Georges de Porto-Riche has passed into posterity as an author of the modern drama of sensual and painful love. Compared to the classical tradition of Racine or Corneille, this work seems at first sight to conform to the traditional rules of drama, and more particularly of boulevard theatre. However, from the first plays that are part of the Theater of Love (in this case: Françoise’ Luck, A Loving Wife) we are forced to note that the playwright moves away somewhat from the canonical form, choosing certain formal solutions which announce the new dramatic paradigm (“drama-of-life”). The undermining manifests itself above all through the intrusion of epic elements, the shaking of the fable and a new approach to the characters. Rereading the dramas of Porto-Riche allows us to show how the author attacks the Aristotelian “beautiful animal” and how he replaces the traditional hero with a passive and reflective character, processes that anticipate the advent of modern and contemporary drama Georges de Porto-Riche est passé dans la postérité comme un auteur du drame moderne de l’amour sensuel et douloureux. Comparée à la tradition classique des Racine ou des Corneille, cette œuvre semble de prime abord se conformer aux règles traditionnelles du drame, et plus particulièrement du théâtre de boulevard. Pourtant, dès les premières pièces qui font partie du Théâtre d’amour (en l’occurrence: La Chance de Françoise, Amoureuse) force nous est de noter que le dramaturge s’éloigne quelque peu de la forme canonique, en choisissant certaines solutions formelles qui annoncent le nouveau paradigme dramatique («drame-de-la-vie»). Le travail de sape se manifeste avant tout à travers l’intrusion d’éléments épiques, l’ébranlement de la fable et une nouvelle approche des personnages. Relire les drames de Porto-Riche permet de montrer comment l’auteur s’en prend au «bel animal» aristotélicien et comment il remplace le héros traditionnel par un personnage passif et réflexif, procédés qui anticipent l’avènement du drame moderne et contemporain. Georges de Porto-Riche est passé dans la postérité comme un auteur du drame moderne de l’amour sensuel et douloureux. Comparée à la tradition classique des Racine ou des Corneille, cette œuvre semble de prime abord se conformer aux règles traditionnelles du drame, et plus particulièrement du théâtre de boulevard. Pourtant, dès les premières pièces qui font partie du Théâtre d’amour (en l’occurrence: La Chance de Françoise, Amoureuse) force nous est de noter que le dramaturge s’éloigne quelque peu de la forme canonique, en choisissant certaines solutions formelles qui annoncent le nouveau paradigme dramatique («drame-de-la-vie»). Le travail de sape se manifeste avant tout à travers l’intrusion d’éléments épiques, l’ébranlement de la fable et une nouvelle approche des personnages. Relire les drames de Porto-Riche permet de montrer comment l’auteur s’en prend au «bel animal» aristotélicien et comment il remplace le héros traditionnel par un personnage passif et réflexif, procédés qui anticipent l’avènement du drame moderne et contemporain.
François de Curel est passé dans l’histoire du théâtre français pour un auteur de « pièces à thèse ». Pourtant, ce dramaturge, qui jouissait à son époque d’une renommée incontestable, suscitait des controverses parmi les partisans et les défenseurs de l’art dramatique traditionnel. De fait, en étudiant ses premières oeuvres, L’envers d’une sainte et L’invitée , force nous est de constater qu’il tourne résolument le dos aux principes régulateurs de la fable hérités d’Aristote. Il renonce à l’action basée sur une tension dramatique qui va de l’exposition, en passant par les péripéties – qui tendent inévitablement à la catastrophe –, au dénouement. À l’instar d’Ibsen, il « dédramatise » la forme canonique à travers la « rétrospection », le renversement du sens de l’intrigue et la présence de « personnages passifs » privés de toute volonté d’agir. Curel semble proposer un « drame statique » dans lequel, au lieu de conflits interpersonnels, nous assistons à des affrontements intrasubjectifs dans la psyché des protagonistes. En abandonnant l’action classique, l’écrivain dépouille ses personnages de « caractère » en se concentrant sur l’analyse psychologique de leur âme égarée. C’est ainsi qu’à la place d’un personnage agissant , il met en avant un personnage réflexif ou récitant , qui ressasse son dégoût de la vie.
This paper seeks to present the changes in Poland’s territorial division and assess it at the local level (communes). The reference point is provided by the territorial reforms of other EU states, especially those with a three-tier structure, like in Poland. The basic thesis is that the territorial organization of public administration should change so as to keep up with political, economic, social and spatial processes, the latter bearing special importance for this. The paper concludes with recommendations for ways of changing local administrative structures, such as combining, or fusions of urban and rural communes.
When thinking about noise annoyance, the tendency is to imagine a person's rest being disturbed by noise. Although this idea is not formulated explicitly, the majority of traditional experiments implicitly assume that absence of activity during rest represents the typical situation in which noise annoyance should be studied. We propose that research should be extended to different kinds of activities. This study focuses on one kind of activity: verbal communication. Our hypothesis is that the assessment of difficulty with speech comprehension can be replaced by a speech intelligibility measure, which could assess annoyance experienced during communicative activities. Finally, we would like to find out how noise annoyance disturbs communicative activity, and to compare this with annoyance experienced during rest. To test our hypothesis, two psychoacoustic experiments were performed. In Experiment I, speech intelligibility was measured for eight environmental noises at seven signal-to-noise ratios (SNRs). For these SNR values, the participants assessed their difficulty with speech comprehension. This established the relationships between the intelligibility functions and the difficultly in speech comprehension for all the investigated noises. The results of Experiment I show that the potential noise annoyance rating could be predicted on the basis of the speech intelligibility scores, as they give much smaller inter-individual differences between participants than an annoyance assessment test. In Experiment II, the standard �resting� method of noise annoyance assessment was applied to the same eight noises. A comparison of the results indicated a correlation between the annoyance ratings obtained in both the experiments. Some limitations of this approach are also discussed in the paper.
From the Commune to Anarchy by Charles Malato: the destiny of the libertarian writer Charles Malato has gone down in posterity as the author of novels, memoirs and especially plays in which he castigates the excesses of power. Two events are at the origin of the birth of Malato’s vocation as an anarchist writer: the condemnation of his parents to banishment in New Caledonia and the meeting of the young Charles with Louise Michel. It is in this context that this article proposes to study the autobiographical text of the French author From the Commune to Anarchy which allows us to understand the inner evolution of the somewhat carefree adolescent towards destiny of a revolutionary able to use his pen as a formidable weapon. From then on, the analysis of the text accounts for Malato’s political awareness and his subsequent involvement in social issues, as well as highlighting the style of his language, as cruel as it is grotesque, which will upset the fragile minds of the bourgeois. In short, the exploration of the work constitutes a kind of propaedeutic to the subversive work of Malato whose universality attests to its undeniable topicality.
Octave Mirbeau was an anarchist and radical writer who is known today for his powerful indictments of French society. He wrote to revenge this society for his upbringing. That's why the article treats of the dramaturgy of the author of The Torture Garden set within the wide frames of expressionism. A key enabling to decode the unconventional writings of Mirbeau lies in the plane of subjectivity, and specially in the Farces and Moralities, considered as dark comedies, in grotesque style. The article corroborates the contention about the original character of Mirbeau's Farces affecting the expressionistic aesthetics.
