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Lost order: Repercussions of secula...

Mai, Joseph.

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Lost order: Repercussions of secularization on literary and film rhetoric (France, Charles Peguy, Georges Bernanos, Robert Bresson).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Lost order: Repercussions of secularization on literary and film rhetoric (France, Charles Peguy, Georges Bernanos, Robert Bresson)./
作者:	Mai, Joseph.
面頁冊數:	202 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-03, Section: A, page: 0914.
Contained By:	Dissertation Abstracts International65-03A.
標題:	Language, Modern. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3125250
ISBN:	0496725403

Lost order: Repercussions of secularization on literary and film rhetoric (France, Charles Peguy, Georges Bernanos, Robert Bresson).
Mai, Joseph.

Lost order: Repercussions of secularization on literary and film rhetoric (France, Charles Peguy, Georges Bernanos, Robert Bresson). - 202 p.

Source: Dissertation Abstracts International, Volume: 65-03, Section: A, page: 0914.

Thesis (Ph.D.)--Yale University, 2004.

This dissertation examines effects of secularization on literary and film rhetoric in twentieth-century France. The introduction argues that a scientific approach to religious practices may treat them as signs of social and historical conflict which have no privileged relationship to a foundational truth. Yet because science only claims to deal with relative truths rather than truth in an absolute sense, it has been said that science "disappears" (cf. Michel de Certeau) the truth object. From a vast corpus of works affected by the tensions of secularization, I have isolated works in which an intense desire for this lost historical order has a determinant impact on style. By examining the distinct rhetoric developed by artists like Charles Peguy, Georges Bernanos, and Robert Bresson, I hope to describe the untidy and contradictory way in which these cultural tensions were experienced.

ISBN: 0496725403Subjects--Topical Terms:

1018098
Language, Modern.

Lost order: Repercussions of secularization on literary and film rhetoric (France, Charles Peguy, Georges Bernanos, Robert Bresson).
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520 $a This dissertation examines effects of secularization on literary and film rhetoric in twentieth-century France. The introduction argues that a scientific approach to religious practices may treat them as signs of social and historical conflict which have no privileged relationship to a foundational truth. Yet because science only claims to deal with relative truths rather than truth in an absolute sense, it has been said that science "disappears" (cf. Michel de Certeau) the truth object. From a vast corpus of works affected by the tensions of secularization, I have isolated works in which an intense desire for this lost historical order has a determinant impact on style. By examining the distinct rhetoric developed by artists like Charles Peguy, Georges Bernanos, and Robert Bresson, I hope to describe the untidy and contradictory way in which these cultural tensions were experienced.
520 $a Chapters two and three consider Peguy's loyalty to a utopian socialism during the Dreyfus Affair. I describe his heroic, ultimately unsuccessful effort to prevent his inclusive and universalistic "mystique " of France from degenerating into a self-serving " politique" like that of some of his dreyfusard colleagues: "tout commence en mystique et finit en politique ," he laments. The turbulent verse experimentation of Le mystere de la charite de Jeanne d'Arc expresses a mystique of "beginnings" and the failed attempt to bring idealism to political action. Chapter four examines the effects of Bernanos's disillusionment with right-wing politics after witnessing Francoist massacres in Majorca. In his Nouvelle histoire de Mouchette, Bernanos uncharacteristically rejects the realistic representation of sanctity: through an idiosyncratic use of the fantastique, he reproduces its absence in the everyday world. In the final chapter, I examine Bresson's revolutionary use of film rhetoric. Though influenced by the "indexical" realism of Andre Bazin, Bresson's use of non-professional actors and elliptical montage permits him to suggest something beyond the realist image. Taking into account Bresson's warning against political nostalgia in his later films, I conclude that his work illuminates and accepts an essential impossibility that has been implicit throughout the history of this rhetoric: the unbridgeable distance between politics and lost order.
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