Les fausses confidences by Marivaux
Le valet Dubois entreprend d orchestrer le mariage de son ancien maître, Dorante, avec Araminte, une riche veuve que celui-ci-aime secrètement. Parviendra-t-il, par le pouvoir de los angeles parole manipulatrice, mensongère, fabulatrice , à obtenir qu Araminte s éprenne à son travel de son soupirant ?...
Placée sous le signe du langage, de ses subtilités et de ses ruses, Les Fausses Confidences (1737) est une pièce virtuose où l amour se cherche et se conquiert par l. a. strength des mots.
1. Le théâtre à Paris en 1737
2. Marivaudage et langage
3. Parole, vérité et mensonge dans Les Fausses Confidences
4. Parole et amour dans le théâtre de Marivaux
5. L amour, l argent
6. Le personnage de l. a. veuve
7. Le element de vue des metteurs en scène
Présentation, notes, file, chronologie, bibliographie et lexique par Catherine Naugrette et Damien Crelier
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A crisis is defined as a crucial moment or turning point, often as an emergency which, by definition, requires action to be taken. The discourse of crisis ‘gives order to the world by marking off limits, assigning positions, and 30 Refugees, Theatre and Crisis policing boundaries’ (Nyers, 2006: 7). In order to produce a discourse of crisis it is necessary to suggest its oppositional relationship with what might be described as normality. However, the balance between the two states is not symmetrical but controlled by differential power relationships so that the crisis or emergency becomes pictured as ‘that which is aberrant, unusual, not normal’ (Nyers, 2006: 8).
123). By being creative with the injurious names granted to the subject, maybe through strategies of repeating those injurious names, it may be possible to experiment with ways in which they can be challenged. This could have the effect of challenging the original naming to see if the subject can use, or appropriate the name in some way to gain a sense of ownership over the injurious name rather than being dominated by it. The ‘playful’ possibilities of catachrestic naming are not open to asylum seekers since they are not having speech inflicted on them, so much as having certain names withheld.
If these two conditions on the part of the speaker are not in place, if the speaker is not genuine in their speech nor in their intention to live with the consequences of their speech, the performative will not work because the speech act is considered to be ‘hollow’ or ‘empty’. In a culture where all refugees are classed as asylum seekers, on the basis that they are all lying until it can be proved otherwise, it is nearly impossible for asylum seekers to argue that they have the thoughts and feelings needed to be refugees.