Carmen Revisitée/Revisiter Carmen: nouveaux visages d'un mythe transversal ed. by Claire Lozier and Isabelle Marc (review)
2024; Modern Humanities Research Association; Volume: 119; Issue: 1 Linguagem: Inglês
10.1353/mlr.2024.a916734
ISSN2222-4319
Tópico(s)Caribbean and African Literature and Culture
ResumoReviewed by: Carmen Revisitée/Revisiter Carmen: nouveaux visages d'un mythe transversal ed. by Claire Lozier and Isabelle Marc Vladimir Kapor Carmen Revisitée/Revisiter Carmen: nouveaux visages d'un mythe transversal. Ed. by Claire Lozier and Isabelle Marc. Brussels: Peter Lang. 2020. 174 pp. £35. ISBN 978–2–076–0900–6. The chapters united in this volume originated from three separate initiatives: the exhibition 'Carmen: Lecturas de un Mito', curated by Professor Luis. F. Martínez Montiel and the late Professor José Manuel Rodríguez Gordillo (Matadero Madrid, 21 April–16 October 2016); the conference 'Après Carmen: Évolution et Continuité du Mythe Érotique Espagnole dans la Création Francophone Contemporaine (1975–2016)', organized by Claire Lozier and Isabelle Marc at the Universidad Complutense in Madrid in June 2016; and the 'Carmen Abroad' research project led by Professor Clair Rowden (www.carmenabroad.org). In the introductory chapter 'Carmen aujourd'hui: états des lieux et des enjeux', Lozier and Marc draw on the work of Dominique Maingueneau and Aurélie Renaud to justify their decision to approach Carmen as a 'mythe iconique devenu global' (p. 15), rather than as a literary figure. Acknowledging the abundance of Carmen scholarship over the last decades, the editors seek to build on its findings by promoting a transhistorical, transnational, and transdisciplinary approach to the most recent manifestations of the Carmen myth. The three survey chapters, penned by prominent Carmen specialists, were originally produced for the exhibition 'Carmen: Lecturas de un Mito'. While they often draw on their authors' previous publications, they are made available here in [End Page 136] French for the first time. Martínez Montiel and Rodríguez Gordillo's Chapter 2, 'La séduction dans l'œil du loup: à propos de Carmen et ses images', offers a broad overview of the iconography of Carmen. It is original in its discussion and reproduction of ephemera (postcards, marketing materials) hailing from private collections. José Colmeiro's Chapter 4, 'Carmen revient: ré-imaginer l'espagnolade dans le cinéma espagnol post-franquiste', is an apt synthesis of the author's previous work on Spanish cinematic adaptations of Carmen. In Chapter 7, 'Carmen voyageuse: représentations de Carmen en dehors de l'Espagne', Ann Davies revisits a number of mainly American films previously analysed in a volume she co-authored (Phil Powrie and others, Carmen on Film: A Cultural History (Bloomington: Indiana University Press, 2007)); these are here reinterpreted through Milly Buonnano's concept of 'travelling narrative'. The case-study chapters are a selection of papers originally presented at the 2016 conference. In Chapter 3, François Géal studies the transformation of the Carmen myth in Buñuel's Cet obscur objet du désir (1977), via Pierre Louÿs's Belle Époque remake of Mérimée's tale, La Femme et le Pantin (1898). Buñuel's film and the figure of the mysterious Spanish femme fatale are also the starting point of Chapter 6, 'Après Carmen: le mythe érotique de la femme espagnole dans le cinéma français (1970–2010)', by Claude Murcia. From the 1980s, Murcia points out, this ominous figure was supplanted in French cinema by the unthreatening 'femme rigolote' (p. 119) comic roles often played by Victoria Abril, reflecting a shift in Franco-Iberian relations during Spain's transition towards democracy. In Chapter 5, 'Carmen dans le Gay Paree: du bon usage de la reprise dans Victor, Victoria de Blake Edwards', Caroline Julliot analyses Carmen as a queer subtext to Edwards's comedy, making an original addition to the long list of its cinematic avatars. The final two chapters explore the iterations of the Carmen myth in the last decade. Christine Rodriguez provides an in-depth analysis of Stromae's playful adaptation of Bizet's Habanera—'Carmen' (2013). Carmen's ode to the power of love has lost none of its topicality in the age of social media: while the music video (2015) is ostensibly cautioning against the dehumanizing powers of Twitter's 'blue bird', Stromae's lyrics also subtly promote Eros as an antidote to narcissism and alienation. In the final chapter, commissioned for this volume, Clair Rowden and Lola...
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