Acting and Ontology in Molière
Though counts the of actors French and seventeenth acting, a consistent century has feature left a is number their theoretiof accounts of actors and acting, a consistent feature is their theoretical underdevelopment. This underdevelopment may seem perplexing since a signal achievement of so-called classical France was the invention of theory itself in a specifically modern sense. We meet the self-consciously professional discipline Rene Descartes brought to the scientific "search for truth," imposing order on the rational pursuit of knowledge through close logical analysis of the conditions of possibility of rational thought as such. We get the systematic lessons in statecraft laid down in Cardinal Richelieu's posthumous Testament politique ( Political Testament) (1688) or Gabriel Naude's Considerations politiques sur les Coups d'Etat ( Political Reflections on Coups d'Etat) (1639), reducing government to a rigorous science grounded in unblinking scrutiny of the material interests that drive political agents. Boileau's L'Art poetique (The Art of Poetry) (1674) presents a synoptic system of literary forms based on the principle of rational self-possession that, for all the aweinspiring sublimity of its most telling effects, enables poets to say just and only what they mean to say as a function of the critical "idea" that governs poetic utterance. And we have the equally critical goal Pierre Corneille sets himself in the three discourses on dramatic art framing his collected Theâtre of 1660, deriving practical rules from
The Public Mirror: Moliere and the Social Commerce of Depiction
Though much beloved and widely produced, Moliere's satirical comedies pose a problem for those reading or staging his works today: how can a genre associated with biting caricature and castigation deliver engaging theatre? Instead of simply dismissing social satire as a foundation for Moliere's theatre, Larry F. Norman takes seriously Moliere's claim that his satires are first and foremost effective theatre. Pairing close readings of Moliere's comedies with accounts of French social history and aesthetics, Norman shows how Moliere perceived satire as a "public mirror" provoking dynamic exchange and conflict with audience members obsessed with their own images. Drawing on these tensions, Moliere portrays characters satirizing one another on stage, with their reactions providing dramatic conflict and propelling comic dialogue. By laying bare his society's system of imagining itself, Moliere's satires both enthralled and enraged his original audience and provide us with a crucial key to the classical culture of representation.
Mastering Web Services Security
Acknowledgments. Foreword. Introduction. Overview of Web Services Security. Web Services. Getting Started with Web Services Security. XML Security and WS-Security. Security Assertion Markup Language. Principles of Securing Web Services. Security of Infrastructures for Web Services. Securing .NET Web Services. Securing Java Web Services. Interoperability of Web Services Security Technologies. Administrative Considerations for Web Services Security. Planning and Building a Secure Web Services Architecture. Glossary. References. Index.