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Karsavina, Mallarmé, and Mauclair

A Literary pas de trois in Early Twentieth-Century Dance Criticism

Sasha Rasmussen

On June 1, 1912, writer and art critic Camille Mauclair (1872–1945) published an article entitled “Karsavina et Mallarmé” in the fortnightly music journal, Le Courrier Musical. 1 In this piece, Mauclair explored the connections he perceived

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Noémie Mayer

Abstract: Using an analysis of two of Sartre's biographies, and , I will show how freedom can be inverted into captivity in order to constitute an affective destiny. If every choice, act and affect of an individual is, through its “original project,” confined to a specific framework, the schema of freedom positing its choice of existence seems to resemble a circle of captivity: total freedom at the outset, and then a trapped freedom, limited by itself. At the basis of this alienating circle lie original emotions: consciousness reacts affectively to its initial situation, before even constituting itself as a , and adopts these emotions as integral parts of its project, as the structure of its relationship to the world. But the empirical affects which follow are then captured in the vortex of captivity, in accordance with a two-fold criterion: participating in the ultimate end of the individual while at the same time being inscribed in the affective structure which follows from it. Originally the very source of the original project, emotion then becomes its slave.

French À travers l'analyse de deux biographies sartriennes, Baudelaire et Mallarmé, nous mettons en évidence la manière dont la liberté s'inverse en captivité pour se constituer un destin affectif. Si tout choix, acte et affect de l'individu est, par son projet originel, circonscrit à un cadre d'action précis, le schéma de la liberté posant son choix d'existence paraît assimilable au cercle de la captivité : une liberté totale à l'origine, une liberté piégée, limitée par elle-même, ensuite. Au fondement même de ce cercle aliénant, des émotions originelles : la conscience réagit affectivement à sa situation initiale, avant même de se constituer en personne, et assume ces émotions comme partie intégrante de son projet, comme structure de son rapport au monde. Mais les affects empiriques qui s'ensuivent sont alors pris dans le tourbillon de la captivité, devant répondre à un double critère : participer à la fin ultime de l'individu tout en s'inscrivant dans la structure affective qui en découle. Source même du projet originel, l'émotion en devient l'esclave.

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John H. Gillespie

his unfinished Cahiers pour une morale [ Notebooks for an Ethics ] (1947–1948), 9 Le Diable et le bon Dieu [ The Devil and the Good Lord ] (1951) 10 and his work on the life of Mallarmé, composed during the period from 1947 to 1952. 11 Nietzsche

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Alexis Chabot

Translator : Ârash Aminian Tabrizi

neurosis in his existential biographies (Baudelaire’s neurosis; Genet’s neurosis; Mallarmé’s neurosis – which is also the collective neurosis of a whole generation of writers and poets orphaned from godly support; Flaubert’s neurosis), the permanency of the

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Eliza Deac

criterion that serves to distinguish the hypertext from the book was invoked approximately one century earlier in order to oppose the book to another hybrid textual form—the newspaper. In “The Book, Spiritual Instrument,” Stéphane Mallarmé analyzed the

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Rebecca Scales

companion to the half-hour variety show Le micro est à vous: émission pour les artistes blessés . Hosted by Christiane Mallarmé, one of France's first female radio producers, Le micro est à vous showcased the talents of disabled artists, from amateur

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Cranes, Drones and Eisenstein

A Neurohumanistic Approach to Audio/Visual Gestures

Anna Kolesnikov

the Giants. Although in the original Beyreuth production Wagner failed to enact this viscerality through his stage actors (Mallarmé [1897] 1976, 171), the vitality of Wagner's art was felt in the embodied expressiveness of his music, through which

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From In-Itself to Practico-Inert

Freedom, Subjectivity and Progress

Kimberly S. Engels

of the practico-inert. Gyllenhammer argues that in Sartre’s examples of committed literature and the spread of atheism, we see the practico-inert operating as a positive force of progress. He draws on Sartre’s works What Is Literature? and Mallarmé

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Jorge Lizarzaburu, Adrian van den Hoven, and Donovan Irven

central theme of Words ; writing as a choice of being” (270). Here Cox is clearly on solid ground because Sartre’s other biographies, specifically, the ones on Baudelaire, Genet, and Mallarmé, possess that same focus. Cox goes askew when he discusses

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Alain Vaillant

’indirection ironique. La grande littérature française moderne est une littérature qui ne dit pas clairement ce qu’elle a à dire, et on peut le dire de Rimbaud, de Mallarmé, même de Balzac. Il est troublant de voir cette collusion entre la presse et l’essentiel de la