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Embarquer pour l’Inde, un motif narratif chez Xénophon d’Éphèse, Lucien et Philostrate
No full textParadoxically, at a time when trade between the Mediterranean and India was developing across the Indian Ocean, Greek fiction literature did not mirror it, with the exception of Xenophon of Ephesus, Lucian, and Philostratus, in the form, nevertheless, of very rare micro-narratives. It is therefore a question, in this article, of analyzing the reasons for the crossing to India and of hightlighting its stakes, in particular the representation that Greek-speaking writers give of the actors of these exchanges : Greeks, the so-called Egyptians, and Indians. It is also a question of understanding why these new routes to India did not create an imaginary that fiction could have exploited.
Paradoxalement, à une époque où le commerce entre la Méditerranée et l’Inde se développait à travers l’océan Indien, la littérature grecque de fiction n’en rendait pas compte, à l’exception de Xénophon d’Éphèse, de Lucien et de Philostrate, sous la forme, néanmoins, de très rares micro-récits. Il s’agit donc, dans cet article, d’analyser les raisons de la traversée vers l’Inde et de mettre en valeur ses enjeux, en particulier la représentation que des écrivains de langue grecque donnent des acteurs de ces échanges : les Grecs, les prétendus Égyptiens et les Indiens. Il s’agit aussi de comprendre pourquoi ces nouvelles routes vers l’Inde n’ont pas créé un imaginaire que la fiction aurait pu exploiter
The baron, the collector, the hunter. W.A.A.J. Schimmelpenninck van der Oye, Duivenvoorde and his family collection (1912-1957)
No full textOer it gearfallen fan ‘neame’ mei ‘nimme’
No full textThe Frisian system of strong verbs seems to be in a constant state of flux. This article highlights a particular instance of this, viz. the paradigm of the weak verb neame „call, name‟, which is converging more and more with that of the strong verb nimme „take‟. There are more cases in which Dutch has two verbs, a weak and a strong one, whereas Frisian only has one strong verb (with both meanings). This convergence is proposed to derive from phonological changes. It results in one and the same paradigm of the present tense for both verbs, paving the way for a complete conver-gence. Interestingly, the strong verbs are the „winner‟ here, in spite of the fact that weak verbs are assumed to be the unmarked, productive verb class
 
The Mask as a Performative Object: History, Anthropology, and Political Theatre
No full textWriting about the actor Marcello Moretti, Giorgio Strehler defines the mask he wore as Arlecchino as a mysterious and terrible instrument. Yet Strehler’s whole article explores the ties between the actor and the mask, which, viewed in its materiality, appears as a theatrical thing. Held in the hand after a performance, it turns into a wet rag, made using an old dell’arte theatre technique, a time machine that summons up the old theatre and its forms. Taking my cue from Robin Bernstein, who suggested apprehending things and objects in performative categories, I take a look at the mask as a special kind of script, imposing itself on the actor or performer who wears it. Contrary to Bernstein, I would not recommend seeing this property of the mask through its status as a Heideggerian Thing; I prefer to view the mask as an object, taking into account its inanimate materiality and dependency on the human body. I thus put forward the category of the ‘performative object’, which, in my reading, is also the key to understanding the mask as part of the theatrical archive, enabling the reconstruction, embodied updating, and activisation of the history of old performative forms. Along the way, I take in Diana Taylor’s concept of the repertoire and archive, and Rebecca Schneider’s reflections on the leftovers in the archive to finally point out the political potential of the mask. By reflecting on the tension between masked and literary theatre inscribed in the history of commedia dell’arte and its reception, I point to the other binaries that the mask is questioning — those of life and death, of the animate and inanimate. Following Schneider, I reflect on the agency inscribed in theatricality and the matter present on the theatrical stage to point to yetanother dimension of the mask’s political potential
Theatre Censorship and Archival Research: Teatro Experimental de Cascais during the Portuguese Dictatorship
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