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From the writer-artist to the world around us : the new intimacy of the radio arts interview

From the writer-artist to the world around us : the new intimacy of the radio arts interview De l’artiste-écrivain au monde qui nous entoure : la nouvelle intimité de l’entretien culturel radiophonique. Anne-Outram MOTT Geneva University

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From the writer-artist to the world around us : the new intimacy of the radio arts interview

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  1. From the writer-artist to the world around us : the new intimacy of the radio arts interview De l’artiste-écrivain au monde qui nous entoure : la nouvelle intimité de l’entretien culturel radiophonique Anne-Outram MOTTGeneva University Towards the Radio PostInt. Symposium organised by the GRER, nov.09

  2. Objective :To explore the evolution of mechanisms used to construct the figure of the writer-artist in radio arts interviews. From the writer-artist to the world around us : the new intimacy of the radio arts interviewA.O. MOTT – Towards the Radio Post, nov. 09

  3. Objective :To explore the evolution of mechanisms used to construct the figure of the writer-artist in radio arts interviews. Chosen hypothesis : Towards the opening of radio arts interviews, viewed as an original form for the public consecration of self-presentation: mechanisms for public exposure and understanding of the individual ?  feasability of discussing the collective via the individual ?  mounting tension between the mechanisms inherent in the ascendancy of singularity vs. generality ? From the writer-artist to the world around us : the new intimacy of the radio arts interviewA.O. MOTT – Towards the Radio Post, nov. 09

  4. Extracts from the 1960s: • J.-P. Goretta to N. Bouvier, 1967 : • But you have never said to yourself ‘I want to become a writer’, and that’s where the inner journey lies, that’s the subject matter of my work, don’t you agree?” • Mais vous ne vous êtes jamais dit " je veux devenir écrivain " et le voyage au fond c'est la, c'est la matière de mon œuvre, non ? A. Livio to M. Duras, 1964 : • What a lovely compliment, though I think it is deserved. Do you have the courage, because I don’t think we’ve got much courage left in Paris, do you have the courage to tell your friends, or do your friends have the courage to tell you what they think of your work, and what you think of theirs ? • Quel joli compliment, mais mérité je crois. Et est-ce que vous avez le courage, car je crois qu’on n’a plus beaucoup de courage à Paris, est ce que vous avez le courage de dire à vos amis ou est-ce que vos amis ont le courage de vous dire ce qu’ils pensent de vos œuvres, et ce que vous pensez des leurs ? P. Bouteiller to O. Welles, 1966 : • What do you think of this reputation of a proud man who lets himself enter into the narcissism ascribed to you ? Do you think it is justified ? • Que pensez-vous de cette réputation d'homme orgueilleux, qui se laisse aller au narcissisme qu'on vous fait. A votre avis est-elle justifiée ? • (…) • The myth. There really is an Orson Welles myth. Do you find it irritating or does it please you ? • Le mythe. Il y a un mythe Orson Welles, c'est exact. Est-ce que cela vous ennuie ou est ce que cela vous satisfait ? From the writer-artist to the world around us : the new intimacy of the radio arts interviewA.O. MOTT – Towards the Radio Post, nov. 09

  5. Extracts from the 2000s: • P.P. Cadert to P. Sollers, 2008 : • […] and also because we get the feeling that that’s where your foundations, your roots, are, you know ? In that childhood, that solitude, in Bordeaux, the cheerfulness of the pines that tell us who you are. • […] et puis aussi parce que on a l'impression que le fondement, vos racines elles sont là quoi, dans cette enfance, dans cette solitude, à Bordeaux, la gaîté des pins que vous expliquez A. Maillard to A. Jaoui, 2007 : • Do you feel that you are basically very in tune with the world around you ? • Vous avez le sentiment d’être très en phase au fond avec le monde qui vous entoure ? P. Ferla to G. Bedos, 2007 : • That just shows that everything you have experienced has led you fairly quickly to deal in the comic and the tragic • C’est dire que tout ce que vous avez vécu vous a donc conduit finalement assez vite à faire du drôle avec du triste From the writer-artist to the world around us : the new intimacy of the radio arts interviewA.O. MOTT – Towards the Radio Post, nov. 09

  6. Analysis : 1. Evolution in the structuring of the reference universes From the writer-artist to the world around us : the new intimacy of the radio arts interviewA.O. MOTT – Towards the Radio Post, nov. 09

  7. Analysis :2. Tension between the mechanisms governing singularity/generality From the writer-artist to the world around us : the new intimacy of the radio arts interviewA.O. MOTT – Towards the Radio Post, nov. 09

  8. Interpretation elements : • Remodelling of registers : from prescriptive to evaluative • Hybridization of spheres (private-public; cultural-media-societal) • The interview’s “radiogénie”, agent of the generalization of singularity ? the writer-artist: ideal type of the contemporary individual? From the writer-artist to the world around us : the new intimacy of the radio arts interviewA.O. MOTT – Towards the Radio Post, nov. 09

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