frankfurt catalog 2011

Catalog 2011

K L I N C K S I E C K

Foreign Rights

K L I N C K S I E C K

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Table des MatièresContents

Histoire - Alain CORBELLARI, Guillaume d’Orange ou la naissance du héros médiéval

Philosophie - Alain LEYGONIE, Les animaux sont-ils bêtes ? - Gionanni LOMBARDO, L’esthétique antique - Jean-Michel SALANSKIS, Levinas vivant I, L’émotion éthique - Jean-Michel SALANSKIS, Levinas vivant II, L’humanité de l’homme

Cinéma - Florence FIX, Le mélodrame : la tentation des larmes - La direction d’acteur - Cinéaste et producteur : un duo infernal ? - Frédéric SOJCHER, Pratiques du cinéma

F O R E I G N R I G H T S

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List in French and English

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Alain Corbellari is a Professor of Medieval French Literature at the University of Lausanne. His areas of interest are the history of medieval studies (specifically Joseph Bédier), the extent to which medieval culture has been accepted in modern times, and 12th- and 13th-century literature.

Guillaume d’Orange ou la naissance du héros médiévalWilliam of Orange, or the Birth of the Medieval Hero

Why are the Netherlands’ soccer team jerseys orange? Why is there an “Orange River” in South Africa? Why are Ulster’s Protestant extremists called the “Orangemen”? All such questions have a single answer, which can be summed up in the name William of Orange.This figure was certainly well-connected: his historic prototype, William of Toulouse, was one of the most valorous of Charlemagne’s lieutenants. After retiring from the world, William of Orange would even become known as Saint William of Gellone, and the Monastery of Gellone which he founded (now Saint-Guilhem-le-Désert) was named after him.According to legend, he was assigned to defend the city of Orange, near which he is said to have fought in the mythical battle of Aliscamps, accompanied by his nephew Vivien – who, like Roland, tragically died in combat – and by his step-brother, the good giant, Rainouart.This quick-tempered and generous man – the bravest of the brave, a master of disguise, monk and soldier – was passionately in love with beautiful Guibourc and a tireless defender of the Sarrasins. William, the “Short-Nosed Marquis” who was well-known for his punch and his thunderous laugh, remains one of the Middle Ages’ most complex and appealing heroes.

2011264 pages

Of all the chansons de geste heroes of the Middle Ages, William of Orange is the one praised in the largest number of texts.

Histoire 4

Born in Corrèze, but raised in the French department of Lot, Alain Leygonie completed his humanities programme in Brive and his graduate studies in Toulouse, where he taught philosophy.

Les animaux sont-ils bêtes ?Are animals stupid ?

There is a mystery about animals not the least merit of which is that one cannot resist concluding that when it comes to animals, philosophers – regardless of their reputation – generally have a low opinion of them. When confronting the silent, deep, and enigmatic nature of animals, philosophic (and even scientific) discourse, mired in what is human, belittles itself and chases its own tail: we believe we are talking about animals, only to find that yet again, as always, we are actually discussing humanity. Chase people off and they come back running.The aim of this essay – which combines analyses, anecdotes and metaphorical story-telling in an attempt to break the painful “silence of animals” – is to restore to animals their rightful ontological dignity, challenge the disdain with which they are viewed by humans in the name of Intelligence, denounce the idiocy of preconceptions fattened by Reason, banish the concept of shameful origins and banish the concept of shameful origins.

2011150 pages

This essay combines analyses and anecdotes with metaphorical story-telling in an attempt to break the painful “silence of animals.”

5Philosophie

2011200 pages

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Giovanni Lombardo teaches Aesthetics at the University of Messina, Italy. He translated into Italian the treatises Style de Démétrios (Palermo, 1999) and Du Sublime de Longin (Palermo,2007); and published Hypsegoria. Studi sulla retorica del sublime (Modena, 1988); L’Estetica antica (Bologna, 2002); La Pietra di Eraclea. Tre saggi sulla poetica antica (Macerata,2006); and La Traduzione della poesia. Studî e prove (Rome, 2009).

L’esthétique antiqueAesthetics of antiquity

Aesthetics as a philosophic discipline appeared only in the 18th century, but long before a specific term was invented, first the Greeks, and then the Romans, began to ask aesthetics-related questions. In ancient Greece, the discovery of beauty was the immediate consequence of an awakening awareness of the universe. According to the Greeks, the universe emerged in the splendour of a kosmos, meaning from a “beautiful order” – from a coherent system of teleologically moving parts, likely to inspire a feeling of admiration and emulation. Based on Pythagorean thought, the beauty of an object was thus determined by its structural proportions or by its order (kosmos).The aim of this book is to show readers how, in Greek and Roman cultures – from Homer to Plotinus – the notion of kosmos marked and influenced the experience of art from the triple vantage point of the artistic object’s production, structure, and effects on the public. It is meant to help readers gain an intimate grasp of aesthetics from its foundations to the various ways in which it evolved in the Western world.

Philosophie

Jean-Michel Salanskis is a Professor of Philosophy in the areas of science, logics and epistemology at Université de Paris X-Nanterre. He has worked in the field of epistemology and on phenomenology and contemporary philosophy, as well as on the Jewish tradition. His notable works include Heidegger and Husserl, which are part of Les Belles Lettres’ «Figures du savoir» Collection. His latest published books are: Philosophie des mathématiques, and Usages contemporains de la phénoménologie.

Levinas vivant I - L’émotion éthiqueEthical Emotion: Levinas Lives I

This book is a compendium of seven articles derived from presentations made in 2006 during symposiums which marked the 100th anniversary of Levinas’ birth. The articles cover a wide variety of topics and views in an effort to thoroughly explore the author’s work. In this compilation, readers will learn a great deal about Levinas’ writings (for example, his approach to morality, his way of switching back and forth between the universal and the particular, and his role in 20th-century French philosophy).The book’s unity may be attributed to two factors:1) First, the author strives to present Levinas on the basis of what makes the latter’s thought so unique, namely the philosophical privilege attributed to ethical relations; i.e., the emotion which makes us our brothers’ keepers when we are face-to-face with them – the ethical emotion.2) Second, an attempt is made to reveal and discuss Levinas’ thought as a living thing which concerns and deeply affects us right here and now. It is seen as bearing a message which can be equated with those found in other styles and systems of contemporary philosophy. The author avoids, as much as possible, any formal and shaky rehashing of Levinas’ terms and phrases (as is evident from the sub-title “Levinas lives”).

2011216 pages

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A series of conferences held on Levinas

Philosophie

Levinas vivant II - L’humanité de l’hommeThe Humanity of Man: Levinas Lives II

This book is a compendium of six articles presented at conferences, some of which were held during the 2006 events which marked the 100th anniversary of Levinas’ birth, and others more recently. As in the compilation published in 2006 entitled Levinas vivant and republished today as L’émotion éthique”), the author is pursuing his goal of promoting an unfettered and relevant reading of Levinas’ writings, unencumbered by his specific terminology and capable of conveying his message into previously uncharted territory. That is why the sub-title of Levinas vivant II was chosen (“Levinas lives”), to express this type of reading and this more timely image of Levinas.The book’s unity may be attributed to the theme of man’s humanity: the author argues that Levinas’ thought is simply an effort to identify what, within our human experience, can be deemed to be most humane. Its aim is to describe how, and under what conditions, we are most worthy of what is meant by the adjective “humane.” That is why the compilation has three sections:1) Man as witness: The author examines how Levinas uses the personal dimension and invokes the specific cases of certain individuals to clarify thoughts and analyse problems.2) The issue of man: A comparison is drawn between Levinas’ work and what is traditionally called anthropology, including the idea of a philosophical knowledge of man.3) Beyond man? (God and history): An analysis is made of the impact of Levinasian hyper-humanism on theological thought, on the one hand, and on the concept of history and his teleology, on the other.

2011264 pages

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A series of conferences held on Levinas

Philosophie

Jean-Michel Salanskis is a Professor of Philosophy in the areas of science, logics and epistemology at Université de Paris X-Nanterre. He has worked in the field of epistemology and on phenomenology and contemporary philosophy, as well as on the Jewish tradition. His notable works include Heidegger and Husserl, which are part of Les Belles Lettres’ «Figures du savoir» Collection. His latest published books are: Philosophie des mathématiques, and Usages contemporains de la phénoménologie.

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Florence Fix is a senior lecturer in Comparative Literature at Université de Bourgogne, Dijon. Her research and teaching specifically deal with post-Romantic European literature, notably the theatrical arts.

2011184 pages

Le mélodrame : la tentation des larmesMelodrama : Temptation of Tears

Melodrama emerged in the 18th century as a form of theatre allied with text and music and in which tears were commonplace. For people did cry then, in salons as well as in the National Assembly gallery, men and women alike, in their private lives as well as in public places. Tears were a sign of their sincerity, and holding back one’s emotions was deemed suspicious.Two hundred years later, any show of sensitivity has become a sign of sentimentality and although modern-day individuals may pour out their hearts on the telephone, in blogs, or on Facebook, they no longer cry in public. The temptation for tears has persisted, yet our timidity about confronting raw emotions has caused us to relegate it to novels and films, where it can be programmed to appear on acceptable occasions.This book – which explores topics as vastly different as the plays of Pixérécourt, Rostand and Hugo, the film Titanic, Twilight , the Bollywood phenomenon, the popularity of Love Story and, before that, Douglas Sirk’s films – prefers to view “melodrama” as an occasion to enjoy tears and traces its development and motivations within our recent culture.

Cinema

2011240 pages

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Collective work

La direction d’acteurActor Direction

The term “actor direction” poses a problem in itself. Who directs who and how? The confusion may arise from the English term “director,” which designates the person who directs a production (just as a “movie director” designates a film-maker). It is worth recalling that in Hollywood’s early days, the main job of film-makers was to direct actors on the set. In fact, there is actually a job which consists of setting the pace for actors, guiding them, reassuring them, highlighting them, helping them to reach the full potential of their artistic talent for their sakes, and for the film itself. This book offers fascinating contributions by Olivier Assayas, Patrice Chéreau, Michel Deville, Karim Dridi, Bruno Dumont, and Claude Lelouch, each of whom defends a different vision of film-making. Despite their diverse opinions, they all attest to having the same appreciation of actors. All speak frankly about their experiences and, beyond the anecdotes, describe their relationship with actors, their expectations and their work styles. These are actual lessons on the cinema — not just theories — presented undogmatically. No “method” has all the answers: the most interesting thing to be learned from these “real-life cases” is precisely that each of the latter is linked to the personality of unique films and singular film-makers.

Cinema

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Cinéaste et producteur : un duo infernal ?Film director and producer : A tumultuous relationship ?

The producer-director duo constitutes the core of film-making. Yet like all couples, they may not be meant to stay together forever. Divorce, break-up, tensions – there are many metaphors to define how the relationship functions. There have also been numerous “wonderful stories” which have helped certain film-makers’ careers flourish. If this relationship may be called “tumultuous,” it is because it comprises all of the elements which can lead to conflict: large sums of money at stake, oversized egos, and the need to juggle artistic ambitions with market demands.

Jean-Jacques Beineix, Lucas Belvaux, Robert Guédiguian, Benoît Jacquot, Patrice Leconte, Patrick Sobelman and Bertrand Tavernier contribute their own viewpoints and put into perspective their own experiences as producers and directors in dealing with the current challenges of the French cinema.

2010208 pages

Is the film producer-director relationship now threatened by television ?

Cinema

Collective work

2011328 pages

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Film-maker Frédéric Sojcher heads a Masters programme in screen writing and film direction and production at Université Paris I Panthéon-Sorbonne

Pratiques du cinémaCinema Practices

What do we mean by practices of the 7th art? Those adopted by film-makers and film producers, spectators, critics and instructors.Frédéric Sojcher reveals the inadequacies of the European audiovisual policy and tackles the challenges encountered by the French cinema from a new angle. He identifies the cultural and economic stakes of film distribution and relates the Belgian cinema’s heroic struggle to survive.As he mentions the various films he has directed (with Lorànt Deutsch, Patrick Chesnais, Serge Gainsbourg, Michael Lonsdale, Micheline Presle, etc.), he asks questions which range far beyond his own film repertoire.Pratiques du cinéma reads like a history of films from their inception to their reception.

Practices of the 7th art, from every possible angle

Cinema

TITRES RÉCEMMENT VENDUSPreviously sold rights

Backlist available on :http://www.lesbelleslettres.com/foreignrights/

Jean CARRIERE, La stylistique grecque (Mexique)

François NINEY, Le documentaire et ses faux-semblants (Allemagne)

Éric VIGNE, Le livre et l’éditeur (Espagne)

Baldine ST GIRONS, L’acte esthétique (Chili)

André HELBO, Théâtre : texte ou spectacle vivant (Espagne)

Jean-Michel PALMIER, Walter Benjamin, le chiffonnier, l’ange et le petit bossu (Corée)

frankfurt catalog 2011

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