Pub Date : 2021-12-30DOI: 10.4467/23538953ce.21.035.15185
Sophie Guermès
Cancelled face, a «moral substitute»? The pandemic affecting our world in 2020 leads us to question a centuries-old socio-cultural practice, namely the wearing of masks, and to rethink their use in light of the current context. Depending on the civilizations and eras, masks have had various functions: religious, social and artistic. None of these functions corresponds, however, to the recent use of masks. Henri Michaux, Jean Starobinski, Michel Butor and Yves Bonnefoy will help us to answer these questions: How the wearing of masks does change our relation to identity? our relationship with others? Does not seeing the whole face make it possible to see others better?
被取消的脸，一个“道德替代品”?2020年影响我们世界的大流行使我们质疑一种具有数百年历史的社会文化习俗，即戴口罩，并根据当前情况重新考虑口罩的使用。根据文明和时代的不同，面具有各种各样的功能:宗教的、社会的和艺术的。然而，这些功能都不符合最近使用的掩码。Henri Michaux, Jean Starobinski, Michel Butor和Yves Bonnefoy将帮助我们回答这些问题:戴面具是如何改变我们与身份的关系的?我们与他人的关系?不看整张脸是不是能更好地看清别人?
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Pub Date : 2021-12-30DOI: 10.4467/23538953ce.21.036.15186
Virginie Podvin
Mask(s) and European Cinema The aim of this study is to question the links between Mask, Cinema and Europe. The five films selected are Three Colours: Blue from Kieślowski, Crazy Pierrot from Godard, Strada from Fellini, Death in Venice from Visconti, Wings of Desire from Wenders. These movies exhibit a particular type of mask: the mask without mask. Mask obtained by light or make-up, it seems to express the character’s aspiration for an elsewhere.
{"title":"Masque(s) et cinéma européen","authors":"Virginie Podvin","doi":"10.4467/23538953ce.21.036.15186","DOIUrl":"https://doi.org/10.4467/23538953ce.21.036.15186","url":null,"abstract":"Mask(s) and European Cinema\u0000\u0000The aim of this study is to question the links between Mask, Cinema and Europe. The five films selected are Three Colours: Blue from Kieślowski, Crazy Pierrot from Godard, Strada from Fellini, Death in Venice from Visconti, Wings of Desire from Wenders. These movies exhibit a particular type of mask: the mask without mask. Mask obtained by light or make-up, it seems to express the character’s aspiration for an elsewhere.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122918374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.4467/23538953ce.21.038.15188
Ewa Małgorzata Wierzbowska
Krysinska’s La Force du Désir as a roman à clef In Krysinska’s novel, La Force du Désir, which I consider a roman à clef, rich referentiality is a guarantee of authenticity. Spatial and cultural references build a world familiar to the reader who can easily decipher the prototypes of the presented characters. Moreover, Krysinska’s novel contains the philosophy of the mask, both explicitly and implicitly, within the characters’ behavior. This, however, does not exhaust the issue of the mask, because a roman à clef, on the generic level, is a mask of an esoteric novel.
在krysinsska的小说《La Force du d录影带》中，我认为这是一部罗曼式的小说，丰富的参考意义是真实性的保证。空间和文化的参考为读者建立了一个熟悉的世界，读者可以很容易地破译所呈现的人物原型。此外，克里辛斯卡的小说在人物的行为中，或明或暗地包含了面具的哲学。然而，这并没有穷尽面具的问题，因为一个罗马人，在一般的层面上，是一个神秘小说的面具。
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Pub Date : 2021-12-30DOI: 10.4467/23538953ce.21.041.15191
M. Mrozowicki
« La quatrième »’s image in the parisian press – the snobbery and the enthusiasm The greatest star of the Parisian Tannhäuser’s performances in 1895 was Ernest Van Dyck in the title role. According to the Parisian press this production of Wagner’s work owed its success mainly to this Belgian tenor. However after his departure from Paris, and after some other changes of the cast that took place rather rapidly (still in the summer 1895), the performances’ artistic level hasn’t decreased in a significant way, and the work, played continuously until December 15th, 1913, was always highly appreciated by the French audience. Were the enthusiastic reactions of the Parisian public at the turn of the XIXth and XXth centuries to Wagner’s Tannhäuser and his other operas and musical dramas sincere and spontaneous? What was the part of the snobbery in Wagner’s reception in France during La Belle Époque? That was the question asked by some French journalists (Heugel, Maret, Doumic, Coppée and others). The author of the article recalls Georges Rodenbach’s Solomonic answer to this question presented in his text Tannhäuser et le snobisme.
《四分之一》在巴黎新闻界的形象——势利和热情1895年巴黎人Tannhäuser演出中最伟大的明星是欧内斯特·范·戴克饰演的主角。据巴黎媒体报道，瓦格纳作品的成功主要归功于这位比利时男高音。然而，在他离开巴黎之后，在演员阵容发生了一些迅速的变化之后(仍然是在1895年夏天)，演出的艺术水平并没有明显下降，这部作品一直持续到1913年12月15日，一直受到法国观众的高度赞赏。19世纪和20世纪初，巴黎公众对瓦格纳的Tannhäuser和他的其他歌剧和音乐剧的热情反应是真诚和自发的吗?在《美丽Époque》期间，瓦格纳在法国受到的欢迎中，势利的部分是什么?这是一些法国记者(Heugel, Maret, Doumic, coppsame等)提出的问题。这篇文章的作者回忆起乔治·罗登巴赫在他的文章Tannhäuser et le snobisme中对这个问题的所罗门式回答。
{"title":"Tannhäuser réhabilité (VI) – « La Quatrième » devant la presse parisienne – le snobisme et l’enthousiasme","authors":"M. Mrozowicki","doi":"10.4467/23538953ce.21.041.15191","DOIUrl":"https://doi.org/10.4467/23538953ce.21.041.15191","url":null,"abstract":"« La quatrième »’s image in the parisian press – the snobbery and the enthusiasm\u0000\u0000The greatest star of the Parisian Tannhäuser’s performances in 1895 was Ernest Van Dyck in the title role. According to the Parisian press this production of Wagner’s work owed its success mainly to this Belgian tenor. However after his departure from Paris, and after some other changes of the cast that took place rather rapidly (still in the summer 1895), the performances’ artistic level hasn’t decreased in a significant way, and the work, played continuously until December 15th, 1913, was always highly appreciated by the French audience. Were the enthusiastic reactions of the Parisian public at the turn of the XIXth and XXth centuries to Wagner’s Tannhäuser and his other operas and musical dramas sincere and spontaneous? What was the part of the snobbery in Wagner’s reception in France during La Belle Époque? That was the question asked by some French journalists (Heugel, Maret, Doumic, Coppée and others). The author of the article recalls Georges Rodenbach’s Solomonic answer to this question presented in his text Tannhäuser et le snobisme.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133341029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-30DOI: 10.4467/23538953ce.21.040.15190
Katarzyna Kotowska
Fictional identities of Cindy Sherman and Sophie Calle In this paper we confront the issue of masquerade in chosen works of contemporary artists Cindy Sherman and Sophie Calle. Referring to Joan Riviere's (1929) statement that femininity is a masquerade, we examine the fictional embodiments of the mentioned artists in which the mask not only conceals but also reveals reality. The artistic and literary corpus is composed as follows: Cindy Sherman (Untilted Film Stills 1977, Society portraits (2008) and Flappers (2016-18)); Sophie Calle (La filature (1981), Les histoires vraies (2002) and Prenez soin de vous (2007)). Following the analysis of the artists' projects and their autobiographical or semiautobiographical approaches, we come to reveal the reversal of the techniques used by the artists. It means that Sherman, like the film stills, captures a moment and immobilizes it; Calle, for her part, gives life to the events that she provokes. However, in both cases the masks they wear, the fictitious identities that the artists embody, contribute to revisit the codes of the time we live in.
{"title":"Identités fictives de Cindy Sherman et de Sophie Calle","authors":"Katarzyna Kotowska","doi":"10.4467/23538953ce.21.040.15190","DOIUrl":"https://doi.org/10.4467/23538953ce.21.040.15190","url":null,"abstract":"Fictional identities of Cindy Sherman and Sophie Calle\u0000\u0000In this paper we confront the issue of masquerade in chosen works of contemporary artists Cindy Sherman and Sophie Calle. Referring to Joan Riviere's (1929) statement that femininity is a masquerade, we examine the fictional embodiments of the mentioned artists in which the mask not only conceals but also reveals reality. The artistic and literary corpus is composed as follows: Cindy Sherman (Untilted Film Stills 1977, Society portraits (2008) and Flappers (2016-18)); Sophie Calle (La filature (1981), Les histoires vraies (2002) and Prenez soin de vous (2007)). Following the analysis of the artists' projects and their autobiographical or semiautobiographical approaches, we come to reveal the reversal of the techniques used by the artists. It means that Sherman, like the film stills, captures a moment and immobilizes it; Calle, for her part, gives life to the events that she provokes. However, in both cases the masks they wear, the fictitious identities that the artists embody, contribute to revisit the codes of the time we live in.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115659997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-28DOI: 10.4467/23538953ce.21.026.13998
Delphine Edy
A. Ernaux and É. Louis – writers of the real, between silence and noise In A. Ernaux’s steps, É. Louis writes to account for truth, to bear witness for the real. They experience sounds, noises and silences as particularly meaningful signs of the social classes that they live in. Their original, popular environment is made of constant noise, whether coming from inside the body or the surrounding working-place. Later as they rise socially, they realise that more privileged classes live in a filtered, muffled world. But being loud may also be a move toward freedom, an expression of the lived experience. The theatre stage is a particularly apt media for the telling of É. Louis’s stories as it enables the varied experiences to be heard and felt through their vibrations, and all noises on stage make sense.
{"title":"Annie Ernaux et Édouard Louis : Écrire le réel entre bruit(s) et silence","authors":"Delphine Edy","doi":"10.4467/23538953ce.21.026.13998","DOIUrl":"https://doi.org/10.4467/23538953ce.21.026.13998","url":null,"abstract":"A. Ernaux and É. Louis – writers of the real, between silence and noise\u0000\u0000In A. Ernaux’s steps, É. Louis writes to account for truth, to bear witness for the real. They experience sounds, noises and silences as particularly meaningful signs of the social classes that they live in. Their original, popular environment is made of constant noise, whether coming from inside the body or the surrounding working-place. Later as they rise socially, they realise that more privileged classes live in a filtered, muffled world. But being loud may also be a move toward freedom, an expression of the lived experience. The theatre stage is a particularly apt media for the telling of É. Louis’s stories as it enables the varied experiences to be heard and felt through their vibrations, and all noises on stage make sense.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130100512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-29DOI: 10.4467/23538953CE.20.020.13222
M. Mrozowicki
Tannhäuser rehabilitated (II) – Performances in the provinces Tannhäuser’s reemergence at Paris Opera’s stage was preceded by the work’s productions in some French provincial theatres: in Lyons (première on April 4th, 1892), in Toulouse (première on April 13th, 1892), in Nice (première on March 14th, 1894) and in Nantes (première on March 27th, 1894). The author of the article discusses various aspects of these performances accentuating the fact that this time the main objects of controversies weren’t the composer and his Tannhäuser, but the soloists observed attentively by the musical critics and the spectators, as one can guess reading the reviews quoted in the article.
{"title":"Tannhäuser réhabilité (II) – Les spectacles de province","authors":"M. Mrozowicki","doi":"10.4467/23538953CE.20.020.13222","DOIUrl":"https://doi.org/10.4467/23538953CE.20.020.13222","url":null,"abstract":"Tannhäuser rehabilitated (II) – Performances in the provinces Tannhäuser’s reemergence at Paris Opera’s stage was preceded by the work’s productions in some French provincial theatres: in Lyons (première on April 4th, 1892), in Toulouse (première on April 13th, 1892), in Nice (première on March 14th, 1894) and in Nantes (première on March 27th, 1894). The author of the article discusses various aspects of these performances accentuating the fact that this time the main objects of controversies weren’t the composer and his Tannhäuser, but the soloists observed attentively by the musical critics and the spectators, as one can guess reading the reviews quoted in the article.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128850365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-30DOI: 10.4467/23538953ce.19.018.11065
D. Viart
{"title":"Les récits de filiation. Naissance, raisons et évolutions d’une forme littéraire","authors":"D. Viart","doi":"10.4467/23538953ce.19.018.11065","DOIUrl":"https://doi.org/10.4467/23538953ce.19.018.11065","url":null,"abstract":"","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132753156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-30DOI: 10.4467/23538953ce.19.021.11068
E. Beránková
{"title":"Quel récit de filiation pour les Inuits canadiens ?","authors":"E. Beránková","doi":"10.4467/23538953ce.19.021.11068","DOIUrl":"https://doi.org/10.4467/23538953ce.19.021.11068","url":null,"abstract":"","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129550409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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