Cet article retrace à partir de documents d'archives la bataille que menèrent Shaw, Yeats et Lady Gregory contre le Lord Lieutenant et le Lord Chamberlain en 1909. Interdite en Angleterre, la pièce ...de Shaw, The Shewing-up of Blanco Posnet, subit une autre forme de^censure en Irlande, appliquée par Lady Gregory pour des raisons religieuses et par le Lord Lieutenant pour des motifs politiques. Ce cas illustre la position privilégiée du théâtre en Irlande et la volonté de Yeats de créer une scène qui ne soit influencée ni par l'impérialisme britannique ni par le nationalisme irlandais. Le refus du censeur anglais d'autoriser The Shewing-up of Blanco Posnet et la décision de Yeats de la présenter au risque de perdre l'Abbey Theatre sont des enjeux politiques et non dramaturgiques.
This article provides archival evidence on the struggle that opposed Shaw, Yeats and Lady Gregory to the Lord Lieutenant and the Lord Chamberlain in 1909. First banned in England, Shaw's play The Shewing-up of Blanco Posnet was then censored in Ireland, for religious reasons by Lady Gregory and for political motives by the Lord Lieutenant. This censorship case demonstrates the privileged status of theatre in Ireland and Yeats' desire to create a national stage which would be influenced neither by British imperialism nor Irish nationalism. The English censor's refusal to license The Shewing-up of Blanco Posnet was, like Yeats's decision to produce the play at the risk of losing the Abbey Theatre, not a theatrical issue but a political one.
Le reportage de fait divers diffusé au Journal Télévisé (JT) est questionné dans cette recherche d’un point de vue « pathémique », c’est-à-dire à travers l’analyse des figures rhétoriques propres à ...émouvoir le public. Ces figures sont élaborées autour d’une absence d’images explicites, absence paradoxale pour la télévision. Pour analyser la rhétorique émotionnelle construite autour de cette absence iconique — de ce creux —, on a sélectionné une sous-catégorie du fait divers privilégiée par les médias : le drame personnel.La partie I analyse la position du drame personnel vis-à-vis du fait divers ainsi que ses ressorts émotionnels, mettant en évidence l’imaginaire pathémique du fait divers. La recherche se focalise ensuite sur les contextes de production et de présentation des reportages du JT de 20 heures de TF1 (partie II). Le contexte de production renvoie à la part invisible du dispositif, aux différents paramètres symboliques et techniques qui jouent un rôle dans l’élaboration du texte. Le contexte de présentation fonde les cadres instituants de l’information qui guident la lecture du reportage. Tenant compte du sujet raconté et du dispositif chargé d’en rendre compte, la recherche aborde alors l’écriture du drame et les mises en scène télévisuelles à visée dramatisante (partie III). Cette analyse morphologique questionne les enjeux communicationnels et émotionnels d’une forme générique du fait divers au JT. Favorisant l’imagination et l’appropriation du texte, la forme symbolique du drame — composée d’images allusives et banales — vient compenser la singularité des faits exposés.
This research analyses human interest stories on television news from a “pathemic” point of view, namely through the analysis of rhetorical figures aiming to move an audience. These figures are constructed around the absence of explicit images, which is a paradox for the television world. In order to analyze the emotional rhetoric constructed around this iconic absence, we have selected the most popular subcategory in the media, which we have called personal drama.The first part of this research analyzes the position of personal drama in relation to human interest stories and its emotional mainsprings. The second part of the research focuses on the contexts of production and presentation. The production context refers to the invisible part, that is to say, the technical and symbolic parameters which play a central role in the elaboration of the report. Whereas the presentation context acts as a framework which guides the audience in reading the report in a certain way. Considering the event being related and the means to do so, the ultimate aim of the research is to analyse the actual writing of the news story and its dramatization for TV. This morphological analysis questions the communicational and emotional stakes of a generic form of human interest stories on television news. Favouring the imagination and the appropriation of the text, the symbolic form of the drama - composed of allusive and mundane images - compensate for the singular nature of the facts being exposed.
Satyric Play is the first book to offer an integrated analysis of Greek comedy and satyr drama. Using a literary-historical approach, it argues that comedy and satyr plays influenced each other in ...nearly all stages of their development. Although satyr drama was written by tragedians and employed a number of formal tragic elements, the humorous chorus of half-man, half-horse satyrs encouraged sustained interaction between poets of comedy and satyr play. From sixth-century proto-drama, through classical productions staged at the Athenian City Dionysia, to bookish Alexandrian plays of the third-century, the remains of comic and satyric performances reveal a range of literary, aesthetic, historical, religious, and geographical connections. This study analyzes the details of this interplay diachronically, considering a wide range of literary and material evidence. Ancient critics and poets allude to comic-satyric associations in surprising ways, vases indicate a common connection to kômos (revelry) song, and the plays themselves often share titles, plots, modes of humor, and even on occasion a chorus of satyrs. Understanding the complex, shifting relationship between comedy and satyr drama offers insight not only to the development of these genres, but to the nuances of ancient genre theory, and the Greek theatrical experience as a whole.
Nous examinons d’abord les aspects de la souveraineté politique sur la scène shakespearienne. À la lumière des analyses consacrées par Walter Benjamin au drame baroque, en 1928, et de la réaction de ...Carl Schmitt dans Hamlet ou Hécube (1956), nous montrons que Shakespeare met en scène la mortalité des corps politiques et la souveraineté nouvelle de l’intrigant dans le temps terrestre. Sommé de maîtriser l’art et le tempo de l’intrigue, le Prince est néanmoins impuissant à empêcher la décomposition de l’État. En prenant appui sur le drame élisabéthain, notamment sur le vertige mélancolique et sceptique d’Hamlet, nous interrogeons alors l’effort contemporain en vue de l’ordre et de la synchronisation dans la cité. La théorie hobbesienne de la représentation politique et juridique moderne rompt avec la conception mystique de l’unité politique et toute écriture inspirée des lois, tandis que la scène civile y est dédiée à la paix du commerce entre les individus afin de garantir les conditions d’une autonomie réelle dans la sphère privée. Réciproquement, cette autonomie doit pérenniser les solutions à la mélancolie et au scepticisme conceptualisées dans Léviathan. Tout en entérinant la tragédie de l’existence humaine et de tout savoir déjà mise en scène par Shakespeare, Léviathan évite d’emblée l’exaltation schmittienne ainsi que la violence « pure » logée, selon Benjamin, dans l’état d’exception de la subjectivité. À travers les spectres qui, chez Hobbes, n’ont plus droit de cité, la scène shakespearienne défait cependant les mécanismes de l’ordre et de la synchronisation continus, cela sans congédier le droit ni le projet de l’autonomie.
First, we examine the aspects of the political sovereignty on the Shakespearean stage. In the light of Walter Benjamin’s Origin of the German baroque drama (1928) and of Carl Schmitt’s answer to Benjamin in Hamlet or Hecuba (1956), we show that Shakespeare stages the mortality of the political bodies and the new sovereignty of the plotter. Urged to master the art and the tempo of the plot, the prince is nonetheless unable to prevent the decomposition of the state. Then, drawing on the Elizabethan drama, and especially on Hamlet, we question the contemporary effort towards order and synchronization within the city. Hobbes’s theory of political and juridical representation breaks with the mystical conception of political unity and with any inspired legislation, whereas the civil scene is dedicated to the peace between individuals in order to ensure the possibility of a real autonomy in the private sphere. Reciprocally, this autonomy must consolidate the solutions to the problems of melancholy and skepticism conceptualized in Leviathan. While endorsing the tragedy of human condition and of knowledge already put on stage by Shakespeare, Leviathan prevents Schmitt’s exaltation as well as the « pure » violence which, according to Benjamin, lies in the subject’s state of exception. Yet, through the ghosts that Leviathan cannot tolerate within the public sphere, the Shakespearean stage unravels the mechanisms of perpetual order and synchronization without rejecting the law and the project of autonomy.
La publication de récits de vie de marginaux par des chercheurs occidentaux offre un point d'entrée intéressant dans le discours sur l'Afrique. Cet article démontre que les deux récits de vie publiés ...par John Chernoff, Hustling is not Stealing et Exchange is not Robbery,mettant en scène une jeune prostituée du Burkina Faso et l'ouvrage d'Adama Dramé et Arlette Senn-Borloz, Jéliya: être griot et musicien aujourd'hui, autour de la vie marginale d'un griot, tout en ravivant la soif de connaissance occidentale sur l'Afrique, offrent un contraste frappant dans la présentation de leur projet d'écriture et dans la question du pacte auctorial. Je montre que la démarche de Dramé et Senn-Borloz présente en définitive un modèle réussi de ce que l'on a appelé "l'autobiographie en collaboration," à la suite de Philippe Lejeune.
Full text
Available for:
BFBNIB, INZLJ, NMLJ, NUK, PILJ, PNG, SAZU, UL, UM, UPUK, ZRSKP
The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light ...they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis—the earliest of all medieval dramas—is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays.
This article explores Beaumarchais's conflicting impulses towards comedy and pathos through the dynamics of onstage laughter in his problematic play Eugénie. While this drame's early scenes encourage ...a broadly comic response, the audience becomes progressively aware of laughter's moral shortcomings – not least in one crucial scene, where the pitiful heroine looks on in agonised compassion as her father's cruel mockery of her own seduction and abandonment unwittingly backfires upon himself. Father and daughter thus come to embody two conflicting spectatorial modes, those of comedy and the drame respectively, and Beaumarchais paints a touching portrait of the latter's moral superiority.
Full text
Available for:
BFBNIB, FZAB, GIS, IJS, KILJ, NLZOH, NUK, OILJ, SBCE, SBMB, UL, UM, UPUK
Les Récits des temps mérovingiens d’Augustin Thierry ont remporté un grand succès dès leur parution en 1840 et pendant quelques décennies. Mais si l’on observe les particularités de ce texte, on ...s’aperçoit que le modèle de l’écriture de l’histoire a changé depuis l’entrée brillante de Thierry dans la carrière sous la Restauration avec ses Lettres sur l’Histoire de France et sa Conquête de l’Angleterre par les Normands. L’étude du rapport entre diégèse et narration, la mise en abyme du narrateur par la figure de Grégoire de Tours, l’effacement du modèle du drame et l’apparition corrélative d’un référence à la tragédie permettent de cerner l’évolution de la mise en intrigue de l’histoire et de formuler quelques hypothèses sur ce qui explique cette transformation.
The purpose of this article is to use the imaginative process of a theatrical script - also called ethnodrama - to explain how leisure is related to happiness within a framework of positive ...psychology. In particular, this ethnodrama presents an imaginative interdisciplinary scholarly conversation regarding how leisure is related to happiness among the following six thinkers: Jane Addams, Cindy Jackson, Mark Kingwell, Betsy Wearing, Martin Seligman, and Oksana Grybovych. This ethnodrama reflects what the authors believe could be a realistic conversation between six diverse people regarding how leisure is related to happiness through a positive psychology framework.
Full text
Available for:
BFBNIB, NUK, PILJ, SAZU, UL, UM, UPUK
The bourgeois drama of "serious genre" was one of the major innovative literary forms of the French Enlightenment, but it has been largely excluded from the canon today. In a study drawing on ...contemporary and 18th-century literary theory and philosophy, social history and history of the theatre, Hayes presents a reading of the dramas of Diderot and Sade and argues for a new understanding of the genre as a whole. A disparate group as they were, the "drame's" practitioners share a new approach to personal identity as relational and derived from the workings of the social network - a notion of great ideological shift in the period preceding 1789.
PDF
