{"title":"Notes on Contributors","authors":"","doi":"10.3366/nfs.2023.0382","DOIUrl":"https://doi.org/10.3366/nfs.2023.0382","url":null,"abstract":"","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135711675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The magician’s top hat, standardized handwriting, calligraphic flourish and ink blot of Man Ray’s cover for the new series of Littérature in 1922 open questions of style in both fashion and writing. The cover’s emblem-like visual components resonate not only with questions of style and cultural sophistication in such magazines as Monsieur and La Gazette du bon ton, but also with contemporary Dada squabbles with Cubism, and with a Paris Dada bugbear” Gustave Lanson’s magisterial text, Histoire de la littérature française (1894). In his 1924 Manifeste André Breton deftly capitalized on Lansonism in order to turn it against its own premises and devices. Finally, Man Ray’s emblem points to questions at the time of authenticity, authority and falsity.
这位魔术师的礼帽、标准的笔迹、曼雷1922年新系列《文学》封面上的书法繁荣和墨迹，开启了时尚和写作风格的问题。封面的标志性视觉成分不仅与《Monsieur》和《La Gazette du bonton》等杂志的风格和文化复杂性问题产生共鸣，还与当代达达与立体主义的争论以及古斯塔夫·兰森的权威文本《法国文学史》（1894）中的巴黎达达难题产生共鸣。在1924年的《宣言》中，安德烈·布雷顿巧妙地利用了兰斯主义，以使其与自己的前提和手段背道而驰。最后，Man Ray的徽章指出了真实性、权威性和虚假性的问题。
{"title":"Pulling It Out of a Hat: Picabia, Lanson and Man Ray's Cover for Littérature","authors":"Elizabeth M. Legge","doi":"10.3366/nfs.2023.0378","DOIUrl":"https://doi.org/10.3366/nfs.2023.0378","url":null,"abstract":"The magician’s top hat, standardized handwriting, calligraphic flourish and ink blot of Man Ray’s cover for the new series of Littérature in 1922 open questions of style in both fashion and writing. The cover’s emblem-like visual components resonate not only with questions of style and cultural sophistication in such magazines as Monsieur and La Gazette du bon ton, but also with contemporary Dada squabbles with Cubism, and with a Paris Dada bugbear” Gustave Lanson’s magisterial text, Histoire de la littérature française (1894). In his 1924 Manifeste André Breton deftly capitalized on Lansonism in order to turn it against its own premises and devices. Finally, Man Ray’s emblem points to questions at the time of authenticity, authority and falsity.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48459466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Front matter","authors":"","doi":"10.3366/nfs.2023.0374","DOIUrl":"https://doi.org/10.3366/nfs.2023.0374","url":null,"abstract":"","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135711674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Co-founder of the Dada movement, Tristan Tzara, wrote and produced three stage plays during the Paris Dada period (1920–1923). This article discusses Tzara's third play, The Gas Heart (1921) to show his unique application of theatricality. The text of The Gas Heart is interrupted in Act III by a dance presented as a typographical illustration. While event programmes substantiate the performance of the dance during presentations of the play (1921 and 1923) it remains unknown how the diagram informed the action of the dance. I argue that Tzara's dance exemplifies the paradox central to Tzara's creative programme. Applying Samuel Weber's definition of theatricality, this paper explores The Gas Heart dance as an expression of ‘singular duplicity’ (Weber, 2004), but one that opens ways for performing the paradox in the theatre of Tristan Tzara.
{"title":"Performing the Paradox in the Theatre of Tristan Tzara","authors":"Erica O'Neill","doi":"10.3366/nfs.2023.0377","DOIUrl":"https://doi.org/10.3366/nfs.2023.0377","url":null,"abstract":"Co-founder of the Dada movement, Tristan Tzara, wrote and produced three stage plays during the Paris Dada period (1920–1923). This article discusses Tzara's third play, The Gas Heart (1921) to show his unique application of theatricality. The text of The Gas Heart is interrupted in Act III by a dance presented as a typographical illustration. While event programmes substantiate the performance of the dance during presentations of the play (1921 and 1923) it remains unknown how the diagram informed the action of the dance. I argue that Tzara's dance exemplifies the paradox central to Tzara's creative programme. Applying Samuel Weber's definition of theatricality, this paper explores The Gas Heart dance as an expression of ‘singular duplicity’ (Weber, 2004), but one that opens ways for performing the paradox in the theatre of Tristan Tzara.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47886739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There is an obvious premier degré contradiction in commemorating Dada centenaries. The movement was famously against permanence and yet Dada has become enshrined in popular culture, exhibitions, catalogues, and indeed academic research. To paraphrase a Dada slogan, perhaps the true Dada researcher should be against research into Dada. But let us not be too fetishistic or precious about Dada. To borrow from Delia Ungureanu’s magisterial comparative study of surrealism, where is Dada in the 21st-century, and what does it mean to understand that question not so much in terms of conscious practice (such as contemporary performance art) but in relation to the pan-human, pan-historical phenomena cherished by Dadaists and which can be forgotten in the rush to eulogise Dada nihilism, such as ethics and peace, radical humanism, socio-political engagement, and the question of how to live well with oneself and with others? The world is on fire, and Dada is both dead and all around us.
{"title":"Decidedly For and Against the Future: Dada and Other Arts for Life","authors":"Stephen Forcer","doi":"10.3366/nfs.2023.0381","DOIUrl":"https://doi.org/10.3366/nfs.2023.0381","url":null,"abstract":"There is an obvious premier degré contradiction in commemorating Dada centenaries. The movement was famously against permanence and yet Dada has become enshrined in popular culture, exhibitions, catalogues, and indeed academic research. To paraphrase a Dada slogan, perhaps the true Dada researcher should be against research into Dada. But let us not be too fetishistic or precious about Dada. To borrow from Delia Ungureanu’s magisterial comparative study of surrealism, where is Dada in the 21st-century, and what does it mean to understand that question not so much in terms of conscious practice (such as contemporary performance art) but in relation to the pan-human, pan-historical phenomena cherished by Dadaists and which can be forgotten in the rush to eulogise Dada nihilism, such as ethics and peace, radical humanism, socio-political engagement, and the question of how to live well with oneself and with others? The world is on fire, and Dada is both dead and all around us.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43881527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Voltaire’s writings advance an emblematic understanding of reason in the French Enlightenment, envisaged as a divine gift that makes it possible for humans to put anything into question – except reason itself. Through a reading of various philosophical and literary texts by Voltaire, this article problematizes the sovereignty of Voltairean reason – the totalitarian reason that is at once immune to the very critique it founds and, as such, injurious towards the Other, who is seen as necessarily lacking the capacity to think. Bringing Derrida to bear on Voltaire, the article builds on the former’s view of reason as divisible and antinomic – that is, a reason constituted according to an aporia that admits both a teleological and conditional reason and a circular and unconditional one. As such, reason must then allow itself to be reasoned. The conclusion thus argues for a reconceptualization of reason that welcomes a critique of both sovereign judgement and teleological thinking.
{"title":"Voltaire, Derrida et les ruses de la raison","authors":"Bruno Penteado","doi":"10.3366/nfs.2023.0367","DOIUrl":"https://doi.org/10.3366/nfs.2023.0367","url":null,"abstract":"Voltaire’s writings advance an emblematic understanding of reason in the French Enlightenment, envisaged as a divine gift that makes it possible for humans to put anything into question – except reason itself. Through a reading of various philosophical and literary texts by Voltaire, this article problematizes the sovereignty of Voltairean reason – the totalitarian reason that is at once immune to the very critique it founds and, as such, injurious towards the Other, who is seen as necessarily lacking the capacity to think. Bringing Derrida to bear on Voltaire, the article builds on the former’s view of reason as divisible and antinomic – that is, a reason constituted according to an aporia that admits both a teleological and conditional reason and a circular and unconditional one. As such, reason must then allow itself to be reasoned. The conclusion thus argues for a reconceptualization of reason that welcomes a critique of both sovereign judgement and teleological thinking. ","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45310375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article re-examines the common understanding of heroism in Rachid Bouchareb’s 2006 film Days of Glory ( Indigènes). It challenges the premise that the four Maghrebian infantrymen at the centre of the picture are in fact fighting in the French ranks in order to primarily serve mainland France. Stylistic, rhetoric and filmic analyses of the film will show that, instead, enrolling in the French army provides the Arab soldiers with an opportunity to – paradoxically – assert their identity as free subjects. The result of this approach is twofold: while inscribing the protagonists of Days of Glory in the classical heroic tradition, where obedience and self-government are often complementary, it also expounds the director’s militant desire to define the North African immigrant as both France’s historical ally and an autonomous subject.
本文重新审视了拉希德·布查雷布2006年的电影 Days of Glory (indigires)中人们对英雄主义的普遍理解。它挑战了画面中心的四名马格里布步兵实际上是在法国队伍中战斗，主要是为了服务法国本土。对这部电影的文体、修辞和电影分析将表明，相反，加入法国军队为阿拉伯士兵提供了一个机会——矛盾的是——维护他们作为自由主体的身份。这种方法的结果是双重的:在将《 光荣之日 》的主角们铭入经典英雄传统的同时，服从和自治往往是相辅相成的，它也阐述了导演的好战愿望，即将北非移民定义为法国的历史盟友和自治主体。
{"title":"Obéir pour se libérer: stratégies d’héroïsation dans le film Indigènes de Rachid Bouchareb","authors":"D. Franco","doi":"10.3366/nfs.2023.0369","DOIUrl":"https://doi.org/10.3366/nfs.2023.0369","url":null,"abstract":"This article re-examines the common understanding of heroism in Rachid Bouchareb’s 2006 film Days of Glory ( Indigènes). It challenges the premise that the four Maghrebian infantrymen at the centre of the picture are in fact fighting in the French ranks in order to primarily serve mainland France. Stylistic, rhetoric and filmic analyses of the film will show that, instead, enrolling in the French army provides the Arab soldiers with an opportunity to – paradoxically – assert their identity as free subjects. The result of this approach is twofold: while inscribing the protagonists of Days of Glory in the classical heroic tradition, where obedience and self-government are often complementary, it also expounds the director’s militant desire to define the North African immigrant as both France’s historical ally and an autonomous subject.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42020271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues for renewed attention to Émile Zola's notion of the ‘Écran transparent’ in light of calls to read the novelist's Rougon-Macquart cycle as proto-modernist. It claims that in his 8 August 1864 letter to Antony Valabrègue, Zola lays the theoretical foundations for a departure from verisimilitude, advancing instead a mode of perception that frequently generates deformed objects – objects engendered by a ‘surréalisme particulier’ (Gilles Deleuze). The article re-reads the ‘prospective qualities’ (Susan Harrow) of Germinal, Au Bonheur des Dames and La Curée to explicate the deformative logics of the Zola's Screen.
{"title":"‘Les objets plus ou moins déformés’: Émile Zola’s Screen Theory of Representation and the Rougon-Macquart Cycle","authors":"Eddy Troy","doi":"10.3366/nfs.2023.0368","DOIUrl":"https://doi.org/10.3366/nfs.2023.0368","url":null,"abstract":"This article argues for renewed attention to Émile Zola's notion of the ‘Écran transparent’ in light of calls to read the novelist's Rougon-Macquart cycle as proto-modernist. It claims that in his 8 August 1864 letter to Antony Valabrègue, Zola lays the theoretical foundations for a departure from verisimilitude, advancing instead a mode of perception that frequently generates deformed objects – objects engendered by a ‘surréalisme particulier’ (Gilles Deleuze). The article re-reads the ‘prospective qualities’ (Susan Harrow) of Germinal, Au Bonheur des Dames and La Curée to explicate the deformative logics of the Zola's Screen.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45962021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on three recipe books inspired by women writers: Les Carnets de cuisine de George Sand: 80 recettes d'une épicurienne by Muriel Lacroix and Pascal Pringarbe , Colette gourmande by Marie-Christine and Didier Clément, and Marguerite Yourcenar portrait intime by Achmy Halley. The article opts to treat these three books as though they were works of criticism. Indeed, these three books, which are hybrids of advice books, biographies and anthologies, represent mythographies of the authors who inspired them. Thus, these far from feminist representations of women writers slaving over hot stoves are nonetheless able to offer vindications of those women's demiurgic powers. As such, these works often take on a regionalist and nostalgic tone that reduces them to the status of literary exhibits in a dusty conservatory of folkloric traditions.
{"title":"Les Écrivaines qui font recettes: discours critique par le livre pratique","authors":"M. Brun","doi":"10.3366/nfs.2023.0371","DOIUrl":"https://doi.org/10.3366/nfs.2023.0371","url":null,"abstract":"This article focuses on three recipe books inspired by women writers: Les Carnets de cuisine de George Sand: 80 recettes d'une épicurienne by Muriel Lacroix and Pascal Pringarbe , Colette gourmande by Marie-Christine and Didier Clément, and Marguerite Yourcenar portrait intime by Achmy Halley. The article opts to treat these three books as though they were works of criticism. Indeed, these three books, which are hybrids of advice books, biographies and anthologies, represent mythographies of the authors who inspired them. Thus, these far from feminist representations of women writers slaving over hot stoves are nonetheless able to offer vindications of those women's demiurgic powers. As such, these works often take on a regionalist and nostalgic tone that reduces them to the status of literary exhibits in a dusty conservatory of folkloric traditions.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43380994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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