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Culture ? Movs.World
Burlesque wrestling between Zionism and Diaspora
From ?Wolves? Pact? to ?Just the end of the world?, the exceptional career of actor Gaspard Ulliel, who died at 37 in an accident
With ?The Tragedy of Macbeth?, Joel Coen plunges into the depths of darkness
at the Maison de Balzac, the artists put to the test of the ?Unknown Masterpiece?
?Tigritudes? or the affirmation of African cinema
Ricardo Bofill, the architect who wanted to ?achieve the impossible?
Death of the painter Alekos Fassianos, known for his characters from Greek mythology and folklore
In the United States, who can want to ?cancel? Norman Mailer?
?Our lives in flames?, by David Joy: the Appalachians, ash gray
Graciane Finzi, from sober lyricism to organized chaos

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                    [title] => Burlesque wrestling between Zionism and Diaspora
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                            [creator] => Susan Hally
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                    [pubdate] => Thu, 20 Jan 2022 18:09:21 +0000
                    [category] => CultureburlesquediasporawrestlingZionism
                    [guid] => https://movs.world/culture/burlesque-wrestling-between-zionism-and-diaspora/
                    [description] => Benjamin Netanyahu, then Israeli Prime Minister, and his father, Ben-Zion, in 2011. GPO/ GETTY IMAGES “Les Nétanyahu” (The Netanyahus), by Joshua Cohen, translated from English (United States) by Stéphane Vanderhaeghe, Grasset, “En lettres d’ancre”, 352 p., ?22, digital ?16. The American Joshua Cohen is like the biblical Balaam, this prophet sent to curse Israel and ... Read more
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“Les Nétanyahu” (The Netanyahus), by Joshua Cohen, translated from English (United States) by Stéphane Vanderhaeghe, Grasset, “En lettres d’ancre”, 352 p., ?22, digital ?16.

The American Joshua Cohen is like the biblical Balaam, this prophet sent to curse Israel and who ends up, reluctantly, by blessing it. Avant-garde whose writing has calmed down without becoming commonplace in his new novel, The Netanyahus, virtuoso of the burlesque, consummate artist of crisis situations? Nothing, a priori, predisposed this darling child of the liberal press, like the New Yorker, to nourish the slightest empathy for Ben-Zion Netanyahu (1910-2012). The latter, recognized historian of the Iberian Inquisition, father of the former Israeli Prime Minister, did he not embody the ideology of the most radical Zionist right? In his previous book, David King takes care of everything (Grasset, 2019), Cohen settled accounts with the Jewish state by parodying certain Israeli writers such as Amos Oz or David Grossman. Today, it is the turn of the diaspora to fall prey to his ruthless satire.

Because Joshua Cohen found him an accuser with this hero full of certainties who came from the Middle East to the United States, at the turn of the 1950s and 1960s, in search of a university post. While assimilation does not seem to be debated across the Atlantic, Ben-Zion Netanyahu predicts the inevitable end of American Judaism, less threatened by anti-Semitism than by dilution. ?In a generation or two, at most, the memory of what was your people will be dead, and America will leave your unrecognizable descendants nothing real?, he yells in his catastrophic hiring conference.

A cultural symbiosis that is running out

Behind the facetious exofiction (where historical and imagined characters mingle) one observation emerges: a cultural symbiosis which, through Chaïm Potok, Saul Bellow, Philip Roth and Woody Allen, has nourished literature and cinema, shaping the cliché of “a Jew of uncoordinated movements, one who (?) always intellectualizes everything and constantly belittles itself?, runs out. The author works in any case to methodically deconstruct it, through the frontal opposition between Ben-Zion Netanyahu, the Hebrew lost in the New World, and the narrator, Ruben Blum, a figure inspired by the critic and academic Harold Bloom (1930-2019), whom the writer dated at the end of his life. For them, the survival or not of Judaism is a conscious issue and not a neurosis.

You have 48.74% of this article left to read. The following is for subscribers only.

) [summary] => Benjamin Netanyahu, then Israeli Prime Minister, and his father, Ben-Zion, in 2011. GPO/ GETTY IMAGES “Les Nétanyahu” (The Netanyahus), by Joshua Cohen, translated from English (United States) by Stéphane Vanderhaeghe, Grasset, “En lettres d’ancre”, 352 p., ?22, digital ?16. The American Joshua Cohen is like the biblical Balaam, this prophet sent to curse Israel and ... Read more [atom_content] =>

“Les Nétanyahu” (The Netanyahus), by Joshua Cohen, translated from English (United States) by Stéphane Vanderhaeghe, Grasset, “En lettres d’ancre”, 352 p., ?22, digital ?16.

The American Joshua Cohen is like the biblical Balaam, this prophet sent to curse Israel and who ends up, reluctantly, by blessing it. Avant-garde whose writing has calmed down without becoming commonplace in his new novel, The Netanyahus, virtuoso of the burlesque, consummate artist of crisis situations? Nothing, a priori, predisposed this darling child of the liberal press, like the New Yorker, to nourish the slightest empathy for Ben-Zion Netanyahu (1910-2012). The latter, recognized historian of the Iberian Inquisition, father of the former Israeli Prime Minister, did he not embody the ideology of the most radical Zionist right? In his previous book, David King takes care of everything (Grasset, 2019), Cohen settled accounts with the Jewish state by parodying certain Israeli writers such as Amos Oz or David Grossman. Today, it is the turn of the diaspora to fall prey to his ruthless satire.

Because Joshua Cohen found him an accuser with this hero full of certainties who came from the Middle East to the United States, at the turn of the 1950s and 1960s, in search of a university post. While assimilation does not seem to be debated across the Atlantic, Ben-Zion Netanyahu predicts the inevitable end of American Judaism, less threatened by anti-Semitism than by dilution. ?In a generation or two, at most, the memory of what was your people will be dead, and America will leave your unrecognizable descendants nothing real?, he yells in his catastrophic hiring conference.

A cultural symbiosis that is running out

Behind the facetious exofiction (where historical and imagined characters mingle) one observation emerges: a cultural symbiosis which, through Chaïm Potok, Saul Bellow, Philip Roth and Woody Allen, has nourished literature and cinema, shaping the cliché of “a Jew of uncoordinated movements, one who (?) always intellectualizes everything and constantly belittles itself?, runs out. The author works in any case to methodically deconstruct it, through the frontal opposition between Ben-Zion Netanyahu, the Hebrew lost in the New World, and the narrator, Ruben Blum, a figure inspired by the critic and academic Harold Bloom (1930-2019), whom the writer dated at the end of his life. For them, the survival or not of Judaism is a conscious issue and not a neurosis.

You have 48.74% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642702161 ) [1] => Array ( [title] => From ?Wolves? Pact? to ?Just the end of the world?, the exceptional career of actor Gaspard Ulliel, who died at 37 in an accident [link] => https://movs.world/culture/from-wolves-pact-to-just-the-end-of-the-world-the-exceptional-career-of-actor-gaspard-ulliel-who-died-at-37-in-an-accident/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Thu, 20 Jan 2022 07:08:21 +0000 [category] => CultureAccidentActorcareerdiedexceptionalGaspardpactUllielwolvesworld [guid] => https://movs.world/culture/from-wolves-pact-to-just-the-end-of-the-world-the-exceptional-career-of-actor-gaspard-ulliel-who-died-at-37-in-an-accident/ [description] => Gaspard Ulliel, in Cannes, May 11, 2018. STEPHAN VANFLETEREN FOR ?THE WORLD? Silhouette of a model (which he was for some time), face of a handsome and tender kid, Gaspard Ulliel, whose acting career was decided while he was still in college, died on Wednesday January 19 at La Tronche (Isère), at the age of ... Read more [content] => Array ( [encoded] =>

Silhouette of a model (which he was for some time), face of a handsome and tender kid, Gaspard Ulliel, whose acting career was decided while he was still in college, died on Wednesday January 19 at La Tronche (Isère), at the age of 37, following a skiing accident. Suffering from a head trauma, he had been transported the day before by helicopter to the Grenoble University Hospital after colliding with another skier at the intersection of two blue slopes, in the winter sports resort of La Rosière in Savoie.

The prosecution announced that an investigation had been opened and entrusted to the Republican Security Company (CRS) Alpes in order to establish the circumstances of the accident. The actor was not wearing a helmet.

At the announcement of this tragic death, the tributes have multiplied. The President of the Republic Emmanuel Macron announced in a press release “his great sadness” in front of the “brutal disappearance” of one “French icon of elegance”. The Minister of Culture Roselyne Bachelot, “ravaged” in his words by this death, evokes the “sensitivity and intensity of his playing” which made Gaspard Ulliel, “an exceptional actor”. “It is with a heavy heart that we will now see his most beautiful interpretations and meet this certain look”, said Prime Minister Jean Castex.

First shoot at the age of 12

Actor Pierre Niney wrote on twitter ” to have a broken heart. Gaspard was benevolence and kindness. Beauty and talent ». It was on Instagram that Jean Dujardin spoke, writing the comedian’s first name followed by a black heart. A publication commented by several personalities of the trade.

Born on November 25, 1984 in Boulogne-Billancourt (Hauts-de-Seine), from a stylist mother and a designer father, Gaspard Ulliel had his first shoot at the age of 12, thanks to a small role in the television series by Aline Issermann A woman in white, with Sandrine Bonnaire. The following year, he plays in the short film Alias by Marina de Van. It then appears in The Pact of the Wolves, by Christophe Gans (2001)? The beginnings of a career that did not prevent him from carrying out parallel studies at the Jeannine-Manuel Active Bilingual School in 15e district of Paris, where he obtained the baccalaureate. Although he had tasted the profession of actor, he was destined for directing when he decided to continue his apprenticeship by going to study the 7e art at the University of Saint-Denis.

But the overly theoretical nature of the teaching given to him did not please him, to the point that he chose to return to the game by following the summer courses of the Cours Florent. His talent is not in doubt and leads him straight to the casting of the bittersweet comedy Kiss whoever you want, by Michel Blanc (2002) in which Gaspard Ulliel plays a teenager in the grip of his first sexual and romantic emotions.

You have 62.3% of this article left to read. The following is for subscribers only.

) [summary] => Gaspard Ulliel, in Cannes, May 11, 2018. STEPHAN VANFLETEREN FOR ?THE WORLD? Silhouette of a model (which he was for some time), face of a handsome and tender kid, Gaspard Ulliel, whose acting career was decided while he was still in college, died on Wednesday January 19 at La Tronche (Isère), at the age of ... Read more [atom_content] =>

Silhouette of a model (which he was for some time), face of a handsome and tender kid, Gaspard Ulliel, whose acting career was decided while he was still in college, died on Wednesday January 19 at La Tronche (Isère), at the age of 37, following a skiing accident. Suffering from a head trauma, he had been transported the day before by helicopter to the Grenoble University Hospital after colliding with another skier at the intersection of two blue slopes, in the winter sports resort of La Rosière in Savoie.

The prosecution announced that an investigation had been opened and entrusted to the Republican Security Company (CRS) Alpes in order to establish the circumstances of the accident. The actor was not wearing a helmet.

At the announcement of this tragic death, the tributes have multiplied. The President of the Republic Emmanuel Macron announced in a press release “his great sadness” in front of the “brutal disappearance” of one “French icon of elegance”. The Minister of Culture Roselyne Bachelot, “ravaged” in his words by this death, evokes the “sensitivity and intensity of his playing” which made Gaspard Ulliel, “an exceptional actor”. “It is with a heavy heart that we will now see his most beautiful interpretations and meet this certain look”, said Prime Minister Jean Castex.

First shoot at the age of 12

Actor Pierre Niney wrote on twitter ” to have a broken heart. Gaspard was benevolence and kindness. Beauty and talent ». It was on Instagram that Jean Dujardin spoke, writing the comedian’s first name followed by a black heart. A publication commented by several personalities of the trade.

Born on November 25, 1984 in Boulogne-Billancourt (Hauts-de-Seine), from a stylist mother and a designer father, Gaspard Ulliel had his first shoot at the age of 12, thanks to a small role in the television series by Aline Issermann A woman in white, with Sandrine Bonnaire. The following year, he plays in the short film Alias by Marina de Van. It then appears in The Pact of the Wolves, by Christophe Gans (2001)? The beginnings of a career that did not prevent him from carrying out parallel studies at the Jeannine-Manuel Active Bilingual School in 15e district of Paris, where he obtained the baccalaureate. Although he had tasted the profession of actor, he was destined for directing when he decided to continue his apprenticeship by going to study the 7e art at the University of Saint-Denis.

But the overly theoretical nature of the teaching given to him did not please him, to the point that he chose to return to the game by following the summer courses of the Cours Florent. His talent is not in doubt and leads him straight to the casting of the bittersweet comedy Kiss whoever you want, by Michel Blanc (2002) in which Gaspard Ulliel plays a teenager in the grip of his first sexual and romantic emotions.

You have 62.3% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642662501 ) [2] => Array ( [title] => With ?The Tragedy of Macbeth?, Joel Coen plunges into the depths of darkness [link] => https://movs.world/culture/with-the-tragedy-of-macbeth-joel-coen-plunges-into-the-depths-of-darkness/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Wed, 19 Jan 2022 20:07:26 +0000 [category] => CultureCoenDarknessdepthsJoëlMacbethplungestragedy [guid] => https://movs.world/culture/with-the-tragedy-of-macbeth-joel-coen-plunges-into-the-depths-of-darkness/ [description] => Macbeth (Denzel Washington) dans « The Tragedy of Macbeth », de Joel Coen. APPLE TV+ Thirty-seven years ago Blood Simple, Joel and Ethan Coen’s first film, featured star-crossed lovers, whose trajectory was guided by this precept: « Blood will have blood » (“blood wants blood”, Macbeth, act III, scene 4). In the company of his wife, Frances ... Read more [content] => Array ( [encoded] =>

Thirty-seven years ago Blood Simple, Joel and Ethan Coen’s first film, featured star-crossed lovers, whose trajectory was guided by this precept: « Blood will have blood » (“blood wants blood”, Macbeth, act III, scene 4). In the company of his wife, Frances McDormand, met on the set of Blood Simple, Joel Coen went back to the source of this maxim: Macbeth’s Tragedy (full title of the play, first performed in 1611), by William Shakespeare. Frances McDormand is Lady Macbeth, and Denzel Washington, the regicide turned tyrant. Joel Coen, who, for the first time, is the only master on board, embraces Shakespeare’s text, tears it apart and ? above all ? stages it to plunge a little deeper into the heart of darkness.

The beauty of the “Scottish play” (British theatrical tradition dictates that, to keep the curse it bears at a distance, the work is referred to by this periphrasis) lies in its attention entirely devoted to the evil that the humans. The character of Macbeth embodies it and tells it. Once committed the first crime, he advances in horror and villainy, without ever losing the measure of his acts. It is he who chronicles his descent to abjection, with a poetic power that commands admiration, prevents repulsion.

Read also Article reserved for our subscribers “Macbeth”: on Shakespeare’s moor, the wind drives you crazy

Terrible Shard

From the purulent and feverish mind of Macbeth, Joel Coen conjures up a geometric hallucination. In the old framework of films before the wide screen, in black and white (the image is by Bruno Delbonnel), the tragedy is based on centuries of history, that of the theater and that of the cinema. Stefan Dechant’s stylized sets borrow both from German expressionism and speculative science-fiction motifs, the setting sometimes evoking Soviet cinema.

The text has been cut to the bone, stopping just before the mutilation, allowing itself some liberties with the original

The text has been cut to the bone, stopping just before the mutilation, allowing itself some liberties with the original (the courtier Ross becomes a pivot of the dramaturgy). Coen ? who carried out the operation himself ? did not want to modernize the language of Shakespeare, leaving it to his interpreters to make it heard in the ears of the 21st century.e century. They are the ones who give this constantly renewed enterprise its terrible brilliance. We thus saw, in 2015, Michael Fassbender and Marion Cotillard in the adaptation of Justin Kurzel, and the versions of Orson Welles, in 1948, of Roman Polanski, in 1971, are each crucial moments in the career of their director.

You have 47.47% of this article left to read. The following is for subscribers only.

) [summary] => Macbeth (Denzel Washington) dans « The Tragedy of Macbeth », de Joel Coen. APPLE TV+ Thirty-seven years ago Blood Simple, Joel and Ethan Coen’s first film, featured star-crossed lovers, whose trajectory was guided by this precept: « Blood will have blood » (“blood wants blood”, Macbeth, act III, scene 4). In the company of his wife, Frances ... Read more [atom_content] =>

Thirty-seven years ago Blood Simple, Joel and Ethan Coen’s first film, featured star-crossed lovers, whose trajectory was guided by this precept: « Blood will have blood » (“blood wants blood”, Macbeth, act III, scene 4). In the company of his wife, Frances McDormand, met on the set of Blood Simple, Joel Coen went back to the source of this maxim: Macbeth’s Tragedy (full title of the play, first performed in 1611), by William Shakespeare. Frances McDormand is Lady Macbeth, and Denzel Washington, the regicide turned tyrant. Joel Coen, who, for the first time, is the only master on board, embraces Shakespeare’s text, tears it apart and ? above all ? stages it to plunge a little deeper into the heart of darkness.

The beauty of the “Scottish play” (British theatrical tradition dictates that, to keep the curse it bears at a distance, the work is referred to by this periphrasis) lies in its attention entirely devoted to the evil that the humans. The character of Macbeth embodies it and tells it. Once committed the first crime, he advances in horror and villainy, without ever losing the measure of his acts. It is he who chronicles his descent to abjection, with a poetic power that commands admiration, prevents repulsion.

Read also Article reserved for our subscribers “Macbeth”: on Shakespeare’s moor, the wind drives you crazy

Terrible Shard

From the purulent and feverish mind of Macbeth, Joel Coen conjures up a geometric hallucination. In the old framework of films before the wide screen, in black and white (the image is by Bruno Delbonnel), the tragedy is based on centuries of history, that of the theater and that of the cinema. Stefan Dechant’s stylized sets borrow both from German expressionism and speculative science-fiction motifs, the setting sometimes evoking Soviet cinema.

The text has been cut to the bone, stopping just before the mutilation, allowing itself some liberties with the original

The text has been cut to the bone, stopping just before the mutilation, allowing itself some liberties with the original (the courtier Ross becomes a pivot of the dramaturgy). Coen ? who carried out the operation himself ? did not want to modernize the language of Shakespeare, leaving it to his interpreters to make it heard in the ears of the 21st century.e century. They are the ones who give this constantly renewed enterprise its terrible brilliance. We thus saw, in 2015, Michael Fassbender and Marion Cotillard in the adaptation of Justin Kurzel, and the versions of Orson Welles, in 1948, of Roman Polanski, in 1971, are each crucial moments in the career of their director.

You have 47.47% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642622846 ) [3] => Array ( [title] => at the Maison de Balzac, the artists put to the test of the ?Unknown Masterpiece? [link] => https://movs.world/culture/at-the-maison-de-balzac-the-artists-put-to-the-test-of-the-unknown-masterpiece/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Wed, 19 Jan 2022 09:06:32 +0000 [category] => CultureartistsBalzacMaisonmasterpieceputtestUnknown [guid] => https://movs.world/culture/at-the-maison-de-balzac-the-artists-put-to-the-test-of-the-unknown-masterpiece/ [description] => Untitled (1990), by Bernard Dufour, oil paint on canvas. COLLECTION PHILIPPE DUFOUR/ADAGP, PARIS, 2021/PHOTO PARIS MUSEUMS/MAISON DE BALZAC The Unknown Masterpiece is a short story by Honoré de Balzac, the first publication of which dates from 1831 and the final version from 1847. The protagonists are three painters: the imaginary Frenhofer, the real Pourbus (Frans ... Read more [content] => Array ( [encoded] =>

The Unknown Masterpiece is a short story by Honoré de Balzac, the first publication of which dates from 1831 and the final version from 1847. The protagonists are three painters: the imaginary Frenhofer, the real Pourbus (Frans Pourbus, 1569-1622) and Poussin (Nicolas Poussin, 1594-1665) as well as his friend, the beautiful Gillette. The young Poussin visits his elder Pourbus and then meets the old Frenhofer, whom Balzac presents as a pupil of Mabuse ? the Flemish Jan Mabuse, who is more often called Jan Gossaert and who died in 1532.

On this fable have accumulated in the XXe century many interpretations, some believing they recognize in it the announcement of abstraction, others psychoanalyzing it

The main argument of the book is that Frenhofer, after having sharply corrected the painting that Pourbus is in the process of completing, ends up after much reluctance by showing his two colleagues the canvas on which he has been working for a long time, a nude of his mistress , Catherine Lescault, known as ?la Belle Noiseuse?. However, when Pourbus and Poussin discover the work, they see only one “chaos of colors of tones, of indecisive shades, a kind of formless fog” of which only one emerges ?delicious foot?, only vestige of the promised portrait.

On this fable have accumulated in the XXe century many interpretations, some believing they recognize in it the announcement of abstraction, others psychoanalyzing it. The gender studies focused on the figure of Gillette, whom Poussin wanted to pose naked in front of Frenhofer. Art historians comment on the master’s long speeches on the elusive form and transience of light. Artists have also seized on it, which brings together the exhibition ?The Unknown Masterpiece. Between genius and madness » at the Maison de Balzac in Paris.

Etchings and engravings

Its largest room is dedicated to Picasso. In 1926, the gallery owner and publisher Ambroise Vollard asked him to illustrate the short story, on the suggestion, it seems, of Blaise Cendrars. The work appeared in 1931, but the word “illustration” did not suit him: Picasso introduced twelve etchings taken from among those he had in progress at the time and which are found in the series of one hundred engravings known under the title of ” Vollard Suite?. He adds two wooden boards engraved from the pages of a notebook where he draws with dots and dashes. Although not literal, the connections between these engravings and the story of Frenhofer and the disappearance of the body swallowed by the paint are obvious. They make this volume the very example of a correspondence between what is to be seen and what is to be read, apart from any notion of illustration.

You have 33.31% of this article left to read. The following is for subscribers only.

) [summary] => Untitled (1990), by Bernard Dufour, oil paint on canvas. COLLECTION PHILIPPE DUFOUR/ADAGP, PARIS, 2021/PHOTO PARIS MUSEUMS/MAISON DE BALZAC The Unknown Masterpiece is a short story by Honoré de Balzac, the first publication of which dates from 1831 and the final version from 1847. The protagonists are three painters: the imaginary Frenhofer, the real Pourbus (Frans ... Read more [atom_content] =>

The Unknown Masterpiece is a short story by Honoré de Balzac, the first publication of which dates from 1831 and the final version from 1847. The protagonists are three painters: the imaginary Frenhofer, the real Pourbus (Frans Pourbus, 1569-1622) and Poussin (Nicolas Poussin, 1594-1665) as well as his friend, the beautiful Gillette. The young Poussin visits his elder Pourbus and then meets the old Frenhofer, whom Balzac presents as a pupil of Mabuse ? the Flemish Jan Mabuse, who is more often called Jan Gossaert and who died in 1532.

On this fable have accumulated in the XXe century many interpretations, some believing they recognize in it the announcement of abstraction, others psychoanalyzing it

The main argument of the book is that Frenhofer, after having sharply corrected the painting that Pourbus is in the process of completing, ends up after much reluctance by showing his two colleagues the canvas on which he has been working for a long time, a nude of his mistress , Catherine Lescault, known as ?la Belle Noiseuse?. However, when Pourbus and Poussin discover the work, they see only one “chaos of colors of tones, of indecisive shades, a kind of formless fog” of which only one emerges ?delicious foot?, only vestige of the promised portrait.

On this fable have accumulated in the XXe century many interpretations, some believing they recognize in it the announcement of abstraction, others psychoanalyzing it. The gender studies focused on the figure of Gillette, whom Poussin wanted to pose naked in front of Frenhofer. Art historians comment on the master’s long speeches on the elusive form and transience of light. Artists have also seized on it, which brings together the exhibition ?The Unknown Masterpiece. Between genius and madness » at the Maison de Balzac in Paris.

Etchings and engravings

Its largest room is dedicated to Picasso. In 1926, the gallery owner and publisher Ambroise Vollard asked him to illustrate the short story, on the suggestion, it seems, of Blaise Cendrars. The work appeared in 1931, but the word “illustration” did not suit him: Picasso introduced twelve etchings taken from among those he had in progress at the time and which are found in the series of one hundred engravings known under the title of ” Vollard Suite?. He adds two wooden boards engraved from the pages of a notebook where he draws with dots and dashes. Although not literal, the connections between these engravings and the story of Frenhofer and the disappearance of the body swallowed by the paint are obvious. They make this volume the very example of a correspondence between what is to be seen and what is to be read, apart from any notion of illustration.

You have 33.31% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642583192 ) [4] => Array ( [title] => ?Tigritudes? or the affirmation of African cinema [link] => https://movs.world/culture/tigritudes-or-the-affirmation-of-african-cinema/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Tue, 18 Jan 2022 11:02:19 +0000 [category] => CultureaffirmationAfricancinemaTigritudes [guid] => https://movs.world/culture/tigritudes-or-the-affirmation-of-african-cinema/ [description] => « The Dead Tell No Tales », d?Inadelso Cossa. INADELSO COSSA Three years watching films, trying to recover copies from the 1970s, rare gems, some of which have unfortunately remained untraceable ? such as Fatma 75 (1976), by the Tunisian Salma Baccar. At the end of this marathon, the directors Dyana Gaye and Valérie Osouf brought together ... Read more [content] => Array ( [encoded] =>

Three years watching films, trying to recover copies from the 1970s, rare gems, some of which have unfortunately remained untraceable ? such as Fatma 75 (1976), by the Tunisian Salma Baccar. At the end of this marathon, the directors Dyana Gaye and Valérie Osouf brought together a rich anthology of 126 films, from 38 African countries: this cycle entitled “Tigritudes” is to be discovered at the Forum des images, in Paris, until February 27 . Produced between 1956, the date of Sudan’s independence, and 2021, these short and feature films are programmed according to a chronological grid, making it possible to appreciate the circulation of forms. The project is fascinating, accessible and sharp, mixing debates and “cinema lessons”. After Paris, Tigritudes will circulate in Marseille, Lille, Toulouse, etc., as well as in Burkina Faso (Bobo-Dioulasso), in Algiers, etc.

Read also African Cinema: Fespaco Gold Stallion to “The Gravedigger’s Wife” by Somali Ahmed Khadar

The word ?tigritude? refers to the sentence pronounced in 1962 by Wole Soyinka, the Nigerian writer and director, born in 1934, in reaction to the concept of ?négritude? of Léopold Sédar Senghor (1906-2001): ?The tiger does not proclaim his tigritude, he leaps and devours his prey?, Soyinka said. ?It’s the idea that African cinema doesn’t need to define itself in relation to the countries of the North. He just has to be himself, entirely, beyond geographical partitioning ? films from the Maghreb, East Africa, etc. ? and linguistic categories, French-speaking, Portuguese-speaking, English-speaking, inherited from the colonial era?, explains Dyana Gaye, Franco-Senegalese, who produces musicals (A public transport, 2009). ?This self-affirmation goes hand in hand with independence in these countries. There are cinemas from Africa, and at the same time Tigritudes refers to a pan-African political horizon?, adds Valérie Osouf, documentary filmmaker, who works on French colonial history and its contemporary echoes ? national identity (2012).

For Western audiences, African cinema often comes down to a handful of authors selected at festivals, the Malian Souleymane Cissé, the Mauritanian Abderrahmane Sissako, the Senegalese Djibril Diop Mambéty, the Chadian Mahamat-Saleh Haroun, the Egyptian Youssef Chahine (died 2008), etc. Some of their works are programmed, like Fine (1982), by Souleymane Cissé, but beyond that, Tigritudes reveals a wide range of filmmakers, from the pioneers of the 1960s (Sarah Maldoror) to the new generation. “We want to create an archive, to show that there is cinema in Tanzania, Namibia, Somalia, Mozambique, Sao Tome and Principe, Lesotho…”, lists Valérie Osouf.

You have 47.17% of this article left to read. The following is for subscribers only.

) [summary] => « The Dead Tell No Tales », d?Inadelso Cossa. INADELSO COSSA Three years watching films, trying to recover copies from the 1970s, rare gems, some of which have unfortunately remained untraceable ? such as Fatma 75 (1976), by the Tunisian Salma Baccar. At the end of this marathon, the directors Dyana Gaye and Valérie Osouf brought together ... Read more [atom_content] =>

Three years watching films, trying to recover copies from the 1970s, rare gems, some of which have unfortunately remained untraceable ? such as Fatma 75 (1976), by the Tunisian Salma Baccar. At the end of this marathon, the directors Dyana Gaye and Valérie Osouf brought together a rich anthology of 126 films, from 38 African countries: this cycle entitled “Tigritudes” is to be discovered at the Forum des images, in Paris, until February 27 . Produced between 1956, the date of Sudan’s independence, and 2021, these short and feature films are programmed according to a chronological grid, making it possible to appreciate the circulation of forms. The project is fascinating, accessible and sharp, mixing debates and “cinema lessons”. After Paris, Tigritudes will circulate in Marseille, Lille, Toulouse, etc., as well as in Burkina Faso (Bobo-Dioulasso), in Algiers, etc.

Read also African Cinema: Fespaco Gold Stallion to “The Gravedigger’s Wife” by Somali Ahmed Khadar

The word ?tigritude? refers to the sentence pronounced in 1962 by Wole Soyinka, the Nigerian writer and director, born in 1934, in reaction to the concept of ?négritude? of Léopold Sédar Senghor (1906-2001): ?The tiger does not proclaim his tigritude, he leaps and devours his prey?, Soyinka said. ?It’s the idea that African cinema doesn’t need to define itself in relation to the countries of the North. He just has to be himself, entirely, beyond geographical partitioning ? films from the Maghreb, East Africa, etc. ? and linguistic categories, French-speaking, Portuguese-speaking, English-speaking, inherited from the colonial era?, explains Dyana Gaye, Franco-Senegalese, who produces musicals (A public transport, 2009). ?This self-affirmation goes hand in hand with independence in these countries. There are cinemas from Africa, and at the same time Tigritudes refers to a pan-African political horizon?, adds Valérie Osouf, documentary filmmaker, who works on French colonial history and its contemporary echoes ? national identity (2012).

For Western audiences, African cinema often comes down to a handful of authors selected at festivals, the Malian Souleymane Cissé, the Mauritanian Abderrahmane Sissako, the Senegalese Djibril Diop Mambéty, the Chadian Mahamat-Saleh Haroun, the Egyptian Youssef Chahine (died 2008), etc. Some of their works are programmed, like Fine (1982), by Souleymane Cissé, but beyond that, Tigritudes reveals a wide range of filmmakers, from the pioneers of the 1960s (Sarah Maldoror) to the new generation. “We want to create an archive, to show that there is cinema in Tanzania, Namibia, Somalia, Mozambique, Sao Tome and Principe, Lesotho…”, lists Valérie Osouf.

You have 47.17% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642503739 ) [5] => Array ( [title] => Ricardo Bofill, the architect who wanted to ?achieve the impossible? [link] => https://movs.world/culture/ricardo-bofill-the-architect-who-wanted-to-achieve-the-impossible/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Mon, 17 Jan 2022 13:00:22 +0000 [category] => CultureachievearchitectBofillimpossibleRicardowanted [guid] => https://movs.world/culture/ricardo-bofill-the-architect-who-wanted-to-achieve-the-impossible/ [description] => Ricardo Bofill on the occasion of the “Cité de la Réussite”, in Marseille, on November 17, 2001. ANNE-CHRISTINE POUJOULAT / AFP The Catalan architect Ricardo Bofill died on January 14, at the age of 82, carried away by the Covid-19. He was born on December 5, 1939 in Barcelona, ??from a father who was also ... Read more [content] => Array ( [encoded] =>

The Catalan architect Ricardo Bofill died on January 14, at the age of 82, carried away by the Covid-19. He was born on December 5, 1939 in Barcelona, ??from a father who was also an architect, and had therefore spent most of his youth during the “reign” of General Franco (1889-1975). These two weren’t made for each other.

The young architect joined the ?divine left?, a well-named movement frequented by Catalan intellectuals and which managed to impose a form of freedom in a still gagged Barcelona. Bofill adds: ?He sent back an image of frivolity and seduction, writes the novelist Rosa Regas. He was also like that. If he was accused of being a petty bourgeois, he overdid it. If he was told that his architecture was extravagant, he exaggerated even more in his next project. » In the same way, he took care of his physique, which, from the start, looks great, and which he adjusts like a bullfighter in tight suits.

Bofill began his studies in Barcelona, ??at the Higher Technical School of Architecture, until his expulsion in 1957, due to his activism within the Unified Socialist Party of Catalonia, then at the Geneva School of Architecture.

Read also Article reserved for our subscribers The perpetual work of Ricardo Bofill in Barcelona

Franco’s memory has not yet faded when, in 1963, he forms the Taller de Arquitectura with a group of architects, engineers, sociologists and philosophers, a workshop that will take the name of Ricardo Bofill, and will build almost a thousands of buildings around the world. The Taller finds accommodation near the Catalan metropolis, in Sant Just Desvern, in an old cement factory, called ?La Fabrique?. This is the first achievement of the architect and his group, heritage rescue loaded with poetry.

But at the same time, so as not to find himself stuck in a form of backwardness, he imagines surprising ensembles like Walden 7 or the Red Wall. Bofill thus imposed himself in the international architectural milieu then agitated by the struggle between modernism and postmodernism, each fragmented into multiple schools.

The 29-storey tower of the W Barcelona hotel, designed as a sail, by Ricardo Bofill, in Barcelona, ??January 15, 2022.

A surprising catalog

In this respect, the first Venice Architecture Biennale in 1980 forms a surprising catalog which brings together the most disparate projects even if the use of the column, of classical or antique inspiration, tends to impose itself as universal. Bofill is part of the selection as he will be part of the competition for the Halles de Paris in 1974. Adulated by some (Giscard d’Estaing, who knew about classicism), he cataloged himself so well in the ranks of postmodernism that he sees himself rejected by the moderns. Jacques Chirac, who does not know too much about it, blocks his project.

You have 57.47% of this article left to read. The following is for subscribers only.

) [summary] => Ricardo Bofill on the occasion of the “Cité de la Réussite”, in Marseille, on November 17, 2001. ANNE-CHRISTINE POUJOULAT / AFP The Catalan architect Ricardo Bofill died on January 14, at the age of 82, carried away by the Covid-19. He was born on December 5, 1939 in Barcelona, ??from a father who was also ... Read more [atom_content] =>

The Catalan architect Ricardo Bofill died on January 14, at the age of 82, carried away by the Covid-19. He was born on December 5, 1939 in Barcelona, ??from a father who was also an architect, and had therefore spent most of his youth during the “reign” of General Franco (1889-1975). These two weren’t made for each other.

The young architect joined the ?divine left?, a well-named movement frequented by Catalan intellectuals and which managed to impose a form of freedom in a still gagged Barcelona. Bofill adds: ?He sent back an image of frivolity and seduction, writes the novelist Rosa Regas. He was also like that. If he was accused of being a petty bourgeois, he overdid it. If he was told that his architecture was extravagant, he exaggerated even more in his next project. » In the same way, he took care of his physique, which, from the start, looks great, and which he adjusts like a bullfighter in tight suits.

Bofill began his studies in Barcelona, ??at the Higher Technical School of Architecture, until his expulsion in 1957, due to his activism within the Unified Socialist Party of Catalonia, then at the Geneva School of Architecture.

Read also Article reserved for our subscribers The perpetual work of Ricardo Bofill in Barcelona

Franco’s memory has not yet faded when, in 1963, he forms the Taller de Arquitectura with a group of architects, engineers, sociologists and philosophers, a workshop that will take the name of Ricardo Bofill, and will build almost a thousands of buildings around the world. The Taller finds accommodation near the Catalan metropolis, in Sant Just Desvern, in an old cement factory, called ?La Fabrique?. This is the first achievement of the architect and his group, heritage rescue loaded with poetry.

But at the same time, so as not to find himself stuck in a form of backwardness, he imagines surprising ensembles like Walden 7 or the Red Wall. Bofill thus imposed himself in the international architectural milieu then agitated by the struggle between modernism and postmodernism, each fragmented into multiple schools.

The 29-storey tower of the W Barcelona hotel, designed as a sail, by Ricardo Bofill, in Barcelona, ??January 15, 2022.

A surprising catalog

In this respect, the first Venice Architecture Biennale in 1980 forms a surprising catalog which brings together the most disparate projects even if the use of the column, of classical or antique inspiration, tends to impose itself as universal. Bofill is part of the selection as he will be part of the competition for the Halles de Paris in 1974. Adulated by some (Giscard d’Estaing, who knew about classicism), he cataloged himself so well in the ranks of postmodernism that he sees himself rejected by the moderns. Jacques Chirac, who does not know too much about it, blocks his project.

You have 57.47% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642424422 ) [6] => Array ( [title] => Death of the painter Alekos Fassianos, known for his characters from Greek mythology and folklore [link] => https://movs.world/culture/death-of-the-painter-alekos-fassianos-known-for-his-characters-from-greek-mythology-and-folklore/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Mon, 17 Jan 2022 01:59:21 +0000 [category] => CultureAlekoscharactersDeathFassianosfolkloreGreekmythologypainter [guid] => https://movs.world/culture/death-of-the-painter-alekos-fassianos-known-for-his-characters-from-greek-mythology-and-folklore/ [description] => The Greek painter Alekos Fassianos, in front of his works, in his house in Athens, in January 2018. LOUISA NIKOLAIDOU / AFP The Greek painter Alekos Fassianos died on Sunday January 16 at the age of 86, his daughter announced to Agence France-Presse (AFP). Bedridden for several months at his home in Papagou, in the ... Read more [content] => Array ( [encoded] =>

The Greek painter Alekos Fassianos died on Sunday January 16 at the age of 86, his daughter announced to Agence France-Presse (AFP). Bedridden for several months at his home in Papagou, in the suburbs of Athens, the artist died ” in his sleep “ following a long illness, said Viktoria Fassianou.

The multi-talented colourist shared his life between Greece and France, where he studied lithography at the National School of Fine Arts and rubbed shoulders with writers and painters, like Louis Aragon, Matisse and Picasso. whom he greatly admired.

He had turned 86 on October 25, but he had put down his brush in 2019, suffering from a degenerative disease. His daughter, who chairs the company Fassianos Estates, and his wife Mariza Fassianou announced to AFP, at the end of 2021, the opening of a museum in his name in the fall of 2022 in an old building in the center of Athens, completely redesigned by the artist with his architect friend Kyriakos Krokos.

Colors and shapes that ?breathe Greece?

“All of Fassianos’ work, the colors that fill his canvases, the multidimensional shapes that dominate his paintings, breathe Greece”, reacted the Minister of Culture, Lina Mendoni, who welcomed in a press release “one of the main contemporaries to have painted Hellenism”.

Greek Prime Minister Kyriakos Mitsotakis also paid tribute on Sunday evening to the painter and poet, “always in balance between realism and abstraction”. Fassianos ?Leaves us a precious legacy?, he said, confident that the multi-talented artist had recently called for dealing with the pandemic with ?solidarity, love and education?. Car “in most of his creations, the man is in the spotlight”.

Fassianos, who before Paris had studied at the National School of Fine Arts in Athens, is known for his canvases and lithographs, exhibited throughout the world, where we find the cyclist he met as a child on his way to the beach, the hair straightened by the wind as described in his readings of mythology, the fish of Kea, his favorite island, the round waves as in the Odyssey, the bird with outstretched wings, so many emblematic signatures of his work .

L?oeuvre « The spirit of Olympic champion » d?Alekos Fassianos.

Works that have traveled the world

In line with Matisse or Picasso, Fassianos nevertheless denied having been inspired by one artist rather than another and preferred to claim « 77 » influencers, according to his wife. Refusing all constraints, Fassianos traced, without shadow or perspective, his characters drawn from mythology, Byzantine or naive art.

From Paris to Munich, from Tokyo to Sao Paolo, his works have toured the world. They can be seen in particular at the Museum of Modern Art in Paris, at the Maeght Foundation or at the Pinacoteca in Athens.

France, his second homeland, awarded him the distinction of Officer of the Legion of Honor and Commander of the Order of Arts and Letters, in Athens in 2020. But “Greekness has always been his inspiration, from mythology to contemporary Greece”, said his wife.

?He always believed that an artist should create with what he knows?, she observed. He said : “What I know is Greece, the sky is blue, so I paint in blue, I know the Greek islands, the sea, the waves…”.

Fassianos worked on the floor or scribbled on the corner of a table. And “He destroyed what he didn’t like”sighed his wife, ?I was crying, but he knew better than me what to keep?.

The World with AFP

) [summary] => The Greek painter Alekos Fassianos, in front of his works, in his house in Athens, in January 2018. LOUISA NIKOLAIDOU / AFP The Greek painter Alekos Fassianos died on Sunday January 16 at the age of 86, his daughter announced to Agence France-Presse (AFP). Bedridden for several months at his home in Papagou, in the ... Read more [atom_content] =>

The Greek painter Alekos Fassianos died on Sunday January 16 at the age of 86, his daughter announced to Agence France-Presse (AFP). Bedridden for several months at his home in Papagou, in the suburbs of Athens, the artist died ” in his sleep “ following a long illness, said Viktoria Fassianou.

The multi-talented colourist shared his life between Greece and France, where he studied lithography at the National School of Fine Arts and rubbed shoulders with writers and painters, like Louis Aragon, Matisse and Picasso. whom he greatly admired.

He had turned 86 on October 25, but he had put down his brush in 2019, suffering from a degenerative disease. His daughter, who chairs the company Fassianos Estates, and his wife Mariza Fassianou announced to AFP, at the end of 2021, the opening of a museum in his name in the fall of 2022 in an old building in the center of Athens, completely redesigned by the artist with his architect friend Kyriakos Krokos.

Colors and shapes that ?breathe Greece?

“All of Fassianos’ work, the colors that fill his canvases, the multidimensional shapes that dominate his paintings, breathe Greece”, reacted the Minister of Culture, Lina Mendoni, who welcomed in a press release “one of the main contemporaries to have painted Hellenism”.

Greek Prime Minister Kyriakos Mitsotakis also paid tribute on Sunday evening to the painter and poet, “always in balance between realism and abstraction”. Fassianos ?Leaves us a precious legacy?, he said, confident that the multi-talented artist had recently called for dealing with the pandemic with ?solidarity, love and education?. Car “in most of his creations, the man is in the spotlight”.

Fassianos, who before Paris had studied at the National School of Fine Arts in Athens, is known for his canvases and lithographs, exhibited throughout the world, where we find the cyclist he met as a child on his way to the beach, the hair straightened by the wind as described in his readings of mythology, the fish of Kea, his favorite island, the round waves as in the Odyssey, the bird with outstretched wings, so many emblematic signatures of his work .

L?oeuvre « The spirit of Olympic champion » d?Alekos Fassianos.

Works that have traveled the world

In line with Matisse or Picasso, Fassianos nevertheless denied having been inspired by one artist rather than another and preferred to claim « 77 » influencers, according to his wife. Refusing all constraints, Fassianos traced, without shadow or perspective, his characters drawn from mythology, Byzantine or naive art.

From Paris to Munich, from Tokyo to Sao Paolo, his works have toured the world. They can be seen in particular at the Museum of Modern Art in Paris, at the Maeght Foundation or at the Pinacoteca in Athens.

France, his second homeland, awarded him the distinction of Officer of the Legion of Honor and Commander of the Order of Arts and Letters, in Athens in 2020. But “Greekness has always been his inspiration, from mythology to contemporary Greece”, said his wife.

?He always believed that an artist should create with what he knows?, she observed. He said : “What I know is Greece, the sky is blue, so I paint in blue, I know the Greek islands, the sea, the waves…”.

Fassianos worked on the floor or scribbled on the corner of a table. And “He destroyed what he didn’t like”sighed his wife, ?I was crying, but he knew better than me what to keep?.

The World with AFP

[date_timestamp] => 1642384761 ) [7] => Array ( [title] => In the United States, who can want to ?cancel? Norman Mailer? [link] => https://movs.world/culture/in-the-united-states-who-can-want-to-cancel-norman-mailer/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sun, 16 Jan 2022 14:58:26 +0000 [category] => CulturecancelMailerNormanStatesunited [guid] => https://movs.world/culture/in-the-united-states-who-can-want-to-cancel-norman-mailer/ [description] => American writer Norman Mailer in 1967. CIRCA IMAGES/GLASSHOUSE/PHOTONONSTOP Norman Mailer victims of the « cancel culture » ? A strong emotion seized the American literary circles, on January 3, when they learned that the publishing house Random House had given up publishing a series of political essays by Norman Mailer containing his text of 1957 White ... Read more [content] => Array ( [encoded] =>

Norman Mailer victims of the « cancel culture » ? A strong emotion seized the American literary circles, on January 3, when they learned that the publishing house Random House had given up publishing a series of political essays by Norman Mailer containing his text of 1957 White Negro (?white nigger?; French translation: Hipsters, The Astral Castor, 2017). The information was contained in the newsletter of columnist Michael Wolff, which was based on the testimony of Michael Mailer, producer and eldest son of the author of Nudes and the Dead (Albin Michel, 1950).

The defenders of the writer, who died in 2007 at the age of 84, immediately mobilized to denounce this new manifestation of the wave of “cancellation” hitting authors or artists expressing opinions against the current. Joyce Carol Oates noted the irony of seeing a character as thunderous as Norman Mailer, who ?deliberately hoped to provoke controversy?, to be “censored” on the grounds that his remarks “hurt the feelings” from some. ?Today, questions are not debated but erased?, adds the novelist on her Twitter account.

The next day, the publishing house SkyHorse offered to take over the project. Independent label, the small publisher has made a specialty of publishing the “cursed” authors of cancel culture, such as Woody Allen, whose Memoirs (By the way, Stock, 2020) were refused by Hachette after his son Ronan Farrow’s protest campaign.

A Troubled Time for American Democracy

An article from New York Times, on January 4, came to complicate the matter. John Buffalo Mailer, another of the writer’s sons, qualifies the “cancellation” attempt. It’s all his fault, he says; it all started with his idea of ??republishing his father’s political writings, on the occasion of the centenary of his birth, in 2023. At a time when American democracy is going through a troubled period, Mailer’s radicalism is timely, believes- he. The collection, prepared by J. Michael Lennon, the writer’s biographer, was to include unpublished letters and texts. Random House, Mailer’s publisher, was supposed to handle the publication. But the publishing giant ultimately declined, regrets the son, without giving further details.

Random House has denied giving in to the sirens of political correctness. The Mailers’ literary agent, Andrew Wylie, supported, assuring the publisher and family remained ?united in their support for the work? of the New York writer and that they would celebrate with dignity the 100e birthday. ?Their intention is not to cancel Norman, added the son, John Buffalo. No one can undo Normal Mailer. »

Certainly, but the writer is no longer successful, note those who minimize the offense. According to Bookscan Data, The Executioner’s Song (Robert Laffont, 1980), his book on the death penalty, has only sold 40,000 copies since 1998. The Armies of the Night (Grasset, 1970), about the 1967 march on the Pentagon, 18,000 since 1995? By comparison, notes the weekly New Republic, the authors of the Beat generation are in vogue. Charles Bukowski’s collection Memories of a not much (Grasset, 1984) has reached 214,000 sales since 2014.

You have 33.01% of this article left to read. The following is for subscribers only.

) [summary] => American writer Norman Mailer in 1967. CIRCA IMAGES/GLASSHOUSE/PHOTONONSTOP Norman Mailer victims of the « cancel culture » ? A strong emotion seized the American literary circles, on January 3, when they learned that the publishing house Random House had given up publishing a series of political essays by Norman Mailer containing his text of 1957 White ... Read more [atom_content] =>

Norman Mailer victims of the « cancel culture » ? A strong emotion seized the American literary circles, on January 3, when they learned that the publishing house Random House had given up publishing a series of political essays by Norman Mailer containing his text of 1957 White Negro (?white nigger?; French translation: Hipsters, The Astral Castor, 2017). The information was contained in the newsletter of columnist Michael Wolff, which was based on the testimony of Michael Mailer, producer and eldest son of the author of Nudes and the Dead (Albin Michel, 1950).

The defenders of the writer, who died in 2007 at the age of 84, immediately mobilized to denounce this new manifestation of the wave of “cancellation” hitting authors or artists expressing opinions against the current. Joyce Carol Oates noted the irony of seeing a character as thunderous as Norman Mailer, who ?deliberately hoped to provoke controversy?, to be “censored” on the grounds that his remarks “hurt the feelings” from some. ?Today, questions are not debated but erased?, adds the novelist on her Twitter account.

The next day, the publishing house SkyHorse offered to take over the project. Independent label, the small publisher has made a specialty of publishing the “cursed” authors of cancel culture, such as Woody Allen, whose Memoirs (By the way, Stock, 2020) were refused by Hachette after his son Ronan Farrow’s protest campaign.

A Troubled Time for American Democracy

An article from New York Times, on January 4, came to complicate the matter. John Buffalo Mailer, another of the writer’s sons, qualifies the “cancellation” attempt. It’s all his fault, he says; it all started with his idea of ??republishing his father’s political writings, on the occasion of the centenary of his birth, in 2023. At a time when American democracy is going through a troubled period, Mailer’s radicalism is timely, believes- he. The collection, prepared by J. Michael Lennon, the writer’s biographer, was to include unpublished letters and texts. Random House, Mailer’s publisher, was supposed to handle the publication. But the publishing giant ultimately declined, regrets the son, without giving further details.

Random House has denied giving in to the sirens of political correctness. The Mailers’ literary agent, Andrew Wylie, supported, assuring the publisher and family remained ?united in their support for the work? of the New York writer and that they would celebrate with dignity the 100e birthday. ?Their intention is not to cancel Norman, added the son, John Buffalo. No one can undo Normal Mailer. »

Certainly, but the writer is no longer successful, note those who minimize the offense. According to Bookscan Data, The Executioner’s Song (Robert Laffont, 1980), his book on the death penalty, has only sold 40,000 copies since 1998. The Armies of the Night (Grasset, 1970), about the 1967 march on the Pentagon, 18,000 since 1995? By comparison, notes the weekly New Republic, the authors of the Beat generation are in vogue. Charles Bukowski’s collection Memories of a not much (Grasset, 1984) has reached 214,000 sales since 2014.

You have 33.01% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642345106 ) [8] => Array ( [title] => ?Our lives in flames?, by David Joy: the Appalachians, ash gray [link] => https://movs.world/culture/our-lives-in-flames-by-david-joy-the-appalachians-ash-gray/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sun, 16 Jan 2022 03:57:50 +0000 [category] => CultureAppalachiansAshDavidflamesGrayjoyLives [guid] => https://movs.world/culture/our-lives-in-flames-by-david-joy-the-appalachians-ash-gray/ [description] => WAVEBREAK MEDIA/PHOTONONSTOP ?Our lives in flames? (When These Mountains Burn), by David Joy, translated from English (United States) by Fabrice Pointeau, Sonatine, 328 p., ?21, digital ?15 (in bookstores on January 20) . The forest is burning on all sides and men are slowly being consumed in Our lives in flames, the fourth novel by ... Read more [content] => Array ( [encoded] =>

?Our lives in flames? (When These Mountains Burn), by David Joy, translated from English (United States) by Fabrice Pointeau, Sonatine, 328 p., ?21, digital ?15 (in bookstores on January 20) .

The forest is burning on all sides and men are slowly being consumed in Our lives in flames, the fourth novel by American tragedian David Joy. At the heart of this smoky landscape drag junkies out of breath, driven by the daily quest for the money needed for their next dose. Be an eternal and deadly beginning again.

Raymond Mathis, a retired forest ranger, lives with his blind dog on his farm in Appalachia. His wife died of cancer and their son got into drugs. He sporadically sees traces of his visits when everything that can be stolen from his home, including forks and knives, disappears. When a drug dealer summons him to pay a debt of ten thousand dollars contracted by Ricky in exchange for his life, the old man decides to take justice into his own hands…

Read also (2018): Article reserved for our subscribers ?The Weight of the World?, by David Joy: another life is impossible

In twenty years, a notorious change has taken place in the American noir novel: it has moved from the cities, its historical cradle, to the countryside. A migration attributable both to the diverse origins of the new generation of writers and to their desire to describe social despair in rural areas.

The land of choice ? rather of dereliction ? of David Joy is Jackson County, North Carolina, where he lives. Its casino in Cherokee country, its misty mountains which once had their own laws to settle disputes between neighbours, its “decades of mismanagement” which have made what remains of the forest more than flammable. There is rampant unemployment and the opioid crisis. The writer draws a geography of resourcefulness and confusion, mobile homes and cabins, traffic of all kinds and game hunting, whether animal or human.

Ultimate Guardians

His new novel is dedicated to Ron Rash, his mentor and friend. The author of Serena (Le Masque, 2011) was first David Joy’s professor at the University of Western Carolina. He remains the figurehead of a current called the “Black Appalaches”, in which today Taylor Brown, Cris Offutt, James A. McLaughlin or Lee Clay Johnson stand out. The Appalachians stretch over more than 2,000 kilometers, but it is at Mount Mitchell (2,037 meters) that this mountain range culminates in North Carolina, the epicenter of this profuse movement. At the heart of this deprived state, logging has declined, for lack of trees to fell in the mountains left “as naked as the moon”, we read in Our lives in flames. Paper mills, metallurgical factories have closed, as have coal mines. There remains tourism, which converts the vestiges of local culture into folklore. ?Having money in your hand made you close your eyes, and soon you didn’t care where you came from to say anything. » In short, even the ultimate guardians of a dying civilization are capitulating.

You have 6.3% of this article left to read. The following is for subscribers only.

) [summary] => WAVEBREAK MEDIA/PHOTONONSTOP ?Our lives in flames? (When These Mountains Burn), by David Joy, translated from English (United States) by Fabrice Pointeau, Sonatine, 328 p., ?21, digital ?15 (in bookstores on January 20) . The forest is burning on all sides and men are slowly being consumed in Our lives in flames, the fourth novel by ... Read more [atom_content] =>

?Our lives in flames? (When These Mountains Burn), by David Joy, translated from English (United States) by Fabrice Pointeau, Sonatine, 328 p., ?21, digital ?15 (in bookstores on January 20) .

The forest is burning on all sides and men are slowly being consumed in Our lives in flames, the fourth novel by American tragedian David Joy. At the heart of this smoky landscape drag junkies out of breath, driven by the daily quest for the money needed for their next dose. Be an eternal and deadly beginning again.

Raymond Mathis, a retired forest ranger, lives with his blind dog on his farm in Appalachia. His wife died of cancer and their son got into drugs. He sporadically sees traces of his visits when everything that can be stolen from his home, including forks and knives, disappears. When a drug dealer summons him to pay a debt of ten thousand dollars contracted by Ricky in exchange for his life, the old man decides to take justice into his own hands…

Read also (2018): Article reserved for our subscribers ?The Weight of the World?, by David Joy: another life is impossible

In twenty years, a notorious change has taken place in the American noir novel: it has moved from the cities, its historical cradle, to the countryside. A migration attributable both to the diverse origins of the new generation of writers and to their desire to describe social despair in rural areas.

The land of choice ? rather of dereliction ? of David Joy is Jackson County, North Carolina, where he lives. Its casino in Cherokee country, its misty mountains which once had their own laws to settle disputes between neighbours, its “decades of mismanagement” which have made what remains of the forest more than flammable. There is rampant unemployment and the opioid crisis. The writer draws a geography of resourcefulness and confusion, mobile homes and cabins, traffic of all kinds and game hunting, whether animal or human.

Ultimate Guardians

His new novel is dedicated to Ron Rash, his mentor and friend. The author of Serena (Le Masque, 2011) was first David Joy’s professor at the University of Western Carolina. He remains the figurehead of a current called the “Black Appalaches”, in which today Taylor Brown, Cris Offutt, James A. McLaughlin or Lee Clay Johnson stand out. The Appalachians stretch over more than 2,000 kilometers, but it is at Mount Mitchell (2,037 meters) that this mountain range culminates in North Carolina, the epicenter of this profuse movement. At the heart of this deprived state, logging has declined, for lack of trees to fell in the mountains left “as naked as the moon”, we read in Our lives in flames. Paper mills, metallurgical factories have closed, as have coal mines. There remains tourism, which converts the vestiges of local culture into folklore. ?Having money in your hand made you close your eyes, and soon you didn’t care where you came from to say anything. » In short, even the ultimate guardians of a dying civilization are capitulating.

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[date_timestamp] => 1642305470 ) [9] => Array ( [title] => Graciane Finzi, from sober lyricism to organized chaos [link] => https://movs.world/culture/graciane-finzi-from-sober-lyricism-to-organized-chaos/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sat, 15 Jan 2022 16:56:06 +0000 [category] => CulturechaosFinziGracianelyricismorganizedSober [guid] => https://movs.world/culture/graciane-finzi-from-sober-lyricism-to-organized-chaos/ [description] => French composer Graciane Finzi. LORENZO DI NOZZI The year 2022 is off to a strong start for Graciane Finzi. Barely back from Stuttgart (Germany), where the 76-year-old composer went to supervise the recording of one of her works to be released in the spring, in a monographic disc published by the Arion label, she only ... Read more [content] => Array ( [encoded] =>

The year 2022 is off to a strong start for Graciane Finzi. Barely back from Stuttgart (Germany), where the 76-year-old composer went to supervise the recording of one of her works to be released in the spring, in a monographic disc published by the Arion label, she only has a few hours to breathe before leaving. First for Lorient (Morbihan), whose conservatory welcomes her in residence until June, then in various places in France, to present her Fancy Toccata (2015), as part of the High School Composers Prize.

Despite all these trips, it is not the kilometers that count, in the eyes of Graciane Finzi. ?I just spent three months writing thousands of notes,? entrusts the one who benefits from another residence (at the conservatory of 6e arrondissement of Paris, until 2023) and who is aware of being much more in demand than most composers of his age. ?You should know that I am very active?, she says humbly. In fact, “we” have known it for a long time, but we had to wait until the end of 2021 to discover a first CD, What if it all started again… (Arion), exclusively devoted to his works.

His music combines freedom of language and rigor of writing

The idea came from the violist Karine Lethiec, who, with her Calliopée ensemble, is one of the faithful interpreters of a music that combines freedom of language and rigor of writing. Graciane Finzi recognizes herself in this shortcut: ?Making a big chord for fifty-two musicians can take me five or six hours before it sounds really balanced. » Nothing like the two new scores that will be created during the show A transfigured night, on January 18, at La Ferme du Buisson in Noisiel (Seine-et-Marne). Firstly because they will not be intended for an orchestra, but for a string sextet, then because the goal of the composer constitutes the trademark of the ensemble Des quilibres, called upon to play them.

Read also: Article reserved for our subscribers The ensemble Des quilibres, a fan of permanent mobility, in concert

very personal voice

A long-time interpreter of Graciane Finzi, the violinist Agnès Pyka asked her to take part in a multidisciplinary project on the theme of The Transfigured Night, d?Arnold Schoenberg. ?It all started with a painter, David Thelim, some of whose paintings made a strong impression on me, reports the composer, especially those that represent beings without a face, but not without a personality. »

Confronted with the school of Vienna (Arnold Schoenberg, but also Alexander von Zemlinsky), Graciane Finzi did not let herself be carried away by the waves of post-romanticism. The sextet that will open the program tends towards organized chaos, while The land before being born, concluding piece, releases a sober lyricism.

You have 43.7% of this article left to read. The following is for subscribers only.

) [summary] => French composer Graciane Finzi. LORENZO DI NOZZI The year 2022 is off to a strong start for Graciane Finzi. Barely back from Stuttgart (Germany), where the 76-year-old composer went to supervise the recording of one of her works to be released in the spring, in a monographic disc published by the Arion label, she only ... Read more [atom_content] =>

The year 2022 is off to a strong start for Graciane Finzi. Barely back from Stuttgart (Germany), where the 76-year-old composer went to supervise the recording of one of her works to be released in the spring, in a monographic disc published by the Arion label, she only has a few hours to breathe before leaving. First for Lorient (Morbihan), whose conservatory welcomes her in residence until June, then in various places in France, to present her Fancy Toccata (2015), as part of the High School Composers Prize.

Despite all these trips, it is not the kilometers that count, in the eyes of Graciane Finzi. ?I just spent three months writing thousands of notes,? entrusts the one who benefits from another residence (at the conservatory of 6e arrondissement of Paris, until 2023) and who is aware of being much more in demand than most composers of his age. ?You should know that I am very active?, she says humbly. In fact, “we” have known it for a long time, but we had to wait until the end of 2021 to discover a first CD, What if it all started again… (Arion), exclusively devoted to his works.

His music combines freedom of language and rigor of writing

The idea came from the violist Karine Lethiec, who, with her Calliopée ensemble, is one of the faithful interpreters of a music that combines freedom of language and rigor of writing. Graciane Finzi recognizes herself in this shortcut: ?Making a big chord for fifty-two musicians can take me five or six hours before it sounds really balanced. » Nothing like the two new scores that will be created during the show A transfigured night, on January 18, at La Ferme du Buisson in Noisiel (Seine-et-Marne). Firstly because they will not be intended for an orchestra, but for a string sextet, then because the goal of the composer constitutes the trademark of the ensemble Des quilibres, called upon to play them.

Read also: Article reserved for our subscribers The ensemble Des quilibres, a fan of permanent mobility, in concert

very personal voice

A long-time interpreter of Graciane Finzi, the violinist Agnès Pyka asked her to take part in a multidisciplinary project on the theme of The Transfigured Night, d?Arnold Schoenberg. ?It all started with a painter, David Thelim, some of whose paintings made a strong impression on me, reports the composer, especially those that represent beings without a face, but not without a personality. »

Confronted with the school of Vienna (Arnold Schoenberg, but also Alexander von Zemlinsky), Graciane Finzi did not let herself be carried away by the waves of post-romanticism. The sextet that will open the program tends towards organized chaos, while The land before being born, concluding piece, releases a sober lyricism.

You have 43.7% of this article left to read. The following is for subscribers only.

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