By Daniel H. Dugas
Dans ce recueil, Daniel H. Dugas se coltaille à un sujet passionnant, los angeles mémoire et l’oubli, au second où les notions de stockage et de pérennité de l’information se volatilisent dans le grand iNuage. Il met de l’avant un ambitieux projet de poésie, qui allie érudition, narration et automatismes.
Sont conviés à l. a. rencontre les trous laissés béants alors que los angeles maladie d’Alzheimer s’installe ; les insectes bibliophages qui menacent les fonds d’archives et donc les repères de l’humanité ; l. a. thought de mémoire absolue et los angeles création de mémoires artificielles. L’apparition de los angeles photographie, technologie du memento, sert également de aspect d’appui au livre.
Le manuscrit est divisé en deux lieux. Le most suitable est dédié à Auguste Deter, l. a. première patiente à avoir reçu un diagnostic de l. a. maladie d’Alzheimer. Le moment lieu, dédié à Melvil Dewey, comprend 10 textes construits selon los angeles grille de l. a. type décimale qu’il a développée.
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Extra resources for Des ravins au bout des lèvres
49 Acutely aware of the successes of German cultural propaganda, Bliss advocated the initiation of ‘a standard of culture at least equal to that advertised by Germany’ in which ‘our own great music and our own great poetry must be broadcast by our living artists’. Achieving this aim was foreseen particularly in the context of international broadcasting. ‘Complimentary’ concerts were to showcase the music and musicians of the empire – works 49 BBC WAC R27/245/1: A. Bliss, ‘The case for live music’ (22 Jan.
The BBC premiered Poulenc’s cantata, Figure humaine set to texts by Paul Eluard and translated by Roland Penrose. While its performance attested to the significance of Franco-British cultural relations, the analysis of the work focuses on the multi-layered text. In the conclusion, I consider the symbolism and resonances the BBC retains in contemporary French cultural memory and how the BBC has become so firmly entrenched in the historiographic discourses of World War Two France. Julia Epstein and Lori Hope Lefkovitz define cultural memory as referring to an ‘ethnic group consciousness of the past’ that ‘provides the philosophical and historical foundations for ethnic, religious and racial identities’.
66 There was caution about the policy in general expressed by the Music Advisory Committee – a body of independent representatives of the music profession – and they organised a sub-committee to discuss the matter in spring 1942. S. Thatcher) to C (P): ‘Copyright Music by Enemy Alien Composers’ (22 May 1941), 1. B. [Arthur Bliss], BBC Policy with regard to Copyright Music by Composers of Enemy Nationality (21 Oct. 1942), 1. 65 Ibid. 66 Ibid. E. e. ’69 Certain artists and composers became the particular topic of discussion resulting either from external correspondence received by the BBC or through concern raised internally.