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Les romans d'Antoine Volodine et d’Olivier Rolin se saisissent de l’histoire du XXe siècle pour en méditer le cours. Hantés par l’échec de l’utopie collectiviste, ils soulignent avec une ironie mordante l’écart que celle-ci entretenait avec le réel social. Mais, nostalgiques envers l’élan du sublime qu’elle inscrivait dans le champ de nos représentations, ils se désolent des renoncements du temps présent à l’action collective. Et leur lucidité se trouble d’une indéfectible mélancolie. Première étude comparée de deux œuvres majeures du panorama littéraire contemporain, cet ouvrage souligne les paradoxes de la représentation romanesque de l’utopie dans un monde désenchanté. Résolument sociocritique, il envisage les rapports que la fiction littéraire noue avec les représentations idéologiques et, joignant l’analyse de l’imaginaire social à l’approche formelle des textes, met en évidence la consignation douloureuse d’une mémoire du politique. Quelle pertinence le recours à la littérature peut-il avoir face aux espoirs et aux errements du XXe siècle ? Telle est la question majeure de ce livre qui retraverse le champ des questions esthétiques et les affronte aux mutations de l’imaginaire politique des sociétés occidentales.
Volodine, Antoine, --- Rolin, Olivier, --- Volodine, Antoine
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Art --- collecting --- Seilern, Antoine
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The twenty surviving works of Antoine Bruhier (b. c. 1460 or 1470; d. after 1521) raise an unusually large number of tantalizing, sometimes perplexing, and ultimately thought-provoking issues. His earliest known composition, for example, is Latura tu, No. 7 in the present edition, published by Petrucci in the Odhecaton of 1501. This chanson finds itself in extremely good company, being immediately preceded by Hayne van Ghizeghem’ s A la audienche and followed by Josquin’ s canonic De tous biens playne a 4. Petrucci’ s publication, as it happens, constitutes the first dated record in existence for Bruhier. Except for the probable fact that he was born in Noyon, in northern France, little else is known of his whereabouts or his development as a musician before 1504, when he was said to have been maître [de musique] in the maîtrise of Langres Cathedral.0It appears that he occupied the position in Langres for only a brief period before becoming mired in financial and legal difficulties, ultimately being supplanted in November of 1504. Surviving documents place him in Ferrara in 1505 in the service of the sons of duke Ercole I d’ Este, but there is reason to believe that he may have composed his Missa Hodie scietis, no. 18, in late 1504 in the last months of duke Ercole’ s reign. A letter from Bruhier, perhaps a holograph, also suggests that his Ferrarese employers found him entertaining. After working briefly for the duke of Urbino, he returned to Ferrara, but in all likelihood he had left Este service by 1507 or 1508. Where he was, however, between then and 1513 is completely unknown today.0In that year, Bruhier became a member of the private chapel of the newly elected pope Leo X (Giovanni de’ Medici), the first singer-composer, it seems, of French or Flemish origin in that organization.
Bruhier, Antoine --- Composers --- Compositeurs --- Biography. --- Biographies --- Bruhier, Antoine, --- Leo X
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Le Petit Prince est analysé dans sa dimension initiatique, suivant quatre niveaux de lecture : un conte pour enfants, une critique sociale, une allégorie de la nature humaine, une quête du divin.
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Archives --- Personal archives --- Allard, Antoine, - 1907-1981
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