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Political Academy in Paris, 1724 - 1731 - Nick Childs - Bog - Liverpool University Press - Plusbog.dk

Political Academy in Paris, 1724 - 1731 - Nick Childs - Bog - Liverpool University Press - Plusbog.dk

The Entresol has been described as the most significant intellectual organisation in France in the first half of the eighteenth century. Its meetings in the 1720s were attented by some of the most important political thinkers in the country, among them Montesquieu, the marquis d’Argenson, the abbé de Saint-Pierre and the exiled lord Bolingbroke. The Entresol was a meeting of minds between older men who wished to keep in touch with current events, and younger men on their way up, who were eager to prove their suitability for high office in the French governing élite. Members came to meetings because they enjoyed talking about politics, especially foreign affais, and while the Entresol remained in favour, to be a member was a recommendation to those in government. In this book, the first to be published on the Entresol, Nick Childs examines the political thought and social background of the academy’s members, and the reason why their meetings were eventually banned.

DKK 850.00
1

Contested Vision: Captivity, Creativity, and Paris Prisons, 1793-1894 - Gonzalo J. Sanchez - Bog - Liverpool University Press - Plusbog.dk

Contested Vision: Captivity, Creativity, and Paris Prisons, 1793-1894 - Gonzalo J. Sanchez - Bog - Liverpool University Press - Plusbog.dk

As authorities imposed increasing invisibility on detainees, artists such as Hubert Robert, Jacques-Louis David, Honoré Daumier, Gustave Courbet, Armand Désiré Gautier, Maximilien Luce, and Théophile Steinlen, among others, spent time behind bars grappling with representational strategies that almost always required conjoining words and images.

DKK 1189.00
1

Bardadrac - Gerard Genette - Bog - Liverpool University Press - Plusbog.dk

Bardadrac - Gerard Genette - Bog - Liverpool University Press - Plusbog.dk

Here is an unexpected Gérard Genette, looking back at his life and time with humour, tenderness and lucidity. ‘Bardadrac’ is the neologism a friend of his once invented to name the jumbled contents of her handbag. A way of saying that one finds a little bit of everything in this book: memories of a suburban childhood, a provincial adolescence and early years in Paris marked by a few political commitments; the evocation of great intellectual figures, like Roland Barthes or Jorge Luis Borges; a taste for cities, rivers, women and music, classical or jazz; contingent epiphanies; good or bad ideas; true and false memories; aesthetic biases; geographical reveries; secret or apocryphal quotations; maxims and characters; asides, quips and digressions; reflections on literature and language, with an ironic take on the medialect, or dialect of the media; and other surprises. At the intersection, for instance, of Flaubert’s Dictionary of Received Ideas, Ambrose Bierce’s Devil’s Dictionary, Renard’s Journal, Roland Barthes’ Roland Barthes and Perec’s I Remember, this whimsical abecedarium invites you to stroll and gather. Gérard Genette (1930-2018) was research director at the École des hautes études en sciences sociales in Paris, and visiting professor at Yale University. Cofounder of the journal Poétique, he published extensively in the fields of literary theory, poetics and aesthetics, including, in English: Narrative Discourse: An Essay in Method (1980), Figures of Literary Discourse (1982), Fiction and Diction (1993), Mimologics (1995), Palimpsests: Literature in the Second Degree (1997), Paratexts: Thresholds of Interpretation (1997), The Work of Art: Immanence and Transcendence (1997), The Aesthetic Relation (1999), Essays in Aesthetics (2005).

DKK 338.00
1

Bardadrac - Gerard Genette - Bog - Liverpool University Press - Plusbog.dk

Bardadrac - Gerard Genette - Bog - Liverpool University Press - Plusbog.dk

Here is an unexpected Gérard Genette, looking back at his life and time with humour, tenderness and lucidity. ‘Bardadrac’ is the neologism a friend of his once invented to name the jumbled contents of her handbag. A way of saying that one finds a little bit of everything in this book: memories of a suburban childhood, a provincial adolescence and early years in Paris marked by a few political commitments; the evocation of great intellectual figures, like Roland Barthes or Jorge Luis Borges; a taste for cities, rivers, women and music, classical or jazz; contingent epiphanies; good or bad ideas; true and false memories; aesthetic biases; geographical reveries; secret or apocryphal quotations; maxims and characters; asides, quips and digressions; reflections on literature and language, with an ironic take on the medialect, or dialect of the media; and other surprises. At the intersection, for instance, of Flaubert’s Dictionary of Received Ideas, Ambrose Bierce’s Devil’s Dictionary, Renard’s Journal, Roland Barthes’ Roland Barthes and Perec’s I Remember, this whimsical abecedarium invites you to stroll and gather. Gérard Genette (1930-2018) was research director at the École des hautes études en sciences sociales in Paris, and visiting professor at Yale University. Cofounder of the journal Poétique, he published extensively in the fields of literary theory, poetics and aesthetics, including, in English: Narrative Discourse: An Essay in Method (1980), Figures of Literary Discourse (1982), Fiction and Diction (1993), Mimologics (1995), Palimpsests: Literature in the Second Degree (1997), Paratexts: Thresholds of Interpretation (1997), The Work of Art: Immanence and Transcendence (1997), The Aesthetic Relation (1999), Essays in Aesthetics (2005).

DKK 1063.00
1

The Topographic Imaginary - Ari J. Blatt - Bog - Liverpool University Press - Plusbog.dk

The Topographic Imaginary - Ari J. Blatt - Bog - Liverpool University Press - Plusbog.dk

Since the early 1980s, art photographers from metropolitan France have been training their lenses on ordinary landscapes throughout the country they call home. The Topographic Imaginary is the first book to study this important and flourishing trend. It examines work by artists who meld documentary and creative modes to attune viewers to places that mainstream culture tends to tune out, but which, as Ari J. Blatt argues, are in fact more meaningful than they initially appear. From views of building sites in Paris, peri-urban edgelands, or a tangle of trees in a forest, to those that ponder the play of light and shadow on roadside fields in Normandy or the tacky colors painted on dated village shopfronts, images that signal the emergence of a “topographic turn” in contemporary French photography constitute new ways of seeing and sensing France’s diverse national territory. As Blatt suggests, they also represent a visual laboratory through which to investigate how landscape “scapes” our understanding of French culture. In their efforts to reimagine a more traditional andtime-worn idea of France’s shared common space, topographic photographs animateconversations about capital and class; cities and their peripheries; thepolitics and impact of development; migration and borders; memory, history, andaffect; empire and postcolonialism; national identity; and the changingenvironment. The Topographic Imaginary thus reveals how attending to place in pictures provides valuable insight into the disposition of a nation in flux.

DKK 327.00
1

Voltaire et le Grand Siecle - - Bog - Liverpool University Press - Plusbog.dk

Voltaire et le Grand Siecle - - Bog - Liverpool University Press - Plusbog.dk

Sait-on bien quel historien singulier ce fut que l'auteur du Siecle de Louis XIV? Voltaire a si peu deguise son parti pris qu'on finirait par ne plus apercevoir ce qu'a d'insolite sa methode. 'Quiconque pense, ecrit-il dans l'introduction du Siecle, et ce qui est encore plus rare, quiconque a du gout ne compte que quatre siecles dans l'histoire du monde.' Selectionner ainsi son objet, c'est postuler ce qu'il faudra prouver, c'est revendiquer a priori une faculte de gout dont l'histoire est tenue de manifester la superiorite. L'historien n'a donc pas a expliquer, il doit peindre, c'est le mot meme de Voltaire. Il parait superflu de remonter aux causes. Les faits parlent assez clairement: le Grand Siecle compte dans l'histoire universelle par la Revolution qu'il y produit, l'avenement d'une civilisation du gout, jugee telle, il est vrai, d'apres des criteres qu'il se pourrait que Voltaire eut empruntes a l'epoque en cause. C'est afin de celebrer le 250e anniversaire de ce qui fut un evenement pour les contemporains, la publication du Siecle de Louis XIV, que le Centre d'etude de la langue et de la litterature francaises des dix-septieme et dix-huitieme siecles de l'Universite de Paris-Sorbonne organisa le colloque 'Voltaire et le Grand Siecle'. Le volume present rassemble vingt-neuf etudes traitant de la methode de l'historien, des lecons de cette histoire nouvelle, de la 'philosophie' que Voltaire tire de l'observation minutieuse du materiau historique, ainsi que de la politique religieuse de Louis XIV. Voltaire voit des taches sur la gloire du Roi-Soleil.

DKK 750.00
1

Jean-Jacques Rousseau et la Lecture - - Bog - Liverpool University Press - Plusbog.dk

Jean-Jacques Rousseau et la Lecture - - Bog - Liverpool University Press - Plusbog.dk

Rousseau et la lecture est un livre collectif, fruit d'un seminaire de l'Equipe J.-J. Rousseau anime par Tanguy L'Aminot a l'Universite de Paris IV-Sorbonne. Compose d'une vingtaine d'articles, il se propose d'examiner le rapport que Jean-Jacques Rousseau a entretenu avec les livres, la litterature, la philosophie, la science et l'esthetique de son temps.Plus que les sources de son oeuvre ce qui est analyse ici, c'est le dialogue qui s'etablit dans les ecrits de Jean-Jacques avec un ou plusieurs auteurs ou avec un sujet particulier, Celui qui dans l'Emile declarait hair tous les livres, s'est revele un lecteur etonnant, au fait de la pensee et de l'art sous leurs aspects les plus divers. Les auteurs de ce recueil se sont donc demande non seulement quels etaient les ouvrages qui avaient marque Rousseau et quelle valeur ou quel interet presentait telle ou telle lecture pour lui, mais aussi comment Rousseau souhaitait etre lu lui-meme. Lire apparait comme un veritable revelateur de tout l'etre et peut avoir des consequences funestes ou perverses dont il convient de se premunir. En aucun cas, chez Rousseau, la lecture n'est un rite innocent ou gratuit. Quatre etudes presentent d'ailleurs quelques-unes des lectures qui ont ete faites de Rousseau depuis sa mort. De Sade a Jean Starobinski, Pierre Burgelin, Jacques Derrida, Paul de Man et au lecteur ordinaire des annees 1980, on peut apprecier les multiples portraits qui ont ete faits d'un auteur qui tenait a ce qu'on le voit, le lise et le comprenne a sa facon. Rousseau qui avait lu Leibniz, Spinoza ou Helvetius selon son coeur et son systeme, n'etait-il pas a son tour victime de la trahison de ses lecteurs? Mais lire, ne serait-ce pas avant tout trahir, traduire et contredire celui qui est lu? Le conduire au-dela de lui dans l'univers d'autrui?

DKK 832.00
1

Le Theatre De Lelio - Ola Forsans - Bog - Liverpool University Press - Plusbog.dk

Le Theatre De Lelio - Ola Forsans - Bog - Liverpool University Press - Plusbog.dk

Entre 1716 et 1729, les spectacles du Nouveau theatre italien, sous la direction du grand acteur et theoricien Luigi Riccoboni, ont propose au public parisien un langage dramatique original, un univers poetique singulier, sans equivalent chez les concurrents de la Foire aussi bien que chez les Comediens-Francais. Fruit d'un metissage culturel franco-italien, point de convergence d'une grande variete de formes et de figures theatrales, le repertoire du Nouveau theatre italien exemplifie la vitalite, l'allant et l'energie du jeu italien et il temoigne d'une sensibilite esthetique et spirituelle commune, qui ne se resume pas a la seule oeuvre de Marivaux, dont le genie ne perd rien a etre contextualise. Certaines des pieces representees par les Comediens-Italiens de la troupe de Riccoboni comptent parmi les tres grands succes theatraux du dix-huitieme siecle, et certains textes, ceux de Marivaux mais aussi bien d'autres tombes dans un injuste oubli, illustrent avec grace et profondeur l'esprit de leur temps. La fantaisie, la naivete, le romanesque, les bouffonneries parodiques, les jeux de masque, les elans de la plus pure sincerite, les allegories moralisatrices, les atermoiements et caprices du coeur, la melancolie, ainsi que d'audacieuses idees philosophiques prefigurant celles des Lumieres, s'incarnerent vivement, dans des comedies allegres et cruelles, en Arlequin, en Silvia, en Flaminia ou en Lelio, sur la scene de l'Hotel de Bourgogne, sans guere valoir a ces acteurs virtuoses, defenseurs d'un jeu 'naturel', d'etre veritablement pris au serieux par leurs contemporains. L'enigmatique Luigi Riccoboni, tragedien contrarie et comedien malgre lui, a la fois pragmatique serviteur et ambitieux reformateur du Theatre, a elabore, dans le Paris de la Regence, un repertoire novateur trop longtemps neglige. C'est un moment important, et encore insuffisamment connu, de l'histoire du theatre francais et europeen que cet ouvrage vise a remettre en lumiere.

DKK 750.00
1

Urban Bridges, Global Capital(s) - - Bog - Liverpool University Press - Plusbog.dk

Urban Bridges, Global Capital(s) - - Bog - Liverpool University Press - Plusbog.dk

This collection of essays on Trans-Mediterranean Francospheres offers an original examination of cultural production and the flows between urban capitals and “capital” in and of a selection of Mediterranean cities and sites. In three parts, the book covers both familiar and overlooked terrain, in chapters which examine writing the city, the transit between different poles, film and EU designated cultural capitals. The collection therefore brings together texts and their critical readings in new comparative ways. Following Jacques Derrida’s peregrinations in L’Autre Cap (1991), the volume interrogates the what of Europe; the when or where of Paris; the who of the Mediterranean. Or might the Mediterranean fall under the rubric of paleonomy, that is, as Michael Naas recalls Derrida’s words in Positions: “the ‘strategic’ necessity that requires the occasional maintenance of an old name in order to launch a new concept.”Taking this forward, we understand the Mediterranean as an old name to launch a new concept and the essays in the book each reflect on this in different ways. Issues concerning identity are challenged, since a Metropolitan, European, Arab or African identity may be preferred over a Mediterranean one. As borders become reinforced in the region, trans-Mediterranean bridging narratives may be thwarted, especially by those who write across Europe, Africa and the Middle East, in the face of the contemporary refugee crisis. Finally, chapters explore what it means to define a Mediterranean city—such as Marseille as European Capital of Culture—and interrogate how this feeds into the cultural production of a city whose multi-ethnic identities are as outward-looking towards North Africa as they are inward towards the French capital. Contributors: Silvia Baage, Marzia Caporale, Angela Giovanangeli, Mark Ingram, Christa Jones, Gemma King, Claire Launchbury, Megan C. MacDonald, Agnès Peysson-Zeiss, Ipek Çelik Rappas, Alison Rice, Rania Said

DKK 338.00
1