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On Both Sides of the Tracks
An analysis of social mobility in contemporary French literature that offers a new perspective on figures who move between social classes. Social climbers have often been the core characters of novels. Their position between traditional tiers in society makes them touchstones for any political and literary moment, including our own. Morgane Cadieu’s study looks at a certain kind of social climber in contemporary French literature whom she calls the parvenant. Taken from the French term parvenu, which refers to one who is newly arrived, a parvenant is a character who shuttles between social groups. A parvenant may become part of a new social class but devises literary ways to come back, constantly undoing any fixed idea of social affiliation. Focusing on recent French novels and autobiographies, On Both Sides of the Tracks speaks powerfully to issues of emancipation and class. Cadieu offers a fresh critical look at tales of social mobility in the work of Annie Ernaux, Kaoutar Harchi, Michel Houellebecq, Édouard Louis, and Marie NDiaye, among others, shedding fascinating light on upward mobility today as a formal, literary problem.
The Ultimate Art
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Las mujeres y la ópera
Hélène Seydoux establece brillantemente cómo en la ópera, más que en otras formas artísticas –literatura, teatro o cine–, las mujeres reciben el máximo privilegio al otorgar a las cantantes el mayor espacio lírico. Seydoux analiza las grandes óperas de los grandes compositores y trata de buscar un modelo emblemático femenino que sirva como referente común en el ámbito del bel canto, mientras trata de buscar paralelismos con la época, la sociedad, el momento en el que las óperas fueron creadas intentando establecer hasta que punto estas son reflejo de esas condiciones. Porque la ópera también es una interpretación del mundo. La autora, se aleja de la tesis de la musicología y ayuda al lector a descubrir (o a redescubrir) los placeres de la tragedia lírica, la comedia bufa o el drama jocular.
Hollywood's 100 Leading Actresses
The Hollywood 100 is a carefully curated list that spans generations, genres, and the ever-evolving landscape of the film industry. Each actress selected for this collection has not only graced the screen but has also left an indelible mark on the cultural zeitgeist. From the luminosity of the Golden Age to the dynamism of contemporary cinema, these women have transcended the screen, becoming beacons of inspiration for aspiring actors and audiences alike. Behind the glamour and glitz, each actress's journey is a tale of passion, perseverance, and the pursuit of excellence. Whether they emerged from humble beginnings or were born into the limelight, their stories are threaded with the common theme of dedication to their craft. From auditions that tested their mettle to roles that defined careers, these narratives unfold like a script, revealing the raw, unfiltered reality that exists behind the scenes.
Madama Butterfly
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Carmen. La révoltée
Jean Lacouture, biographe des plus grands noms de notre histoire politique et culturelle, met son talent au service d'un mythe, Carmen, personnage de femme sombre et solaire, écrasée et révoltée, au double destin littéraire et musical. Incarnant, sous la plume de Mérimée, la fatalité, celle de la gitane enfermée dans sa condition ethnique, sexuelle, professionnelle, Carmen devient, sur scène et par la musique de Bizet, une diablesse qui lance ses appels à la liberté " à travers la montagne " et court librement à une mort qu'elle semble avoir choisie. Jean Lacouture peint ce double portrait en le resituant, avec la rigueur et le brio qui sont sa marque, dans ses lieux et dans so...
Bastardi senza gloria
Il curatore della presente opera tiene a precisare che la maggior parte dei testi inclusi nella presente opera provengono liberamente da Internet e sono reperibili su Wikipedia. Allora sorge spontanea la domanda: perché acquistarla? La risposta è semplice. I testi di Wikipedia sono stati integrati in modo sostanziale da immagini dello stesso curatore e dagli screenshots del film o dei film esaminati (nel pieno rispetto del combinato disposto degli articoli 87 e 92 della Legge Italiana sul Diritto d’Autore). In particolare, tutta la parte critica è opera esclusiva del curatore del presente lavoro. Inoltre, si tratta di un certosino lavoro di organico assemblamento che completa l'opera in...
Qui est qui ?
Céline alias Louis-Ferdinand Destouches, Annie Chancel dite Sheila, Vladimir Ilitch Oulianov plus connu sous le nom de Lénine... Heu, ça change, non ? Retrouvez dans ce "Dictionnaire des pseudonymes" les vrais patronymes de près de 3 000 personnalités (du monde des arts, de la politique, du sport, etc...).
Heiliger Wahnsinn auf der Bühne
Die Oper ist ein Spiegel der Gesellschaft, in dem zahlreiche Diskurse reflektiert werden. Sie kann, wie die Literatur, nicht nur als eigenständiges Medium, sondern auch in Abhängigkeit von Rezeption und Verarbeitung des wissenschaftshistorischen Wandels in der Auffassung von Geisteskrankheiten gesehen werden. Heiliger Wahnsinn auf der Bühne widmet sich der theatralischen Entwicklung von Weiblichkeit in der Oper des Belcanto und ihrer Verbindung mit dem Hysteriediskurs, der als Grundlage für die Stilisierung der Frau als Femme fragile oder Femme fatale schließlich zu ihrer theatralen Hagiographie führt. Besonders virulent wurde die idealisierte Darstellung des Bühnenwahnsinns bei den berühmten Belcanto-Heldinnen. Hier zeigt sich eine Parallele der gesellschaftlichen Faszination für den psychiatrischen Diskurs und der Faszination für hysterische Opernfiguren, die den Zuschauer gerade in ihrer Zerbrechlichkeit und in den Momenten, in denen sie ihren Verstand verlieren, besonders anrühren.
