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Guy Austin

). Camille Claudel has been termed ‘the climax of a long period of art-historical rehabilitation’ inspired by feminist reassessments of cultural production (Walker 1993 : 79). The sculptor had previously been known, not as an artist in her own right, but as pupil, assistant and mistress to Auguste Rodin in the 1880s and 1890s, and also as the sister of the poet Paul Claudel, who was in fact responsible for her incarceration in an

in Contemporary French cinema
The strange location(s) of Le Grand Meaulnes
David R. Ellison

( NRF ) during its initial heyday, a person who, along with André Gide, could be called, with reason, le contemporain capital . That he knew and sponsored the important writers of his day can be surmised by a quick look at the sixty-ninth volume of the review (1 June 1919), which contained excerpts from the following: André Gide, Paul Claudel, Marcel Proust, Paul Valéry, Léon-Paul Fargue, Georges Duhamel, Henri Ghéon, Albert Thibaudet and André Lhote. In his valuable but gossipy overview of Rivière’s work and contributions to the NRF , Jean Lacouture does not

in 1913: The year of French modernism
Der Blaue Reiter and Dada
Deborah Lewer

month as follows: I  Japanese Matinée II Kandinsky III Kokoschka IV  [Heinrich] Lautensack V  ‘Aktion’ (to include Ball’s own work as well as that of others) VI Futurists VI  [sic] Hardekopf – Hiller VII  [Paul] Claudel19 There is also a list, with projected dates, this time omitting the ‘Futurist’ matinée. Ball’s desire to integrate contemporary visual art was important in these plans and the key name – appearing in Ball’s hand-writing three times, alongside the matinée headings, is ‘Walden’.20 In July 1914 Ball visited Herwarth Walden, the influential Sturm

in German Expressionism
Piero Garofalo, Elizabeth Leake, and Dana Renga

 –​Ambrosini Gaspare, Ambrosini Vittorio … Come, come? Anche Claudel, Paul Claudel, ambasciatore di Francia a Washington? Il libro interdetto è Crisi meridiana. Rimango un po’ perplesso. L’ho letto: è pura letteratura, senza ombra di politica. E allora? Dò un’altra occhiata al titolo, e mi vien subito un dubbio orribile. Che abbiano letto Crisi meridionale? … Il bibliotecario lascia nelle mie mani l’elenco. Come sempre, come tutti, anch’egli attribuisce i fatti, che ritiene penosi o ingiusti, a particolari vedute d’organi esecutivi. –​Se il Duce sapesse! –​in questa frase c’è una

in Internal exile in Fascist Italy
Justice unravelled, a tale of two Frances (1941 and 1943)
Susan Hayward

pompously convinced of the wisdom of their leader, Pétain. This view is endorsed by the performance concluding with Pétain's speech, in which he declares that ‘notre démocratie parlementaire est morte’ (our parliamentary democracy is dead), adding that the Nouvel Ordre must be maintained and that he, Pétain, will save the people of France from themselves. As the film concludes, there is yet another performance at the theatre: this time in honour of Pétain. Paul Claudel's poem, Paroles au Maréchal , is declaimed from the stage as the barrister Lafarge desperately runs

in The films of Costa-Gavras
Christophe Wall-Romana

loose literary movement taking place between 1860 and 1900, which included well-known poets such as Charles Baudelaire, Arthur Rimbaud, Paul Verlaine, and Stéphane Mallarmé; lesser-known authors such as Marceline DesbordesValmore, Saint-Pol-Roux, Sâr Peladan, Remy de Gourmont, and Albert Kahn; and young writers who would distance themselves from it and forge their own paths such as Paul Claudel, André Gide, and Paul Valéry. The stale version of Symbolism reduces it to a radicalization of the Parnassian doctrine of art for art’s sake, leading to the artist

in Jean Epstein
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Emmanuel Levinas and Irigaray
Morny Joy

: 147). This obscurity emphasises Levinas’s belief that the ways of God are not directly decipherable. He quotes Paul Claudel: ‘God writes straight with crooked lines’ (147). Given this indecipherability, such a radical dispossession of selfdetermination can occur only because, according to Levinas, it is prompted by a desire for the Infinite – for that which calls us beyond any finite concerns. This refutation of egocentric needs in deference to the other is portrayed by Levinas in hortatory tones. ‘But the moral priority of the other over myself could not come 62

in Divine love
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James S. Williams

, Darius Milhaud and Germaine Tailleferre. In his preface to Les Mariés de la Tour Eiffel , Cocteau coined the term ‘poésie de théâtre’ in reaction to what he regarded as merely poetry in the theatre, for instance, the works of Paul Claudel, Edmond Rostand, Maurice Maeterlinck and the symbolists where, according to Cocteau, theatre was but a pretext for dramatised poetry in the conventional sense. For

in Jean Cocteau
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Staging the wound
Carl Lavery

encourage more imaginative and poetic ways of being in the world. The subject is to make herself into a work of art. So while revolutionary poetry and written poetry are separate entities in Genet’s thought, they both ought to work, in their different ways, for the same goal: equality and freedom – the end of reification. Genet made a similar point in a letter he wrote to the political militant Patrick Prado in 1970. In that text, he argues that artists are at their most radical when they refuse to compromise the autonomy of their vision. For him, the Catholic poet Paul

in The politics of Jean Genet’s late theatre