We publish here, by permission of Cornell University Press, two excerpts from Michel Poizat's L'Opéra, ou le cri de l'ange, a book that first appeared with the Parisian publisher A. M. Métailié in 1986. The extracts are taken from Arthur Denner's translation, which is due out with Cornell University Press in the spring of 1992 under the title The Angel's Cry: Beyond the Pleasure Principle in Opera. Poizat's book is an ‘essay on the jouissance of the opera lover’ – an exploration of the experience of being an opera ‘fan’. It begins with interviews that the author conducted on the steps of the Paris Opéra in 1985. On the night before the première of Marek Janowski's production of Tristan und Isolde, Poizat spoke to some fans devoted enough to wait all night for a standing-room ticket, and asked them what motivated their dedication. In both our extracts, we hear more from these fans – Claude, an art history student, and Renaud, a twenty-one-year-old judo instructor.
Challenging the brain to think better and faster can be undergone by some ways. Experiencing, listening to the other experience, adventuring, studying, training, and more practical activities may help you to improve. But here, if you don't have enough time to get the thing directly, you can take a very easy way. Reading is the easiest activity that can be done everywhere you want.
Le silence est systématiquement associé à la situation du sourd (sourd de naissance, dit « muet ») pour de bonnes et de mauvaises raisons. Pour de mauvaises raisons car la réalité de la situation du sourd est loin de pouvoir être qualifiée de « silencieuse ». Mais aussi pour de bonnes raisons: le sourd fait en quelque sorte résonner chez l’entendant un certain silence suscitant particulièrement le rapport du corps au signifiant, faisant valoir le silence comme présence pulsionnelle du corps dans une énonciation langagière et donc comme présentification pulsionnelle de la voix. Paradoxalement, c’est aussi le rapport de la musique au silence qui s’en trouve éclairé.
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