By O'Sullivan, Maria; Vorstman, Ruth; Mathias, Manon
In a tradition more and more passionate about the visible, self-image and severe self-exposure, within which fact is continually obscured and misrepresented via concealment and spin, the jobs demonstrate and hide play in literature, idea and visible tradition are rather prescient. This assortment, constructed from papers awarded at a postgraduate convention in Oxford in September 2008, provides a coherent view of key advancements within the notions of show and hide in French tradition and offers a thought-provoking contribution to modern feedback. the amount comprises essays from either senior researchers and graduate scholars utilizing shut readings and theoretical ways from the psychoanalytic to the postcolonial. those are prepared in 4 major sections, facing notions of functionality, disclosure, phantasm and concealment respectively. Drawing on new examine in quite a lot of classes, in fields together with paintings, images, theatre, trip writing and the unconventional, the authors think of the notions of show and hide when it comes to works through artists corresponding to Molière, Flaubert, Proust, Dalí, Vinaver and Sophie Calle.
This quantity includes ten contributions in English and one in French
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Extra resources for Display and Disguise
Once again, our attention is drawn to the theatre’s ability to distort the truth and provide visual tricks for its audience. More than this, though, it suggests that characters are fundamentally caught up in seeing and believing what they want to believe. For Lidge admits that ‘Quelque soupçon léger dans mon âme repasse’ but resolves ‘quoique mon esprit doute de ces disours, je n’ai qu’à croire encore [sic] ce que j’ai cru toujours’ (V, 6). Has Iphis managed, in a f lamboyant exhibition, to make it look like the goddess has changed her into the sex that would smooth out all the problems for herself and others?
Homer’s epics have inf luenced many of the great 1 2 Homer, The Odyssey, trans. 1. All references will be to this edition.
This optimistic time ahead dreamed of by our ancestors – specifically the deceased father and his peers – is essentially ‘us’. ‘We’ – audience members and playwright alike – reside in a world ‘after’ this expectant generation. At the conclusion of Trois versions de la vie, Henri aspires to see beyond our / his insignificant existence: ‘Nous ne sommes pas peu de chose, notre temps est insignifiant mais nous nous ne sommes pas peu de chose…’ (82). In a desperate attempt to justify our existence beyond the petty bourgeois universe of social disguises, he suggests: 15 16 Dominique Simonnet, ‘Reza: J’écris sur le fil de l’essentiel’, L’Express (janvier 13, 2000).