Recréer/Scripter, Mémoires et transmissions des œuvres performatives et chorégraphiques contemporaines

International audienceTranslated from « Recréer/Scripter, Mémoires et transmissions des œuvres performatives et chorégraphiques contemporaines », in Anne Bénichou (dir.), Dijon : Les Presses du réel, 2015, p. 333-350

English writing and reading for academic purposes

Учебно-методическое пособие представляет собой рекомендации, демонстрирующие основные этапы работы над научной статьей на английском языке. В пособие включены базовые клише и выражения, которые призваны стать необходимой опорой для российских авторов в процессе создания научных текстов на английском языке. Авторы пособия полагают, что знакомство с представленными наборами фраз и образцами научных текстов будет способствовать генерации научных текстов на английском языке в среде российских авторов. Пособие содержит ряд практикоориентированных заданий, которые могут быть расширены и дополнены по желанию преподавателей. Пособие предназначено для студентов, изучающих дисциплины «Практический курс первого иностранного языка», «Академическое письмо» и «Академический английский язык», для магистрантов, аспирантов и преподавателей, которые стремятся повысить свою публикационную активность на английском языке

ACADÉMIE ROYALE DE MUSIQUE (5 juin 1829)

Transcript of ACADÉMIE ROYALE DE MUSIQUE by anonymous author, appearing in LA QUOTIDIENNE, 5 juin 1831, pp. 1-2

Sleepwalking certainties: agency, aesthetics, and incapacity in W.G. Sebald’s 'Austerlitz' and Hermann Broch’s 'The Sleepwalkers'

When we first encounter the narrator of Austerlitz, he is wandering around the unfamiliar town of Antwerp with, he tells us, “unsicheren Schritten” (1; 9). As well as reflecting the unfamiliarity of the locale, these “uncertain steps” evince a proud modesty characteristic of the classic Sebaldian narrator, a wanderer who discreetly relays the stories of the people and places he is privileged to encounter. Although Sebald does not use the phrase, steps of this sort, unpurposed yet unerring, are made with what is commonly known in German as somnambule Sicherheit: the legendary surefootedness of the sleepwalker. The convergence of sleepwalking and certainty in a single phrase poses an interesting challenge to one of the central tenets of the English-language canonization of Sebald, for his writing has been most highly valued for its ability to move the reader through apparent certainties towards a salutary uncertainty. But somnambule Sicherheit also presents the possibility that the current may be reversed, that narrative may move under cover of uncertainty towards certainty. That Sebald criticism has not been more troubled by this possibility is in no small part due to the fact that it tends to deploy the notion of sleepwalking with a minimum of reflection on its theoretical ramifications. To evoke some of the complexities of this matter, I first offer a brief cultural history of sleepwalking, as well as a brief account of the topic of uncertainty in Sebald criticism. Most of my argument, however, involves an extended comparative analysis of sleepwalking in Sebald's Austerlitz and Hermann Broch's 1933 trilogy The Sleepwalkers. Although these writers have not previously been the object of any sustained comparison, sleepwalking in Broch's novels illuminates much that is left implicit on the topic in Sebald's fiction and points toward some difficult questions regarding the role of aesthetics and agency in Sebald's work

Derrida somnambule

This article traces the appearance of the rhetoric of somnambulism in Derrida’s writing, arguing that it undergoes a late (and subtle, but important) shift, germane to the concerns of the seminars on the beast and the sovereign. Until around 1997, all instances of the term position sleepwalking in the third person, and seem to point at it as a property of an other in which the speaker would have no part. This gesture risks short-circuiting the ways in which Derrida otherwise complicates the dialectic of sleep and waking, underwriting a vigilance that would be rather classic and assured, and indeed constituting a moment of mastery at odds with the decentring impetus of deconstruction. The turn that leads to Derrida saying ‘je somnambule’, in the first person, in Fichus marks an acknowledgement of this problem and an attempt to negotiate it. What is at stake is the problematic mastery of the critic of mastery; a problem which, I contend, becomes all the more important as critical theory confronts a rise in authoritarian thinking. Examining the theatre of prize- and thanks-giving in Fichus, alongside similar concerns in Genèses, généalogies, genres et le génie, and the problems of intellectual celebrity in La contre-allée, provides a space for meditating on the constitution of critical authority, and most especially the need to avoid meeting urgency with a critical state of exception that caricatures the power it confronts

CHRONIQUE MUSICALE. ACADÉMIE ROYALE DE MUSIQUE

Transcript of CHRONIQUE MUSICALE. ACADÉMIE ROYALE DE MUSIQUE by François-Henri-Joseph Blaze (dit Castil-Blaze), writing as X.X.X., appearing in JOURNAL DES DÉBATS, 3 June 1831, pp.1-

NOUVELLES DIVERSES (5 juin 1831)

Transcript of NOUVELLES DIVERSES by anonymous author, appearing in JOURNAL DES COMÉDIENS, 5 juin 1831, p. 8