important regionalist poet of this time, and the fact that Guy Delahaye applies to become a member of the École tell us that these "scholars" might have been a lot more daring then we used to think.
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AbstractSalvatore Sciarrino's workshop contains very few tools: notebooks, graph paper, manuscript paper, erasors and pencils. The graph paper allows him to create diagrams to establish and control the unfolding of his sonic figures and musical images. This is an essential phase for the creation of both instrumental and vocal works, founded on principles aimed at dramatizing the layout, combination, and sound coordination of these figures in musical space. Following this preliminary work, the composer develops his work using traditional notation to make his scores as clear and ‘universal' as possible. In tables of technical notes, Sciarrino describes the precise manner in which sonic effects and other features typical of his music should be realized.Sciarrino creates his own texts for his vocal and theatre works by piecing together words and sentences excerpted from the writings of various authors. As a result, his notebooks contain not only sketches, ideas, and titles of future works, but also citations gathered here and there and texts in the making that are adapted to his poetic, musical, and dramatic needs. Sciarrino's desire to make these texts bend to his vocal style is one of the guiding principles behind what might otherwise be construed as the synthesis of so many empty figures of speech. Concision and the abolition of syntactic complexity facilitates his work of breaking the text into short phrases, which can then be draped with small sonic pieces of his melodic figures.
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How can poetic work think about the body? Can writing “change life?” Those are questions that Monique Wittig has tried to answer through her work. They can't be examined separately from her political commitment in feminist and lesbian struggles during the 1970’. One century ago, Arthur Rimbaud, in his poems started to take issue over the stiffness of the occidental identity and over its subjectivity. Without ever exploiting literature as a subordinate to a political cause, the two writers demonstrate the same capacity to explode thinking structures in order to make something “new” happen. Through studying some extract of Rimbaud's work, we attempt to demonstrate here how the “voleur de feu” poet has tried, through poetic adventure, to escape from a binary and simplistic way of thinking.
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