707 research outputs found
Bill Tremblay, 12th Annual ODU Literary Festival
No full textBill Tremblay is the author of five books of poetry. The poems in Crying in the Cheap Seats, 1971, were called ambitious and intense, natural and sprawling. His vision is turned in on himself and turned back on the world, on the crises of conscience that envelop all men. The Anarchist Heart, 1977, drew this praise: Bill Tremblay\u27s poems are committed to life… . Tremblay looks at his history and moment, tangles with it all, struggles from it and deals it to us in the poem. Home Front, 1978, brought this response: Bill Tremblay\u27s poetry grows like the broadening light of day: discovering new angles and textures in the old human concerns, seeking out the pockets of shadow which mask true motive and feeling. Of Second Sun: New and Selected Poems, 1985, critics said, There is often a wonderful energy...a kind of whirling energy...he has a fantastic grasp of the way human psyches, especially those in distress, move, and he does not encourage the pale esthetic stuff…but writing about the most important experiences... . Duhamel: Ideas of Order in Little Canada, a collection of poems in the voice of a French-Canadian painter living in New England, has been praised for the way the harsh complex clarity and the paradoxically tender compassion of this book make an extraordinary power for the dimensions of its hero. Bill Tremblay offers a unique testament to a world whose brutal fragility has found no other way to speak. Born in Connecticut, Tremblay now lives in Fort Collins, Colorado, and teaches at Colorado State University
Mixing the Immiscible: Improvisation within Fixed-Media Composition
No full textThis paper will explore ways in which mastered improvisation practice, with the studio as an instrument, is a proposed avenue to bridge the historical dichotomy between what Ted Gioia describe as ‘the aesthetics of perfection’ and ‘the aesthetics of imperfection’. It is proposed as a way to re-embody fixed music, as experimented by the author through the composition of his last fixed-media work. This will be put in the context of a wider trend observed amongst the current emerging generation of composers interested in the aesthesics of the work, by opposition to the previous generations that placed the value of the work in its poietics. The vital and primal importance of practice outcome as practice-based research’s main document will also be advocated for, as these trends are happening in the laboratory of live music
Richard Max Tremblay : Portrait
No full text"For over thirty years, Richard-Max Tremblay has created photographs and paintings focussing on the central figure of the portrait. Through an essay and an interview with the artist, author André Lamarre, privileged witness to Tremblay’s work for over twenty-five years, takes us on a journey of discovery into the creative process, artistic approach, and splendour of Tremblay’s work." - Publisher's website
Considérations sur l’art vocal dans l’oeuvre de Gilles Tremblay
No full textL’auteur explore, en tant qu’interprète, quelques-uns des aspects de la musique vocale de Gilles Tremblay en s’attachant exclusivement à l’étude de la morphologie de son écriture lyrique ainsi qu’aux habiletés qu’elle exige. Le travail sur la voix suit deux voies parallèles se nourrissant l’une l’autre : la nature organique de la voix et ses capacités instrumentales. Là se trouve l’enjeu de toute technique vocale. Tremblay se réclame d’un bel canto inclusif tirant autant profit de la nature profondément verbale de la voix que de ses extraordinaires capacités « instrumentales ».From the perspective of a performer, the author discusses certain features of Gilles Tremblay’s vocal works, with particular emphasis on the shape of his lyric output and the performance abilities it demands. Vocal training follows parallel paths of mutual inspiration: the development of the organic voice itself and that of its instrumental capabilities. All vocal technique revolves around this process. The author concludes that Tremblay adheres to an all-encompassing bel canto approach that draws equally from the voice’s natural qualities and from its remarkable potential as an instrument
Henri Bergson, _Les deux sources de la morale et de la religion_, Félix Alcan, Paris, 1932
No full textThis is a translation from the Russian of Nikolai Lossky’s review of Henri
Bergson, Les deux sources de la morale et de la religion (1932). The review was
published in the Parisian émigré journal Новый Град (Cité nouvelle) in 1932. In this
review, Lossky criticizes Bergson for leaving some key problems of the philosophy
of religion unresolved, namely that of God’s relation to the world (theism vs.
pantheism), that of immortality, as well as that of evil. He also criticizes Bergson’s
“extreme biologism” in his explanation of morality, which, in his view, subjectivizes
the objects of religion. For Lossky, the symbolic images of the Christian
religion are not subjective “fabulations,” but real symbols through which God
reveals himself to us. Likewise, according to Lossky, true morality cannot be
explained in terms of biological adaptation, but must rely on the foundation of an
objective, i.e., Platonic, axiological sphere. (Frédéric Tremblay
Variations sur l’oralité: Victoire! de Michel Tremblay
No full textThis contribution focuses on a linguistic study of Michel Tremblay’s novel Victoire! (2020), with the aim
of highlighting the devices used by this Quebec writer to represent different levels of orality. After briefly
recalling the characteristics of Tremblay’s writing and the thematic interest of the linguistic question in
this novel, I will structure my analysis according to the typologies of fictional representation of orality defined by Catherine Rouayrenc (2010), namely “oralité normée”, “courante” et “marquee”. After reviewing
the characteristics of each level, I will examine the linguistic features used by Tremblay. The conclusion
will attempt to show how the author succeeds in recreating an authentic portrait of the linguistic situation of Quebec
Variations sur l’oralité: Victoire! de Michel Tremblay
No full textThis contribution focuses on a linguistic study of Michel Tremblay’s novel Victoire! (2020), with the aim
of highlighting the devices used by this Quebec writer to represent different levels of orality. After briefly
recalling the characteristics of Tremblay’s writing and the thematic interest of the linguistic question in
this novel, I will structure my analysis according to the typologies of fictional representation of orality defined
by Catherine Rouayrenc (2010), namely “oralité normée”, “courante” et “marquee”. After reviewing
the characteristics of each level, I will examine the linguistic features used by Tremblay. The conclusion
will attempt to show how the author succeeds in recreating an authentic portrait of the linguistic situation
of Quebec
Les avatars de la mère. La réécriture de soi dans le monde de Michel Tremblay
No full textAlthough the works of Michel Tremblay are replete with references to other authors, it is the phenomenon of autotextuality that becomes the focal point of the analysis in this article. The author of “Chroniques du Plateau Mont-Royal” and numerous plays and novels binds them all together by resorting to the recurrence of his figures. Thus, the figure of Mother, a figure grafted onto the network of Michel Tremblay’s works, undergoes a metamorphosis from boisterous and authoritarian Nana Tremblay (in the autobiographical prose and drama) to a symbol of ideal motherhood embodied by The Great Mother of Tremblay’s universe. She gives the beginning to both new life and new writing and hence she becomes her writer-son’s inspiration and creative muse.Key words: Michel Tremblay; autotextuality; metamorphoses; mother; writin
Gilles Tremblay et le devenir musical du Québec : un homme d’idées, de convictions et de projets
No full textL’auteur explore une dimension moins connue de Gilles Tremblay : son engagement citoyen. S’inspirant des écrits du compositeur, il analyse ses positions sur le rôle et l’importance dans la société québécoise d’une école d’État (le Conservatoire), d’une radio d’État et de sa dimension culturelle, ainsi que des commandes d’État et de leur influence sur la création musicale. Par ses interventions dans le débat public, l’auteur démontre comment Gilles Tremblay a agi en citoyen et a enrichi la réflexion sur le devenir musical du Québec.The author discusses a lesser-known aspect of Gilles Tremblay’s life and career: the composer’s commitment to citizenship. Through a reading of Tremblay’s published writings, he analyses the latter’s position on the value and importance, for Quebec society, of a state-run music school (the Conservatoire), of a state-run radio and its inherent cultural significance, and of commissions of musical works that emanate from government and their impact on musical creation. The author also demonstrates the ways in which Gilles Tremblay enriched deliberations over Quebec’s musical future through his contributions to the public debate on the issue
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