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1913: The year of French modernism is the first book to respond to
two deceptively simple questions: "What constituted modernism in
France?" and "What is the place of France on the map of global
modernism?" Taking its cue from the seminal year 1913, an annus
mirabilis for literature and art, the book captures a snapshot of
vibrant creativity in France and a crucial moment for the quickly
emerging modernism throughout the world. Essays from specialists on
works of literature, art, photography and cinema which were created
or made public in and around 1913, outline in a dazzling fresco the
protagonists, strategies and genres, the dynamics, themes, and
legacies of what was French modernism. -- .
This book presents a broad range of interpretations pertaining to
very diverse aspects of the M. Proust's work, stemming from a
number of fields of interpretations. It is based on an
international symposium convened at Princeton University on 22 and
23 April 2006.
Despite the loss of the French Empire, France and its former
colonies are still bound by a common historical past. With the new
global promotion of la Francophonie, the relation between the
various constituencies of the French-speaking regions of the world
is reexamined and debated in this book, through the conversation
between scholars dealing with diverse texts and contexts that
present the colonial contact and its imprint. The book illustrates
how, in France and in its other worlds, that contact, its
repercussions, and its memory are lived and expressed today in a
variety of textual representations. The historical contact between
France and its other worlds has given birth to new kinds of
cross-cultural expressions in the arts, in literature, and in
aesthetics, establishing interrelations and generating
appropriations from both sides of the Hexagon frontier,
highlighting the fluidity and the permeability of its cultural
borders. The book subtext tells that the frontier between France
and its other worlds is no more an unshakable geographical,
political, and cultural limit, but rather a line that has become
mobile, fluctuating, and permeable, and across which currents,
ideas, sensitivities, and creativity are expressed, bearing
testimony to vitality and diversity but also to a
cross-fertilization of cultures and societies (re) crossing or
meeting at that line. Seen from this latter perspective, the book
comes also as an interrogation of the inclusiveness or
exclusiveness of the words francophone and Francophonie, and, at an
academic level, a mutual exclusion of French and Francophone
Studies.
The strange M. Proust - the narrator, the author, and the
embodiment of A la Recherche du Temps perdu - is now so canonical a
writer that his very strangeness is easily overlooked. His book
made of other books, his epic composed of extraordinary miniatures,
his orderly structure where every law is subverted, his chronology
where time can be undone and his geography where places can
superimpose: in these, and many other ways, Proust continues to
astonish even readers who have engaged with him for their entire
careers. In this book, arising from the Princeton symposium of
2006, major critics come together to offer provocative readings of
a work which is at the same time classical and unusual, French and
foreign, familiar and strange. The book is dedicated to the memory
of Malcolm Bowie (1943-2007), whose keynote address was one of his
last major lectures. Other contributors include David Ellison, Anne
Simon, Eugene Nicole, Joseph Brami, Raymonde Coudert, Christie
McDonald, Michael Wood and Antoine Compagnon.
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