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81.More information
Of the Grasset de Saint-Sauveur family, André (1758-1792) is the most well known member. He was not only a martyr of the French Revolution who was beatified in 1926 but a college was also named after him. This article, however, is about his older brother, a character his exact opposite: Jacques Grasset de Saint-Sauveur (1757-1810) whose editorial career was outlined in the last Cahiers des Dix (2002). This essay examines some of his works by showing the period's influence on them and that which they introduced as novel in the literary and editorial world of the era (especially when we take into account the fact that these works are the product of a writer who was born in Montreal). We see the importance that this enterprising author, engraver, and compiler placed on costumes in his Encyclopédie des voyages [...], Voyages pittoresques [...], Fastes du peuple français [...], Tableaux cosmographiques [...], and other Tableaux des principaux peuples [...]. The article also analyses what Grasset says about the Canadians in tome V (America) of l'Encyclopédie des voyages (1796): here we do not learn about his French-speaking compatriots but only about the "Sauvages" of America, as if his perception of Canada (and the image he wants to present to Europeans) had concealed the settlers in the province even though they had been there for generations. Also, is his image of the Amerindians an accurate one or rather does it flow from an antiquarian tradition regarding the iconography of this very popular subject in the period? In fact, it appears as though the general criteria for Grasset's publications was the "picturesque." However, Grasset does more than simply follow the fashion of the times: he is decidedly avant-gardist when he reveals his views on the Blacks in Africa and especially in the libertine text attributed to him: Hortense et la jolie courtisane [...]. In this fantastic story about a European woman lost in America in the company of the "nègre Zéphire", the reader is treated to reflections on interracial marriages. Here, the White man does not always impose his value system and acculturation for Grasset is a two-way street. These are some of the many discoveries that invite us to get to know this Canadian author better and whose works definitely deserve to be published again and systematically analysed.
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84.More information
Keywords: inventaire, odonate, Pachydiplax longipennis, ruisseau Castagne, Yamaska
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85.More information
When he arrived in television, Averty was gripped by a sense of greyness: shows were filmed in black and white, even though they were shot on colour sets. Rebelling against what he saw as an absurdity, he went on to found his aesthetic on the contrast between these two colours. The groundwork was laid by Ubu roi, drawing on Jarry's idea of “the uselessness of theatre to theatre” and on a conception of the image which blended Braque's art of cut-up paper with the “perspective of importance” of the Middle Ages. The result was a conception of television which turned its back on cinema by following the prescriptions of Ubu's author to the letter. But black and white was not just an aesthetic position. Averty would make of it a “question of morality.” On December 24, 1964, he offered viewers his adaptation of The Green Pastures, in which the traditional roles were inverted: God was black, along with Jesus and the first man, born in Africa. This show scandalized some, not only because it went against the Bible, but also because its production, based on the systematic use of electronic special effects, called into question the style of variety programs of the previous ten years while at the same time founding a video art.
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86.More information
The bourgeois theater of Dumas fils and Augier, known to defend and illustrate the model of “drama” in the sense of Peter Szondi, nevertheless violates one of its defining traits—respecting the “fourth wall”—which alone guarantees the “absolute” nature of dramatic fiction, that is to say its closure and its autonomy. Based on the citation and on the variation of classical plays, it appears as theater. In addition, characters assuming the role of reasoner, bearing a point of view on the action, mediate the relationship between the stage and the audience in the manner of an “epic-dramatic” figure. Finally, the dialogue regularly gives way to frontal enunciation modalities (songs, asides, words).
Keywords: quatrième mur, frontière, drame, comédie de moeurs, Émile Augier, Alexandre Dumas fils, fourth wall, boundary, drama, comedy of manners, Émile Augier, Alexandre Dumas fils
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89.More information
AbstractGustave Flaubert's Oriental correspondence provides more information than one might expect concerning the literary and stylistic choices made by the future author of Madame Bovary. After the failure of La tentation de saint Antoine, the young writer, temporarily rejecting the writing life, ran away to the East. However, his writing would forever be influence by the Orient. Struck by the on-going disappearance of the romantic Orient described by his predecessors, Flaubert plunged into the realistic novel, which he used to express social criticism of France's petite bourgeoisie. From that point on, his work, of unclassifiable style, would, in a manner both tragic and comic, reveal the deformations caused to both the landscape and the human soul by the Industrial Revolution. These are the deformations which the epistolary traveller is already denouncing when he sees, even more clearly, their first effects during his travels through the Orient.
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90.More information
AbstractDespite efforts undertaken in many recent decades, the work of Guillaume Salluste Du Bartas (1544-1590) has by no means revealed all its secrets. Its importance, generally speaking, still appears under-estimated, whereas there were outstanding recognition and popularity for this author during his lifetime and up to forty years after his death. To shed light on the reason for this success, this article studies the Sepmaine as issuing from the tradition of the ars memorativa. The success of this poem at once didactic, apologetic and encyclopaedic corresponds, in fact, to that period of Western history when the mnemotechnics inherited from Greek antiquity experienced a lively renewal of interest. Our purpose is therefore to analyze, very particularly, the position and function of mnemotechnics in this text, as well as the various rhetorical methods it employs.