Review: Francis Poulenc: Music, Art and Literature

2002 ◽  
Vol 83 (4) ◽  
pp. 651-653
Author(s):  
Barbara Kelly
Keyword(s):  
Francis Poulenc ◽  
Art And Literature

Francis Poulenc: Music, Art, and Literature (review)

Notes ◽  
2000 ◽  
Vol 57 (2) ◽  
pp. 406-408
Author(s):  
James William Sobaskie
Keyword(s):  
Literature Review ◽  
Francis Poulenc ◽  
Art And Literature

Francis Poulenc. Music, Art and Literature

2000 ◽  
Vol 31 (1) ◽  
pp. 95
Author(s):  
Niksa Gligo ◽  
Sidney Buckland ◽  
Myriam Chimenes
Keyword(s):  
Francis Poulenc ◽  
Art And Literature

Poulenc’s Metamorphosis: His journey toward Resistance and a stylistic counterdiscourse

2018 ◽  
Author(s):  
Jane F. Fulcher
Keyword(s):  
Francis Poulenc ◽  
Occupied Zone

Francis Poulenc, like Honegger, worked principally in the occupied zone throughout the war, but he presents a revealing contrast with the former, for his path led away from accommodation with Vichy. As he became aware of its increasing collaboration with the Germans he gradually distanced himself from the regime, joined the Resistance, and sought hermeneutically, or through style, to express his new position. While initially placing himself advantageously within the shifting French musical field, he ultimately decided rather to seek approval from the musicians and friends he admired who were in the Resistance. Like Schaeffer, his evolution away from the regime, with which at first he shared certain values, was incremental, if occurring earlier for reasons that this chapter examines.

Datta Bhagat’s Routes and Escape Routes and Vijay Tendulkar’s Kanyadaan: Critiquing the Dalit

2021 ◽  
pp. 2455328X2199573
Author(s):  
Joydeep Bhattacharyya
Keyword(s):  
Indian Society ◽  
Critical Reading ◽  
Post Colonial ◽  
Colonial India ◽  
Large Segment ◽  
Art And Literature

This article seeks to understand Indian theatre’s take on Dalit politics of our time through a critical reading of two post-independence plays—Datta Bhagat’s Routes and Escape Routes and Vijay Tendulkar’s Kanyadaan. Politically, ‘Dalit’ becomes important only after 1947 in post-independence and post-colonial India or more specifically from the 1970s. In the post-Ambedkar phase of Dalit re/configuration, they begin to self-assert through politics, art, and literature, most effectively and convincingly, only with the rise of Dalit Panthers and in the aftermath of the implementation of Mandal Commission’s recommendation for Other Backward Classes (OBC) reservation. The article tries to examine the fresh critique of the Dalit vis-à-vis the upper caste-centric society, undertaken in this crucial context of reconfiguration and from beyond any traditional parameter of understanding, and map, through the plays, the plurality hidden within the perceived monolith of Dalit consciousness. Consequently, Dalit experiences against the backdrop of their struggle are laid bare, and unfamiliar realities come out to upset our comfortable knowledge about this large segment of Indian society.

Ästhetisch konstruierte Traditionen?

2019 ◽  
Vol 44 (2) ◽  
pp. 442-470
Author(s):  
Torsten Voß
Keyword(s):  
Discursive Practice ◽  
German Romanticism ◽  
Literary Field ◽  
Avant Garde ◽  
Art And Literature ◽  
European Tradition ◽  
Concept Of Beauty

Abstract Throughout various literary and artistic periods, artists have referred to or even converted to Catholicism as a means of conjuring a certain perception of a European tradition. In doing this, they seek to create an aesthetic of romanticism and/or an idea and concept of beauty, the artist, artwork etc. After giving a brief overview of this discursive practice in modern avant-garde movements, this article focuses on early forms of literary Catholic movements, such as the French Renouveau catholique and François-René de Chateaubriand’s Le Génie du Christianisme (The Genius of Christianity), as well as Novalis’ ‘invention’ of German romanticism in his essay Die Christenheit oder Europa (Christianity or Europe). It shows that there are a variety of parallels to be identified across these periods and places, namely, in programs, performances, rhetoric-building and group-building processes, and in cultivating an anti-bourgeois distinction, both in the texts themselves and in the positioning of the artists within the literary field. Despite accusations of being reactionary, writers and artists who elaborate a Catholic concept of art and literature aim to develop a traditionalist and anti-modern stance within (aesthetical and social) modernity.

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