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perennialessays · 3 years

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Modern Literary Movements

MODERN LITERARY MOVEMENTS 2018-19

Lectures: Friday: 3-4pm

Seminar: Friday: 4-6pm

WEEK 1

WEEK ONE Transition to Modernism Chris Baldick

Seminar: Franz Kafka, ‘Metamorphosis’, James Joyce, ‘Calypso’.

Virginia Woolf

, ‘Modern Fiction’, ‘Mr Bennett and Mrs Brown’

Week 2

Memory and Bergsonism Chris Baldick

Seminar: Marcel Proust, The Way by Swann’s; James Joyce, ‘Penelope’

Henri Bergson, excerpt from Time and Free Will * Walter Benjamin, ‘On the image of Proust’*

Seminar Questions

e will focus on reading Proust Joyce via Bergson

whose notion of

durée

or duration allows a simultaneous layering of consciousness which Proust says allows the revelation ‘

the secret language of things’

and the ‘

inextinguishable substance

’ of things (254); time regained by the application of the intellect or voluntary memory;

INTUITION

allowing permeation of conscious states.

Wyndham Lewis said Bergson ‘

more than any other figure … was responsible for the main intellectual characteristics of the world we live in, and the immensity of debt of almost all contemporary philosophy to him is immense’

(

Time and Western Man

, 166)

Genette in

Narrative Discourse

(1972) notes

‘f

or Proust, lost time is not, as is widely but mistakenly believed, ‘past’ time, but time in its pure state, which is really to say, through the fusion of a present moment and a past moment, the contrary of passing time: the extra-temporal, eternity”’( 40 n. 4; 226, n. 7).

‘If he rejects’ so-called realistic “art, the ‘literature of description,’ which ‘contents itself with 'describing things,' with giving of them merely a miserable abstract of lines and surfaces’ it is because, for him, this kind of literature ignores true reality, which is to be found in essences ...´(Genette, 39; 203).

How does time in Proust compare to Joyce's time in 'Penelope'.

Week 3

Post-Nietzschean Fiction Frank Krause

Seminar: Andre Gide, The Immoralist; Thomas Mann, Death in Venice

Friedrich Nietzsche, The Birth of Tragedy

Seminar Questions

In The Birth of Tragedy 1872) Nietzsche suggests that the metaphysical will operates through both Apollonian drive, which seeks finite form and the Dionysian drive which dissolves form. What are the implications of this insight for literature?

Is modern literature attracted to the transgressive dissolution of the self?

Nietzsche writes, 'Art is not an imitation of nature but its metaphorical supplement' (142). How does this resonate with what we were discussing last week regarding the differences and similarities between realism and modernism?

Nietzsche suggest that a loss of myth and myth-making (mythopoesis) in a culture leads to a loss of vitalism and creativity? is this true?

What does N. mean when he talks of 'metaphysical consolation' of art (41)

Week 4

Epic Theatre Frank Krause

Seminar: Bertolt Brecht, St Joan of the Stockyards.

Walter Benjamin, ‘What is Epic Theatre?’; ‘Theses on Philosophy of History’

In addition to the text of the play, we will discuss Brecht's 'Short Organum for the Theatre' (see below) as well as Walter Benjamin's 'What is Epic Theatre?' and 'Theses on the Philosophy of History' .

things to consider

1. what does B's concept the 'estrangement effect' mean for our discussions of realism in art? why do readers/ audiences need to be estranged ?

2. what is Brecht doing with history in his plays? think about Benjamin here. Is this still relevant for art today ?

3. think about Nietzsche again here --the consolatory aspect of art, the role of the Greek chorus and gestus.

4. Think about the historical contexts in which Brecht politicised theatre.

Week 5

Prophetic Voice in Modern Poetry Chris Baldick

Seminar: T.S. Eliot, The Waste Land

W.B. Yeats, ‘The Second Coming’; ‘Sailing to Byzantium’; ‘Leda & the Swan’; ‘Among

School Children’ *; W.H. Auden, ‘O What is that Sound?’ ; ‘A Summer Night’ (‘Out on

the lawn I lie in bed’); ‘September 1. 1939’; ‘The Fall of Rome.’*

T.S. Eliot, ‘Ulysses, Order and Myth’* Tradition and The Individual Talent’* (VLE)

WEEK 6 READING WEEK

Week 7

Modernist Narrative Lucia Boldrini

Seminar: William Faulkner, The Sound & The Fury; James Joyce, ‘Nausicaa’, ‘Sirens’, ‘Circe’.

Jean-Paul Sartre, ‘On The Sound and the Fury: Time in the Work of Faulkner’, *

Please read the seminar question for this week (in doc below): we will try to make links between Joyce, Faulkner, Bergson, Nietzsche, Eliot and Proust in terms of temporality and narrative:

‘To see existence in 1929 as a presence of fragments often moving to no particular end or recognisable rationale, required of course no special originality of thought. It was becoming clear, through the work of Conrad, Joyce, Woolf, Eliot, as well as the “process” philosophy of Bergson, that the unbroken continuity of most eighteenth and nineteenth century literature—its leisurely Aristotelian movement thought paraphrasable plot pointedly marked with beginning, middle, and end, to a completed or controlling mythos; or the ordered motion of its lyrics, private and dramatic—must be replaced by the broken verse of The Waste Land and the shifting narrators and shattered time sequence of Nostromo’ (Donald Kartiganer, 1970) p. 614.

Week 8

Existentialism and the Absurd Carole Sweeney

Seminar: Albert Camus, The Outsider, Jean Paul Sartre, Nausea.

Jean-Paul Sartre, ''Why Write?', from What is Literature

What is Literature?File

Adorno 'Commitment'File

Existentialism notesFile

The Myth of Sisyphus (extract)File

Week 9

Modern to Postmodern Derval Tubridy

Seminar: Samuel Beckett, The Trilogy: Molloy, Malone Dies, The Unnamable (we will focus on the last section in the seminar but you are encouraged to read the whole trilogy)

Beckett bibliographyFile

Barnett Newman paintingURL

The Trilogy-seminar notesFile

Week 10

Post-Holocaust Writing Rick Crownshaw

Seminar: Primo Levi, If This is a Man, W.G. Sebald, The Emigrants, we will focus on ‘Max Ferber’.

Marianne Hirsch, ‘Surviving Images: Holocaust Photography and the Work of Postmemory’, The Yale Journal of Criticism 12.1 (Spring 2001), 5-38. (VLE)

Postmemory articleFile

reading of If This is a manURL

Holocaust writing lecture notes PPFile

Week 11

Postmodern Fiction Tim Parnell

Seminar: Italo Calvino, If on a Winter’s Night a Traveller

Jacques Derrida, Structure, Sign and Play’*;

Roland Barthes, ‘The Death of the Author’ *

Roland Barthes- The Death of the AuthorFile

'Structure, Sign and Play'File

useful article on John BarthFile

'The Literature of Replenishment', John BarthFile

Calvino PP lecture notesFile

#goldsmiths #modern literary movements

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barbara-stanwyck-1907-1990 · 4 years

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Barbara Stanwyck (born Ruby Catherine Stevens; July 16, 1907 – January 20, 1990) was an American actress, model and dancer. A stage, film and television star, she was known during her 60-year career as a consummate and versatile professional for her strong, realistic screen presence. A favorite of directors including Cecil B. DeMille, Fritz Lang and Frank Capra, she made 85 films in 38 years before turning to television.

Stanwyck got her start on the stage in the chorus as a Ziegfeld girl in 1923 at age 16 and within a few years was acting in plays. She was then cast in her first lead role in Burlesque (1927), becoming a Broadway star. Soon after that, Stanwyck obtained film roles and got her major break when Frank Capra chose her for his romantic drama Ladies of Leisure (1930), which led to additional lead roles.

In 1937 she had the title role in Stella Dallas and received her first Academy Award nomination for best actress. In 1941 she starred in two successful screwball comedies: Ball of Fire with Gary Cooper, and The Lady Eve with Henry Fonda. She received her second Academy Award nomination for Ball of Fire, and in recent decades The Lady Eve has come to be regarded as a romantic comedy classic with Stanwyck's performance called one of the best in American comedy.

By 1944, Stanwyck had become the highest-paid woman in the United States. She starred alongside Fred MacMurray in the seminal film noir Double Indemnity (1944), playing the smoldering wife who persuades MacMurray's insurance salesman to kill her husband. Described as one of the ultimate portrayals of villainy, it is widely thought that Stanwyck should have won the Academy Award for Best Actress rather than being just nominated. She received another Oscar nomination for her lead performance as an invalid wife overhearing her own murder plot in the thriller film noir, Sorry, Wrong Number (1948). After she moved into television in the 1960s, she won three Emmy Awards – for The Barbara Stanwyck Show (1961), the western series The Big Valley (1966), and miniseries The Thorn Birds (1983).

She received an Honorary Oscar in 1982, the Golden Globe Cecil B. DeMille Award in 1986 and was the recipient of several other honorary lifetime awards. She was ranked as the 11th greatest female star of classic American cinema by the American Film Institute. An orphan at the age of four, and partially raised in foster homes, she always worked; one of her directors, Jacques Tourneur, said of Stanwyck, "She only lives for two things, and both of them are work."

Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, New York. She was the fifth – and youngest – child of Catherine Ann (née McPhee) (1870-1911) and Byron E. Stevens (1872-1919), working-class parents. Her father, of English descent, was a native of Lanesville, Massachusetts, and her mother, of Scottish descent, was an immigrant from Sydney, Nova Scotia. When Ruby was four, her mother died of complications from a miscarriage after she was knocked off a moving streetcar by a drunk. Two weeks after the funeral, her father joined a work crew digging the Panama Canal and was never seen again by his family. Ruby and her older brother, Malcolm Byron (later nicknamed "By") Stevens, were raised by their eldest sister Laura Mildred, (later Mildred Smith) (1886–1931), who died of a heart attack at age 45. When Mildred got a job as a showgirl, Ruby and Byron were placed in a series of foster homes (as many as four in a year), from which young Ruby often ran away.

"I knew that after fourteen I'd have to earn my own living, but I was willing to do that ... I've always been a little sorry for pampered people, and of course, they're 'very' sorry for me."

Ruby toured with Mildred during the summers of 1916 and 1917, and practiced her sister's routines backstage. Watching the movies of Pearl White, whom Ruby idolized, also influenced her drive to be a performer. At the age of 14, she dropped out of school, taking a package wrapping job at a Brooklyn department store. Ruby never attended high school, "although early biographical thumbnail sketches had her attending Brooklyn's famous Erasmus Hall High School."

Soon afterward, she took a filing job at the Brooklyn telephone office for $14 a week, which allowed her to become financially independent. She disliked the job; her real goal was to enter show business, even as her sister Mildred discouraged the idea. She then took a job cutting dress patterns for Vogue magazine, but customers complained about her work and she was fired. Ruby's next job was as a typist for the Jerome H. Remick Music Company; work she reportedly enjoyed, however her continuing ambition was in show business, and her sister finally gave up trying to dissuade her.

In 1923, a few months before her 16th birthday, Ruby auditioned for a place in the chorus at the Strand Roof, a nightclub over the Strand Theatre in Times Square. A few months later, she obtained a job as a dancer in the 1922 and 1923 seasons of the Ziegfeld Follies, dancing at the New Amsterdam Theater. "I just wanted to survive and eat and have a nice coat", Stanwyck said. For the next several years, she worked as a chorus girl, performing from midnight to seven a.m. at nightclubs owned by Texas Guinan. She also occasionally served as a dance instructor at a speakeasy for gays and lesbians owned by Guinan. One of her good friends during those years was pianist Oscar Levant, who described her as being "wary of sophisticates and phonies."

Billy LaHiff, who owned a popular pub frequented by showpeople, introduced Ruby in 1926 to impresario Willard Mack. Mack was casting his play The Noose, and LaHiff suggested that the part of the chorus girl be played by a real one. Mack agreed, and after a successful audition gave the part to Ruby. She co-starred with Rex Cherryman and Wilfred Lucas. As initially staged, the play was not a success. In an effort to improve it, Mack decided to expand Ruby's part to include more pathos. The Noose re-opened on October 20, 1926, and became one of the most successful plays of the season, running on Broadway for nine months and 197 performances. At the suggestion of David Belasco, Ruby changed her name to Barbara Stanwyck by combining the first name from the play Barbara Frietchie with the last name of the actress in the play, Jane Stanwyck; both were found on a 1906 theater program.

Stanwyck became a Broadway star soon afterward, when she was cast in her first leading role in Burlesque (1927). She received rave reviews, and it was a huge hit. Film actor Pat O'Brien would later say on a 1960s talk show, "The greatest Broadway show I ever saw was a play in the 1920s called 'Burlesque'." Arthur Hopkins described in his autobiography To a Lonely Boy, how he came to cast Stanwyck:

After some search for the girl, I interviewed a nightclub dancer who had just scored in a small emotional part in a play that did not run [The Noose]. She seemed to have the quality I wanted, a sort of rough poignancy. She at once displayed more sensitive, easily expressed emotion than I had encountered since Pauline Lord. She and Skelly were the perfect team, and they made the play a great success. I had great plans for her, but the Hollywood offers kept coming. There was no competing with them. She became a picture star. She is Barbara Stanwyck.

He also called Stanwyck "The greatest natural actress of our time", noting with sadness, "One of the theater's great potential actresses was embalmed in celluloid."

Around this time, Stanwyck was given a screen test by producer Bob Kane for his upcoming 1927 silent film Broadway Nights. She lost the lead role because she could not cry in the screen test, but was given a minor part as a fan dancer. This was Stanwyck's first film appearance.

While playing in Burlesque, Stanwyck was introduced to her future husband, actor Frank Fay, by Oscar Levant. Stanwyck and Fay were married on August 26, 1928, and soon moved to Hollywood.

Stanwyck's first sound film was The Locked Door (1929), followed by Mexicali Rose, released in the same year. Neither film was successful; nonetheless, Frank Capra chose Stanwyck for his film Ladies of Leisure (1930). Her work in that production established an enduring friendship with the director and led to future roles in his films. Other prominent roles followed, among them as a nurse who saves two little girls from being gradually starved to death by Clark Gable's vicious character in Night Nurse (1931). In Edna Ferber's novel brought to screen by William Wellman, she portrays small town teacher and valiant Midwest farm woman Selena in So Big! (1932). She followed with a performance as an ambitious woman "sleeping" her way to the top from "the wrong side of the tracks" in Baby Face (1933), a controversial pre-Code classic. In The Bitter Tea of General Yen (1933), another controversial pre-Code film by director Capra, Stanwyck portrays an idealistic Christian caught behind the lines of Chinese civil war kidnapped by warlord Nils Asther. A flop at the time, containing "mysterious-East mumbo jumbo", the lavish film is "dark stuff, and its difficult to imagine another actress handling this ... philosophical conversion as fearlessly as Ms. Stanwyck does. She doesn't make heavy weather of it."

In Stella Dallas (1937) she plays the self-sacrificing title character who eventually allows her teenage daughter to live a better life somewhere else. She landed her first Academy Award nomination for Best Actress when she was able to portray her character as vulgar, yet sympathetic as required by the movie. Next, she played Molly Monahan in Union Pacific (1939) with Joel McCrea. Stanwyck was reportedly one of the many actresses considered for the role of Scarlett O'Hara in Gone with the Wind (1939), although she did not receive a screen test. In Meet John Doe she plays an ambitious newspaperwoman with Gary Cooper (1941).

In Preston Sturges's romantic comedy The Lady Eve (1941), she plays a slinky, sophisticated con-woman who falls for her intended victim, the guileless, wealthy snake-collector and scientist Henry Fonda, she "gives off an erotic charge that would straighten a boa constrictor." Film critic David Thomson described Stanwyck as "giving one of the best American comedy performances", and its reviewed as brilliantly versatile in "her bravura double performance" by The Guardian. The Lady Eve is among the top 100 movies of all time on Time and Entertainment Weekly's lists, and is considered to be both a great comedy and a great romantic film with its placement at #55 on the AFI's 100 Years ...100 Laughs list and #26 on its 100 Years ...100 Passions list.

Next, she was the extremely successful, independent doctor Helen Hunt in You Belong to Me (1941), also with Fonda. Stanwyck then played nightclub performer Sugerpuss O'Shea in the Howard Hawks directed, but Billy Wilder written comedy Ball of Fire (1941). In this update of the Snow White and Seven Dwarfs tale, she gives professor Gary Cooper a better understanding of "modern English" in the performance for which she received an Academy Award nomination for Best Actress.

In Double Indemnity, the seminal film noir thriller directed by Billy Wilder, she plays the sizzling, scheming wife/blonde tramp/"destiny in high heels" who lures an infatuated insurance salesman (Fred MacMurray) into killing her husband. Stanwyck brings out the cruel nature of the "grim, unflinching murderess", marking her as the "most notorious femme" in the film noir genre. Her insolent, self-possessed wife is one of the screen's "definitive studies of villainy - and should (it is widely thought) have won the Oscar for Best Actress", not just been nominated. Double Indemnity is usually considered to be among the top 100 films of all time, though it did not win any of its seven Academy Award nominations. It is the #38 film of all time on the American Film Institute's list, as well as the #24 on its 100 Years ...100 Thrillers list and #84 on its 100 Years ...100 Passions list.

She plays the columnist caught up in white lies and a holiday romance in Christmas in Connecticut (1945). In 1946 she was "liquid nitrogen" as Martha, a manipulative murderess, costarring with Van Heflin and newcomer Kirk Douglas in The Strange Love of Martha Ivers. Stanwyck was also the vulnerable, invalid wife that overhears her own murder being plotted in Sorry, Wrong Number (1948) and the doomed concert pianist in The Other Love (1947). In the latter film's soundtrack, the piano music is actually being performed by Ania Dorfmann, who drilled Stanwyck for three hours a day until the actress was able to synchronize the motion of her arms and hands to match the music's tempo, giving a convincing impression that it is Stanwyck playing the piano.

Pauline Kael, a longtime film critic for The New Yorker, admired the natural appearance of Stanwyck's acting style on screen, noting that she "seems to have an intuitive understanding of the fluid physical movements that work best on camera". In reference to the actress's film work during the early sound era, Kael observed that the "early talkies sentimentality...only emphasizes Stanwyck's remarkable modernism."

Many of her roles involve strong characters, yet Stanwyck was known for her accessibility and kindness to the backstage crew on any film set. She knew the names of their wives and children. Frank Capra said of Stanwyck: "She was destined to be beloved by all directors, actors, crews and extras. In a Hollywood popularity contest, she would win first prize, hands down." While working on 1954s Cattle Queen of Montana on location in Glacier National Park, she did some of her own stunts, including a swim in the icy lake.[49] A consummate professional, when aged 50, she performed a stunt in Forty Guns. Her character had to fall off her horse and, with her foot caught in the stirrup, be dragged by the galloping animal. This was so dangerous that the movie's professional stunt person refused to do it. Her professionalism on film sets led her to be named an Honorary Member of the Hollywood Stuntmen's Hall of Fame.

William Holden and Stanwyck were longtime friends and when Stanwyck and Holden were presenting the Best Sound Oscar for 1977, he paused to pay a special tribute to her for saving his career when Holden was cast in the lead for Golden Boy (1939). After a series of unsteady daily performances, he was about to be fired, but Stanwyck staunchly defended him, successfully standing up to the film producers. Shortly after Holden's death, Stanwyck recalled the moment when receiving her honorary Oscar: "A few years ago, I stood on this stage with William Holden as a presenter. I loved him very much, and I miss him. He always wished that I would get an Oscar. And so, tonight, my golden boy, you got your wish."

As Stanwyck's film career declined during the 1950s, she moved to television. In 1958 she guest-starred in "Trail to Nowhere", an episode of the Western anthology series Dick Powell's Zane Grey Theatre, portraying a wife who pursues, overpowers, and kills the man who murdered her husband. Later, in 1961, her drama series The Barbara Stanwyck Show was not a ratings success, but it earned her an Emmy Award. The show ran for a total of thirty-six episodes. She also guest-starred in this period on other television series, such as The Untouchables with Robert Stack and in four episodes of Wagon Train.

She stepped back into film for the 1964 Elvis Presley film Roustabout, in which she plays a carnival owner.

The western television series, The Big Valley, which was broadcast on ABC from 1965 to 1969, made her one of the most popular actresses on television, winning her another Emmy. She was billed in the series' opening credits as "Miss Barbara Stanwyck" for her role as Victoria, the widowed matriarch of the wealthy Barkley family. In 1965, the plot of her 1940 movie Remember the Night was adapted and used to develop the teleplay for The Big Valley episode "Judgement in Heaven".

In 1983, Stanwyck earned her third Emmy for The Thorn Birds. In 1985 she made three guest appearances in the primetime soap opera Dynasty prior to the launch of its short-lived spin-off series, The Colbys, in which she starred alongside Charlton Heston, Stephanie Beacham and Katharine Ross. Unhappy with the experience, Stanwyck remained with the series for only the first season, and her role as "Constance Colby Patterson" would be her last. It was rumored Earl Hamner Jr., former producer of The Waltons, had initially wanted Stanwyck for the role of Angela Channing in the 1980s soap opera Falcon Crest, and she turned it down, with the role going to her friend, Jane Wyman; when asked Hamner assured Wyman it was a rumor.

Stanwyck's retirement years were active, with charity work outside the limelight. In 1981, she was awakened in the middle of the night, inside her home in the exclusive Trousdale section of Beverly Hills, by an intruder, who first hit her on the head with his flashlight, then forced her into a closet while he robbed her of $40,000 in jewels.

The following year, in 1982, while filming The Thorn Birds, the inhalation of special-effects smoke on the set may have caused her to contract bronchitis, which was compounded by her cigarette habit; she was a smoker from the age of nine until four years before her death.

Stanwyck died on January 20, 1990, aged 82, of congestive heart failure and chronic obstructive pulmonary disease (COPD) at Saint John's Health Center in Santa Monica, California. She had indicated that she wanted no funeral service. In accordance with her wishes, her remains were cremated and the ashes scattered from a helicopter over Lone Pine, California, where she had made some of her western films.

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la-valise-rtl · 6 years

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Folk de Nolwenn Leroy

L’album Folk de Nolwenn Leroy à gagner dans la Valise RTL.

Il n’est pas toujours aisé d’écrire Je t’aime. C’est parfois pour cela qu’on aime tant chanter les mots des autres. Dans son nouvel album, Nolwenn Leroy chante Jacques Higelin, Nino Ferrer, Nicolas Peyrac ou Francis Cabrel, entre autres. Des songwriters qui ont en commun le pouvoir de réconforter les jours de pluie. Des chansons qui font toutes parties d’un genre musical et d’un état d’esprit : le folk.

Le folk est cette musique qui réchauffe et réveille des émotions enfouies. Jouée et chantée le plus simplement du monde, une chanson folk n’a pas d’autre âge que celui de l’humanité et de ses errances.

Au plus près d’un petit groupe de musiciens respirant le bonheur de jouer, Nolwenn a enregistré 13 chansons intemporelles en live au studio Ferber. Puisant dans ce que les fiançailles du folk et de la langue française ont engendré de plus intemporel, Nolwenn offre une nouvelle incarnation à des chansons et à des émotions.

Folk signifie populaire. En réveillant certaines de nos émotions les plus intimes, cet album réalisé par Clément Ducol (Vianney, Camille…) rappelle de la plus simple des manières à quel point Nolwenn fait partie de nos vies.

#folk #musique #album #nolwenn leroy

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lautone · 3 years

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La force d'un homme n'est pas contenue dans sa capacité érectile mais bien dans sa qualité d'être et de protection, cette capacité à s'aligner à lui-même, à la puissance de son cœur, à la solidité de ses valeurs, en toute droiture, honnêteté, confiance et fermeté. C'est à ce moment là que l'on sait que le fils est devenu un Homme.

"La peur de l’homme envers la femme s’exprime inconsciemment dans tout un ensemble de peurs : la peur de ne pas être à la hauteur.., et de ne pas satisfaire les désirs de la femme, mais aussi la peur d’être englouti, d’être retenu prisonnier, d’être dépendant.

Il faut comprendre que dans le psychisme de l’homme, son premier objet d’amour et de désir a été sa mère, celle qui l’a enfanté, avec laquelle il était un. Par la suite, il a dû se différencier de cette mère toute puissante, de cette matrice qui lui a donné la vie, mais qui est aussi celle dont il doit s’extraire. Et la relation envers la femme est à la fois favorisée et phagocytée par l’empreinte de la mère.

Et il ne s’agit pas uniquement de notre mère, mais de toutes les mères depuis que le monde est monde, de cette relation fondamentale à la Mère, dispensatrice et dévoreuse de vie que nous avons tous vécus en tant qu’être humain.

Ce sont les mêmes circuits qui sont à l’origine de l’attachement envers ses parents- ses enfants et envers son compagnon ou sa compagne.

Cela signifie que, pour l’homme, tout ce qui relève de l’attachement, de l’attirance, du désir, réactualise involontairement les schémas d’amour fusionnel qu’il a pu avoir avec sa mère.

Ces schémas ne sont donc pas liés uniquement à la personne physique dont il est issu, car ils correspondent à des programmes biologiques préétablis qui forment une trame sur laquelle notre relation envers notre mère a été rendu possible.

Pour l’homme, il s’agit donc à la fois prendre conscience de ce qui s’est passé avec sa mère, mais aussi d’intégrer l’aspect mythique et symbolique du rapport que chaque homme entretient avec la Mère, dispensatrice de vie, nourricière, soignante, mais aussi castratrice et enfermante...

Et pour sortir de cette toute puissance maternelle, l’homme utilise naturellement son épée (en réalité son sexe) comme le montre les films d’action... En effet, le fantasme de ce type de « héros phallique » se manifeste dans une identification de l’homme à son pénis : « je bande donc je suis » pourrait être sa devise. Il tend à se juger à l’aune de l’activité de sa verge. Si elle est souvent dure et en érection, si toutes les femmes se pâment devant elle, alors il existe comme Homme. Sinon, il pense qu’il n’est rien... Ce n’est plus Conan mais Rocco qui devient alors le fantasme des hommes.

Évidemment, la différence entre l’idéal de ce héros hyper-viril et la réalité est forte : comme il n’est pas possible de bander à volonté et de soutenir des érections fermes pendant des heures, il y a un risque à s’enfermer dans un mouvement de repli sur soi, d’isolement.

Ne se jugeant pas normal (la « normalité » étant jugée en fonction des caractéristiques hyper-viriles) ou pas assez bien constitué, l’homme n’ose alors plus pratiquer de sport ou d’avoir des relations féminines. Il entre alors dans un cercle vicieux : moins il voit de femmes, plus il fantasme et plus il ressent des difficultés à rencontrer des femmes. Il ne fait plus que de se masturber en fantasmant, on regardant des films ou photos pornos, en se culpabilisant et en se dévalorisant. C’est la spirale infernale de la dépression, de la dévalorisation de soi.

Inversement, cette angoisse peut aussi plonger l’homme dans le syndrome de Don Juan : en cherchant compulsivement à séduire toutes les femmes qu’il rencontre, afin d’obtenir une représentation positive de sa virilité. Mais la satisfaction de la conquête ne dure pas longtemps, et il doit repartir incessamment vers de nouveaux rivages, chercher encore et toujours à se prouver qu’il est viril, pour combler cette angoisse profonde sur son identité.

Dans tous les cas et quel que soit la manière dont il s’exprime, le fantasme d’hyper-virilité mène à une impasse.

Pour dépasser cette angoisse, il n’y a qu’un mot, qu’un seul « accueillir ce qui vient » et surtout recontacter la puissance sauvage de l’Homme en soi. Contacter le plaisir à être un homme, indépendamment de son sexe, indépendamment du fait de bander ou non.

Se sentir « fort » intérieurement : ce qui n’a rien à voir avec la force physique, mais plus à l’alignement psychique intérieur vis à vis de Soi et du monde.

Hommes, mes frères, nous sommes à la croisée des chemins.

Un nouvel âge apparait.

Trouvons notre puissance intérieure, pour encore plus s'ouvrir en amour et nous unir de corps, de cœur et d’âme aux femmes, nos soeurs d’âmes.

Que le Divin Masculin épouse le Féminin Sacré,

que Shiva et Shakti ne fassent plus qu’un au service de la Vie.

Engendrons ensemble, une nouvelle ère de Conscience et d’Amour…

Jacques Ferber"

Il est vrai que les femmes ont gagné en puissance ces dernières années. Il est vrai que les hommes cherchent un peu leur place à leurs côtés. Construisons ensemble un monde d'équilibre et d'harmonie sans rapport de force.

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streettypephilly · 6 years

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1708 Jacques Ferber, Near Rittenhouse #phillytype #philadelphia #philly #signhunting #signhunters #handpainted #handlettering (at Rittenhouse Square)

#signhunting #phillytype #handlettering #philadelphia #handpainted #philly #signhunters

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veilledesignetsociete · 5 years

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#approche intégrale

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rollingstonemag · 6 years

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Un nouvel article a été publié sur https://www.rollingstone.fr/louis-arlette-apres-lui-des-ruines-et-des-poemes/

Louis Arlette : après lui, "Des ruines et des poèmes"

Le deuxième album du jeune chanteur Louis Arlette, disciple du duo Air, sortira le 15 mars prochain

En 2017 déjà, Louis Arlette attirait l’attention de Rolling Stone avec son premier album, Sourire Carnivore, odyssée mélangeant chanson et musique électronique, bravant les tempêtes personnelles. Après une Iliade dont il n’était pas sûr de revenir, le jeune artiste signe son retour avec Des ruines et des poèmes, un nouveau disque qui continue de suivre sa bonne étoile, de creuser son sillon dans un océan de sonorités, croisant sur sa route les esprits de Daniel Darc, Gaëtan Roussel, Jacques Brel (dont il reprend « Je suis un soir d’été ») ou encore le mythique duo Air, dont Louis Arlette fut disciple durant des années à leur studio de la rue de l’Atlas.

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Enregistré au Studio Ferber sous la houlette de Philippe Paradis (Hubert-Félix Thiéfaine, Christophe), Des ruines et des poèmes est un disque personnel mais en aucun cas ermite, dressant un portrait aussi réaliste qu’alarmiste sur l’état du monde, sa fragilité, sa finitude. « On vit dans une ambiance de Rome d’avant le déclin, de Babylone d’avant la chute : une ambiance de fin de civilisation » – un pessimisme qui n’empêche pas une certaine forme d’espoir dans la musique de Louis Arlette, dont certaines expérimentations new wave contrastent avec rigueur à des textes romantiques, mais jamais désabusés.

Des ruines et des poèmes sort le 15 mars 2019.

#Des ruines et des poèmes #Louis Arlette #Philippe Paradis #Sourire Carnivore

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cogito-ergo-absens · 7 months

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« Pour qu'un homme puisse comprendre un peu les femmes, il doit s'abandonner à son propre féminin, laisser l'intuition l'envahir, s'abandonner lui aussi à la vie. »

Jacques Ferber - L'amant tantrique

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brookstonalmanac · 1 year

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Birthdays 8.15

Beer Birthdays

Adam Eulberg (1835)

Christian Benjamin Feigenspan (1844)

Charles D. Goepper (1860)

Christine Celis (1962)

Five Favorite Birthdays

Julia Child; chef, writer (1912)

Stieg Larsson; Swedish writer (1954)

Jennifer Lawrence; actor (1990)

Oscar Peterson; Canadian jazz pianist (1925)

Walter Scott; Scottish poet, writer (1771)

Famous Birthdays

Ben Affleck; actor (1972)

Tommy Aldridge; drummer (1950)

Ethel Barrymore; actor (1879)

Leonard Baskin; sculptor (1922)

Marion Bauer; composer (1882)

Robert Bolt; English playwright, screenwriter (1924)

Napoleon Bonaparte; French emperor, soldier (1769)

Estelle Brody; silent film actress (1900)

Jim Brothers; sculptor (1941)

Jan Brzechwa; Polish author and poet (1898)

Bobby Byrd; singer-songwriter (1934)

Bobby Caldwell; singer-songwriter (1951)

Cadence Carter; pornstar (1996)

Lillian Carter; Jimmy Carter's mother (1898)

Judy Cassab; Austrian-Australian painter (1920)

Samuel Coleridge-Taylor; English composer (1875)

Tom Colicchio; chef (1962)

Charles Comiskey; baseball player and manager (1859)

Leslie Comrie; New Zealand astronomer (1893)

Mike Connors; actor (1925)

Gerty Cori; Czech-American biochemist and physiologist (1896)

Walter Crane; English artist (1845)

Jim Dale; English actor (1935)

Abby Dalton; actress (1932)

Louis de Broglie; French physicist (1892)

Régine Deforges; French author (1935)

Thomas de Quincey; English writer (1785)

Linda Ellerbee; television journalist (1944)

Edna Ferber; writer (1885)

Eliza Lee Cabot Follen; writer (1787)

Huntz Hall; actor (1919)

Signe Hasso; Swedish-American actress (1915)

Richard F. Heck; chemist (1931)

Bobby Helms; singer (1933)

Natasha Henstridge; actor (1974)

Wendy Hiller; actor (1912)

Wolfgang Hohlbein; German author (1953)

Stix Hooper; jazz drummer (1938)

Jacques Ibert; French composer (1890)

Blind Jack; English engineer (1717)

Tom Johnston; singer-songwriter and guitarist (1948)

Julius Katchen; pianist and composer (1926)

George Klein; Canadian inventor of the motorized wheelchair (1904)

Aleksey Krylov; Russian mathematician and engineer (1863)

T.E. Lawrence; Welsh writer (1888)

Rose Maddox; singer-songwriter and fiddle player (1925)

Rose Marie; comedian, actor (1923)

Debra Messing; actor (1968)

Sami Michael; Iraqi-Israeli author and playwright (1926)

Giorgos Mouzakis; Greek trumpet player (1922)

E. Nesbit; English author and poet (1858)

Pyotr Novikov; Russian mathematician (1901)

Paul Outerbridge; photographer (1896)

Inês Pedrosa; Portuguese writer (1962)

Bill Pinkney, American pop singer (1925)

Luigi Pulci; Italian poet (1432)

Paul Rand; graphic designer (1914)

Nicholas Roeg; film director (1928)

Mike Seeger; folk musician and folklorist (1933)

John Silber; philosopher (1926)

Leo Theremin; Russian inventor (1896)

Rob Thomas; author (1965)

Jack Tworkov; Polish-American painter (1900)

Gene Upshaw; Oakland Raiders G (1945)

Mikao Usui; Japanese spiritual leader, founded Reiki (1865)

Jimmy Webb; songwriter (1946)

Hugo Winterhalter; composer and bandleader (1909)

Peter York; rock drummer (1942)

#Birthdays

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splendidenolwenn · 6 years

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As-tu eu l’occasion de faire écouter tes reprises à certains des artistes concernés ?

Absolument ! Bien sûr que certains ne sont plus parmi nous mais il y en a beaucoup comme Nicolas Peyrac, Francis Cabrel et Yves Simon qui sont encore là. Pour parler de Nicolas Peyrac par exemple, je lui ai envoyé un petit mot avant la sortie de l’album en lui disant que l’on ne pouvait pas se passer du titre sublime qu’est « So Far Away From L.A ». Le film de cette chanson représente tellement les années 70 qu’on se devait de la mettre dans la tracklist. Il a été touché par ma version et il m’a envoyé un message qui m’a fait chaud au cœur. Quand on parle d’hommage, on espère que ce dernier va être bien reçu et ça a été le cas. J’étais très angoissée de lui envoyer le titre parce que j’avais envie que tout se passe bien. Au final, tout s’est bien déroulé donc ça fait vraiment plaisir !

Comment as-tu fait le choix des titres présents sur ce nouvel opus ?

J’ai commencé par faire une liste idéale selon moi en laissant pas mal de chansons de côté qui feront peut-être l’objet d’un second volet. Je n’aime pas les albums longs donc j’ai fait un vrai choix. J’ai recoupé ma liste avec celles d’autres personnes qui connaissaient bien cette période ou qui ont une passion pour la musique folk. Voilà, comment le choix s’est fait.

Si tu ne devais retenir qu’un titre de cet album, lequel serait-ce ?

Alalala que c’est dur ! (Rires) Je dirais, je dirais… En fait, j’en vois deux. Ça serait « Marions les roses » du groupe Malicorne et la chanson de Jacques Higelin. Il y a aussi la chanson de Francis Cabrel qui a une histoire particulière et personnelle sur cet album. C’est difficile de choisir… Ça serait « Je t’aimais, je t’aime et je t’aimerai » pour l’histoire personnelle et « Je ne peux plus dire je t’aime » pour le second choix.

Cet album, enregistré au Studio Feber, est réalisé dans les conditions live, à l’ancienne. Pourquoi avoir fait ce choix dans la production ?

Faire ce choix avait un sens par rapport au style de musique que l’on retrouve sur l’album. C’est un album de parti pris, on a rien laissé au hasard dans la façon de l’enregistrer. Ça allait de soi d’enregistrer ces chansons comme elles ont pu l’être à l’époque, le plus simplement du monde. Et puis dans la musique folk, il n’y a pas de minauderies, c’est pas propret. On a fait 4-5 prises pour chaque titre et on a gardé la meilleure. Il y a très peu d’albums qui sont enregistrés de cette manière aujourd’hui et c’était très important pour moi de pouvoir travailler dans ces conditions. Dans la façon de chanter, d’enregistrer et de travailler avec Clément Ducol, ça m’a beaucoup apporté dans ce que j’ai pu mettre dans mon chant.

Il y a peu tu étais à Lyon pour chanter devant l’immense et la talentueuse Jane Fonda. Des parcours comme le sien t’inspirent-ils dans ta vie de femme, d’artiste et de mère ?

C’est certain ! Jane Fonda c’est quand même une sacrée gonzesse… C’est un honneur que d’avoir chanté pour elle lorsqu’elle a reçu le Prix Lumière. C’était vraiment un beau moment. Effectivement, ça ne peut être qu’une inspiration parce que c’est une femme de cœur, de tête et d’engagement. Elle m’inspire par rapport à mes propres engagements que je tiens depuis très longtemps. J’étais engagée avant même qu’artiste soit mon métier. Je suis partie en voyage humanitaire au Mali pour distribuer des fournitures scolaires dans des petits villages lorsque j’avais 13 ans. Après j’ai fait fac de droit justement pour éventuellement faire ma vie professionnelle dans l’humanitaire au cas où la musique ne marche pas. C’était aussi un engagement citoyen. Aujourd’hui, le fait d’être artiste me donne l’opportunité de poursuivre dans cette voie d’une manière différente. C’est en cela que le parcours de Jane Fonda m’inspire…

Une dernière question qui brûle les lèvres de tes fans… Folk fera-t-il l’objet d’une tournée ? Voir de quelques prestations live ?

Absolument ! On a déjà pas mal de séances de dédicaces et showcases de prévus jusqu’à Noël. Et puis à partir du mois de mars, on repart en tournée avec l’album Folk. On sera au Trianon les 26 et 27 mars et également dans le reste de la France avec des festivals l’été prochain. Il y une sorte de fondu enchaîné entre les deux tournées puisqu’il nous reste des dates du « Gemme Tour » jusqu’à la fin du mois de novembre. On reste sur la route pour mon plus grand bonheur car c’est quand même ce que je préfère faire. On va pouvoir retrouver l’ambiance et le son que l’on peut entendre sur l’album lors de la tournée qui arrive. Ça va être une très belle tournée !

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#Nolwenn Leroy #folk #aficia #interview #showcase #trianon #studio ferber #jane fonda #malicorne #francis cabrel #jacques higelin #nicolas peyrac #music #french

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