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Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How do we trace the historical processes that grant some writers visibility and, hence, legacy, while shoving others into the historical closet? This essay offers the case study of Elizabeth Boyd (1727-1745), a novelist, poet, and playwright who has received some attention from scholars interested in women's contributions to the legacy of William Shakespeare in the second quarter of the eighteenth century. In particular, her unperformed play, Don Sancho: Or, the Students Whim, a Ballad Opera of Two Acts, with Minerva's Triumph, a Masque (1739) dramatizes a woman writer's reflections on the politics of legacy at this formative moment in the history of authorship and the British theater. While the play was not performed, key scenes were later plagiarized in popular afterpieces by theater managers and playwrights Henry Giffard and David Garrick. Boyd, along with her inclusive vision of theatrical legacy as the domain of men and women of different classes, disappears in the male playwrights' fantasies of exclusively masculine, British literary greatness. The story of Boyd's erasure speaks to the gendered and classed exclusions and elisions in the social and economic processes by which legacy is formed, in this case, in the gendered power relations of eighteenth-century theater and its management. [ABSTRACT FROM AUTHOR]

How do we trace the historical processes that grant some writers visibility and, hence, legacy, while shoving others into the historical closet? This essay offers the case study of Elizabeth Boyd (1727-1745), a novelist, poet, and playwright who has received some attention from scholars interested in women’s contributions to the legacy of William Shakespeare in the second quarter of the eighteenth century. In particular, her unperformed play, Don Sancho: Or, the Students Whim, a Ballad Opera of Two Acts, with Minerva’s Triumph, a Masque (1739) dramatizes a woman writer’s reflections on the politics of legacy at this formative moment in the history of authorship and the British theater. While the play was not performed, key scenes were later plagiarized in popular afterpieces by theater managers and playwrights Henry Giffard and David Garrick. Boyd, along with her inclusive vision of theatrical legacy as the domain of men and women of different classes, disappears in the male playwrights’ fantasies of exclusively masculine, British literary greatness. The story of Boyd’s erasure speaks to the gendered and classed exclusions and elisions in the social and economic processes by which legacy is formed, in this case, in the gendered power relations of eighteenth-century theater and its management.

Copyright of Signata is the property of Presses Universitaires de Liege and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arabic Language & Literature (2008-7217) / Majallah-i Zabān va Adabiyyāt-I ̒arabī is the property of Ferdowsi University of Mashhad Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Peintre napolitain du XVIIe siècle, Salvator Rosa est principalement connu pour ses tableaux de genre, ses scènes de sorcellerie ou de batailles. Mais il a également exercé d’autres activités, comme la mise en scène théâtrale, la comédie et l’écriture de satires. Cet article, qui se fonde sur l’analyse de l’œuvre picturale et littéraire de l’artiste, propose d’interroger la relation entre le caractère hybride de sa production et l’image qu’il construit de lui-même pour son public. La thématique du masque servira de clé de lecture, tant du point de vue de la pratique théâtrale de Rosa, que de celle de l’autoportrait. Sont étudiés en particulier son autoportrait en soldat, et ses autoportraits en philosophe.

This article examines the construction of national and racial identities within Ben Jonson’s and Inigo Jones’s Masque of Blackness against the backdrop of King James’ investment in creating a ‘British’ union at the start of his reign. The article re-examines the blackface performance of the Queen and her ladies in the contexts of the Queen’s and Inigo Jones’ European connections, the Queen’s reputation as ‘wilful’, and her pregnant body’s ability to evoke widespread cultural beliefs about the maternal imagination’s power to determine a child’s racial make-up. We argue that the masque’s striking use of blue-face along with black and white-face reveals a deep investment in Britain’s ancient customs which stands in tension with Blackness’ showcasing of foreign bodies, technologies, and cultural reference points. By demonstrating the significance of understanding Queen Anna’s pregnancy and her ‘wilful’ personality within the context of early modern humoral theory, moreover, we develop existing discussions of the humoral theory that underpins the masque’s representation of racial identities. We suggest that the Queen’s pregnant performance in blackface, by reminding the viewer that her maternal mind could ‘will’ the racial identity of royal progeny into being, had the power to unsettle King James I’s white male nationalist supremacy in the very act of celebrating it before their new English court and its foreign guests.

The aim of this paper is to describe the beginnings, rather unknown, of the CRICOT theatre and to demonstrate the evolution which took place between the first show of CRICOT1 and the last piece performed in 1938. Focusing on the manners of treating the scenic object, the scenography, the costumes and the masks, the paper analyses the transformation of the amateur theatre: artistic, satirical, visual and comic into quasi-professional theatre, carrying an existential message. Message to be developed afterward by the world-famous collective, reformer of the European stages: Tadeusz Kantor’s CRICOT2. [ABSTRACT FROM AUTHOR]

La crise sanitaire de la COVID-19 a mis en tension les registres de la reconnaissance au travail en (ré)interrogeant ses différents aspects (symboliques, matériels ou encore réglementaires) et leurs articulations. Cet article propose de mettre en perspective des enjeux relatifs à la continuité de l’activité en temps de pandémie pour une catégorie professionnelle socialement dévalorisée avec le processus de formalisation des situations ouvrant droit à une reconnaissance en maladie professionnelle. Sur la base de plusieurs recherches qualitatives, dont une menée de façon longitudinale, il montre comment ces différents enjeux se sont trouvés cristallisés chez des intervenantes du secteur marchand de l’aide à domicile. Le contexte de pénurie d’équipements de protection rencontré au début de la crise, en particulier des masques, a accentué les problématiques qui se posaient alors sur le plan de l’organisation de la prévention des affections du travail. Parallèlement, le registre martial largement déployé politiquement interrogeait la reconnaissance des « soldats » et les cadres institutionnels par lesquels elle allait être formalisée. Les revendications en ce sens ont différé selon les acteurs considérés, reprenant pour certaines les critiques adressées de longue date au système de reconnaissance des maux du travail.

The signature scene shifts, pastoral settings, and perspectival instabilities of Andrew Marvell’s Upon Appleton House squarely align the poem with the theatrical tradition of the court masque, a tradition that was effectively moribund at the at the time of the poem’s composition in 1651. The influence of the masque on Upon Appleton House (and other Marvell works) has been widely noted, but the significance of his poem in the longer history of English theater—specifically, in the discourse of theatrical reform—has not been fully considered. In Upon Appleton House, Marvell not only applies the strategies and techniques of the masque, but he also engages with ideas central to the ongoing debate between opponents and defenders of the stage. As such, his poem anticipates the reforms and innovations attempted by William Davenant, Richard Flecknoe, and others who campaigned to revive theater in Interregnum England. However, Marvell’s appropriation of masque theatrics is not tethered to the goals of reform. His poem is distinctly the product of the post-regicide, pre-Protectorate imagination, when the theaters are shuttered, dramatic performance is driven underground, and the fate of the Commonwealth is precarious. Accordingly, his method is not to establish a mode of theater palatable to republican interests, but instead to defamiliarize theatrical representation in a way that responds to the uncertainty of the moment.

In Krysinska’s novel, La Force du Désir, which I consider a roman à clef, rich referentiality is a guarantee of authenticity. Spatial and cultural references build a world familiar to the reader who can easily decipher the prototypes of the presented characters. Moreover, Krysinska’s novel contains the philosophy of the mask, both explicitly and implicitly, within the characters’ behavior. This, however, does not exhaust the issue of the mask, because a roman à clef, on the generic level, is a mask of an esoteric novel. [ABSTRACT FROM AUTHOR]

The masks in Documents should be read in a broad context, which goes beyond the columns of the journal to also embrace the birth of ethnology in France, the surrealist neighborhood but also the years to come, which will hardly see the development of ideas sketched in the magazine. At the same time, the presence of the masks highlights the disparate character of the journal itself, where the more or less ethnological texts devoted to the masks of traditional societies respond to much less academic articles in which the mask slips in the direction of the strange and monstrous. This allows to deconstruct Western aesthetics and, first and foremost, the human figure as its most codified and, therefore, most untouchable expression. The mask can even be considered as the embodiment of the concept of disparity which seems to govern the counter-aesthetic of the journal. Finally, the mask is emblematic of the internal gap in the journal, that between ethnologists and poets, or between academicism and subversion. [ABSTRACT FROM AUTHOR]

The aim of this study is to question the links between Mask, Cinema and Europe. The five films selected are Three Colours: Blue from Kieślowski, Crazy Pierrot from Godard, Strada from Fellini, Death in Venice from Visconti, Wings of Desire from Wenders. These movies exhibit a particular type of mask: the mask without mask. Mask obtained by light or make-up, it seems to express the character’s aspiration for an elsewhere. [ABSTRACT FROM AUTHOR]

The pandemic affecting our world in 2020 leads us to question a centuries-old socio-cultural practice, namely the wearing of masks, and to rethink their use in light of the current context. Depending on the civilizations and eras, masks have had various functions: religious, social and artistic. None of these functions corresponds, however, to the recent use of masks. Henri Michaux, Jean Starobinski, Michel Butor and Yves Bonnefoy will help us to answer these questions : How the wearing of masks does change our relation to identity ? our relationship with others ? Does not seeing the whole face make it possible to see others better ? [ABSTRACT FROM AUTHOR]

Antonio Hernández Centeno est un dramaturge andalou qui combine l’écriture avec la mise en scène de ses pièces. Nous nous concentrerons sur son travail d’artiste engagé et sur le jeu de masque et contre-masque. Dans son écriture, engagée sur des thématiques qui lui tiennent à cœur, Centeno défend des idéaux à travers ses personnages. L’utilisation du contre-masque permet à ces personnages de présenter une fausse apparence (masque) qui cache et protège leur véritable identité (contre-masque). Cete véritable idéntité n’est révélée que dans des situations extrêmes, conduisant au retournement de la situation dramatique.

Le théâtre de marionnettes moderne cherche maintenant des points de contact avec des arts associés, en utilisant le langage et les codes spécifiques des pratiques artistiques contemporaines. Les intersections des marionnettes, des masques, des objets avec le comédien et leur coexistence parallèle repoussent les limites visuelles et sémantiques d’un spectacle de marionnettes. Le metteur en scène et marionnettiste français Philippe Saumont a présenté sa propre version de l’interaction marionnette-comédien basée sur un texte autobiographique et un système complexe de contrôle de ce texte “de l’extérieur”. Son spectacle Je t’aime papa mais merci d’être mort a été présenté avec succès au Festival d’Avignon en 2018.

Cet article propose un panorama de la notion de masque dans les productions littéraires et artistiques du siècle des Lumières. De Marivaux à Laclos en passant par Rousseau, cette vision permet de saisir les enjeux du passage de la recherche de la sincérité à sa critique et met au jour une dynamique de démasquages successifs. Dans le même temps, nous montrons que le masque de l’auteur au XVIIIe siècle ne peut être réduit aux seuls textes clandestins, expression d’une pensée philosophique transgressive maximale. L’anonymat correspond à des intentionnalités très diverses et peut être porteur d’enjeux eux-mêmes très variés.

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Le fonctionnement de la littérature comme une institution est connu et a été suffisamment développé dans les études littéraires ; cela a permis aux différents théoriciens de définir l’institution et de montrer l’autonomie du champ littéraire producteur de valeurs qui sont transmises selon des codes. Le masque en Afrique est une réalité culturelle et cultuelle au-delà de sa dimension artistique ; il constitue, dans les sociétés où il existe, une référence sociale, un régulateur de la vie sociale. En particulier chez les Bobo du Burkina Faso, il est l’élément, la structure de socialisation par excellence de l’individu. En observant le fonctionnement de la littérature et du masque, nous avons été frappé par des similitudes qui nous ont conduit à nous demander si l’on ne pouvait pas considérer le masque comme une institution au même titre que la littérature. Pour répondre à notre interrogation, nous avons procédé à une approche théorique des deux phénomènes pour ensuite mettre en parallèle leur fonctionnement ; et notre conclusion est formelle : le masque est une institution comme la littérature et à ce titre, il peut faire l’objet d’une étude sous cet angle. Mots-clés : littérature, sociologie de la littérature, masque, institution.

This essay offers a preliminary portrait of Anna of Denmark, queen of Scotland from 1589 for her marriage with James VI and queen of England, Scotland and Ireland for her husband’s accession to the throne as James I in 1603. Unjustly described by the anti-jacobean storiography as a vague character, changeable and superficial, extremely frivolous because of her interest in the court revels, Anna was instead an emblematic and eclectic personality, both in politics and cultural activity, expecially for her patronage of arts, artists and spectacle. Patron of painters, musicians and actors, connoisseurs of the Italian Renaissance architecture, Anna was the effective promoter of the english court spectacle, creating a series of yearly events which, from 1604 to 1611, signed the ultimate codification of the English masque.

RESUMEN Una de las primeras masque de John Hejduk, la New England Masque, hace referencia a la widow’s walk, una torre que sobresale del tejado de algunas casas de New England, en la Costa Este de los Estados Unidos. El análisis de estas viviendas conlleva relacionar directamente el espacio interior de estas piezas con las esposas de marineros que cazaban ballenas en el XIX. Las mujeres utilizaban estos miradores para comprobar si sus maridos bajaban de los barcos tras meses en altamar. El comentario de John Hejduk sobre esta pieza, ubicada en algunas viviendas en Long Island, conlleva relacionar la widow’s walk con tres estructuras construidas –de las 67 propuestas– para Victims. El análisis plantea estudiar las obras Pintor–Estudio A, Músico–Estudio B y Security. El estudio se plantea conforme al espacio donde se ubican y según cómo están vinculadas al sentido que tiene el sujeto definido en cada una de las propuestas. Los proyectos que realizará John Hedjuk durante los últimos años del siglo XX, sus mascaradas, son arquitecturas vinculadas a un habitante. El vínculo entre el objeto y el sujeto que establece cada pieza es un modo de estudiar las masques propuestas por su autor. El artículo de investigación trata de plantear una interpretación sobre el supuesto de unas relaciones sensibles según sus habitantes. Las tres estructuras citadas serán objeto de un análisis de las propias construcciones y también de cómo es capaz el sujeto de transformar el espacio. SUMMARY One of John Hejduk’s first masques, New England Masque, refers to the widow’s walk, a tower that protrudes from the roof of some houses in New England, on the East Coast of the United States. The analysis of these houses involves directly relating the interior space of these pieces with the wives of sailors who hunted whales in the 19th century. The women used these viewpoints to check if their husbands came down from the boats after months at sea. John Hejduk’s comment on this piece, located in some homes on Long Island, involves linking the widow’s walk with three built structures –of the 67 proposals– for Victims. The analysis proposes studying the works Painter–Studio A, Musician–Studio B and Security. The study is presented according to the space where they are located and according to how they are linked to the meaning that the subject has defined in each of the proposals. The projects that John Hedjuk will carry out during the last years of the 20th century, his masques, are architectures linked to an inhabitant. The link between the object and the subject that establishes each piece is a way of studying the masques proposed by its author. The research article tries to propose an interpretation about the assumption of sensitive relationships according to its inhabitants. The three mentioned structures will be the object of an analysis of the constructions themselves and also of how the subject is able to transform the space.

Avant-propos

Пэлем Хамфри и Генри Пёрселл Статья посвящена сравнению двух вариантов «морской маски», добавленной Т. Шедуэллом в текст V акта при создании либретто для нового спектакля - semi-оперы по шекспировской «Буре». Автор затрагивает такие вопросы, как история возникновения нового текста пьесы, текстовые и драматургические модификации, возникшие в результате кардинальной переработки источника, а также выявляет функциональность этой вставной сцены в общей драматургии спектакля. Особое внимание уделяется музыкально-стилистической специфике каждой из версий маски. При этом обнаруживается не только сосуществование французских, итальянских и английских музыкальных традиций, но и их гармоничное взаимодействие, определяющее неповторимость музыкальных решений, выполненных П. Хамфри и Г. Пёрселлом.

The aim of the current study is to reflect about the concept of mask according to Lacan by associating it with concepts such as myth and semblant based on the aphorism "truth hasastructureof afiction". The study is divided in three sections: the first studies myth in its structuring function and links it to the origin and truth of the subject; the second describes myth as the production that gives meaning and subjective support to masks. The seminars Formations of the Unconscious and The Four Fundamental Concepts were the basis of the current study, which hypothesizes that the mask operates in a constitutive hiatus observed between the mask itself and the subject; in case this hiatus is undone, it would be linked to anguish onset. Finally, by contrasting daily and hermeneutical concepts such as truth, lie and dissimulation, the present study unfolds the mask concept and takes it towards the conceptualization of semblant by placing the mask at the discourse level and at the level of its mathemes. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’architettura per Hejduk è la forma di un pensiero sul mondo, che si manifesta nella realtà concreta. La missione dell’architetto è trovare le forme autentiche del proprio tempo attraverso la rifondazione dei suoi programmi, svolgendo il compito proprio di tutta l’arte: osservare l’intero mondo e offrirne una visione per il futuro. Questo scritto rappresenta il tentativo di delineare un pensiero unitario sul senso dell’architettura di Hejduk. Un’idea sotterranea che ha alimentato le fasi della sua carriera architettonica, intrecciando tra loro, sotto il tetto dell’impegno civile, la passione per la trasmissibilità della conoscenza dell’educatore, all’esaltazione delle implicazioni soggettive dell’artista-architetto.

This paper investigates cinema and television’s peculiar ‘love story’ with Charles Dickens’s A Christmas Carol (1843). Indeed, the story of Scrooge’s life-changing encounter with the Christmas Spirits has been adapted, revised, condensed, retold, and modernized on screen more than any other work of English or American literature. Why is cinema so attracted to this particular piece? Although the mythic quality of the tale partly explains its persistence over the years, I believe that the interest exerted by the Carol on the film medium has a lot to do with the spectacular apparatus (a series of highly realistic images projected to Scrooge) displayed by the Christmas Spirits to redeem the old miser. For what is the Carol if not a text about a character’s personal cinematic experience? The tale contains ‘techniques’ that would only be developed in cinema, as if Dickens was writing a story to be told by a medium not yet available in the Victorian age. As a consequence, turning the Carol into a movie is to not only ‘adapt’ it in the traditional sense of the word, but to literally complete it (in the sense of achieving what Dickens had started) and fulfill its potential, which may explain the satisfying nature of watching a film adaptation of Carol, regardless of the inner quality of the film itself.

L’article propose une lecture comparée du roman d’Émile Zola Au Bonheur des Dames (1883) et de Boumkœur (1999) de Rachid Djaïdani. Interprètes des transformations vécues par la Ville Lumière, Zola et Djaïdani vivent les contrastes de Paris et montrent au lecteur la dualité d’une capitale ambigüe : monstrueuse pour Zola, cosmopolite et aveugle pour Djaïdani, la capitale française est le royaume du double, du masque.

La pureté des genres littéraires n’est plus possible dans une culture postmoderne située sous la protection d’une Minerve relativiste. Cet article propose une analyse comparative de l’œuvre de deux frères écrivains, Emil Ivănescu et Mircea Ivănescu, qui mélangent la dramaturgie avec la poésie et la philosophie. En adoptant la notion bergsonienne de “soi complet”, composé d’une pluralité d’états de conscience, Emil Ivănescu imagine dans le texte dramatique Artistul si moartea (L‘artiste et la mort) des caractères dramatiques représentant de multiples hypostases d’un même individu: le soi romantique, le soi livresque, le soi pedant. À son tour, Mircea Ivănescu emprunte la technique de son frère et l’enrichit par des procédées dramatiques d’Ezra Pound. Considérés comme un héritage culturel de famille les procédés littéraires de la théâtralité intérieure, des masques-alter ego, du conflit entre les voix du psychisme, de parler de luimême comme d’un autre signifient une nouvelle thérapie physique à travers l’art. La théâtralité postmoderne est un carrefour des genres, des domaines, des différentes cultures, de l’intérieur et de l’extérieur de l’être.

Copyright of Synergies Algérie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)