Isabelle Marc est maîtresse de conférences en Études françaises, habilitée à diriger des recherches, à l’Université Complutense de Madrid, où elle enseigne la culture française contemporaine et la traduction littéraire.
Elle travaille sur les musiques populaires et la littérature middlebrow en France et en Europe, notamment sur les questions liées à la construction des identités (nationales, de genre…) et aux rapports entre l’esthétique populaire et élevée. Elle s’intéresse aussi aux phénomènes transcuturels et à la diplomatie culturelle et musicale.
Elle dirige la revue Thélème. Revista Complutense de Estudios Franceses. Elle est membre de l’IASPM et co-dirige l’European Popular Musics Research Group à l’Université de Leeds.
CV complet :
ORCID number: https://orcid.org/0000-0002-2393-5891 Continuer la lecture de Isabelle Marc (Université Complutense de Madrid, Espagne)
Diana Holmes, Middlebrow Matters
Women’s reading and the literary canon in France since the Belle Époque, Liverpool University Press, 2018
This is the first book to study the middlebrow novel in France. Middlebrow is a derogatory word that connotes blandness, mediocrity and a failed aspiration to ‘high’ culture. However, when appropriated as a positive term to denote that wide swathe of literature between the challenging experimentalism of the high and the formulaic tendency of the popular, it enables a rethinking of the literary canon from the point of view of what most readers actually read, a criterion curiously absent from dominant definitions of literary value. Since women have long formed a majority of the reading public, this perspective immediately feminises what has always been a very male canon. Opening with a theorisation of the concept of middlebrow that mounts a defence of some literary qualities disdained by modernism, the book then focuses on a series of case studies of periods (the Belle Époque, inter-war, early twenty-first century), authors (including Colette, Irène Nemirovsky, Françoise Sagan, Anna Gavalda) and the middlebrow nature of literary prizes. It concludes with a double reading of a single text, from the perspective of an academic critic, and from that of a middlebrow reader.
Diana Holmes is Professor of French at the University of Leeds.
Belphégor 15-2, Décembre 2017
The term ‘middlebrow’ has a strong negative charge. It suggests middle-of-the-road, compromise and insipidity, middle class in an aspirational and snobbish way. The metaphor on which it is based refers back to the discredited nineteenth-century science of phrenology: a high forehead or brow was believed to denote intelligence, a low one its opposite. The hierarchy of brows, however, is not straightforward, for if the ‘high’ and ‘low’ at least have the dignity of the extreme, ‘middlebrow’ is charged with all the opprobrium that attaches to the norm, the median, the merely average. Recently, however, middlebrow culture in Britain and the United States has become the object of scholarly interest and the term has started to be reclaimed as something more than a dismissive epithet. The English word, with all its derogatory connotations, is – as far as we know – unmatched in any other language hence never quite translatable. Yet the phenomenon of the middlebrow itself surely extends beyond Anglophone cultures, and in this volume our aim is to explore the concept’s wider international relevance to cultural history and to the present. We will begin with an outline history of the term itself and its recent critical renaissance in Anglophone scholarship, then introduce the articles collected here through a brief discussion of the questions they collectively address, and the value of this international perspective for the study of the middlebrow.
Diana Holmes Continuer la lecture de Parution : « Belphégor : Middlebrow »