La decision du gouvernement de Tony Blair d’intervenir en Irak aux cotes des Etats-Unis a provoque des 2003 de vives reactions sur la scene theâtrale britannique. L’opposition au conflit, proteiforme et virulente, a permis de renouer avec l’espace theâtral comme forum populaire et d’ouvrir le dialogue dramatique au dialogue philosophique, politique et ethique. Cet article se propose d’examiner la demarche politique et dramaturgique de trois pieces (Called to Account: The Indictment of Anthony Charles Lynton Blair for the Crime of Aggression Against Iraq—A Hearing de Richard Norton-Taylor et Nicholas Kent, Chilcot de Richard Norton-Taylor et Matt Woodhead et The Vertical Hour de David Hare), ainsi que leur reception afin de determiner les modalites du debat politique sur la guerre d’Irak au sein de l’institution theâtrale britannique et sur la valeur du contre-discours qu’elle entend opposer a l’institution politique.
{"title":"‘Let’s do our thing’: Theatre as a Democratic Forum Opposing the Institutionalised Political Discourse on the War in Iraq","authors":"Marie-Amélie Coste","doi":"10.4000/EBC.6490","DOIUrl":"https://doi.org/10.4000/EBC.6490","url":null,"abstract":"La decision du gouvernement de Tony Blair d’intervenir en Irak aux cotes des Etats-Unis a provoque des 2003 de vives reactions sur la scene theâtrale britannique. L’opposition au conflit, proteiforme et virulente, a permis de renouer avec l’espace theâtral comme forum populaire et d’ouvrir le dialogue dramatique au dialogue philosophique, politique et ethique. Cet article se propose d’examiner la demarche politique et dramaturgique de trois pieces (Called to Account: The Indictment of Anthony Charles Lynton Blair for the Crime of Aggression Against Iraq—A Hearing de Richard Norton-Taylor et Nicholas Kent, Chilcot de Richard Norton-Taylor et Matt Woodhead et The Vertical Hour de David Hare), ainsi que leur reception afin de determiner les modalites du debat politique sur la guerre d’Irak au sein de l’institution theâtrale britannique et sur la valeur du contre-discours qu’elle entend opposer a l’institution politique.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48686080","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}
The 1970s and 1980s made it difficult to imagine that London would soon become the successor to Paris and New York as the centre of the international art world, and that its docks, still scarred from the Blitz and derelict from the demise of industry, would soon form part of what is considered central London. Southwark, then, was far from its present state and could not yet boast a tube station, a footbridge linking it to Saint Paul’s Cathedral, a scenic walk along the river and swanky shops ...
{"title":"Caroline Donnellan, Towards Tate Britain. Public Policy, Private Vision","authors":"Charlotte Gould","doi":"10.4000/ebc.7010","DOIUrl":"https://doi.org/10.4000/ebc.7010","url":null,"abstract":"The 1970s and 1980s made it difficult to imagine that London would soon become the successor to Paris and New York as the centre of the international art world, and that its docks, still scarred from the Blitz and derelict from the demise of industry, would soon form part of what is considered central London. Southwark, then, was far from its present state and could not yet boast a tube station, a footbridge linking it to Saint Paul’s Cathedral, a scenic walk along the river and swanky shops ...","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074989","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}
Cet entretien avec le poete contemporain John Fuller interroge la notion de revolution—au sens le plus large du terme—a la fois dans son œuvre et plus particulierement dans son dernier ouvrage, le long poeme narratif intitule The Bone Flowers paru en 2016. Dans quelle mesure Fuller se considere-t-il comme un poete revolutionnaire ? Peut-on revolutionner l’ecriture poetique en s’inspirant de formes classiques, a l’instar de l’ottava rima, strophe remise a l’honneur dans The Bone Flowers pour rendre hommage a Lord Byron ? La parole du satiriste, si virulent celui-ci soit-il a l’encontre des manquements ou quetes les plus insensees de ses contemporains, laisse-t-elle poindre l’espoir d’une revolution sociale a l’horizon des vers ? Autant de questions auxquelles John Fuller repond dans une interview menee au printemps 2018.
这次对当代诗人约翰·富勒(John Fuller)的采访，在他的作品中，尤其是在他2016年出版的长篇叙事诗《骨花》(The Bone Flowers)中，对革命的概念提出了最广泛的质疑。富勒在多大程度上认为自己是一个革命诗人?我们能从古典形式中获得灵感，比如《骨花》(The Bone Flowers)中向拜伦勋爵(Lord Byron)致敬的奥塔瓦押韵(ottava rima)诗节吗?这位讽刺作家的言论，无论他对同时代人最愚蠢的缺点或错误有多么恶毒，是否让社会革命的希望在蠕虫的地平线上出现?这些都是约翰·富勒在2018年春天的一次采访中回答的问题。
{"title":"John Fuller: A Revolutionary Poet? An Interview with the Author of The Bone Flowers (2016)","authors":"Aurélien Saby","doi":"10.4000/ebc.6706","DOIUrl":"https://doi.org/10.4000/ebc.6706","url":null,"abstract":"Cet entretien avec le poete contemporain John Fuller interroge la notion de revolution—au sens le plus large du terme—a la fois dans son œuvre et plus particulierement dans son dernier ouvrage, le long poeme narratif intitule The Bone Flowers paru en 2016. Dans quelle mesure Fuller se considere-t-il comme un poete revolutionnaire ? Peut-on revolutionner l’ecriture poetique en s’inspirant de formes classiques, a l’instar de l’ottava rima, strophe remise a l’honneur dans The Bone Flowers pour rendre hommage a Lord Byron ? La parole du satiriste, si virulent celui-ci soit-il a l’encontre des manquements ou quetes les plus insensees de ses contemporains, laisse-t-elle poindre l’espoir d’une revolution sociale a l’horizon des vers ? Autant de questions auxquelles John Fuller repond dans une interview menee au printemps 2018.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074879","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}
In Beckett’s Thing: Theatre and Painting (2016), David Lloyd sheds new light on Samuel Beckett’s aesthetic ties to painting, which the writer himself describes in his essays about art, reconsidering the relationship between the subject behind representation and the object of representation. Starting from the premise that the object won’t be laid bare as long as the subject’s possessive gaze and instrumental way to represent it prevails, Lloyd does away with the consensual and somewhat simplis...
{"title":"David Lloyd, Beckett’s Thing: Painting and Theatre","authors":"J. Bénard","doi":"10.4000/ebc.7053","DOIUrl":"https://doi.org/10.4000/ebc.7053","url":null,"abstract":"In Beckett’s Thing: Theatre and Painting (2016), David Lloyd sheds new light on Samuel Beckett’s aesthetic ties to painting, which the writer himself describes in his essays about art, reconsidering the relationship between the subject behind representation and the object of representation. Starting from the premise that the object won’t be laid bare as long as the subject’s possessive gaze and instrumental way to represent it prevails, Lloyd does away with the consensual and somewhat simplis...","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70075004","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}
Taking her cue from such scholars as Peter Brooker and Andrew Thacker, Patrick Collier or Ann Ardis who claims that modernism emerged ‘in a publishing ecosystem that was far richer, and far more complexly diversified, than the first several generations of bibliographic scholarship on modernism recognized’, Lise Jaillant explores the publishing context of modernist texts, focusing on reprint series. She thus aims at remapping the landscape of early twentieth-century print culture, which has so...
{"title":"Lise Jaillant, Cheap Modernism. Expanding Markets, Publishers’ Series and the Avant-Garde","authors":"C. Reynier","doi":"10.4000/EBC.7073","DOIUrl":"https://doi.org/10.4000/EBC.7073","url":null,"abstract":"Taking her cue from such scholars as Peter Brooker and Andrew Thacker, Patrick Collier or Ann Ardis who claims that modernism emerged ‘in a publishing ecosystem that was far richer, and far more complexly diversified, than the first several generations of bibliographic scholarship on modernism recognized’, Lise Jaillant explores the publishing context of modernist texts, focusing on reprint series. She thus aims at remapping the landscape of early twentieth-century print culture, which has so...","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074550","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}
L’œuvre poetique de Mina Loy eclipse bien souvent ses textes autobiographiques en prose, dont beaucoup restent encore inedits. Cet article propose d’etudier les innovations avant-gardistes de l’artiste britannique, en s’appuyant sur deux textes autobiographiques composes dans les annees 1930 : le roman surrealiste Insel et « The Child and the Parent ». J’espere montrer que Loy elabore un art tres personnel du morcellement, de la projection et de l’assemblage d’images dans la conscience toujours en mouvement de l’artiste moderne. Ces jeux d’optique remettent en question l’unite du soi grâce aux techniques du decoupage, du collage et du montage. Mon attention se portera sur les strategies de fragmentation et de recomposition kaleidoscopique du sujet autobiographique, dans un dialogue entre les arts inspire par la peinture, par la photographie et par le cinema.
{"title":"« Like a Roll of Negative Film » : montages optiques et fragmentation de soi dans Insel et « The Child and the Parent » de Mina Loy","authors":"D. Drouin","doi":"10.4000/EBC.6190","DOIUrl":"https://doi.org/10.4000/EBC.6190","url":null,"abstract":"L’œuvre poetique de Mina Loy eclipse bien souvent ses textes autobiographiques en prose, dont beaucoup restent encore inedits. Cet article propose d’etudier les innovations avant-gardistes de l’artiste britannique, en s’appuyant sur deux textes autobiographiques composes dans les annees 1930 : le roman surrealiste Insel et « The Child and the Parent ». J’espere montrer que Loy elabore un art tres personnel du morcellement, de la projection et de l’assemblage d’images dans la conscience toujours en mouvement de l’artiste moderne. Ces jeux d’optique remettent en question l’unite du soi grâce aux techniques du decoupage, du collage et du montage. Mon attention se portera sur les strategies de fragmentation et de recomposition kaleidoscopique du sujet autobiographique, dans un dialogue entre les arts inspire par la peinture, par la photographie et par le cinema.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074654","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}
The Hotel, l’unique piece de Leonard Woolf fut publiee en 1938. En depit de ses efforts, l’ecrivain britannique ne parvint jamais a la mettre en scene. La piece de Woolf traite des questions importantes telles que la responsabilite de l’individu dans la formation du destin collectif et la necessite du dialogue et de la collaboration dans un monde globalise tres complexe. Cet article se penche sur le choix que fait Woolf d’un hotel comme lieu de rencontre et chambre d’echo. Il examine d’abord ce choix a la lumiere de la ‘logique du lieu’ et de la theorie de l’agir du philosophe japonais Kitaro Nishida puis se focalise sur le lien qu’entretient la piece avec le theâtre politique d’avant-garde de Joan Littlewood, le Theatre of Action.
{"title":"Leonard Woolf’s The Hotel (1939): The Singular Art of Unifying Contraries","authors":"L. Haghshenas","doi":"10.4000/EBC.6778","DOIUrl":"https://doi.org/10.4000/EBC.6778","url":null,"abstract":"The Hotel, l’unique piece de Leonard Woolf fut publiee en 1938. En depit de ses efforts, l’ecrivain britannique ne parvint jamais a la mettre en scene. La piece de Woolf traite des questions importantes telles que la responsabilite de l’individu dans la formation du destin collectif et la necessite du dialogue et de la collaboration dans un monde globalise tres complexe. Cet article se penche sur le choix que fait Woolf d’un hotel comme lieu de rencontre et chambre d’echo. Il examine d’abord ce choix a la lumiere de la ‘logique du lieu’ et de la theorie de l’agir du philosophe japonais Kitaro Nishida puis se focalise sur le lien qu’entretient la piece avec le theâtre politique d’avant-garde de Joan Littlewood, le Theatre of Action.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074900","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}
Cet article examine la notion de fermeture dans la fiction neo-victorienne d’A. S. Byatt, genre qui est generalement considere comme timide ou reactionnaire dans son traitement de la fin, se contentant de reproduire le type de fin fermee communement associe au roman victorien. Les fins de ‘Precipice-Encurled’, Possession (y compris la suite breve parue dans Victorian Poetry) et Angels and Insects sont ainsi analysees par le biais des paradigmes etablis par Earl Ingersoll dans son etude sur la fin et le genre, Waiting for the End. En outre, la question de la fin dans ces trois textes neo-victoriens est mise en rapport avec une representation auto-reflexive du passe.
本文探讨了A的新维多利亚小说中的封闭概念。S。拜亚特（Byatt）是一种在处理结局时通常被视为害羞或反应性的流派，他满足于复制通常与维多利亚小说相关的封闭结局类型。因此，通过厄尔·英格索尔（Earl Ingersoll）在其关于结局和性别的研究《等待结局》（Waiting for the End）中建立的范式，分析了《被包围的猎物》、《占有》（包括维多利亚诗歌的续集）和《天使与昆虫》的结局。此外，这三个新维多利亚文本的结尾问题与过去的自我反思表现有关。
{"title":"Revolutionary Closure in A. S. Byatt’s Neo-Victorian Fiction","authors":"Armelle Parey","doi":"10.4000/EBC.6565","DOIUrl":"https://doi.org/10.4000/EBC.6565","url":null,"abstract":"Cet article examine la notion de fermeture dans la fiction neo-victorienne d’A. S. Byatt, genre qui est generalement considere comme timide ou reactionnaire dans son traitement de la fin, se contentant de reproduire le type de fin fermee communement associe au roman victorien. Les fins de ‘Precipice-Encurled’, Possession (y compris la suite breve parue dans Victorian Poetry) et Angels and Insects sont ainsi analysees par le biais des paradigmes etablis par Earl Ingersoll dans son etude sur la fin et le genre, Waiting for the End. En outre, la question de la fin dans ces trois textes neo-victoriens est mise en rapport avec une representation auto-reflexive du passe.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48646188","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}
James Kelman’s use of interior monologue, in his novel How Late It Was, How Late, portrays a consciousness enacting Althusser’s modern state paradox: a contradiction within the subject between the ideology of free subjectivity and the reality of subjection. Protagonist Sammy Samuel displays this contradiction when readers are thrown into his private voice of ‘free’ subjectivity, railing against the voices of social subjection. His interior monologue becomes a stoic core and autonomous realm, a direct, free-form inner voice, reacting to the sensory disorientation of blindness and confronting bureaucratic voices who refuse to ‘officially’ recognize his sight loss. Interior monologue potentially gives voice to oppressed subjects, but something more commanding is at work here. The ‘inner space’ in this fiction constructs a terrain for the dialectics of authenticity to fully inhabit. Sammy’s autonomy, his motivation by rational principle, lies in his rejection of the welfare system, to whom he is a phase in a bureaucratic process. His interior monologue becomes an ‘authentic’ truth, addressed to the self in an idiolect that appears uncontaminated by social obligation or public expression.
詹姆斯·凯尔曼(James Kelman)在他的小说《多么晚，多么晚》(How Late It Was, How Late)中使用内心独白，描绘了一种实现阿尔都塞现代国家悖论的意识:主体内部自由主体性意识形态与从属现实之间的矛盾。当读者被投入到主人公萨米·塞缪尔的“自由”主体性的私人声音中，对社会臣服的声音进行抨击时，他表现出了这种矛盾。他的内心独白成为一种禁欲的核心和自主的领域，一种直接的、自由形式的内心声音，对失明的感官迷失做出反应，面对那些拒绝“正式”承认他视力丧失的官僚声音。内心独白可能会给被压迫的人发出声音，但这里有一些更具命令性的东西在起作用。小说中的“内在空间”为真实性辩证法的充分栖居构建了一个地形。萨米的自主性，他理性原则的动机，在于他对福利制度的拒绝，对福利制度来说，他是官僚程序中的一个阶段。他的内心独白变成了一种“真实的”真理，用一种似乎没有被社会义务或公开表达污染的习语对自己说话。
{"title":"Interior Monologue as Social Critique in James Kelman’s How Late It Was, How Late (1994)","authors":"Anna Travis","doi":"10.4000/EBC.6857","DOIUrl":"https://doi.org/10.4000/EBC.6857","url":null,"abstract":"James Kelman’s use of interior monologue, in his novel How Late It Was, How Late, portrays a consciousness enacting Althusser’s modern state paradox: a contradiction within the subject between the ideology of free subjectivity and the reality of subjection. Protagonist Sammy Samuel displays this contradiction when readers are thrown into his private voice of ‘free’ subjectivity, railing against the voices of social subjection. His interior monologue becomes a stoic core and autonomous realm, a direct, free-form inner voice, reacting to the sensory disorientation of blindness and confronting bureaucratic voices who refuse to ‘officially’ recognize his sight loss. Interior monologue potentially gives voice to oppressed subjects, but something more commanding is at work here. The ‘inner space’ in this fiction constructs a terrain for the dialectics of authenticity to fully inhabit. Sammy’s autonomy, his motivation by rational principle, lies in his rejection of the welfare system, to whom he is a phase in a bureaucratic process. His interior monologue becomes an ‘authentic’ truth, addressed to the self in an idiolect that appears uncontaminated by social obligation or public expression.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074948","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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