Adieu New York, bonjour Paris ! : l es enjeux esthétiques et culturels des appropriations du jazz dans le monde musical savant français (1900-1930)

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne et l'Université de Montréal. Composition du jury : M. Laurent Cugny (Université Paris-Sorbonne) ; M. Michel Duchesneau (Université de Montréal) ; M. Philippe Gumplowicz (Université d'Evry-Val d'Essonne) ; Mme Barbara Kelly (Keele University - Royal Northern College of Music) ; M. François de Médicis (Université de Montréal) ; M. Christopher Moore (Université d'Ottawa)

Civic Humanism and the Classical Tradition in the Early Republic of Chile

The first decades of the 19th century constituted a period of profound change for Chile, the principal results of which were to be seen in the consolidation of the process of independence from Spanish dominion in 1818. The consequences were not limited to a revolution of military and political nature; they also included a renovation of the cultural panorama -at least among the educated patriots who made an effort to distance themselves ideologically from the Monarchy-, with the implicit challenge of establishing a new order for Chile, based on legitimate and universally recognizable foundations. The inspirational framework for these efforts is usually associated with other revolutionary examples -France and the United States- that preceded the emancipation processes in Spanish America, as well as with the discourses of illustrated liberalism. As we will attempt to demonstrate in this study, a new reading of the texts written by the Creoles that lead the Chilean independence process may, nonetheless, also reveal the relevance of the classical tradition as a model for the configuration and legitimization of the first Republican projects that especially admired the ideals of Republicanism.

Surprised by Syntax: Reading the Latinity of Paradise Lost

Stanley Fish in his monumental study argued that the reader of Paradise Lost is “surprised by sin” as he or she in the course of engaging with the text falls, like Adam and Eve, into sin and error and is brought up short. Through a “programme of reader harassment” the experience of the fall is re-enacted in the process of reading, wherein lies the poem’s meaning. And reader response criticism was born. But if for Fish the twentieth-century reader is “surprised by sin,” might not the twenty-first century reader, an all too frequently Latinless reader, be surprised by syntax, a syntax which despite of (or maybe because of) its inherent Latinity and associated linguistic alterity functions as a seductively attractive other? The reader, like Eve, is indeed surprised: enchanted, bemused, seduced by the abundant classicism, by the formal Latinate rhetoric achieved by a Miltonic unison of “Voice and Verse” and also by the language of a Satanic tempter who is—in the pejorative sense of the Latin adjective bilinguis—“double-tongued, deceitful, treacherous.” It is hardly an accident that this adjective (with which Milton qualifies hellish betrayal in his Latin gunpowder epic) was typically applied to the forked tongue of a serpent. This study argues that key to the success of the double-tongued Miltonic serpens bilinguis, is his use and abuse of Latinate language and rhetoric. It posits the possible case that this is mirrored in the linguistic methodology of the poeta bilinguis, the geminus Miltonus? For if, like Eve, the twenty-first century reader of Paradise Lost is surprised by syntax, by the Miltonic use and the Satanic abuse of a Latinate voice, might not he or she also be surprised by the text’s bilingual speaking voice?

Adieu New York, bonjour Paris ! : les enjeux esthétiques et culturels des appropriations du jazz dans le monde musical savant français (1900-1930)

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne et l'Université de Montréal. Composition du jury : M. Laurent Cugny (Université Paris-Sorbonne) ; M. Michel Duchesneau (Université de Montréal) ; M. Philippe Gumplowicz (Université d'Evry-Val d'Essonne) ; Mme Barbara Kelly (Keele University - Royal Northern College of Music) ; M. François de Médicis (Université de Montréal) ; M. Christopher Moore (Université d'Ottawa)