French humour: papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Amsterdam [u.a.]
Rodopi
1999
|
| Schriftenreihe: | Faux titre
164 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | X, 232 S. Ill. |
| ISBN: | 9042005866 |
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| adam_text | Contents
Introduction: 1
Chapter One: ALISON WILLIAMS AND JOHN PARKIN
Feminine wiles and masculine woes: sexual dynamics in Les Quinze
Joies de Manage 21
The wiles and woes of marriage as depicted in this famous text
are re-examined with special reference to female language and
female sexuality. These areas of self-expression are prime among
the means whereby its shrewish women defeat their male
opponents to the consternation of the narrator - if not in fact of
the reader or author - as they turn what are traditionally held to be
flaws in womankind to their own comic advantage. The moral
implications of this process provide an interesting lesson in satiric
practice: are we (as women or men) eager to defend the hapless
victim, or are we indifferent to him; and by what considerations
are we motivated in taking up either option? Do we despise the
cuckold in the tradition of Latin societies? Do we protect him by
counter-attacking in his name on the viragos who are outsmarting
him? Do we regard each participant in the text as equally
unfortunate, marriage itself being the problem? Do we see the
stories as so distant from reality that no serious comment is
relevant to them? Or is there a further choice available to those
who feel an instinctive affinity with the victim figure, however
low he may fall in the eyes of a hostile society and readership?
Chapter Two: MICHAEL FREEMAN
Laughter in the Waning of the Middle Ages 39
It is perhaps inevitable, given the enduring popularity of Johan
Huizinga s classic The Waning of the Middle Ages, that those who
do not specialise in fifteenth-century France should continue to
think of it as a period of decline and decadence. But a closer
inspection of the literature of the time reveals that there is also
much laughter. It was for the most part of a raucous and vulgar
kind, however, which did not appeal to the tastes of nineteenth-
century scholars when they rediscovered the period. For this
reason the abundant literary output which indulges in jokes and
playfulness has been generally misrepresented. By looking in
particular at the work of Francois Villon and Guillaume
Coquillart, it is possible to investigate the nature of contemporary
VI
humour and see how it depended on a form of complicity with its
audience. The overriding characteristic would appear to be a
certain knowingness (which suggests a level of sophistication) and
a celebration - often with tongue in cheek - of materialism (which
suggests a level of prosperity). It reflects an urban, educated
culture. It was also centred on Paris, at a time when the city was
enjoying its post-Hundred Years War boom. Puns, innuendo,
verbal humour relying on shared knowledge and assumptions,
these are the typical devices of comic writing both in satirical
poetry and in farce theatre. What becomes clear is that the humour
of the fifteenth century in France is a natural prelude to that of the
sixteenth. It also helps to explain the background to Rabelais
I style, tastes and technique. The object of this chapter is to show
that it is an over-simplification to see the waning of the Middle
Ages in an entirely negative light.
Chapter Three: JOHN Parkin
Bergson and Rabelais: the twain who never met 61
Rabelais was France s greatest comic genius. Bergson was
France s most famous theorist of humour. Yet Le Rire uses
Rabelais only once for illustrative purposes, the main reason
being that Bergsonian theory cannot accommodate the kind of
humour which Rabelais was attempting most frequently to
generate, one whose ambiguities defy the coercive and conformist
tendencies which Bergson attempts to impose on his subject-
matter, often, to be fair, with considerable success. However,
those whose humour, or sense of humour, resists conformity and
coercion will be less persuaded by the Bergsonian approach, and
more attracted to Bakhtinian theories of liberation, whereby
Rabelaisian laughter is grounded in a cyclic temporality in which
a community renews itself irrespective of the social values it
sustains in terms of serious living. Against the temporality of
responsible life, whose humour is value-based and corrective, and
the temporality of festive revelry, whose humour negates values
and celebrates anti-heroes, one can also, moreover, set the
temporality of the individual moment, as sustained via the
imagination rather than the conscience or the collective spirit. The
humour of this third kind depends on the spontaneous enrichment
of the circumstances in which it is generated, creating a famous
comic instance - of which there are many in Gargantua and
Vll
Pantagruel — out of a set of themes and elements which, though
recognisable in themselves, are but the raw materials rather than
the defining principles of great humour.
Chapter Four: JOHN PARKIN
La Bruyere: a study in satire 87
Defied by much of Rabelais, Bergsonian techniques are highly
relevant to a more representative and value-based satirist such as
La Bruyere, whose negative comments concerning Rabelais are
famous. In arguing for the social utility of satire, moreover, La
Bruyere is begging the question, for to insist that satire is a
punitive mode is not the same thing as to demand that the
punishment it implies be socially useful or desirable. The
punishment in the alternative mode of clan-based satire relates not
to values (whereby one mocks what is wrong), but to identities
(whereby one mocks what is different), and much of the humour
within closed societies (La Bruyere s Versailles in particular) has
traditionally been of this kind. The satirist aims at least in part to
encourage his readers to join the clan whose comic self-
expression his satire represents, whilst also claiming, via his
narrator, that the values his satire purports to uphold are worth
supporting, whether or not he or his reader in fact believe this.
Skilful technique will enhance the success of both procedures, and
it is instructive to examine how La Bruyere s satire is more
effective in manipulating his readers loyalties and convictions,
than are his moral pronouncements convincing in the way they
seek to impose conclusions on his readers responses.
Chapter Five: KEITH CAMERON
Humour and Propaganda under the Second Empire 109
French humour can be seen as particularly favourable to satire and
caricature, and this in periods as far apart as the Religious Wars
and the reign of Napoleon III. These humorous modes intend to
amuse an audience while discrediting a target, and, as
unashamedly partisan, they are applied vigorously to the illicit and
semi-licit campaigns of opposition during the Second Empire,
often employing and exploiting scurrilous and unfounded
accusations in their attacks on the Emperor and several members
of his family. Such satiric techniques can be traced back at least to
the Roman period, and they are theorised in treatises of classical
vm
rhetoric. What they create is a humour which stimulates political
awareness via a campaign of systematic and witty defamation and
deformation. In the process humour is overtaken by ridicule, and
ridicule by unremitting hostility, the skilled caricaturist and
satirist having a potential influence on opinion which is quite as
dangerous as it has been felt to be by the authorities who have so
often persecuted and condemned them.
Chapter Six: WILLIAM HOWARTH
Bergson Revisited: Le Rire a hundred years on 139
Bergson s Le Rire focuses on a more limited subject than its title
suggests: the subtitle Essai sur la signification du comique is a
better guide to its real subject, which is an analysis of the nature
of French comic drama. This chapter considers the originality of
Bergson s formula du mecanique plaque sur du vivant against a
background of the long-standing debate between the intellectualist
and the moralist explanations of laughter, arguing that Le Rire
stands on that side of the debate which sees laughter as essentially
a spontaneous phenomenon, not morally motivated, and supports
the view (not advanced by Bergson) that corrective elements in
comic drama properly belong not to the element of le comique
(laughter) but to la comedie (plot, characterisation, etc.). Looking
ahead to some of the more important theorists of the twentieth
century, and extending his survey beyond the central thesis of Le
Rire, the author examines contrasts between concepts such as
ludic and mimetic comedy, laughing at and laughing with, and le
comique (frangais) and Vhumour (britannique). His conclusion is
that while many leading theorists since Bergson have chosen to
reject certain aspects of the latter s argument, very few have been
able to disregard it.
Chapter Seven: WALTER REDFERN
Bad Jokes and Beckett 157
This text seeks to analyse an area of humour often under-
examined: bad jokes. It is not merely a knocking-job, for a
necessary counterpart and criterion is the good joke. It makes a
comparison with Proust s Dr Cottard, expert in misplaced,
mistimed witticisms. Throughout it looks for metajokes: the
internal commentary of the very self-aware author on the comic
business being enacted. Joking is linked up with the various modi
IX
Vivendi (and moriendi) displayed in Beckett s writings; life itself
is seen as a bad joke, perpetrated by a Creator with a peculiar
sense of humour. Where relevant, Beckett s French or English
versions of his texts written in the other language are conned for
cross-evaluation, as is the effect of his recurrent pedantry on his
style of joke-creation. Other humour traditions under
consideration are: the Joe Miller (or chestnut), dirty jokes,
talking parrots. Other theorists or comparable practitioners of
humour adduced include (ineluctably) Bergson, Michel Tournier,
Celine and Queneau. Various kinds of punning relevant to Beckett
are considered: puns as bargains (two meanings for the price of
one word or phrase, an economy attractive to so laconic a writer
as Beckett); inadvertent puns; macaronic play between languages;
and recycled, literalised idioms.
Chapter Eight: KEITH FOLEY
Comparaison n est pas raison : humour and simile in San-Antonio 175
The detective fiction of Frederic Dard, writing under the
pseudonym of San-Antonio, enjoys a wide readership and has
done so for nearly five decades. The enduring popularity of this
prolific author may be attributed at least as much to his ludic style
as to the intricacies and interest of his plots, for Dard is a master
of the art of verbal humour. The vicissitudes of the supersleuth
commissaire San-Antonio, and of his various sidekicks and
paramours, provide a convenient framework for the author to
display his verbal gymnastics. In a jubilatory celebration of
language, Dard exploits its humorous potential to the full, as
puns, malapropisms, neologisms, reconfigured cliches and literary
allusions jostle for room on the page. Dard has a particular
predilection for comparisons, but rarely employs stock similes
without embellishing them in some way. This chapter describes
the stylistic mechanisms by which Dard seeks to enhance the
impact of his similes.
Chapter Nine: CAROLINE COOPER
Humour and Gender in French New Wave Cinema 201
Questions about humour, gender and cinematic comedy are taken
as a theoretical framework for exploration of some early films by
Truffaut, Chabrol and Godard. Bearing marks of art cinema
(laconic narratives, characters with existential anxieties, low-
budget cinematography) and of a certain self-conscious
Frenchness {I amour, Paris in springtime), films such as Jules et
Jim, Tirez sur le pianiste, or Pierrot lefou usually play to laughs.
They also have certain superficial similarities to romantic
comedy, particularly in their humorous play with conventional
gender roles. But their basic narratives, lacking conventional
happy endings, and their underlying theme of the impossibility of
communication between the sexes relate these films surprisingly
closely to the potential tragedy of Hollywood melodrama.
Bibliography: 223
Index: 229
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| series | Faux titre |
| series2 | Faux titre |
| spelling | French humour papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 ed. by John Parkin Amsterdam [u.a.] Rodopi 1999 X, 232 S. Ill. txt rdacontent n rdamedia nc rdacarrier Faux titre 164 Humour dans la littérature Humour français - Histoire et critique French wit and humor History and criticism Congresses Heiterkeit (DE-588)4113875-2 gnd rswk-swf Geschichte (DE-588)4020517-4 gnd rswk-swf Französisch (DE-588)4113615-9 gnd rswk-swf Humor (DE-588)4026170-0 gnd rswk-swf Humoristische Literatur (DE-588)4302716-7 gnd rswk-swf Frankreich (DE-588)4018145-5 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 1996 Bristol gnd-content Frankreich (DE-588)4018145-5 g Humor (DE-588)4026170-0 s Geschichte (DE-588)4020517-4 s DE-604 Französisch (DE-588)4113615-9 s Humoristische Literatur (DE-588)4302716-7 s DE-188 Heiterkeit (DE-588)4113875-2 s Parkin, John Sonstige oth Faux titre 164 (DE-604)BV000003526 164 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=008651591&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | French humour papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 Faux titre Humour dans la littérature Humour français - Histoire et critique French wit and humor History and criticism Congresses Heiterkeit (DE-588)4113875-2 gnd Geschichte (DE-588)4020517-4 gnd Französisch (DE-588)4113615-9 gnd Humor (DE-588)4026170-0 gnd Humoristische Literatur (DE-588)4302716-7 gnd |
| subject_GND | (DE-588)4113875-2 (DE-588)4020517-4 (DE-588)4113615-9 (DE-588)4026170-0 (DE-588)4302716-7 (DE-588)4018145-5 (DE-588)1071861417 |
| title | French humour papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 |
| title_auth | French humour papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 |
| title_exact_search | French humour papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 |
| title_full | French humour papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 ed. by John Parkin |
| title_fullStr | French humour papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 ed. by John Parkin |
| title_full_unstemmed | French humour papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 ed. by John Parkin |
| title_short | French humour |
| title_sort | french humour papers based on a colloquium held in the french department of the university of bristol november 30th 1996 |
| title_sub | papers based on a colloquium held in the French Department of the University of Bristol, November 30th 1996 |
| topic | Humour dans la littérature Humour français - Histoire et critique French wit and humor History and criticism Congresses Heiterkeit (DE-588)4113875-2 gnd Geschichte (DE-588)4020517-4 gnd Französisch (DE-588)4113615-9 gnd Humor (DE-588)4026170-0 gnd Humoristische Literatur (DE-588)4302716-7 gnd |
| topic_facet | Humour dans la littérature Humour français - Histoire et critique French wit and humor History and criticism Congresses Heiterkeit Geschichte Französisch Humor Humoristische Literatur Frankreich Konferenzschrift 1996 Bristol |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=008651591&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV000003526 |
| work_keys_str_mv | AT parkinjohn frenchhumourpapersbasedonacolloquiumheldinthefrenchdepartmentoftheuniversityofbristolnovember30th1996 |