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By O'Sullivan, Maria; Vorstman, Ruth; Mathias, Manon

In a tradition more and more enthusiastic about the visible, self-image and severe self-exposure, during which fact is consistently obscured and misrepresented via concealment and spin, the jobs reveal and conceal play in literature, proposal and visible tradition are quite prescient. This assortment, built from papers provided at a postgraduate convention in Oxford in September 2008, offers a coherent view of key advancements within the notions of reveal and hide in French tradition and offers a thought-provoking contribution to modern feedback. the quantity comprises essays from either senior researchers and graduate scholars utilizing shut readings and theoretical methods from the psychoanalytic to the postcolonial. those are prepared in 4 major sections, facing notions of functionality, disclosure, phantasm and concealment respectively. Drawing on new examine in a variety of classes, in fields together with artwork, images, theatre, shuttle writing and the radical, the authors ponder the notions of exhibit and hide on the subject of works via artists similar to Molière, Flaubert, Proust, Dalí, Vinaver and Sophie Calle.
This quantity comprises ten contributions in English and one in French

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Tobin, ‘Authority, Language, and Censorship’, in Approaches to Teaching Molière’s Tartuf fe and Other Plays, ed. by James F. Gaines and Michael S.  28). The ‘Comédie Française’ 1997 version with Philippe Torreton as the eponymous character does a very good job of showing Tartuf fe’s gestures to embellish his verbal machinations in this scene. Le Tartuf fe ou L’Imposteur, dir. by Georges Bensoussan (Néria Productions Comédie-Française France 3, 1997). This point has often been noted by critics.  Moore asks, for example: ‘How can one escape the comedy of hearing, from one whose profession and practice it was to 20 Emilia Wilton-Godberfforde truth-teller (Damis) is taken to be a malicious liar.

Indeed, it makes us laugh to view ourselves truthfully exposed, as Reza herself admits: C’est le rire sur la défaite de l’existence.  18. 26 ‘Alain: Mais tu es complètement démente!  105.  155. 25 Social Masks in Yasmina Reza’s Trois versions de la vie and Dieu du carnage 45 Uncovering the discontentment lying beneath sanitised social disguises, Reza stimulates emotions of melancholy accompanied by blurts of laughter. Her clever marriage of humour and human suf fering ensures that her plays rise beyond the much-maligned genre of comedic theatre.

Ni murs ni portes; comme à ciel ouvert. Ce qui compte, c’est l’idée du salon’ (11). Vast exterior skies intrude on the realist living quarters. Reza, then, does not completely break with the mimetic, but designs a veiled emptying out and dematerialisation of realistic settings. Creating the pretence of a domestic reality, her setting becomes one of illusion and disguise, much like the characters that navigate across the abstract space. Within this disguised domestic setting, the final scene in Trois versions de la vie fosters a move toward honesty and openness.

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