Enfants Terribles Research Articles

Two Enfants Terribles in Dutch Exile: The Exilic Posture of Jaroslav Hutka and Ivan Landsmann

This article addresses the topic of authorial posture (as defined by Jérôme Meizoz), in particular the exilic posture. Some exiled authors, listed as examples, or prototypes of that posture, were able to achieve a stable place in the Dutch literary or cultural field. This text shows, however, that some exiled authors or artists were not endowed with the crucial qualities and abilities, and it investigates what kind of qualities and abilities they missed. The Czechs Jaroslav Hutka and Ivan Landsmann spent a part of their lives in exile in the Netherlands, where they also created literary texts. The songwriter, poet and prosaist Hutka and the novelist Landsmann did acquire a firm position in the Czech cultural and literary field without really penetrating the Dutch one. This article examines the extent to which they represented the exilic posture, describes it in more detail, and provides more fitting designations. By doing so, it answers the question why these two authors did not or could not acquire an established position in the Dutch cultural field during their exile period

The EU’sEnfants Terribles: Democratic Backsliding in Central Europe since 2010

In the academic literature, Hungary and Poland are often cited as paradigmatic cases of democratic backsliding. However, as the backsliding narrative gained traction, the term has been applied to the rest of the post-communist region, including the Czech Republic and Slovakia. We suggest that this diagnosis is in part based on conceptual stretching, and set out to rescue the concept as an analytical tool. We then assess the extent of backsliding in the four Visegrád countries, explaining backsliding (and the relative lack of it) in terms of motive, opportunity, and the strength or weakness of opposing or constraining forces. We conclude that the situation is not as desperate as some commentators would have it: democratic backsliding in Hungary and Poland was contingent on a few exceptional factors, and EU leaders therefore need not be paralysed by the fear of contagion when they contemplate forceful action against backsliding member states.

Jean-Luc Godard et Maurice Pialat lisant Musset : rêves et restes d’une théâtralité romantique

ABSTRACTThis article investigates the traces of nineteenth-century aesthetics in films by two enfants terribles of cinema, namely Maurice Pialat and Jean-Luc Godard. It concentrates on the shared references to Musset, and more specifically on the uses of Musset’s play One Does Not Trifle with Love (1834) in Pialat’s À nos amours/To Our Loves (1983) and Godard’s For Ever Mozart (1996). This study demonstrates that the recourse to Musset is done against the grain, i.e. against the hackneyed image of the poet inherited from Romanticism, and aims at conveying the oeuvre’s original violence. Through a detailed analysis of the two films and their specific approach to theatricality (defined as a set of explicit references to theatre, a relation to the body, a treatment of space, a use of the tableau, a gestural language and an expressivity of speech), this article explores the valences of these anachronistic survivals of Romanticism, and their political value.

Immersive Theatre in Austerity Britain: Les Enfants Terribles’ Riot in the Saatchi Gallery and the Liquidation of differencEngine

This article looks at the relationship of immersive theatre to the material conditions that support its production in austerity Britain. It explores a dark underside to a rapidly expanded market for immersive theatre in London that can leave theatre makers open to profound vulnerabilities. This is particularly the case among companies who have only recently embarked on professional careers in a ‘second-wave’ of experimentation in immersive practices post-2010, which has been characterised by an emergent distrust of the public sector and an active embrace of private finance and commercial enterprise. It takes two examples as cases in point. The first looks at politically-engaged work by a company with a much older heritage, but which has only recently started to engage with immersive theatre: Les Enfants Terribles’ Inside Pussy Riot (2017), which was presented in London’s Saatchi Gallery and was indirectly funded by Russian tycoons. This performance found security in private philanthropy, but elicits cognitive dissonance once the work’s progressive political commitments are read alongside highly compromised revenue streams emerging from a market governed by conflicting interests. The second, differencEngine’s commercial work The Hollow Hotel (2018), found no such security, leading the company to enter voluntary liquidation after racking up debts that ran into the hundreds of thousands. Focusing on these performances’ institutional, financial, and legal contexts, this article explores how a new generation of immersive theatre makers are especially prone to competing interests and incentives in the private sector, whatever their political or commercial orientation, inviting reflection on the responsibilities of key stakeholders in challenging a misleading rhetoric of economic resilience that has accompanied stringent cuts in the public sector.

0201 The Art of the Enfants Terribles: Infantilism and Dilettantism in Punk Art

0201 The Art of the Enfants Terribles: Infantilism and Dilettantism in Punk Art

Reviews

Abstract The Nose, The Royal Opera House, London, November 2016 The Red Shoes, Matthew Bourne, Sadlers Wells Theatre, London, November/December 2016 Les Enfants Terribles, A Dance/Opera by Philip Glass, direction and choreography by Javier De Frutos, The Barbican, London, January 2017

Youth as Tactical Agents of Peacebuilding and Development in the Sahel

One of the major lacunas in the field of youth studies is the lack of attention to, and thorough documentation of, the positive contributions of young people, especially in developing societies. The vast bulk of studies are skewed towards the view of youth as enfants terribles, without any attempt to understand and explain tactical ways in which youth have created and continue to create alternative lives for themselves under great adversity. Drawing on case studies from Northern Nigeria (youth as agents of counter-terrorism) and Northern Mali (youth as tactical agents of development), the burden of this article is to identify the multiple challenges facing youth in West Africa's Sahel region and, especially, to show how Sahelian youth are coping with these everyday challenges in tactical, ingenious and creative ways that underscore both their considerable social agency and their inherent capacity to make telling contributions to peacebuilding and development in their local communities.

Les « enfants terribles » de la Landschaft

En 1968, la geographie universitaire ouest-allemande a fait l’objet d’une grande effervescence dans la nouvelle generation d’etudiants et de professeurs, remettant en cause radicalement l’identite disciplinaire et le concept central et unificateur de Landschaft (region-paysage). Cette agitation, revelatrice de diverses tensions professionnelles et institutionnelles et d’un changement profond de paradigme, a eu comme apogee le Congres des geographes allemands (Geographentag) de Kiel en 1969 ou se sont affrontes de maniere theâtrale les differents acteurs du champ. Il s’agit donc d’etudier ici les logiques a l’œuvre, les strategies deployees et les moyens utilises pour operer cette rupture, determinante pour une certaine geographie « radicale », illusoire pour les tenants de la tradition, dans un « moment 68 » en tout cas tres marquant dans l’histoire de la geographie europeenne de la seconde moitie du xxe siecle.

The Scent Trail of "Une Charogne"

In 2007 joined the catalogue of provocative eaux de parfum launched by Etat Libre d'Orange. Self-proclaimed enfants terribles of the industry, the fragrance team takes concept perfumery to new heights, linking each scent to an edgy name (e.g., Delicious Closet Queen; Eloge du traitre; Secretions magnifiques), bolstered by illustrated brochures, revealing the combination of earnestness and humor that have become the company's trademark. In response to the barrage of celebrity perfumes on the market, Etat Libre d'Orange offers alternative alternatives: no Britney Spears; no David Beckham; no J Lo. Instead, the avant garde perfumista may select from Tom of Finland, Rossy de Palma, or the Tilda Swinton perfume, enigmatically called, Like This. Add to the list a shocking name that draws upon the infamy and celebrity of the reluctant Prince of Carrion, poet Charles Baudelaire. In a letter to friend and photographer Nadar (14 May 1859) chides, apparently with irony: Il m'est penible de passer pour le Prince des Charognes. Tu n'as sans doute pas lu une foule de choses de moi, qui ne sont que musc et que roses (CI 174). (1) That year Nadar had created Baudelaire a la (2) a charcoal and gouache caricature of the writer as a bobble-headed, gloved dandy, arms raised in a gesture of mincing awe, his ambiguous gaze (diabolical? appreciative?) directed toward a rotting animal upon which he appears to have nearly stumbled. Without that gaze it would take a moment to find the charogne, so large is the poet's head, so indecipherable, and therefore distracting, the turn of his lip. (3) In the lower left-hand corner of the picture lies the animal carcass, legs in the air, its belly covered in a dense swarm of black blotches--buzzing flies, or wafting fumes, or both--rising up, blending with the dried leaves of spindly shrubs, then metamorphosing into vertical marks. These gradually rejoin to form letters. Death gives birth to life and words, with the figure of the poet positioned between the carrion-etched FLEURS DU looming over his right shoulder, and MAL under his left hand. These textual flowers frame the portrait of the Prince of Carrion, simultaneously discovering and orchestrating a synesthetic landscape of decaying flora and fauna; refiguring beauty; representing invisible odor in visible words; turning stench into poetry. Almost one hundred and fifty years later, in a provocative gesture of olfactory adaptation, Etat Libre d'Orange translates this poetic stench into perfume. The sample package of features a rose with a drop of red blood at the center--perhaps a nod to Baudelaire's Flowers of Evil, a recognition of the poem's decomposed metaphorical flower, or a reminder of the theme of death, beauty, and the printed page. According to Etienne de Swardt, the company's founder, c'est une histoire de peau d'ins-piration BAUDELAIRIENNE, une dualite malsaine avec le poeme et sa pestilence (2009). Call this dialogical translation, olfactory adaptation, edgy marketing, voluntary synesthesia, or shock perfumery--a question inevitably emerges: how, if at all, does the fragrance correspond to the poem Une Charogne? The perfumer might have opted to compose a literal, scratch-and-sniff translation (perfume that makes its wearer smell like carrion). Or instead, scent notes might have been selected to illustrate textual aspects of Une Charogne, its rhythm, its structure, the emotions it evokes, other odors suggested by its words, or a scented rendition of the poem's mood, tone, subject, themes, or ideas. Any discussion of eau de parfum in relation to Baudelaire's Une Charogne relates as much to language and reading, as to olfaction, and it reveals the difficulty of communicating about smell in words. This is because, like other forms of aesthetic adaptation, the translation of poetry to fragrance, or fragrance to poetry, entails a process of interpretation: How do we identify or define the scent trail in texts? …

Cooperatives as the “enfants terribles” of economics: Some implications for the social economy

The cooperatives are too economically oriented to be included in the non-profit sector and too socially oriented to be considered as an economic for-profit organization. These “enfants terribles” are wholly depersonalized. They represent a broader phenomenon, going beyond the dominant global economy. As such, cooperatives are seen as a model based on dual components, an economic and a social. Here lies the source of the incompatibility between the hegemonic economic paradigm and an organizational rationale claiming to be based on the co-existence of two features, the social and the economic. Therefore, this article supports the idea of non-profit economy, the cornerstone of the social economy but facing outward offering competing goods and services which can facilitate the market economy and mitigate the tendency towards oligopoly.

Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945–1968Weiner, Susan. Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945–1968 . Baltimore and London: The Johns Hopkins University Press, 2001. Pp.232. $39.95.

Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945–1968Weiner, Susan. <i>Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945–1968</i> . Baltimore and London: The Johns Hopkins University Press, 2001. Pp.232. $39.95.

Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945-1968

Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945-1968

Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945-1968

Contents: 1 From ELLE to MADEMOISELLE 2 Fictions of Female Adolescence 3 The Mal du Siecle: Politics and Sexuality 4 Technological Society and Its Discontents 5 Quantifying Youth Conclusion: From Object to Subject?

Enfants Terribles: The Challenge of Sectarian Converts to Ethnic Orthodox Churches in the United States

This article considers two case studies of collective conversions to Eastern Orthodoxy to illustrate the most pressing challenges faced by ethnic Orthodox congregations who attempt to assimilate sectarian groups into their midst. I argue that these challenges include: 1) the different understandings of ecclesiology held by former Protestant sectarians and by "cradle" Orthodox believers; 2) the pan-Orthodox aspirations of sectarian converts versus the factionalism found in ethnically-based American Orthodox jurisdictions; 3) the differing pastoral styles of former sectarian ministers and Orthodox priests; 4) the tendency of sectarian converts to embrace a very strict reading of Orthodoxy and to adopt a critical and reformist attitude in relations with cradle Orthodox communities; and 5) the covert and overt racism that sometimes exists in ethnic Orthodox parishes. I suggest that the increasing numbers of non-ethnic converts to ethnic Orthodox parishes may result in increased pressure to break down ethnic barriers between Orthodox communities and to form a unified American Orthodox Church. These conversions may also lead to the growth of hybrid Orthodox churches such as the Charismatic Episcopal Church.

Book Reviews

Ann Laura Stoler, Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial RuleCatherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830–1867Kathleen Wilson, The Island Race: Englishness, Empire and Gender in the Eighteenth CenturyAndrew Kirkendall, Class Mates: Male Student Culture and the Making of a Political Class in Nineteenth‐Century BrazilSueann Caulfield, In Defense of Honor: Sexual Morality, Modernity, and Nation in Early‐Twentieth‐Century BrazilDavid M. Halperin, How to Do the History of HomosexualityPaul Hammond, Figuring Sex between Men From Shakespeare to Rochester Tom Betteridge (ed.), Sodomy in Early Modern EnglandFelicia Gordon and P. N. Furbank, Marie Madeleine Jodin 1741–1790: actress, philosophe and feministJoan B. Landes, Visualizing the Nation: Gender, Representation, and Revolution in Eighteenth‐Century FranceLynn Abrams, The Making of Modern Woman: Europe, 1789–1918Gisela Bock, Women in European HistoryLeonore Davidoff and Catherine Hall, Family Fortunes: Men and Women of the English Middle Class, 1780–1850Beverly Wilson Palmer (ed.), Selected Letters of Lucretia Coffin MottSusan Weiner, Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945–1968

Review: Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945-1968

1University of Wales Swansea Enfants Terribles: Youth and Femininity in the Mass Media in France, 1945–1968 Susan Weiner Baltimore — London Johns Hopkins University Press 2001 viii + 256 Hardback£26.00

Enfants terribles: youth and femininity in the mass media in France, 1945-1968

Enfants terribles: youth and femininity in the mass media in France, 1945-1968

Literacy in Medieval Celtic Societies by Huw Pryce (review)

MLR, 96.I, 200I MLR, 96.I, 200I pedagogy of the literal sense overstepped orthodox bounds to grasphermeneutical and political agency. One of the longer contributionsin the volume is a richlythoughtfuldiscussionby Nicholas Watson of the way the English vernacular, far from denigrating the religious matter for which it increasinglyserved as a vehicle, was on the contrary ennobled by it, and became, as it were, a stylisticsite for a vernaculartheology of kenosis. Indeed, only in thevernacularcould 'homely'theologyfinditsvoice. Shorter than Watson's,but equally well pondered, is Ruth Evans'sdeliberationon how the modes of addressof stagedbodies areable to constructidentitiesfortheiraudiences. In particular, she is interested in the possible positions assumed by medieval Yorkaudiences in relation to the performance of Mary's body. (The evidence for earlyaudience responseto plays, though it is indeed sparse,is, however, fractionally more than she allows, but this does not spoil her general argument.)Finally, Bruce Holsinger peels away the familiarview of music as token of harmony and stability to reveal 'a host of spectacularly violent musical practices'. This essay, chiefly focusing on The Prioress'sTale, had severalstrikingapperfus, althoughforme it was in places insecure. For example, is stotiandon page I8o really to be glossed as 'stuttering'?I would have thought 'studying' more likely. And does the young clergeon really go through theJewish ghetto 'bellowing' the Almaredemptoris mater? That seems to me tendentious;there is matter enough in Holsinger'sargumentnot to warrant lapses into overstatement. And I missed any reference to the highly germane studybyJohn Stevens of Words andMusicintheMiddle Ages. Speakingof ghettos,were thisnew seriesto end up as one for the enfants terribles of medieval Englishstudies,thatwould be a pity. It has begun splendidly,and itwould be sad were it not to follow through on the initial promise it shows. Perhaps any ghettoizing might be resisted if it really adheres to the policy that Scase has ennunciated:the essaysarejustifiedin and of themselves.This would mean that the gates ofNewMedieval Literatures would ideallyclose againstany singleand totalitarian partyline and be open, conversely,to pluralism,to contributionsof allcomplexions, including, dare it be said by someone who has writtenwearing various hats, those of a traditionalcast. In thisway it would provide a hospitablethreshold,welcoming and wide enough to facilitatethe crossingof categoryboundariesat everylevel, and in thisway trulyto do medieval studiesa service. UNIVERSITY COLLEGE DUBLIN ALANJ. FLETCHER Literacy in MedievalCelticSocieties. Ed. by Huw PRYCE. (Cambridge Studies in Medieval Literature,33) Cambridge,New York,and Melbourne:Cambridge University Press. I998. xiii + 297 pp. ?40; $59-95. The aim of this importantvolume of thirteen studiesis to examine the evidence for literary and pragmatic literacy in Celtic communities from c.400 to c.1500 in the light of contemporary discussions. The concept of 'medieval Celtic societies' as a culturalentity is a doubtful one, and though there are some points of comparison, the dissimilaritybetween these societies, at least as far as present evidence goes, is more marked. Several of these studies make telling comparisons not so much between early Celtic communities as with European patterns in England and France. Almost all the authorsof these essaysmake the caveat that the evidence that has survivedmay not be representativeof the range and purposes of literacy in society (the issues raised in the papers are, of course, themselves selective), so that there is the danger of readingboth too much and too little into the existence or the absence pedagogy of the literal sense overstepped orthodox bounds to grasphermeneutical and political agency. One of the longer contributionsin the volume is a richlythoughtfuldiscussionby Nicholas Watson of the way the English vernacular, far from denigrating the religious matter for which it increasinglyserved as a vehicle, was on the contrary ennobled by it, and became, as it were, a stylisticsite for a vernaculartheology of kenosis. Indeed, only in thevernacularcould 'homely'theologyfinditsvoice. Shorter than Watson's,but equally well pondered, is Ruth Evans'sdeliberationon how the modes of addressof stagedbodies areable to constructidentitiesfortheiraudiences. In particular, she is interested in the possible positions assumed by medieval Yorkaudiences in relation to the performance of Mary's body. (The evidence for earlyaudience responseto plays, though it is indeed sparse,is, however, fractionally more than she allows, but this does not spoil her general argument.)Finally, Bruce Holsinger peels away the familiarview of...

On the Edge of Tastelessness: CBS, the Smothers Brothers and the Struggle for Control

It is hard to imagine a time when a critic could seriously claim that skits mocking the Revolutionary War or the first Trans-Atlantic flight were the edge of tastelessness because insulting our heroes... was definitely over the edge.' Yet it was over this other issues of taste that one of American television's most vehement struggles for control occurred. stakes were censorship, free speech, the right to determine programming content, the players involved not just a network some enfants terribles, but the Federal Communications Commission (FCC), individual broadcasters, elected officials, the mainstream press as well. result was one of the most publicized showdowns in American broadcast history. Ironically enough, this showdown was not over serious drama or even pointed satire; Smothers Brothers Comedy Hour was a comedy/variety show, replete with the standard concoction of comedic sketches musical interludes. To be sure, the show did not fit the generic mold of variety shows such as Sonny Cher Comedy Hour or the later Captain Tennille. And Laugh-In, NBC's hip nod to the comedy hour a spinoff of Smothers Brothers Comedy Hour, went much further in its so-called blue material the flippant relevancy of its sock it to me jokes. Certainly, All in the Family, which the CBS television network premiered a year a half after it cancelled Smothers Brothers Comedy Hour, pushed the boundaries of controversy relevance well beyond those of any other comedy or comedyvariety show of that era. Yet on 4 April 1969, the Good Friday before Easter Sunday, the same network responsible for See It Now All in the Family splayed Smothers Brothers Comedy Hour upon the altar of good taste killed it. Some, like controversial FCC commissioner Nicholas Johnson, lamented the show's passing. My God, Johnson told Nat Hentoff, if we've come to the point where that is so controversial it can't be seen on American television, we're a hell of a lot sicker in a hell of a lot more trouble than I ever thought.2 But others, especially CBS president Bob Wood, defended the network's action as preserving the sanctity of the American living room. The Smothers Brothers took the position that we must abrogate the standards we apply to all entertainment programs, Wood argued, and make a special exception to them.3

Monovalency of the Third Main‐Group Elements: News from EX‐Type Compounds

Boranediyls, alanediyls, and gallanediyls, :EX, are enfants terribles because of their unorthodox reactivity and structural diversity. For this very reason, however, their chemistry is more promising than that of the analogous species :E'X2 of the fourth main group. H. Schnöckel et al. have made an important contribution to the chemistry of these monovalent substances by synthesizing and structurally characterizing the cluster [{Al(C6Me5)}4] (see page 564).