Vol. 08 No. 1, November 2008
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Item Open Access Contents - Belphégor Vol 8 No 1(Dalhousie University. Electronic Text Centre, 2008-11) Frigerio, VittorioItem Open Access Cani, Isabelle. Harry Potter ou l'anti-Peter Pan : Pour en finir avec la magie de l'enfance. Paris : Fayard, 2007. 316 p. ISBN : 9782213634555(Dalhousie University. Electronic Text Centre, 2008-11) Ransom, Amy J.Item Open Access Janelle, Claude, ed. La Décennie charnière (1960-1969). Québec : Editions Alire, 2006. 335 p. ISBN : 2-89615-011-0(Dalhousie University. Electronic Text Centre, 2008-11) Ransom, Amy J.Item Open Access Emilio Salgari, Le Pantere d'Algeri – Il romanzo di Salgari ispirato dall'invasione barbaresca di Carloforte (1798), Genova, Feguagiskia Studios Edizioni, 2007, pp. 272. ISBN- 978-88-7529-068-9(Dalhousie University. Electronic Text Centre, 2008-11) Pozzo, FeliceItem Open Access Emilio Salgari, I misteri dell'India, Macerata, Ed. Simple, 2008, pp. 210. ISBN 978-88- 6259-085-3(Dalhousie University. Electronic Text Centre, 2008-11) Pozzo, FeliceItem Open Access Ferriss, Suzanne, and Mallory Young, eds. Chick Flicks: Contemporary Women at the Movies. New York: Routledge, 2008. 259p. ISBN : 0-415-96256-0(Dalhousie University. Electronic Text Centre, 2008-11) Olivier, SeverineItem Open Access « Labiche et le théâtre au second degré » Introduction(Dalhousie University. Electronic Text Centre, 2008-11) Laporte, DominiqueItem Open Access Labiche, Eugène. L’Affaire de la rue de Lourcine. Texte intégral + dossier par Olivier Bara + Lecture d’image par Sophie Barthélémy. Coll. « folioplus classiques 19e siècle ». Paris : Gallimard, 2007. ISBN : 9782070343805(Dalhousie University. Electronic Text Centre, 2008-11) Laporte, DominiqueItem Open Access Barfoot, Nicole. Frauenkrimi/Polar féminin. Generic Expectations and the Reception of Recent French and German Crime Novels by Women. Frankfurt am Main: Peter Lang, Coll. "MeLiS: Medien-Literaturen-Sprachen in Anglistik/Amerikanistik, Germanistik und Romanistik", 2007, 228 p., – ISBN-10: 3- 631-55992-5; ISBN-13: 978-3-631-55992- 5.(Dalhousie University. Electronic Text Centre, 2008-11) Ferreira-Meyers, KarenItem Open Access Evanghélia Stead & Hélène Védrine (dir.) L'Europe des revues (1880-1920). Estampes, photographies, illustrations. Paris: Presses de l'Université de Paris- Sorbonne, 2008. ISBN: 978-2-84050-592-1(Dalhousie University. Electronic Text Centre, 2008-11) Bouchard, Anne-MarieItem Open Access Aubry, Danielle. Du roman-feuilleton à la série télévisée. Pour une rhétorique du genre et de la sérialité. Berne : Peter Lang, 2006. 244 p. ISBN 978-3-03910-994-4(Dalhousie University. Electronic Text Centre, 2008-11) Beaule, SophieItem Open Access Ashley, Mike. Gateways to Forever: The Story of the Science-Fiction Magazines from 1970 to 1980. The History of the Science- Fiction Magazine Volume III. Liverpool Science Fiction Texts and Studies. Liverpool: Liverpool University Press, 2007.507 p. ISBN-13: 9781846310034(Dalhousie University. Electronic Text Centre, 2008-11) Beaule, SophieItem Open Access La Théorie de 'jeu de place' et les relations maîtres-domestiques dans le théâtre d'Eugène Labiche: Le Cas du Dossier de Rosafol(Dalhousie University. Electronic Text Centre, 2008) Cvetanovic, SanyaL'article La théorie de « jeu de place » et les relations maîtres-domestiques dans le théâtre d'Eugène Labiche : le cas du Dossier de Rosafol vise à examiner le fonctionnement du renversement de rôles (le plus souvent entre les maîtres et leurs domestiques) dans le théâtre de Labiche en utilisant les outils des théories conversationnelles.Item Open Access Articles critiques de Théophile Gautier sur le théâtre de Labiche(Dalhousie University. Electronic Text Centre, 2008) Brunet, FrancoisBetween 1838 and 1870, Gautier wrote 65 reviews of plays by Labiche. Before 1851, his compliments are somewhat vague, as if he had not immediately realized this author's importance. However, he is rarely harsh with him, which is quite remarkable for a critic who detested vaudeville, a bastard genre he considered minor and poorly written. Following the success of the play Un Chapeau de paille d'Italie, which Gautier did not get to see, being absent from Paris at the time, the critic became increasingly attentive to Labiche's work and to the vis comica he identified in each and every play by this author. For him, Labiche is a true descendant of Aristophanes and Rabelais. The adjective “drolatique” recurs regularly in his description of Labiche's style of writing. One can actually talk about Labiche having converted Gautier to the vaudeville. Following this change of heart, Gautier goes so far as to devise an original theory of the history of the theatre. Comedy, for him, is not where one could think, within a genre with specific codes, but can be found where laughter burst forth on the stage, and that is precisely in good vaudeville plays, such as those by Labiche.Item Open Access Théodore de Banville, critique d'Eugène Labiche(Dalhousie University. Electronic Text Centre, 2008) Edwards, Peter J.In his articles of theatre critcism, written intermittently between 1847 and 1881, Théodore de Banville touched on Eugène Labiche's theatre thirty-seven times. With only a few exceptions, his opinion is generally favorable and often quite laudatory. We offer in this article an annotated edition of Banville's reviews, preceded by a foreward synthesizing the critic's judgements on the art of comdey as practiced by Labiche.Item Open Access Zola critique de Labiche(Dalhousie University. Electronic Text Centre, 2008) Disegni, SilviaThis article examines Zola's reading of Labiche in some of his newspaper reviews. Zola does not categorically condemn a kind of theatre that, at first sight, differs considerably from his own naturalistic ideal. Indeed, he is quite fascinated by the quality of its particular vis comica. Somewhat paradoxically, the analysis he offers of some of Labiche's plays contributes to help him clarify his own ideas concerning naturalism on the stage, and allows him to reflect on the essence of laughter. Through these reviews we can also witness Zola's peculiar type of criticism, open to practices very different from his own, of which he strives to capture the nature in spite of the apparent diversity of their approaches.Item Open Access Un Dispositif sous surveillance: La Parodie censurée chez Labiche(Dalhousie University. Electronic Text Centre, 2008) Laporte, DominiqueLike the other dramatic authors of their time, Eugène Labiche and his collaborators were forced to submit their plays to the government censors in order to perform. For instance, the censors forbided them to perform “L'Ut dièze,” replaced on stage with L'Ut de poitrine. However, the manuscripts of Les Noces de Bouchencoeur and other censored plays reveal that Labiche could in part go round the censorship after all. To that effect, his own parody of the censored edition of the Chapeau de paille d'Italie in Les Noces de Bouchecoeur is one of the comical and satirical strategies he found in order to subvert the authorized literary and ideological pattern for the French vaudeville in 19e century (“la pièce bien faite”).Item Open Access Le Nivellement du vaudeville: Remarques sur le para-discours chez Labiche(Dalhousie University. Electronic Text Centre, 2008) Farnlof, HansLabiche excels in the vaudeville, which is considered to be a "minor genre": consequently he has been allocated no more than a marginal place in the field of literary studies. In order to rehabilitate his work, I choose in this essay not to elaborate on Labiche's possible ideological standpoints according to the values at play, which is the common manner of attempting to restore the author, but to examine his practice of the vaudeville. Following its own para-discursive practices, this genre operate on a poetical level by incorporating in its own code - and, simultaneously, bringing to the same level - generic codes, well-known texts, everyday values and common thoughts. With the intention of discussing these mechanisms, the two plays La Dame aux jambes d'azur and La Cagnotte are thoroughly analysed: the first for its obvious meta-poetical dimension, the second for its thematical and discursive exemplarity. The study of these plays, as well as certain remarks about some other plays, show that the vaudeville tends to blur the categories on which the conceptualization and hierarchization of literature are based: high and low, major and minor, mimesis and semiosis, reality and fiction, stage and auditorium. Thus Labiche's vaudeville, as para-discursive or even "parasitic" discourse, remains extremely important for the (de)construction of literary studies, undermining and destabilising literature from within: a true aesthetic charge which probably calls for its condemnation and banning from this very field of study.Item Open Access Labiche et la contestation de l'ordre établi(Dalhousie University. Electronic Text Centre, 2008) Krakovitch, OdileLabiche dealings with censorship were not limited to the time of the Second Empire. Due to the State of Siege, and to the fact that all shows were strictly controlled by the military until 1875, the young Third Republic showed itself to be even harsher than its predecessor, as can be evinced from archival research. Labiche proved a fierce critic of the society of his time, particularly through the plays he destined to other theatres than his favourite one, the Palais-royal, where he attempted to go farther than the usual limited subject of the life of the couple. The playwright kept his more political plays for other downtown Parisian theatres, including the Comédie-Française. In particular, he hoped, wrongly as it turned out, to escape repression by keeping for one of the smallest theatres, “les Bouffes-Parisiens”, his most politically charged creations, such as L'Omelette à la Follembuche, which was pitilessly shot down by the censors, and La Main leste. His vaudevilles, which he distributed to many Parisian establishments, were often strongly critical of the army, ridiculed in such plays as Un Homme sanguin (Gaîté), La Femme qui perd ses jarretières, On demande des culottières, Doit-on le dire ? (Palais-Royal), or Le Fils du brigadier (Opéra-Comique). In 1850, at the “Variétés” theatre, Labiche presented Un Pauvre qui passe, the title of which the censors changed to Une Clarinette qui passé. This is practically the one and only play in Labiche's repertoire that verges at times towards the dramatic, as a consequence of its highly cynical social critique. Through these works, the playwright showed he did not fear the criticism of very different audiences, nor the censors, be they imperial or republican, and not even the all-powerful army, everyone's master in these days of wars and revolutions.Item Open Access Chinoiseries sur scène: En avant les Chinois! (1858) et Le voyage en Chine (1865)(Dalhousie University. Electronic Text Centre, 2008) O'Neill-Karch, MarielLabiche and Delcourt, in En avant les Chinois! and Le voyage en Chine, use China as an excuse to make fun of typically French situations, and to give an exotic tinge to characters and situations that are very familiar to their public. They switch lightly and elegantly between unrestrained laughter and the seriousness of real life, using their “Chinese” characters, or a possible trip to China, as means to make fun of French bourgeois customs. This recourse to laughter is somewhat ambiguous, as, like it or not, it leads to recognizing the importance of the model being used, while mocking it at the same time.