Right selection 2012 Klincksieck

KLINCKSIECK Catalog 2012

Foreign Rights

KLINCKSIECK Stand 6.1 A954 www.klincksieck.com 95 boulevard Raspail - 75006 Paris - France Droits étrangers - Foreign Rights Marie-Pierre Ciric Téléphone 33 (0)1 43 54 47 57 E-mail : mpciric@klincksieck.com Catalog translated by Carol MACOMBER macuse@ix.netcom.com - Tel./Fax: (717) 355-2472

For Spanish and Portuguese - Eduardo MELON Tel + 34 91 365 25 16 Fax + 34 91 364 07 00 E-mail : eduardo@amvagencialiteraria.com

For Italian - Agnese INCISA

Tel/Fax + 39 011 885642 E-mail : agnese.incisa@fastwebnet.it

For Greek - Niki DOUGÉ

Tel + 33 1 45 86 07 48 Fax + 33 1 45 86 07 48 E-mail : kleoniki.douge@online.fr

For Russian - Anastasia LESTER Tel + 33 1 45 88 16 72 E-mail : anastasia.lester@free.fr

For Japanese - Bureau des copyrights français - Corinne QUENTIN Tel + 81 358 40 88 71 Fax + 81 35 84 08 872 E-mail : corinnequentin@bcf-tokyo.com

For Corean - Yung Sun Choi

Tel + 82 2 338 7430 Fax + 82 2 338 7434 E-mail : youngsun.choi@sibyllebooks.com

FOREIGN RIGHTS DROITS DISPONIBLES AVAILABLE RIGHTS List in French and English Table des Matières Contents 4

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Cinéma

- Claude AZIZA, Toi Tarzan, moi fan - Isabelle-Rachel CASTA, Pleins feux sur le polar - Gilles RENOUARD, Le cinéma français dans le monde - José MOURE, Le plaisir du cinéma : analyses et critiques des films - L’Atelier des cinéastes. De la Nouvelle Vague à nos jours

Philosophie

- Irène TAMBA, Le hérisson et le renard : une piquante alliance

Art - Esthétique - François SOULAGES & Marc TAMISIER, Photographie contemporaine & art contemporain - Marc JIMENEZ, L’art dans tous ses extrêmes

Moyen Âge - Laurence MATHEY-MAILLE, Arthur, roi de Bretagne

CINÉMA

Toi Tarzan, moi fan You Tarzan, Me Fan

September 2012 - 168 pages

Learn all there is to know about Tarzan!

If you think of Tarzan as some half-naked guy swinging from vine to vine in some made-up jungle, you are totally wrong. If you think Tarzan has the – somewhat more exotic – looks of a Johnny Weismuller or those of a dumber-looking Christophe Lambert, you are still wrong. If you imagine Tarzan as a colour cartoon character, you are really off course. So then, who is Tarzan? He is, first and foremost, a husky 100 year-old figure who was born in 1912 by the imaginative pen stroke of a man named Edgar Rice Burroughs. In short, he is a literary character.

It is no secret that he has become a myth. It is also obvious that the cinema and cartoons have made him world-famous. But certain forms of fame can kill! We have forgotten the hero of some forty novels and stories. Therefore it is this hero’s life, adventures, loves and character which this book attempts to explore. To put it simply, readers are bound to forget, between these pages, Tarzan’s famous cry and the film dialogues that were never said. This book pays tribute to the one and only real Tarzan.

An Honorary Senior Lecturer in Latin Language and Literature at Sorbonne nouvelle (Paris III), Claude Aziza collaborated on the publication by Les Belles Lettres of the following books : Alexandre Dumas’ Isaac Laquedem (2005), Mémoires d’Horace (2006), E. G. Bulwer-Lytton’s Les Derniers Jours de Pompéi (2007), and Guide de l’Antiquité imaginaire (2008). He also contributed to the publication of L’Histoire et du Monde de la Bible.

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CINÉMA

Pleins feux sur le polar Open fire on detective novels

October 2012 - 208 pages

When the detective novel invades all forms of contemporary fiction Today, the detective genre is venturing and flourishing far – often very far – beyond its original “classical” narrative roots: crime is being sung, drawn, painted and directed; it is found in children’s literature as well as in fantastic short stories. One moment it is zany and the next it curdles our blood. In short, crime is contaminating all forms of contemporary fiction.

Such is the key focus of this book: within the last one hundred and fifty years, as literature moved away from the former canon of literary frontiers, police jargon has become the source of all these stories. It has instilled in them its aesthetics, its own expectation and acceptance registries, imprinting its pattern on them (enigma-traps-clues-partial solution-conclusion) and shaping the mental “posture” of whole generations.

According to Michel Meyer, one might say that a criminal procedure deals with both the question (like science fiction) and the answer (like the myth), thus transforming us into lyrical subjects, unlike many other modern-day creations. Indeed, all of this unfolds as though crime stories were able to evoke in us some sort of fascinated approval, an insatiable addiction, so consumed are we by their dark fire.

Isabelle-Rachel Casta is a Professor of French Literature at Université d’Artois. An expert on mystery novels – both crime and fantasy – she has written many articles on dark fantasy, seriality and vampire sagas.

She recently published Nouvelles Mythologies de la mort (Champion).

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CINÉMA

Le cinéma français dans le monde French cinema in the world

April 2012 - 224 pages

A detailed survey the French cinema’s position worldwide Jean Dujardin and The Artist were awarded “best actor” and “best movie” Oscars. The Golden Palm went to Entre les murs. The Untouchables won top billing at the German box office. Luc Besson asked Angelina Jolie to star in his next film. All of these are signs of the drawing power of French films beyond the country’s borders.

But what is the true status of the French cinema worldwide? What do foreign audiences really think of its directors and its actors? How are these films circulated? Why does France consider the exporting of its cinematic works important?

Gilles Renouard explores an as yet little understood aspect of French cinema its international drawing power. Covering the full range of knowledge available, he brings readers some totally new information about a history beset with triumphs and setbacks as old as the cinema itself. He explores how French films are perceived by audiences, festivals, journalists and foreign professionals. He explores the French cinema’s economic weight and analyses the political dynamics behind the worldwide circulation of films. Readers will embark on an exciting tour of the cinema planet.

Gilles Renouard is Deputy Director of UniFrance Films, an organisation in charge of promoting French films worldwide.

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CINÉMA

Le plaisir du cinéma : analyses et critiques des films Cinema delights: Film analyses and reviews

May 2012 - 214 pages

More than just a manual of illustrated cinematic analysis, this book exemplifies film poetics.

This essay endeavours to describe and illustrate, by way of examples, the diverse ways in which the cinema can be analysed and transcribed. By varying the work approach methods (by scene, sequence, script, author, etc.), alternating the writing standards and paces (short forms/long forms), modulating analytical and critical perspectives, covering a very wide range of filmmakers and films (from silent films to the latest releases), the author offers readers not merely an illustrated manual of cinematic analysis, but a film poetic, thoughts on cinematic art put into action. It is an art palpable when one is in contact with films, close to what unfolds at the creative core of the moving images, in the transition from one scene to the next, in the way a story is told and directed, in this tense and often mysterious connection between the filmmaker’s perspective and the viewer’s sensitivity and intelligence.

José Moure teaches Aesthetics of the Cinema at Université de Paris 1 Panthéon-Sorbonne. His notable works include: Vers une esthétique du vide au cinéma (L’Harmattan, 1997), Michelangelo Antonioni, cinéaste de l’évidement (L’Harmattan, 2001), (co-authored by Daniel Banda) Le Cinéma, naissance d’un art (1895-1920) (Flammarion, Champs Arts coll., 2008) and Le Cinéma : l’art d’une civilisation (1920-1960) (Flammarion, Champs Arts coll., 2011).

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CINÉMA

L’atelier des cinéastes. De la Nouvelle Vague à nos jours The filmmakers’ workshop.

From the “New Wave” to now

September 2012 - 308 pages

A glimpse into a contemporary filmmakers‘ studio, based on conversations revealing how they go about their creative work.

This book of interviews was inspired by the desire to meet filmmakers of various ages, reputations, and experiences, and to simply give them an opportunity to talk about their world. From the New Wave on down to its heirs of yesterday and today: from Paul Vecchiali to Claire Denis and Jérôme Bonnell, from Jean-Marie Straub and Luc Moullet to Vladimir Léon, and from Alain Cavalier to Vincent Dieutre and Lionel Baier, three generations of filmmakers have passed on their legacies. They discuss their They talk about their different approaches as both artists and craftsmen, working alone or as part of a group. They describe how they work, how they dream up, think about, and direct their films, and how they “live” the cinema and its link to the world. Retracing their career paths, they share their creative experience – this always singular adventure which consists of giving life to a desire to film, an idea for a film – and they open the doors of their “studio” to bring readers a unique glimpse into the last fifty years of creative filmmaking.

Co-edited by: José Moure teaches Aesthetics of the Cinema at Université de Paris 1 Panthéon-Sorbonne.

Gaël Pasquier is currently teaching and working on her thesis in Education Sciences.

Claude Schopp, whose PhD is in Literature and the Humanities, has been devoting his efforts to rehabilitating the literary reputation of Alexandre Dumas.

With : André Téchiné, Lola Doillon, Jacques Rozier, Claire Denis, Martin Provost, Alain Guiraudie ...

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PHILOSOPHIE

Le hérisson et le renard : une piquante alliance The hedgehog and the fox: A prickly alliance

May 2012 - 160 pages

An inquiry into the longevity and symbolic fluctuation of a 2,800 year-old couple The oldest mention of this equally enigmatic and paradoxical couple dates back to a 7th- century BC aphorism recorded in an isolated verse by Archilochus, the first Greek lyrical poet: “The fox knows many things, but the hedgehog knows one big thing.” His last avatar dates from 2002, in the posthumous work by palaeontologist and biologist Stephen Jay Gould, The Hedgehog, the Fox, and the Magister’s Pox Mending the Gap Between Science and the Humanities.

During the Renaissance, Erasmus revived the Greek proverb by cloaking it in Latin and contrasting the fox’s multiple ruses with the single yet infallible strategy of a hedgehog which can roll itself into a ball. In the 20th century, the Oxfordian essayist and philosopher Isaiah Berlin rehabilitated Archilochus’ image by distinguishing between two antithetical categories of thinkers and writers: the monistic hedgehogs versus the pluralistic foxes. In the early 21st century, Gould ventured beyond Berlin’s dichotomy and reconciled the fox and the hedgehog by using them as symbols for the divergence and complementarity of science and the humanities.

Irène Tamba conducts an in-depth inquiry into the tortuous path crisscrossed by issues such as the use of the same names for certain land and sea animals, or the animal classification system and their popular and scientific names.

Linguist and Japanologist Irène Tamba has been exploring the semantics of languages with the stubbornness of a hedgehog and the curiosity of a fox, as attested to by her works on Le Sens figuré and La Sémantique, as well as her many articles on contrastive linguistics relating to French and Japanese.

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ART - ESTHÉTIQUE

Photographie contemporaine & art contemporain Contemporary photography & contemporary art

June 2012 - 256 pages

Eighteen views on contemporary photography by artists and theoreticians François Soulages and Marc Tamisier invited eighteen artists and theoreticians to reflect upon what they mean by “contemporary photography” and by “contemporary art.” Are these concerns historical or paradigmatic? By exploring these sometimes radically opposed views, the book allows readers to enjoy the full gamut of related current issues, concepts, presuppositions and challenges.

Perhaps the first challenge would be “contemporary art,” which could not then be reduced to what is thought of as contemporary art. If so, what could “contemporary photography” represent in the digital era? Indeed, the ultimate challenge is figuring out what the/our “contemporary” really means.

Directed by François Soulages & Marc Tamisier

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ART - ESTHÉTIQUE

L’art dans tous ses extrêmes Art in all of its extreme forms

June 2012 - 216 pages

What is contemporary art?

Given its infinite inventiveness, early 21st-century art escapes classification. As such, its configurations are unlimited, it stymies all expectations, infiltrates our daily lives and, as Claude Amey explains it, the extreme is not found in the straight line but in the number of arrangements intended to share “the perceptible.”

All those prophesying the decline of art, the Cassandras predicting its scheduled demise, from G. W. F. Hegel — who spoke only of its “dissolution” — to Arthur Danto, were thus all mistaken. Liberal capitalism has managed to invent the “end of the end of art.” It has succeeded in birthing an art in its own image, an art free of modernist inevitabilities and illusions, an art devoid of models, values and ideals and lacking humanist perspective – in short, a “conforming” art, a disenchanted, if not cynical, testimony, a genuine seismograph constantly checking the pulse of an agitated and disoriented world which, itself, is also subject to being reconfigurations.

Let there be no confusion, however ; the art of “non-finitude” has not abandoned that which is beautiful, sublime or ugly. Quite to the contrary, it absorbs the whole, emancipated from any idealism, particularly the illusion that it might again seduce the world. Perhaps this is the message of the 11th Lyon Biennial [Contemporary Art Festival] entitled: “A terrible beauty is born,” from a verse in a poem by Yeats. A terrible beauty that one might also call frightening, abominable, ghastly, apocalyptic, horrifying, catastrophic, Dantesque, tragic, appalling, dreadful, extraordinary, fantastic, savage, ferocious, formidable, devastating, horrible, unbearable, intolerable, intense, monstrous, phenomenal, powerful, fearsome, dark, terrifying, tragic, violent, etc. Lacking any label, today’s art can be called anything.

—Marc Jimenez

Philosopher and Germanist Marc Jimenez is an instructor at Université de Paris I (Panthéon-Sorbonne). He teaches Aesthetics at UFR d’Arts plastiques et Sciences de l’art (a French plastic arts and sciences teaching and research institute) where he is the Head of the Centre de Recherches en Esthétique théorique et appliquée (Theoretical and Applied Aesthetics Research Center).

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MOYEN - ÂGE

Arthur, roi de Bretagne Arthur, King of Brittany

October 2012 - 176 pages

The life journey of King Arthur from his literary birth to his accession to the pantheon of mythical figures As the legendary King of Brittany, Arthur has always fascinated authors and artists who, from the earliest novels about the Round Table to their more modern adaptations, have perpetually related his amazing destiny in writings and in film.

How did this 6th-century Breton sovereign become the central character of a vast literary and artistic cycle still being fuelled today? How and why did he earn a place in the pantheon of mythical figures? The challenge presented by this journey with Arthur was to establish the “birth certificate” of the Arthurian myth – a primarily literary myth whose main components were already emerging in the 12th century’s founding texts, notably in Historia regum Britanniae by Geoffrey of Monmouth (1135-1138) and its French adaptation, Roman de Brut by Wace (1155). Readers are invited to follow King Arthur’s rise to the rank of mythical hero via the various stages of his heroic biography, from the magical birth of Brittany’s great king to his glorious reign and his early death, steeped in mystery.

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Laurence Mathey-Maille , an École normale supérieure graduate with a PhD from Sorbonne nouvelle, is a Professor of Language and Literature of the Middle Ages at Université du Havre. She has published several studies on the founding texts of Arthurian literature and on AngloNorman historiography.

Les grandes figures du Moyen Âge Great figures of the Middle Ages

Collection dirigée par Bernard Ribémont

Le point de départ de cette collection est tout d’abord la volonté de faire un peu peau neuve en présentant des ouvrages sortant du cadre strict de l’érudition universitaire et de l’écriture académique. Si l’histoire en général, et l’histoire médiévale en particulier, bénéficient d’un public relativement vaste, avec, de façon corollaire, la faveur des grands éditeurs, l’histoire et l’analyse littéraires, surtout pour la période médiévale, sont beaucoup plus mal loties. À quelques exceptions près, la littérature médiévale reste inaccessible pour un public cultivé, mais large : les analyses, beaucoup de textes sont l’apanage d’éditeurs spécialisés, de grand renom, d’un sérieux reconnu parmi les spécialistes, mais le plus souvent ignorés du public.

Le but est donc, avec Grandes Figures du Moyen Âge, d’ouvrir une porte permettant d’offrir à ce large public cultivé une approche de la littérature et de la culture médiévales fiable et agréable, réalisée par des auteurs aux qualités scientifiques reconnues et acceptant de mettre leur savoir à la portée des non-spécialistes. L’idée de départ est donc de s’appuyer sur certaines grandes figures, qui plus est pour certaines à la mode à travers les médias (Lancelot, Guenièvre, Arthur, etc.) pour donner un éclairage, venus de spécialistes, à la fois sérieux et attractif sur le Moyen Âge littéraire, symbolique, imaginaire et plus largement culturel. Ce projet intègre également le suivi de ces figures à travers les âges. Chaque livre présentera donc telle ou telle figure qui, selon les désirs de l’auteur, restera dans le cadre médiéval ou bien évoluera dans la postérité.

Pour assurer la réussite de ce projet, il faut bien évidemment en revenir aux bons vieux principes d’Horace et donc instruire en distrayant.

Directed by Bernard Ribémont

What inspired this collection was, first of all, a desire to blaze a new trail by presenting works which ventured beyond the strict framework of university scholarship and academic writing. Although history in general, and medieval history in particular, benefit from a relatively vast public and consequently find favour with the leading publishers, literary history and analysis – especially as far as the medieval period is concerned, fare far less well. With very few exceptions, medieval literature remains inaccessible to a cultivated, yet broad, public: the studies and many texts are the prerogative of highly renowned specialist publishers whose reliability is recognised among experts, but often unknown to the public.

The aim of Grandes Figures du Moyen Âge is thus to open a door which will give this broad cultivated public a reliable and enjoyable access to medieval literature and culture, through a collection written by authors with well-recognised scientific credentials who are willing to make their knowledge accessible to non-experts. The initial idea was thus to rely on certain key figures, some of whom have been popularised by the media (Lancelot, Guinevere, Arthur, etc.) in order to cast an accurate and appealing expert light on the literary, symbolic, imaginary and – more generally – cultural, aspects of the Middle Ages. This project also reveals how these figures have evolved through the centuries. Each book will thus present one such figure who, according to each author’s intent, will be presented within a medieval era framework, or as a figure who will continuously evolve into the future. .

To ensure this project’s success, the authors naturally had to ultimately rely on Horace’s good old principles and “instruct by pleasing.”

Déjà publiés Already published

• Envoûtante Mélusine • Guenièvre • Charlemagne, empereur et mythe d’Occident • Guillaume d’Orange ou la naissance du héros médiéval • Roland ou les avatars d’une folie héroïque

A selection of Foreign rights

Jean-Luc Nancy The Evidence of Film: Abbas Kiarostami

Jean-Franรงois Lyotard Discourse, Figure

Kino!

(Slovenia)

Hosei University Press (Japan)

Jean-Franรงois Lyotard Discourse, Figure

Franรงois Niney The Documentary and Its Imitators

University of Minnesota Press (U.S.A)

Ye-Lim Publishing Co. (Korea)

TITRES RÉCEMMENT VENDUS Previously sold rights

Jean-Luc NANCY, L’évidence du film (Turquie) Henri MESCHONNIC, Pour sortir du postmoderne (Argentine) Anouar LOUCA, Voyageurs et écrivains égyptiens en France au XIXe siècle (Égypte) François NINEY, Le documentaire et ses faux-semblants (Corée) Christian METZ, Essais sur la signification au cinéma (Turquie) Claude COSTE, La bêtise de Barthes (Japon)

Backlist available on : http://www.klincksieck.com/foreignrights/