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“One Is Not Born a Dramatist”

The Genesis of Sartre’s Theatrical Career in Writings to, with, and by Beauvoir

Dennis A. Gilbert

attract him to a career in dramatic writing and theatrical performance? This vast subject, the genesis of Sartre’s theatrical career, exceeds the limitations of this article. In the pages that follow, I focus only on the most revealing sources of this

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John Gillespie and Sarah Richmond

the light of the influence of existentialism and phenomenology. Sartre’s imaginary personages make up his account of individual and social identities. He sees identity as a performance of the individual, whereas Butler sees it as emerging within a

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’s organizational gambit to wrest local political control from the mainstream parties. This article analyzes the FN’s performance in these elections from the standpoint of political demand and supply. First, it elaborates the social, economic, and partisan

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Introduction

France in the Age of Covid-19

Éric Touya de Marenne

was therapeutic. 18 The experience revealed the relevance of art in the age of Covid-19, and the ways that it enabled encounters with others, and beyond that, an escape and time for reflection. The Boléro musical performance entailed a return to

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Liesbeth Schoonheim

thought. Diary of a Philosophy Student, 1928–1929 Beauvoir kept a diary during various period in her life in which she documented, on a daily basis, which books she read, which performances, films, and exhibitions she attended, and with whom she

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Mary Edwards

passive that erotic thoughts assist women workers with the performance of repetitive physical actions in Sartre's view. However: The truth is that when the woman worker thinks she is escaping from herself, she is really finding an indirect way of