Mathieu Duplay
Biographic Data
| ID | 1324622 |
|---|---|
| NAME | Mathieu Duplay |
| GIVEN NAMES | Mathieu |
| FAMILY NAME | Duplay |
| SIGNATURE | DUPLAY M |
| AFFILIATIONS | Université Paris Cité |
| VERIFIED | No |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 15 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
La statue et le fantôme
This first section examines the “affiliation” of French Americanist researchers to their field of study at a time of unprecedented political crisis—one that compels us to rethink our critical position toward our research objects. Mathieu Duplay offers an epistemic reflection on affiliation as a “kind of adoption,” seeking in this distance an ethical path between commitment and critical detachment, while Jon Delogu highlights the freedom that the …
Surviving the Wreck
Les échos de Melville abondent dans le livret de The Death of Klinghoffer, le deuxième opéra de John Adams ; non seulement l’intrigue présente des similitudes avec celle de Moby-Dick, mais la librettiste Alice Goodman entretient une atmosphère d’incertitude éthique et de doute métaphysique qui n’est pas sans rappeler le précédent melvillien. Est-on en droit d’en conclure que le texte de Goodman peut s’appréhender comme une récriture créative de l…
« One More Kiss Before We Part »
Follies (1971), musical de Stephen Sondheim sur un livret de James Goldman, met en œuvre une poétique de l’imitation et du pastiche afin de récapituler l’histoire du théâtre américain depuis les années 1910. Sous ses dehors de comédie camp, cette pièce relève d’une esthétique du trauma ; davantage que tel ou tel événement précis, c’est la temporalité elle-même qui est en cause, l’expérience de la diachronie qui place la différence et l’absence au…
Piecing the Broken Golden Bowl
The purpose of this article is to examine the role of line breaks in the libretto Alice Goodman wrote for Nixon in China (1987), her first collaboration with composer John Adams. In the opera, enjambments function first and foremost as literary devices; as such, they emphasize the text’s autonomy and its independence from its musical setting. On a meta-operatic level, the resulting discrepancy between words and music draws attention to the variou…
Disciplines / Indisciplines
International audience
Le lyrisme du détail dans The Cave de Steve Reich et Beryl Korot
In The Cave, the first of their two stage works, composer Steve Reich and video artist Beryl Korot attempt to shed new light, via an innovative multimedia installation, on the relationship between words and music, a central concern in opera. While Reich appropriates speech melodies for musical purposes, Korot focuses on the graphic properties of alphabetic writing; both pay close attention to details of typography or intonation, which leads them …
We Sat in the Observation Car »
International audience
The Forty Part Motet de Janet Cardiff
The Forty Part Motet (2001), an audiovisual installation by Canadian artist Janet Cardiff, consists in forty loudspeakers arranged in an oval; they play an audio loop of Spem in Alium, a well-known choral work by Thomas Tallis. The recording was devised so that each individual voice can be heard coming from a single loudspeaker. Cardiff’s approach strikes the visitor as highly paradoxical: the artist states that her work is a reworking of Spem in…
Revelations in the Sierra Foothills”
Emerson / Marx, actualité du spectre
Based on a detailed comparison of Marx and Emerson, this article suggests that the frequently contradictory ways in which the two writers explore a shared philosophical vocabulary may be a crucial aspect of what makes them relevant today. Both make frequent use of terms such as “mind,” “thought,” and “action,” all borrowed from the tradition of philosophical idealism yet deployed in such a way that their multiple meanings become apparent, simulta…
A Walk in the Woods of Music »
John Cage’s musical and poetic practice is characterized by his rejection of mimesis. While this reflects his attachment to a type of artistic modernity pioneered by Mallarmé, as Derrida argues in « La Double Séance », Cage appears no less determined to challenge the very idea of writing : since the letter is seen as fundamentally indeterminate, it no longer unambiguously belongs to language, yet it cannot be reduced to an immanent, meaningless p…
Alta, desnuda, única. Poesía »
Dans El Niño (2000) et A Flowering Tree (2006), deux de ses opéras les plus récents, le compositeur américain John Adams (né en 1947) a choisi de travailler sur des livrets bilingues où l’espagnol occupe une place significative aux côtés de l’anglais ; c’est tout particulièrement le cas de El Niño où des textes d’auteurs hispano‐américains sont cités dans la langue d’origine. Chez Adams, le bilinguisme semble lié à une interrogation sur les usage…
Sillon, proximité, écart
In The Senses of Walden, Stanley Cavell provocatively states that "America [has] never expressed itself philosophically," save "in the metaphysical riot of its greatest literature". A similar insight has prompted Richard Rorty to proclaim that philosophy can no longer sustain its old territorial claims, and that its sole remaining purpose is to supervise the "conversation" between non-philosophical discourses and forms of knowledge. Cavell counte…
L'invention de la page blanche dans “The Recognitions” de William Gaddis
Unlike William Gaddis’s other novels, The Recognitions defines writing in ontological terms as the account of an encounter with substance or being qua being. However, this definition is misleading, as substance turns out to be a fiction produced by purely textual means, like the uncanny apparitions described in ghost stories. Thus, Gaddis only refers to metaphysics in order to challenge its applicability to writing, and the explicit allusions to …
L’aspirateur de Socrate
If the novel is indeed a house, as Hawthorne and James suggest, then Carpenter's Gothic is about what happens when no one does any housework there, least of all Madame Socrate with her useless vacuum cleaner : Gaddis 's text no longer seeks to reflect a transcendent Truth, and the metaphysical pattern invented by Plato thus loses its relevance. This is the logical outcome of the process by which Western culture has tended to eliminate the sacred …
Disciplines / Indisciplines
International audience
Sillon, proximité, écart
In The Senses of Walden, Stanley Cavell provocatively states that "America [has] never expressed itself philosophically," save "in the metaphysical riot of its greatest literature". A similar insight has prompted Richard Rorty to proclaim that philosophy can no longer sustain its old territorial claims, and that its sole remaining purpose is to supervise the "conversation" between non-philosophical discourses and forms of knowledge. Cavell counte…
L’aspirateur de Socrate
If the novel is indeed a house, as Hawthorne and James suggest, then Carpenter's Gothic is about what happens when no one does any housework there, least of all Madame Socrate with her useless vacuum cleaner : Gaddis 's text no longer seeks to reflect a transcendent Truth, and the metaphysical pattern invented by Plato thus loses its relevance. This is the logical outcome of the process by which Western culture has tended to eliminate the sacred …
L'invention de la page blanche dans “The Recognitions” de William Gaddis
Unlike William Gaddis’s other novels, The Recognitions defines writing in ontological terms as the account of an encounter with substance or being qua being. However, this definition is misleading, as substance turns out to be a fiction produced by purely textual means, like the uncanny apparitions described in ghost stories. Thus, Gaddis only refers to metaphysics in order to challenge its applicability to writing, and the explicit allusions to …
Sillon, proximité, écart
In The Senses of Walden, Stanley Cavell provocatively states that "America [has] never expressed itself philosophically," save "in the metaphysical riot of its greatest literature". A similar insight has prompted Richard Rorty to proclaim that philosophy can no longer sustain its old territorial claims, and that its sole remaining purpose is to supervise the "conversation" between non-philosophical discourses and forms of knowledge. Cavell counte…
Alta, desnuda, única. Poesía »
Dans El Niño (2000) et A Flowering Tree (2006), deux de ses opéras les plus récents, le compositeur américain John Adams (né en 1947) a choisi de travailler sur des livrets bilingues où l’espagnol occupe une place significative aux côtés de l’anglais ; c’est tout particulièrement le cas de El Niño où des textes d’auteurs hispano‐américains sont cités dans la langue d’origine. Chez Adams, le bilinguisme semble lié à une interrogation sur les usage…
A Walk in the Woods of Music »
John Cage’s musical and poetic practice is characterized by his rejection of mimesis. While this reflects his attachment to a type of artistic modernity pioneered by Mallarmé, as Derrida argues in « La Double Séance », Cage appears no less determined to challenge the very idea of writing : since the letter is seen as fundamentally indeterminate, it no longer unambiguously belongs to language, yet it cannot be reduced to an immanent, meaningless p…
Emerson / Marx, actualité du spectre
Based on a detailed comparison of Marx and Emerson, this article suggests that the frequently contradictory ways in which the two writers explore a shared philosophical vocabulary may be a crucial aspect of what makes them relevant today. Both make frequent use of terms such as “mind,” “thought,” and “action,” all borrowed from the tradition of philosophical idealism yet deployed in such a way that their multiple meanings become apparent, simulta…
Revelations in the Sierra Foothills”
We Sat in the Observation Car »
International audience
The Forty Part Motet de Janet Cardiff
The Forty Part Motet (2001), an audiovisual installation by Canadian artist Janet Cardiff, consists in forty loudspeakers arranged in an oval; they play an audio loop of Spem in Alium, a well-known choral work by Thomas Tallis. The recording was devised so that each individual voice can be heard coming from a single loudspeaker. Cardiff’s approach strikes the visitor as highly paradoxical: the artist states that her work is a reworking of Spem in…
Le lyrisme du détail dans The Cave de Steve Reich et Beryl Korot
In The Cave, the first of their two stage works, composer Steve Reich and video artist Beryl Korot attempt to shed new light, via an innovative multimedia installation, on the relationship between words and music, a central concern in opera. While Reich appropriates speech melodies for musical purposes, Korot focuses on the graphic properties of alphabetic writing; both pay close attention to details of typography or intonation, which leads them …
Disciplines / Indisciplines
International audience
Piecing the Broken Golden Bowl
The purpose of this article is to examine the role of line breaks in the libretto Alice Goodman wrote for Nixon in China (1987), her first collaboration with composer John Adams. In the opera, enjambments function first and foremost as literary devices; as such, they emphasize the text’s autonomy and its independence from its musical setting. On a meta-operatic level, the resulting discrepancy between words and music draws attention to the variou…
Surviving the Wreck
Les échos de Melville abondent dans le livret de The Death of Klinghoffer, le deuxième opéra de John Adams ; non seulement l’intrigue présente des similitudes avec celle de Moby-Dick, mais la librettiste Alice Goodman entretient une atmosphère d’incertitude éthique et de doute métaphysique qui n’est pas sans rappeler le précédent melvillien. Est-on en droit d’en conclure que le texte de Goodman peut s’appréhender comme une récriture créative de l…
« One More Kiss Before We Part »
Follies (1971), musical de Stephen Sondheim sur un livret de James Goldman, met en œuvre une poétique de l’imitation et du pastiche afin de récapituler l’histoire du théâtre américain depuis les années 1910. Sous ses dehors de comédie camp, cette pièce relève d’une esthétique du trauma ; davantage que tel ou tel événement précis, c’est la temporalité elle-même qui est en cause, l’expérience de la diachronie qui place la différence et l’absence au…
La statue et le fantôme
This first section examines the “affiliation” of French Americanist researchers to their field of study at a time of unprecedented political crisis—one that compels us to rethink our critical position toward our research objects. Mathieu Duplay offers an epistemic reflection on affiliation as a “kind of adoption,” seeking in this distance an ethical path between commitment and critical detachment, while Jon Delogu highlights the freedom that the …
Philosophy (12 works) · Art (11 works) · Philosophy (8 works) · Humanities (7 works) · History (5 works) · Literature, Musicology, and Cultural Analysis (5 works) · French Literature and Poetry (4 works) · History (4 works) · Literature (4 works) · Archaeology (3 works)