[29.] JEANDEMANGE, Thibault (2018-b), << Les musiques de campagne: des hymnes aux
ritournelles publicitaires >>, Hermes, La Revue (n[degrees]82 Nouvelles voix de la recherche en communication), pp.
Caption: Katia Kameli
Ritournelle (once more, from the top) 2017
This exploration focuses on the development of these ideas chiefly in three of Le Clezio's novels: Onitsha, Etoile errante, and Ourania, though reference will be made to other novels, including Quarantine, the novella Pawana,
Ritournelle de la faim, and Desert.
On trouve encore des exemples de ce complexe de superiorite dans la galerie de portraits de la France occupee de
Ritournelle de la faim : sentences antisemites et pulsions militaristes sont le produit logique de cette pensee imbue d'elle-meme et de cette civilisation narcissique, faite d'hommes qui s'estiment au-dessus des autres, << comme s'ils etaient vraiment d'une essence superieure >> (
Ritournelle de la faim 158).
Ce beau livre, qui est le fruit d'une longue et patiente ecoute de Le Clezio, propose une lecture panoramique de l'ceuvre, du Proces-ver-bal (1963) a
Ritournelle de la faim (2008).
In the wider context, however, Deleuze and Guattari's concept of the
ritournelle, or refrain, is open to a multiplicity both of environments and of pathways.
Some prefer his later nouveaux romans, such as this year's
Ritournelle de la faim.
(12) In early May, around the same time Kapralova was finishing her very last work,
Ritournelle pour violoncelle et piano, she suffered the first symptoms of the illness that was to kill her.
"Nous avons invente la
ritournelle", en: Nouvel Observateur, Paris, Nos.
Hyspa has pencilled in the title given in Chansons d'humour - 'Toast du President dans ses Tournees de Province' - and on page 19 he has provided the instruction '8 couplets (1 mesure de
ritournelle)'.
With regard to the brief C-major
ritournelle for harmonium inserted by Rossini before the unaccompanied C-major Sanctus, undoubtedly, as many have surmised, to make it easier for the singers to find their pitches after the tonally remote "Preludio religioso," all three editions follow the autograph in having it simply precede the Sanctus.
Exx.1-3 show the three different textures that appear in the scores for this ballet: ex.1 solo voice and bass line (this is the opening vocal air of the ballet, the full text of which may be seen in illus.1); ex.2 an instrumental trio, with two treble instruments and bass (the
ritournelle that follows the vocal air); ex.3 a five-part instrumental texture, each line notated in a different clef (the first entree).
