03294nam 2200709 450 991027974280332120180731043730.02-7606-2908-2979-1-03-650378-82-7606-2369-610.4000/books.pum.20956(CKB)2470000000002156(EBL)3248840(SSID)ssj0000735628(PQKBManifestationID)11417060(PQKBTitleCode)TC0000735628(PQKBWorkID)10751093(PQKB)11580404(MiAaPQ)EBC4750273(CaPaEBR)406403(CaBNvSL)slc00206064(MiAaPQ)EBC3248840(FrMaCLE)OB-pum-20956(oapen)https://directory.doabooks.org/handle/20.500.12854/58477(VaAlCD)20.500.12592/c33q6t(schport)gibson_crkn/2009-12-01/3/406403(PPN)230001416(EXLCZ)99247000000000215620161213h20022002 uy 0freur|n|---|||||txtccrRictus romantiques politiques du rire chez Victor Hugo /Maxime PrévostPresses de l’Université de Montréal2002[Montréal, Quebećbec] :Les Presses de l'Université de Montréal,2002.©20021 online resource (378 p.)SociusPrésenté à l'origine par l'auteur comme thèse (de doctorat--McGill University), 2001 sous le titre: Gaieté perverse et rire de force dans l'oeuvre de Victor Hugo.2-7606-1827-7 Includes bibliographical references and index.Les efforts de l'homme pour se procurer de la joie sont parfois dignes de l'attention du philosophe, écrit Victor Hugo dans L'Homme qui rit. Comme les autres romantiques, il fait pourtant peser un énorme soupçon sur le rire et sur la gaieté. Les rictus omniprésents sous sa plume et celle de ses contemporains appartiennent tant au sadisme qu'à la souffrance, tant au bourreau qu'à sa victime. Alors que notre époque se montre friande de bonne humeur, de fêtes, de festivals, Victor Hugo et ses contemporains des quatre coins de l'Europe jugent que la joie est mal à-propos, elle qui résonne au milieu des souffrances populaires. Il peut lui arriver de sourire ou de verser des larmes, mais le héros hugolien ne rit pas, sauf si on l'y oblige. Doit-on encore lire les romantiques aujourd'hui ? Oui, parce qu'ils nous rappellent qu'il faut résister à la dictature contemporaine de l'allégresse, du rire de force. Voilà pourquoi Rictus romantiques se termine par un « Éloge de la mauvaise humeur ».Socius (Montréal, Québec)Laughter in literatureSadness in literatureperversionlittératuretristesserireLaughter in literature.Sadness in literature.843/.7Prévost Maxime1968-884366MiAaPQMiAaPQMiAaPQBOOK9910279742803321Rictus romantiques1974841UNINA04044nam 22006855 450 991082787770332120210826033022.00-300-19931-710.12987/9780300199314(CKB)2550000001201414(EBL)3421361(SSID)ssj0001115849(PQKBManifestationID)11633417(PQKBTitleCode)TC0001115849(PQKBWorkID)11092057(PQKB)11646763(MiAaPQ)EBC3421361(DE-B1597)486282(OCoLC)1024015910(OCoLC)1029837088(OCoLC)1032692619(OCoLC)1037971321(OCoLC)1041973505(OCoLC)1046615485(OCoLC)1047025382(OCoLC)1049620091(OCoLC)1054872925(DE-B1597)9780300199314(EXLCZ)99255000000120141420200424h20142014 fg 0engurnn#---|u||utxtccrThrough a Screen Darkly Popular Culture, Public Diplomacy, and America's Image Abroad /Martha BaylesNew Haven, CT :Yale University Press,[2014]©20141 online resource (336 p.)Description based upon print version of record.0-300-12338-8 Includes bibliographical references and index.Front matter --Contents --Introduction --Prologue to Part One: Cultural Export-And Pushback --1. The American Way of Sex --2. Empire of Special Effects --3. Television by the People, for the People? --4. From Pop Idol to Vox Populi --Prologue to Part Two: The Lesson of Odysseus --5. The Washington-Hollywood Pact --6. "The World's Worst Propagandists" --7. US International Broadcasting --8. Bearers of Glad Tidings --9. "Freedom's Just Another Word" --Conclusion --Acknowledgments --Notes --IndexWhat does the world admire most about America? Science, technology, higher education, consumer goods-but not, it seems, freedom and democracy. Indeed, these ideals are in global retreat, for reasons ranging from ill-conceived foreign policy to the financial crisis and the sophisticated propaganda of modern authoritarians. Another reason, explored for the first time in this pathbreaking book, is the distorted picture of freedom and democracy found in America's cultural exports. In interviews with thoughtful observers in eleven countries, Martha Bayles heard many objections to the violence and vulgarity pervading today's popular culture. But she also heard a deeper complaint: namely, that America no longer shares the best of itself. Tracing this change to the end of the Cold War, Bayles shows how public diplomacy was scaled back, and in-your-face entertainment became America's de facto ambassador.This book focuses on the present and recent past, but its perspective is deeply rooted in American history, culture, religion, and political thought. At its heart is an affirmation of a certain ethos-of hope for human freedom tempered with prudence about human nature-that is truly the aspect of America most admired by others. And its author's purpose is less to find fault than to help chart a positive path for the future.Popular cultureAmerican influencesDiplomacyUnited StatesForeign relations21st centuryUnited StatesForeign public opinionUnited StatesSocial life and customs1971-Foreign public opinionPopular cultureAmerican influences.Diplomacy.303.48/273HIS037080HIS036060SOC052000bisacshBayles Marthaauthttp://id.loc.gov/vocabulary/relators/aut1606340DE-B1597DE-B1597BOOK9910827877703321Through a Screen Darkly3932103UNINA