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Activités du Jury Goncourt – le Choix roumain 2018
Proceedings of the Goncourt Jury – the Romanian choice, 2018
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Amélie Nothomb, Belgian writer of French expression, considers that true beauty is the subjective, and differs from the one imposed by society’s standards, and well represented in universes such as fashion and modelling. With her acute taste for contrasts, she presents in her novels, beautiful feminine characters, with angelic and pale faces, pitched against monstrous masculine characters. The characters are not satisfied with the reflection that the mirror offers them, precisely because this reflection is associated with the image they see projected in society’s larger mirror. For many people, beauty is reduced to physical appearance. Society is, in the nothombian novels, a fake body-mirror. For the extremely ugly characters, who inspire fear and aversion, the true body-mirror, where they can contemplate their essence, is represented by feminine characters, extremely beautiful, associated with angels, who are messengers of the faith in God, or, in this particular case, of the faith in subjective beauty.
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The play Pockets full of bread of Matei Vişniec represents a witty satire about human nature that interrogates the dialectic of action and non-action, revealing the potential consequences of embracing the philosophy of passivity. Two characters reminding the theatre of Beckett, Man with stick and Man with hat, introduce the audience to an absurd universe where a dog’s rescue soon evolves into a metaphysical drama.
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The window at Tanguy Viel does not acquire the status of observation point, where one leans to see and know the world. This literary representation of the window that has been essentially present in the literature as soon as the window, as an architectural element, has become transparent, is substituted in the literary production of Viel by a window that opens towards a half space or completely covered with water. However, it does not serve to make an inventory of what lies beyond, most often, it is the reader to imagine the content of this view that seduces the character. The image of a closed window that does not open necessarily, a still window overlooking the roadstead, and even further, on a frightening void filled with water, tells us of an anguish felt by the character, a life burdened by stagnation. We will agree from the outset that the window, in its literary representation, has multiple functions. In its fully glazed form, it acquires the function of separation, allows the passage of the gaze, illuminates the spaces, and implies a notion of power, control, freedom and wealth.
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"Ce qui fait tenir" starts with a question regarding the dialog and the tension between texts and images. The aim of this article is to analyse the understanding of the poetic experience as an open language experience through the dialogue of different artistic practices. This paper is also focused on how the conjunction between the language of the text and the language of the image marks the construction of a brutal experience of literature.
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Proceedings of the Goncourt Jury – the Romanian choice, 2019
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Published in 1993, the novel Bois rouge by Jean-Marie Touratier brings to life the history of the short-lived French colony of Brazil, the Antarctic France, whose existence, reduced to only five years (1555-1560), was described in the travelogues written in the 16th century by André Thevet ("Les Singularitez de la France Antarctique - The New Found World, or Antarctike") and Jean de Léry ("Histoire d’un voyage faict en la terre du Brésil – History of a Voyage to the Land of Brazil"). Beneath the appearance of a simple story told by an ironic voice, sometimes even satirical towards the military leader of the French colony, the Knight of Malta Nicolas Durand de Villegagnon and his chaplain, André Thevet, future cosmographer of the kings of France, the novel delves into issues of great complexity, such as (the issue of) identity and the relationship to the Other (the American “savage”).
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This article aims to comprehend the complexity of the "mythology" of devoration in Matei Visniec’s dramaturgy, to identify the paradigms of the consumed and the consuming body while gravitating around the concept of corporality, because the body represents a macro-sign, a matrix of meanings and the very identitary root of the individual. We attempt to emphasize the complementary dimensions of consuming, the pleasure and the terror, according to Gilbert Durand and to analyze the role played by food and the act of eating in the economy of Visniec’s theater.
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