National, populaire, universel : tensions et contradictions d'un théâtre peuple chez Victor Hugo

Le drame hugolien relève-t-il d'un théâtre populaire, ou engendre-t-il un théâtre du peuple ? La question peut paraître à la fois déplacée, anachronique, et en elle-même piégée. Elle est déplacée eu égard à l'histoire de ce que l'on appelle, le théâtre populaire en France, dont l'élan prendrait naissance à la fin du XIXe siècle, avec Maurice Pottecher ou Romain Rolland avant d'aboutir au Théâtre National Populaire de Firmin Gémier ou de Jean Vilar. La question est piégée par la complexité même de l'adjectif " populaire " et par la mobilité de l'expression " théâtre populaire " - théâtre pour le peuple ? émanant du peuple ? représentant le peuple ? Cette mobilité n'a d'égale que la plasticité sémantique du mot " peuple ", mot-valise voué, du XIXe au XXe siècle, à d'incessantes reconfigurations sociologiques, culturelles, ethniques, et à toutes les manipulations idéologiques - bas peuple ? peuple foule ? populace ? peuple national ? La réflexion se trouve néanmoins ouverte et légitimée par le paratexte et par le texte même d'Hernani et de Ruy Blas

The kingdom's two bodies? : corporeal rhetoric and royal authority during the religious wars

The conventional discourse of the body politic assumed a peculiar resonance during the French religious wars due to the unique identification of the king with the well-being of his kingdom. The duality of this relationship was echoed in the language and imagery of corporeal rhetoric which infused the declarations of all sides during the conflict. The combined threat of heresy and civil war, and the shared imperative to defend the unity and integrity of the kingdom, lent a renewed relevance, but also a profound discord, to this rhetoric. While opinions differed about the best means to cure France's ills—the royal policy of pacification being the most controversial of them—monarchical authority was bolstered by the king's undisputed role as head of the body politic and protector of, and physician to, his realm

Peuple chansonnier, peuple chansonné : a Paris, en 1848

Livro de homenagem à professora Maria Emília Ricardo Marque

Les racines historiques des conflits sociopolitiques en pays maasai, Kenya

This book is in French only. Abstract not available

From anarchism to state funding : Louis Lumet and the cultural paradoxes of the third republic

In 1896 Louis Lumet despised the state and openly yearned for a red Messiah to sweep away bourgeois culture and politics. By 1904 he was in the receipt of state fundin g. This article unravels the paradox of his trajectory by f ocusing on the common interest that eventually united his i nterests with those of republican governments: the relation ship between art and the people. Drawing on hitherto unknow n writings by Lumet himself, as well as on little-used arch ives, the article explores Lumet’s anarchist persona and co nnections in fin-de-siècle Paris, charts his involvement in the Théâtre d’Art Social and the Théâtre Civique, and exam ines his role in the state-supported Art pour Tous. The fin al discussion reveals areas of conflict and convergence in the perception of the people as political actors by both an archists and the state, raising questions about the theory and practice of cultural democratization

The politics of Esther

Racine's tragedy Esther is often presented as a religious poem extolling piety and innocence. This article argues that this reading is complicated by the political dimension of the work. This dimension is reflected in the context in which Esther was first performed, as well as in allusions to the prevailing socio-political situation and to the drama that is played out within the work. Despite the author's stated intention to compose a work of piety, his indebtedness to the two biblical versions of the Esther story and to other books of the Old Testament, the plot is based on a story of hatred, persecution, plotting, revenge, and extermination that exists in uncomfortable counterpoint to the hymns to God's goodness and providence chanted by a Chorus of innocent young maidens. The article concludes by suggesting that Esther does not offer any easy reading as a victory of right over might, and good over evil