Global ETD Search

1	"Une fleur des païs étrangers" : Desfontaines traducteur au XVIIIe Léger, Benoit. January 1999 (has links) Analyses of Eighteenth-century French translations of English literature have often been reduced to criticizing so-called "belles infideles". Thus, the complexity of translation and ideological issues has been ignored. The first translations of works by Swift and Pope partake in this tradition as inherited from the Eighteenth century, but they also lay down the groundwork for the Enlightenment. Translating Swiftian satire in Gulliver's Travels , Pope's "badinage" in The Rape of the Lock, Clifton's medical history in the context of Newton's ideas, or social satire in Joseph Andrews, regardless of the degree of "fidelity", is never an innocent process. These issues are coupled with formal ones, translational as well as esthetic, when poetry or the Eighteenth-century novel-style texts are translated. / The importance of the Abbe Desfontaines (1685--1745) is undeniable. As a journalist, he comments, criticizes, and analyses not only the translations of English texts, but also the movement along which English ideas are translated within the French system. His numerous satirical texts also reveal him positioning himself before of the issues of the time. Allowing himself more freedom as a translator, he belongs to the first ones to proceed to the translation of English literature between 1727 and 1743. / In his translations, he adapts, imitates, or censors some elements seen as unacceptable in French. He has therefore been considered to be an "unfaithful translator", a position that does not account for his translation project which it is described in the important paratextual apparatus of his translations. His title pages, and especially his dedications, forewords, and introductions, reveal him as being aware of the most polemical aspects of these texts. So as to avoid the impasse encountered in criticizing the "fidelity" of his translations, I have focused on his paratextual apparatus in order to define his translation project and poetics.
2	"Une fleur des païs étrangers" : Desfontaines traducteur au XVIIIe Léger, Benoit January 1999 (has links) No description available.
3	Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760) Yapp, Francis Anthony January 2012 (has links) When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue. Yet notwithstanding its repertoire and the skill of its performers, this generation of French cellist-composers has remained undervalued and underexplored. To a large extent, this neglect has arisen because a succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing. This dissertation focuses exclusively on the early French cello school. It seeks to examine the rise of the solo cello in France within its socio- cultural and historical context; to provide biographies of those com- prising the early French cello school; to explore the repertoire with particular emphasis on the growth of technique and idiom, detailing features that may be described as uniquely French, and to assert the importance of and gain recognition for this school, not as a forerunner of the so-called Duport school but as an entity in itself. basse de violon violoncello violoncelle cello cellists eighteenth century concert spirituel salons opéra vingt-quatre violons du roi french france paris louis xv orleans angers stanislas leszczynski stück l'abbé barrière berteau patouart giraud spourny françois martin boismortier corrette masse bowing double stopping double stops thumb position boivin leclerc sonata sonatas baroque

1

Page generated in 0.0411 seconds