Every Situation has its Rhythm: Acoustic Mimesis and Sonic Exoticism in Tambours Sur La Digue.

This article examines the soundscapes of Ariane Mnouchkine’s Tambours Sur La Digue and explores the concept of acoustic mimesis located in the performance as a dramaturgical strategy to create, aurally, an imagined Far East. In Tambours, mimesis is the performative principle exemplified by the presentation of the mise en scène, and most distinctly Mnouckine’s decision to adapt the Japanese performance tradition of Bunraku through a process of 'reversed' mimicry (in which human bodies simulate the wooden marionettes of the Japanese style). Mimesis pervades the acoustemologies of the performance as it is heard in the extracted sounds, styles, and rhythms of Asian musical modes and movements that consequently become dislocated from context; the sounds become imitated, iconicised and exoticised as sonic signatures as they reify the Orientalist spectacle. The 'oriental' soundscape, reverberating with exotic overtones, becomes the means by which the production creates an imaginary Orient – one in which the Orient Other is silenced, and is resounded only through the musical sensibilities of the Occidental Self.

Vichy, un passé qui ne passe pas ?

La Seconde Guerre mondiale demeure très présente dans les mémoires des Français qui seraient plongés dans une « phase obsessionnelle » depuis le début des années 1970 selon l’historien Henry Rousso. Notre étude se propose de vérifier dans quelle mesure cela reste vrai de nos jours. Elle entend le faire non pas en se basant sur ses occurrences dans la presse ou dans les médias – ce qui, paradoxalement, pourrait ne faire ressortir que ce qui est du domaine de l’épidermique – mais indirectement, à travers les romans et, plus précisément, les best-sellers qui sont, selon de nombreux critiques, des miroirs privilégiés de l’inconscient collectif ou de l’imaginaire d’une époque que, en retour, ils contribuent à façonner. Nous distinguerons quatre phases depuis 1945. Or, les best-sellers contemporains, ceux de la quatrième et dernière phase, présentent nombre de caractéristiques communes qui suggèrent que ce passé difficile est bel et bien en train de passer.

Faire parler les morts. Sur Jan Karski et la controverse Lanzmann-Haenel

The Second World War has inspired many French novelists since 1945. Yet, very few of these novels have been harshly criticized by either historians or other critics, Les Bienveillantes (2006) by Jonathan Littell and Jan Karski (2009) by Yannick Haenel being two notable exceptions. This article revisits the controversy between the novelist Yannick Haenel and the critic and film-maker Claude Lanzmann. First, it shows that the important questions raised by Lanzmann are not void of ambiguity, notably because key terms at the heart of this controversy (truth, fiction or even history) were used loosely. Second, this article compares the documentary Le Rapport Karski (2010) to other texts written by Karski and to the full transcription of the interview he gave to Lanzmann in 1978: it shows how Lanzmann's 2010 documentary distorts Karski's testimony to make it comply with historical perspectives that most historians would agree with today. Finally, the author of this article regrets that this controversy did not allow the debate to move beyond the military non-intervention of the Allies.