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ISBN-10: 3034301774

ISBN-13: 9783034301770

In a tradition more and more enthusiastic about the visible, self-image and severe self-exposure, during which truth is consistently obscured and misrepresented via concealment and spin, the jobs exhibit and conceal play in literature, idea and visible tradition are rather prescient. This assortment, built from papers offered at a postgraduate convention in Oxford in September 2008, provides a coherent view of key advancements within the notions of exhibit and hide in French tradition and gives a thought-provoking contribution to modern feedback. the amount comprises essays from either senior researchers and graduate scholars utilizing shut readings and theoretical methods from the psychoanalytic to the postcolonial. those are prepared in 4 major sections, facing notions of functionality, disclosure, phantasm and concealment respectively. Drawing on new examine in a variety of sessions, in fields together with paintings, images, theatre, shuttle writing and the radical, the authors reflect on the notions of exhibit and cover when it comes to works by way of artists reminiscent of Molière, Flaubert, Proust, Dalí, Vinaver and Sophie Calle.

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Extra resources for Display and Disguise (Modern French Identities)

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Reza’s first play, Conversation après un enterrement (1987), brings characters together for a family funeral. In ‘Art’ (1994), characters are united through their reaction to a friend’s new purchase of modern art. Social Masks in Yasmina Reza’s Trois versions de la vie and Dieu du carnage 33 serious, often rueful undertones. My intent, in this reading, is to engage with Reza’s use of masquerade and role-play. The theme of disguise demonstrates Reza’s gift for wry observation, exposing both the absurdities of social life and the small self-deceptions we each create to survive.

91–2). 23 Ref lecting aspects of Trois versions, however, this becomes a melancholic experience: Je suis sans doute la seule à ne pas voir les choses avec une agréable sérénité! D’ailleurs, je n’ai jamais été aussi malheureuse. […] Mon mari aussi est malheureux. […] Il a l’air abandonné au bord d’un chemin. ’ (125). The dinner party in Trois versions and the social gathering in Dieu du carnage display the disintegration of marital relations.  24 I believe otherwise, however. This is not an Albee-esque nightmare of drinking, recrimination and neuroses.

His request to be punished and banished from the household is mistakenly read as proof of his honourable nature and leads to Orgon’s increased trust and encouragement for Tartuf fe to spend time exclusively with Elmire. By stating his mistrustful nature, he simply inspires further confidence in Orgon. Although I have underlined the way in which the character of Tartuf fe uses the truth for his charade, this is a strategic and varnished view of the truth. He is careful to avoid addressing the concrete circumstances of the accusation, namely the account of his attempt to seduce Elmire.

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Display and Disguise (Modern French Identities)


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