Bøger i European Connections serien

«This volume locates itself neatly in the growing collection of publications on intermediality by relating such practices to Roland Barthes. Barthesian motifs and writerly concerns are found within a variety of intermedial practices, as the analysis moves, historically and globally, across visual, aural and literary cultures. Such an approach is both appropriate and innovative within Barthes Studies and in cultural theory more generally.»(Andy Stafford, Professor of French and Critical Theory, University of Leeds)The essays in this collection reconsider Roland Barthes as a crucial figure in intermedia studies, arguing that the concepts and forms of analysis he pioneered are of continuing importance for students and scholars working in the field. These essays utilize an interdisciplinary methodology, drawing on Barthes's own intermedial critical practice, to examine the multiple relationships between art, literature, music and performance and across different languages. The collection places Barthes's writing in critical dialogue with other theorists, including Gilles Deleuze and Félix Guattari, Dick Higgins and Emmanuel Levinas, investigating the work of figures as varied as André Breton, Giordano Bruno, Alain Cavalier, Alfred Hitchcock, Marcel Schwob, W. G. Sebald, Steven Spielberg, Yoko Tawada and Lev Tolstoy. The collection demonstrates that Barthes's intermedial critical and theoretical practice provides a means of challenging fixed critical narratives and exploring crucial intermedial issues, including how narrative crosses media, the close relationship between image and text throughout history, and how twentieth-century consumer capitalist culture transformed the relationship between image and text.

This interdisciplinary study, situated at the cross-section of music, literature and gender, examines the woman singer and her song as a literary motif in French and German prose fiction from the 1790s to the mid-nineteenth century. Through selected case studies, this diachronic history of motifs offers a fresh perspective on canonical singer archetypes, such as Goethe's child singer Mignon and Madame de Stael's ground-breaking artist Corinne. The volume also examines lesser known narratives by authors including Caroline Auguste Fischer, E.T.A. Hoffmann, Hector Berlioz and Marceline Desbordes-Valmore, some of which have not been considered critically in this regard before. This allows for a re-evaluation of the significance of the singer motif in musical narratives from the Romantic era to the July Monarchy. The sometimes polemic, often ambivalent, yet always nuanced and multi-layered reflection on the woman singer in literature bears testimony to the complexity of the nineteenth-century musical-literary discourse and its fluid negotiation of gender relations and female performance, fitting well with that ineffable, enigmatic essence of the woman singer herself who, as a literary motif and a cultural icon, continues to resonate and fascinate well beyond the nineteenth century.

The eighteenth and nineteenth centuries saw an explosion in Europe of interest in foreign languages and literatures. This book explores how early generations of women writers formed connections with each other across national boundaries.

The notion of citizenship is part of national collective memory and a memory of individuals belonging to a specific historical and cultural context. This book seeks to investigate the importance of women's relationship with citizenship and nationality from a diachronic perspective analysing different forms of writing in various European contexts.

An influential forerunner of French Existentialism, the Russian-born thinker Lev Shestov (1866-1938) elaborated a radical critique of rationalist knowledge and ethics from the point of view of individual human existence. Best known for his ground-breaking comparative studies of Tolstoy and Nietzsche, and of Dostoevsky and Nietzsche, Shestov defined his conception as the ¿philosophy of tragedy¿. Shestov¿s philosophical hermeneutics of the literary work of art was later developed and disseminated through the writings of his disciple, the Romanian-born Benjamin Fondane (1898-1944), who was also a poet, filmmaker and playwright. The two authors provided one of the earliest and most consistent critical accounts of Husserlian phenomenology in France. ¿The philosophy of tragedy¿ and its associated notions of ¿revolt¿ and existential truth had a lasting impact on a number of prominent writers and philosophers including Georges Bataille, André Gide, André Malraux, Albert Camus and Emmanuel Lévinas. Précurseur influent de l¿Existentialisme, le philosophe d¿origine russe, Léon Chestov a élaboré une critique radicale de la connaissance rationnelle et de l¿éthique du point de vue de l¿existence individuelle. Connu en particulier pour l¿originalité de ses études comparatives sur Tolstoi et Nietzsche, et sur Dostoïevski et Nietzsche, Chestov a défini sa conception comme une ¿philosophie de la tragédie¿. L¿herméneutique philosophique de l¿¿uvre littéraire chez Chestov a été ultérieurement developpée et disséminée à travers les écrits de son disciple d¿origine roumaine, Benjamin Fondane, philosophe, mais aussi poète, cinéaste et homme de théâtre. Les deux auteurs ont élaboré une des premières et des plus cohérentes critiques de la phénoménologie d¿Husserl en France. La « philosophie de la tragédie » et les notions qui y sont associées, en particulier celle de « révolte » et de vérité existentielle, ont exercé une influence durable sur nombre d¿écrivains et des philosophes réputés, dont Georges Bataille, André Gide, André Malraux, Albert Camus et Emmanuel Lévinas.

Divorce is a conspicuous character trait of modernity, commonly portrayed in texts and on screen, with its moral and social rationalisation firmly rooted in Enlightenment and Romantic thought. The aim of this volume is to bring into focus this contemporary cultural fascination by assembling the variety of academic responses it has started to create. Bringing together the reflections of scholars from the UK and North America who have worked in this domain, this study offers for the first time a genuinely wide-ranging account of the depiction of divorce across the northern hemisphere in a number of media (fiction, journalism, film and television). It reaches historically from the intellectual and legal aftermath of the Enlightenment right up to the present day. As such, the collection shows both the roots of this apparently contemporary phenomenon in nineteenth-century literary practice and the very particular ways in which divorce characterises the different narrative media of modernity.

Offers texts and images that has evolved from papers given at the inaugural Making Sense colloquium, which was held at the University of Cambridge in September 2009.

Roland Barthes and Pier Paolo Pasolini were two of the most eclectic cultural personalities of the past century, as elusive as they were influential. Despite the glaring differences between them, they also shared a number of preoccupations, obsessions and creative approaches. Certain themes recur insistently in the works of both men: the pervasiveness of power and the violence inherent in the modernising process; the possibility of freedom and subjective autonomy; and the role of creative practices in a society configured as a desert of alienation. Despite this common ground, no systematic attempt at reading the two authors together has been made before now. This book explores this uncharted territory by comparing these two intellectual figures, focusing in particular on the similarities and productive tensions that emerge in their late works. Psychoanalysis plays a key role in the articulation of this comparison.

Explores the cultural meanings of women leaving home. This volume aims to put the narrative element of home-leaving into a European context by investigating travel in various directions: from England to somewhere abroad, from the (former) colonies to the (former) imperial centre or simply within a psychic space.

This collection of essays, inspired by André Breton¿s concept of the limites non-frontières of Surrealism, focuses on the crossings, intersections and margins of the surrealist movement rather than its divides and exclusion zones. Some of the essays originated as papers given at the colloquium ¿Surrealism: Crossings/Frontiers¿ held at the Institute of Romance Studies, University of London, in November 2001. Surrealism is foregrounded as a trajectory rather than a fixed body of doctrines, radically challenging the notion of frontiers. The essays explore real and imaginary journeys, as well as the urban dérives of the surrealists and situationists. The concept of crossing, central to a reading of the dynamics at work in Surrealism, is explored in studies of the surrealist object, which eludes or elides genres, and explorations of the shifting sites of identity, as in the work of Joyce Mansour or André Masson. Surrealism¿s engagement with frontiers is further investigated through a number of revealing cases, such as a political reading of 1930s photography, the parodic rewriting of the popular ¿locked room¿ mystery, or the surrealists¿ cavalier redrawing of the map of the world. The essays contribute to our understanding of the diversity and dynamism of Surrealism as an international and interdisciplinary movement.

Explores the multifaceted concepts of otherness, barbarism and exteriority. This book examines some major twentieth-century poetic responses to the violent denial of otherness and difference in modern Europe. It focuses on three twentieth-century poets who experienced barbarism in some way and whose work constitutes a poetic counter-attack.

A collection of essays and creative work from the 2010 Making Sense colloquium, which was held at the Centre Pompidou and the Institut Telecom, Paris, bringing together artistic creation, theoretical debate and academic scholarship. Includes contributions from the philosopher Bernard Stiegler, outlining his interpretation of 'Making Sense'.