STAGE PHRASE Grose, Thomas K
ASEE prism,
01/2020, Letnik:
29, Številka:
5
Journal Article
Moliere is France's Shakespeare. The 17th-century playwright and poet is best known for his farces, including Tartuffe, The Misanthrope, and The Miser. But like Shakespeare, there has long been some ...doubt as to whether he was the true author. Moliere was also a famous actor, often on the road, who only began writing in his 40's. Because scholars have yet to find an original manuscript signed by Moliere, some suspect that the real author was his contemporary, Pierre Corneille, and that the two conspired to affix Moliere's name as a famous actor to promote the plays--a winwin for both men.
Dans l'histoire théâtrale occidentale, Corneille se fait surtout remarquer par ses tragédies classiques. L'Illusion comique (1636), comme la dernière comédie de sa première période de création, ...souffre toujours d'un certain désintêret auprès des critiques cornéliens chinois. Elle jouera en fait un rôle important dans les conceptions dramatiques de Corneille et devrait se comprendre dans la perspective de son illustration de l'esthétique baroque du début du XVIIe siècle. Les innovations de Corneille tel le procédé du théåtre dans le théâtre feront s'établir un nouveau rapport scène-salle. Cela nous laisserait entrevoir ses réflexions sur l'esthétique baroque et ses intentions : construire la subjectivité humaine en exposant les liens entre le monde et soi-même.
My research examines the following questions: 1) Did Russian five-act verse comedy evolve similarly to French five-act verse comedy? 2) Were Romantic features present in the nineteenth-century ...Russian five-act verse comedy? 3) Was Russian four-act verse comedy distinct from the Russian five-act verse comedy in terms of its formal features, such as the number of dramatic characters, the mobility coefficient, the predominant type of dialogues/polylogues, etc.? I elaborated on Boris Iarkho’s quantitative features and methodology, which I modernized by automating data processing and calculations, replacing his transgression coefficient by statistical significance testing and his synthesis (i.e., the aggregated curve of the evolution of all features) with open-form scores that measure how experimental a tradition or a author is in terms of “openness” (high variability) vs. “closeness” (low variability) of their formal features. I discovered that, unlike French five-act verse comedy, Russian five-act verse comedy did not evolve in a wave-like manner with alternating closed and open forms. Instead, I found a quantitative basis for Iurii Tynianov’s and Mikhail Gasparov’s earlier claim that the closed and open styles co-existed and mixed in Russian literature (Tynianov 1969, 52-3; Gasparov 1997, 434-455). In Russian five-act verse comedy of the first half of the nineteenth century, Romanticism did not supersede Neoclassicism; instead, some comedies manifest Romantic features, whereas others remained faithful to Neoclassical style. The evolution of French five-act verse comedy corresponds to Heinrich Wölfflin’s model of alternating closed and open forms, which Boris Iarkho had also observed in the case of the French five-act tragedy. As regards four- vs. five-act verse comedies, Russian four-act verse comedy tended to be more experimental than the contemporaneous French and Russian five-act verse comedy.
In April 1652, the fledgling French settlement of Quebec saw a performance Pierre Corneille's famous tragicomedy Le Cid. Interpreting the play in light of the social and political context of this ...performance, this article argues that audience members must have found something very familiar about Corneille's drama of domestic politics in medieval Castile, set against the backdrop of a threat of surprise attack by an army of Moors lurking downriver from the city of Seville. At the very moment the play was staged in Quebec, the St. Lawrence River also seemed, to chroniclers of colonial life, to be teeming with aggressive cultural Others awaiting opportunities to launch surprise attacks on the vulnerable French: the Iroquois. This article examines three aspects of Castile's conflict with the Moors in Le Cid—the vulnerability associated with proximity to a river, the enemy's stealth, and the way Castilians meet the challenge—and argues that the play would have reflected to audience members both their own dangerous situation and their unique relationship to royal authority. Comparison of this analysis to existing scholarly interpretations of the play shows how accounting for colonial experiences of French literature may bring fresh perspective both to individual texts and to the relationship between France and its colonies more broadly.
This article explores French neoclassical tragedian Pierre Corneille’s
Polyeucte martyr
(1643) as a theoretical reflection on religious toleration. To argue that Corneille stages what modern theorist ...Rainer Forst calls a ‘general concept’ of toleration, I locate and analyze its key components within the play: the ‘objection’, ‘acceptance’, and ‘rejection’ components. My analysis serves to show that Corneille develops and stages a working theory of religious toleration in his seventeenth-century martyr play; and moreover, that
Polyeucte martyr
can and should be read in dialogue with toleration discourse past and present. By reading Corneille’s
Polyeucte martyr
through the lens of toleration, this article offers new avenues of inquiry into a canonical work.
Ce crime de nos larmes Merlin-Kajman, Hélène
L'Esprit créateur,
07/2017, Letnik:
57, Številka:
2
Journal Article
Recenzirano
Aborder Horace de Corneille par la plainte réserve une surprise: la plainte n'y apparaît pas seulement comme l'expression d'une souffrance individuelle, mais comme l'enjeu de la définition des liens ...humains. Faut-il "mourir pour la patrie" sans se plaindre? Voir mourir les siens sans pleurer? La plainte judiciaire s'entrechoque avec la plainte déplorative au point de constituer le véritable nœud dramatique de la tragédie, éclairée par le concept de "différend" de Jean-François Lyotard: si le procès d'Horace l'absout en déboutant le "plaignant" (Valère), la tragédie fait place au sentiment et témoigne pour la "victime".
This project, a graduate research thesis, means to unearth Charles T. Dazey’s most famous work, In Old Kentucky. This thesis examines the facets of In Old Kentucky which made it a perennial favorite ...across the entirety of the United States for more than thirty years from 1892, well into the twentieth century. This thesis shines a light on the life and work of Charles T. Dazey, discusses melodrama as it existed before In Old Kentucky, and evaluates In Old Kentucky as dramatic literature. Through an examination of In Old Kentucky and its history one can understand the theatrical trends, audience preferences, and cultural ideals of the time period.
