Global ETD Search

21	Massacres et mascarades : « Hop-Frog » d'Edgar Poe (1849) et le film d'horreur américain contemporain (1964-1984) / Massacres and masquerades : Edgar Poe's « Hop-Frog » (1849) and the American Horror Film (1964-1984) Christol, Florent 09 December 2013 (has links) Le slasher est un sous-genre du film d'horreur reposant sur une figure de tueur masqué punissant en apparence la sexualité adolescente. Très populaire auprès du public adolescent de 1978 à 1984, il serait, selon de nombreux critiques, une expression de sadisme « gratuit ». Cependant, toute production culturelle possède une légitimité qui peut lui être conférée en trouvant une clé de lecture adéquate. Cette clé est selon-nous un archétype culturel que nous nommons foolkiller, et qui figure une victime marginale sanctionnant les actes irresponsables mettant en danger les membres les plus faibles de la communauté. Cet archétype convoque l'imaginaire médiéval du charivari, un rite de justice folklorique punissant les manquements à la morale. Pour parvenir à cette référence, il est nécessaire de montrer que le slasher a masqué un genre plus large qui gravite autour d'une victime humiliée se vengeant de ses persécuteurs et qui inclue des films comme Willard (1971), Carrie (1976), ou encore Fade to Black (1980). Or, on peut trouver une formulation prototypique de cette histoire dans Hop-Frog (1849), une nouvelle d'Edgar Poe racontant la vengeance d'un bouffon difforme persécuté par un roi sadique. Nous envisageons cette nouvelle comme un artefact prototypique de l'archétype culturel du foolkiller dont le genre masqué par le slasher est une expression contemporaine. L'étude de cette nouvelle et de ses références culturelles permet de comprendre le fonctionnement de l'archétype et son apparition en réponse à une crise sacrificielle au sens où l'entend René Girard. Une crise du même genre est repérable dans la culture américaine des années 1970, ce qui explique la résurgence de l'archétype à cette période. / The slasher movie is a horror film sub-genre featuring a masked killer supposedly punishing teenage sexuality. Extremely popular among teens from 1978 to 1984, it is generally discarded by serious critics as a spectacle of gratuitous violence. However, the genre can be granted some legitimacy once it is seen as a contemporary form of a cultural archetype which we call "foolkiller". This archetype revolves around a freak avenging its own humiliation at the hands of bullies and punishing irresponsible acts endangering the weakest people in a community. Culturally speaking, this archetype has roots in the medieval practice of "rough music", a masked demonstration organized to humiliate some wrongdoer and to punish moral transgressions in the community. In order to access this cultural reference, it is necessary to show that the attention given the slasher film has concealed the existence of another genre, comprising slasher films but also movies such as Willard (1971), Carrie (1976), and Fade to Black (1980), whose protagonist is a victim avenging its persecution. This plot can also be found in "Hop-Frog", a short-story written by Edgar Allan Poe in 1849. It tells the story of a jester dwarf bullied by a cruel king. We argue that this tale is a prototypical artifact of the foolkiller archetype, which also informs the genre concealed by the slasher film. The cultural frame of this short story enables us to understand how the archetype functions and its relationship to what René Girard calls a "sacrificial crisis". Such a crisis is at work within 1970's American culture, which explains why the archetype reappears during this time.The slasher movie is a horror film sub-genre featuring a masked killer supposedly punishing teenage sexuality. Extremely popular among teens from 1978 to 1984, it is generally discarded by serious critics as a spectacle of gratuitous violence. However, the genre can be granted some legitimacy once it is seen as a contemporary form of a cultural archetype which we call "foolkiller". This archetype revolves around a freak avenging its own humiliation at the hands of bullies and punishing irresponsible acts endangering the weakest people in a community. Culturally speaking, this archetype has roots in the medieval practice of “rough music”, a masked demonstration organized to humiliate some wrongdoer and to punish moral transgressions in the community. In order to access this cultural reference, it is necessary to show that the attention given the slasher film has concealed the existence of another genre, comprising slasher films but also movies such as Willard (1971), Carrie (1976), and Fade to Black (1980), whose protagonist is a victim avenging its persecution. This plot can also be found in "Hop-Frog", a short-story written by Edgar Allan Poe in 1849. It tells the story of a jester dwarf bullied by a cruel king. We argue that this tale is a prototypical artifact of the foolkiller archetype, which also informs the genre concealed by the slasher film. The cultural frame of this short story enables us to understand how the archetype functions and its relationship to what René Girard calls a "sacrificial crisis". Such a crisis is at work within 1970's American culture, which explains why the archetype reappears during this time. Archétype culturel Charivari Sociétés Joyeuses Slasher « Hop-Frog » Carnaval Films d'horreur Clown Fou du roi Crise sacrificielle Cultural archetype Rough music Fool Societies Slasher "Hop-Frog" Carnival Horror film Clown Jester Sacrificial crisis 420
22	Inheriting The Motley Mantle An Actor Approaches Playing The Role Of Feste, Shakespeare's Update Of The Lord Of Misrule Clateman, Andrew 01 January 2011 (has links) Playing role of Feste in William Shakespeare’s Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor will benefit greatly from an exploration the traditional function of the clown its development in society and literature before Shakespeare, and how Shakespeare’s use of the clown developed, culminating in the writing of Twelfth Night. The actor will thereby have a better understanding of what Shakespeare might by trying to achieve with Feste,, and he (or she) may better find the motivations for Feste’s sometimes-enigmatic words and actions, which will, in turn, give shape and purpose to the clowning. I put this thesis to the test in preparing for and playing the role of Feste in Theater Ten Ten’s production of Twelfth Night in the spring of 2010 in New York City. My research and preparation will include: a substantial immersion in much of Shakespeare’s cannon, and viewing of performances of it (mainly on video); research on the role of the clown, how it developed through history until Shakespeare’s time, and how Shakespeare appropriated and developed that tradition, culminating in Feste; a performance history of the role; a structural analysis of Feste’s role in Twelfth Night; a character study of Feste; a rehearsal and performance journal documenting my ongoing iv exploration, challenges and choices. The main challenge, as I foresee it, is to arrive at my own unique performance of Feste while fulfilling both my director’s vision and Shakespeare’s intention. Acting Clowns in literature Fools and jesters in literature Shakespeare Shakespeare Shakespeare Shakespeare William -- 1564-1616 -- Twelfth night Theatre and Performance Studies
23	I folli in cammino : saggio sulle rappresentazioni e i significati della figura del folle nelle letterature dell'Africa nera, francofone e anglofone, dalle indipendenze ai giorni nostri / Les fous en marche : essai sur les représentations et les significations de la figure du fou dans les littératures d'Afrique noire, francophones et anglophones, des indépendances à nos jours / Fools on the way : an essay on the representations and meanings of the madman in Francophone and anglophone Black African Litteratures from Independence to now Tarquini, Valentina 02 May 2012 (has links) La récurrence de la figure du fou errant dans le roman d’Afrique noire suscite bien des questionnements sur les raisons de sa mise en oeuvre dans l’époque tumultueuse des prétendues indépendances. Cette étude couvre un laps de temps allant des années 1950 à la première décennie du nouveau siècle ; et elle inclut les textes narratifs francophones et anglophones en vue de fournir une vue d’ensemble permettant de retracer l’évolution de la représentation du fou d’un point de vue diachronique. L’étude typologique de fous errants précède une analyse du discours dans le texte littéraire focalisée sur trois niveaux : le plan de l’énonciation,celui des techniques romanesques et le plan du langage de l’imaginaire. Il en résulte un dynamisme évoquant l’emprise du fou sur les trois instances du discours, d’où l’hypothèse du fou comme étant une figure de médiation dans les différents domaines de la société : médiateur spirituel et religieux ; interlocuteur intermédiaire avec l’autorité institutionnelle ; et enfin dispositif médian en littérature, aussi bien dans la pratique scripturale que dans l’institution littéraire. Le caractère marginal du fou dans la société et l’élan réformateur qu’il assume à l’époque contemporaine, font de lui un outil cognitif capable de créer un nouveau code littéraire et d’articuler le discours africain en quête d’autonomie. Les mêmes caractéristiques marquent en outre le statut des oeuvres africaines et du romancier dans la situation actuelle. / The recurrence of wandering madmen and fools in the black African novel raises many questions about the reasons behind its implementation during the so-called independences. This study covers a time span ranging from the 1950s to the first decade of 2000. It includes Francophone and Anglophone fiction in order to gain an overview that allows one to observe an evolution in the representation of the fool with a diachronic perspective. The typological study of wandering fools precedes the discourse analysis in the literary texts, focusing on three levels: speech, narrative procedures and imagery. It fallows that the fool’s dynamism recalls his impact on the three modes of discourse. This leads to a hypothesis that he is a figure of mediation in many areas of society, being a spiritual and religious mediator, an intermediary to institutions of authority,and even an intermediary in literature, both in writing and in the literary institution. The social marginalization of the fool and the reformist zeal he takes in contemporary times, make him an instrument of knowledge that can create a new literary code and articulate the African discourse in its quest for autonomy. Moreover, these features mark the social status both of African works and of the novelist in the literary scene. / La ricorrenza della figura del folle in cammino nel romanzo dell’Africa nera suscita numerosi interrogativi sulle ragioni della sua messa in opera nell’epoca turbolenta delle cosiddette indipendenze. Lo studio abbraccia un arco temporale che va dagli anni ’50 al primo decennio del 2000 e comprende la narrativa francofona ed anglofona al fine di ricostruire una panoramica che permetta di tracciare l’evoluzione della rappresentazione del folle sul piano della diacronia. A uno studio tipologico di folli erranti segue l’analisi del discorso nel testo letterario che si focalizza su tre piani: quello dell’enunciazione, quello dei procedimenti narrativi e quello del linguaggio dell’immaginario. Ne risulta un dinamismo che evoca il dominio del folle sulle tre istanze del discorso, da cui l'ipotesi del folle come una figura di mediazione nei diversi ambiti della società : mediatore spirituale e religioso ; interlocutore intermediario con l’autorità istituzionale ; infine strumento mediano in letteratura, tanto nella pratica della scrittura quanto nell’istituzione letteraria. Ilcarattere marginale del folle nella società e lo slancio riformista che egli assume nella contemporaneità, fanno di lui uno strumento conoscitivo in grado di creare un nuovo codice letterario e di articolare il discorso africano in cerca di autonomia. Le stesse caratteristiche segnano lo statuto delle opere africane e del romanziere nello scenario attuale. Littérature d'Afrique noire Francophonie Anglophonie Fou Folie Errance Médiation Subversion Literature of black Africa Francophony Anglophony Madman Fool Madness Wandering Imagery Mediation Speech Subversion African discourse Anti-colonialism Anti-colonial critique Cultural Neo-colonialism Letterature dell’Africa nera Francofonia Anglofonia Folle Follia Erranza Immaginario Mediazione Enunciazione Sovversione Discorso africano Anticolonialismo Critica anticoloniale Neocolonialismo culturale 896
24	Paradoxia epidemica in the art of Pieter Bruegel the Elder : an investigation into sixteenth-century parody Cornew, Clive 01 1900 (has links) Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication. / Art History, Visual Arts & Musicology / M.A. (History of Art) Adynaton Bruegel, Pieter the Elder Carnival and Lent Dulle Griet Emblematics Encyclopedism Folly Irony Mannerism Paradoxia epidemica Parodia sacra Parody Perception Picaresque tradition Play Reformation Rhetoric Satire Saturnalia Saws Seven deadly sins Seven virtues Sixteenth century The fall of Icarus The fool The world upside-down Trope structures Utopia Wit Rederijkers Humanism 759.9492 Bruegel, Pieter, approximately 1525-1569 Humanism Parody in art Lent Bookplates Satire in art
25	Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art Jeffrey Johnson, Kirstin Elizabeth January 2011 (has links) Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
26	Paradoxia epidemica in the art of Pieter Bruegel the Elder : an investigation into sixteenth-century parody Cornew, Clive 01 1900 (has links) Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication. / Art History, Visual Arts and Musicology / M.A. (History of Art) Adynaton Bruegel, Pieter the Elder Carnival and Lent Dulle Griet Emblematics Encyclopedism Folly Irony Mannerism Paradoxia epidemica Parodia sacra Parody Perception Picaresque tradition Play Reformation Rhetoric Satire Saturnalia Saws Seven deadly sins Seven virtues Sixteenth century The fall of Icarus The fool The world upside-down Trope structures Utopia Wit Rederijkers Humanism 759.9492 Bruegel, Pieter, approximately 1525-1569 Humanism Parody in art Lent Bookplates Satire in art
27	Fauxtopia Kampf, Raymond William 01 January 2004 (has links) To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004 swindle subterfuge story stooge stereotype stratagem spurious spiel soft-soap snow job simulated aspersion adventure artificial anecdote allegory advertising assumptions belie bluff bogus brainwash calumniation canard cheat chronicle cliche cliffhanger con man conceal counterfeit crooked deal deceit deception disguise dishonest distort double cross ersatz evangelism exaggerate fabrication facade fake falsehood fantasy fib fiction flim flam fool folktale forgery frame up fraudulence fudge gag grifter guile guise history hoax hokey hype hyperbole knavery legend likeness make believe malign mask memoir misrepresentation mockery myth parable parody performance perjury phony placebo player ploy potboiler prevarication propaganda publicity puppet put-on quasi record reproduction romance routine ruse saga scam shtick semblance sequel show serial synthetic tall story trick unnatural untruth veneer verisimilitude white lie whopper Disney politics hyper reality theme park entertainment Art and Design Arts and Humanities

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