The grand duchy of Luxembourg was created after the Napoleonic Wars, but at the time there was no 'nation' that identified with the emergent state. This book analyses how politicians, scholars and artists have initiated and contributed to nation-building processes in Luxembourg since the nineteenth century, processes that – as this book argues – are still ongoing. The focus rests on three types of representations of nationhood: a shared past, a common homeland and a national language. History was written so as to justify the country's political independence. Territorial borders shifted meaning, constantly repositioning the national community. The local dialect – initially considered German variant – was gradually transformed into the 'national language', Luxembourgish.
The grand duchy of Luxembourg was created after the Napoleonic Wars, but at the time there was no 'nation' that identified with the emergent state. This book analyses how politicians, scholars and artists have initiated and contributed to nation-building processes in Luxembourg since the nineteenth century, processes that – as this book argues – are still ongoing. The focus rests on three types of representations of nationhood: a shared past, a common homeland and a national language. History was written so as to justify the country's political independence. Territorial borders shifted meaning, constantly repositioning the national community. The local dialect – initially considered German variant – was gradually transformed into the 'national language', Luxembourgish.
The century between c. 650 and 750 was one of major religious, social and political transformations in northwest Europe. In the Frankish kingdom, clerics from Ireland and Britain played an important role in these processes. One of the most prominent figures to emerge from this period was Willibrord – a Northumbrian educated in Ireland who became the first bishop of Utrecht and founded the monastery of Echternach in modern Luxembourg. Through his involvement in the Christianisation of Frisia, his cooperation with the eastern Frankish elite, including the ancestors of Charlemagne, and his connection with the pope, Willibrord was at the centre of the developments which led to the formation of a new ecclesiastical and political landscape between the North Sea and Thuringia on the eve of the Carolingian period. This book, which represents the first extensive study of the topic in English, extends its analysis of Willibrord’s career beyond the mission to Frisia and examines the political dimension of his activity in Merovingian Francia and its border regions. By offering a fresh look at the main sources for Willibrord’s life, the book explores how Insular clerics shaped their Frankish environment through the creation of networks between Ireland, Britain and the continent and their ability to take on a variety of different roles within Merovingian society.
Avec Frêle bruit, Michel Leiris clôt La règle du jeu. Il a consacré trente-cinq ans à la rédaction d'un ouvrage dont le premier propos est de lier des données tirées de sa vie intime. Ce chercheur obstiné à se regarder lui-même peut affirmer qu'il voulait procéder, pour l'usage de quelques autres autant que pour le sien, à une mise en lumière aussi poussée que possible, à partir de l'échantillon humain qu'il est. Et ce n'est pas seulement par goût mais jugeant qu'en l'espèce l'investigation rationnelle ne pouvait faire plus qu'écarter des ombres que, sans vergogne, il a laissé la poésie primer l'enchaînement logique. Dans ce livre-ci, construit presque musicalement, se mêlent donc à des souvenirs proches ou lointains, et à des idées soit anciennes soit venues chemin faisant, des tentatives plus ou moins expresses d'arriver à des moments de transparence en manipulant le langage pris en soi plus que comme instrument d'un commerce. Aspiration au merveilleux, volonté d'engagement dans la lutte contre les iniquités sociales, désir d'universalisme qui l'a porté à des contacts directs avec des cultures autres que la sienne, telles sont les couleurs qui semblent dominer dans le jeu de cet écrivain, amené par sa conscience aigüe de la marche du temps à essayer maints moyens de conjurer l'horreur dont l'a empli très tôt la perspective de son anéantissement.
Michel Winock’s biography situates Gustave Flaubert’s life and work in France’s century of great democratic transition. Flaubert did not welcome the egalitarian society predicted by Tocqueville. Wary of the masses, he rejected the universal male suffrage hard won by the Revolution of 1848, and he was exasperated by the nascent socialism that promoted the collective to the detriment of the individual. But above all, he hated the bourgeoisie. Vulgar, ignorant, obsessed with material comforts, impervious to beauty, the French middle class embodied for Flaubert every vice of the democratic age. His loathing became a fixation—and a source of literary inspiration. Flaubert depicts a man whose personality, habits, and thought are a stew of paradoxes. The author of Madame Bovary and Sentimental Education spent his life inseparably bound to solitude and melancholy, yet he enjoyed periodic escapes from his “hole” in Croisset to pursue a variety of pleasures: fervent friendships, society soirées, and a whirlwind of literary and romantic encounters. He prided himself on the impersonality of his writing, but he did not hesitate to use material from his own life in his fiction. Nowhere are Flaubert’s contradictions more evident than in his politics. An enemy of power who held no nostalgia for the monarchy or the church, he was nonetheless hostile to collectivist utopias. Despite declarations of the timelessness and sacredness of Art, Flaubert could not transcend the era he abominated. Rejecting the modern world, he paradoxically became its celebrated chronicler and the most modern writer of his time.
Preliminary Material -- INTRODUCTION: UN REGARD GLACE: L'AVENTURE CHEVALERESQUE COMME «JUSTIFICATION» DE CLASSE -- CHAPITRE PREMIER: L'EFFET DE ROMAN LA FASCINATION DU MODELE ROMANESQUE -- CHAPITRE II: UN 'PILIER DU MONDE' -- CHAPITRE III: LE RITUEL SYMBOLIQUE DE L'ADOUBEMENT -- CHAPITRE IV: LA PASSION DU TOURNOI ET SES INTERDITS -- CHAPITRE V: LE PLAISIR DES ARMES -- CHAPITRE VI: LA PERSPECTIVE DE LA MIMESIS -- CHAPITRE VII: JEUX D'AMOUR, JEUX D'ECHECS -- CHAPITRE VIII: LE CEREMONIAL DU JEU -- CHAPITRE IX: LES «MISTERES» DU PAS DE L'ARBRE D'OR ET LE CHEVALIER PRISONNIER -- CHAPITRE X: JEU ET RITUEL -- CHAPITRE XI: 'ENTRE SOMMEILLANT ET ESVEILLE' -- D'UNE TECHNIQUE CHEVALERESQUE A UNE EXPERIENCE POETIQUE -- CHAPITRE XII: L'EMPRISE DU VISUEL -- CHAPITRE XIII: LE HERAUT D'ARMES ET LA TRADITION LITTERAIRE CHEVALERESQUE -- CHAPITRE XIV: LA FETE CHEVALERESQUE -- CHAPITRE XV: LE TROUBLE-FETE -- CHAPITRE XVI: LE GOTHIQUE FLAMBOYANT ET L'ESPRIT BAROQUE: ESQUISSE THEORIQUE D'UNE EXPERIENCE ESTHETIQUE -- CHAPITRE XVII: LE PARADOXE DU JEU CHEVALERESQUE -- CONCLUSION -- BIBLIOGRAPHIE -- INDEX DES AUTEURS ET DES OEUVRES.
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