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AND THE SHOW WENT ON(ISBN=9780307268976)书籍详细信息
- ISBN：9780307268976
- 作者：暂无作者
- 出版社：暂无出版社
- 出版时间：2010-10
- 页数：416
- 价格：125.00
- 纸张：胶版纸
- 装帧：精装
- 开本：16开
- 语言：未知
- 丛书：暂无丛书
- TAG：暂无
- 豆瓣评分：暂无豆瓣评分
内容简介：
On June 14, 1940, German tanks rolled into a silent and
deserted Paris. Eight days later, a humbled France accepted defeat
along with foreign occupation. The only consolation was that, while
the swastika now flew over Paris, the City of Light was undamaged.
Soon, a peculiar kind of normality returned as theaters, opera
houses, movie theaters and nightclubs reopened for business. This
suited both conquerors and vanquished: the Germans wanted Parisians
to be distracted, while the French could show that, culturally at
least, they had not been defeated. Over the next four years, the
artistic life of Paris flourished with as much verve as in
peacetime. Only a handful of writers and intellectuals asked if
this was an appropriate response to the horrors of a world
war.
Alan Riding introduces us to a panoply of writers, painters,
composers, actors and dancers who kept working throughout the
occupation. Maurice Chevalier and ?dith Piaf sang before French and
German audiences. Pablo Picasso, whose art was officially banned,
continued to paint in his Left Bank apartment. More than two
hundred new French films were made, including Marcel Carné’s
classic, Les Enfants du paradis. Thousands of books were
published by authors as different as the virulent anti-Semite
Céline and the anti-Nazis Albert Camus and Jean-Paul Sartre.
Meanwhile, as Jewish performers and creators were being forced to
flee or, as was Irène Némirovsky, deported to death camps, a small
number of artists and intellectuals joined the resistance.
Throughout this penetrating and unsettling account, Riding keeps
alive the quandaries facing many of these artists. Were they
“saving” French culture by working? Were they betraying France if
they performed before German soldiers or made movies with Nazi
approval? Was it the intellectual’s duty to take up arms against
the occupier? Then, after Paris was liberated, what was deserving
punishment for artists who had committed “intelligence with the
enemy”?
By throwing light on this critical moment of twentieth-century
European cultural history, And the Show Went On focuses anew
on whether artists and writers have a special duty to show moral
leadership in moments of national trauma.
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书籍介绍
On June 14, 1940, German tanks rolled into a silent and deserted Paris. Eight days later, a humbled France accepted defeat along with foreign occupation. The only consolation was that, while the swastika now flew over Paris, the City of Light was undamaged. Soon, a peculiar kind of normality returned as theaters, opera houses, movie theaters and nightclubs reopened for business. This suited both conquerors and vanquished: the Germans wanted Parisians to be distracted, while the French could show that, culturally at least, they had not been defeated. Over the next four years, the artistic life of Paris flourished with as much verve as in peacetime. Only a handful of writers and intellectuals asked if this was an appropriate response to the horrors of a world war.
Alan Riding introduces us to a panoply of writers, painters, composers, actors and dancers who kept working throughout the occupation. Maurice Chevalier and Édith Piaf sang before French and German audiences. Pablo Picasso, whose art was officially banned, continued to paint in his Left Bank apartment. More than two hundred new French films were made, including Marcel Carné’s classic, Les Enfants du paradis . Thousands of books were published by authors as different as the virulent anti-Semite Céline and the anti-Nazis Albert Camus and Jean-Paul Sartre. Meanwhile, as Jewish performers and creators were being forced to flee or, as was Irène Némirovsky, deported to death camps, a small number of artists and intellectuals joined the resistance.
Throughout this penetrating and unsettling account, Riding keeps alive the quandaries facing many of these artists. Were they “saving” French culture by working? Were they betraying France if they performed before German soldiers or made movies with Nazi approval? Was it the intellectual’s duty to take up arms against the occupier? Then, after Paris was liberated, what was deserving punishment for artists who had committed “intelligence with the enemy”?
By throwing light on this critical moment of twentieth-century European cultural history, And the Show Went On focuses anew on whether artists and writers have a special duty to show moral leadership in moments of national trauma.
书籍真实打分
故事情节：5分
人物塑造：3分
主题深度：6分
文字风格：8分
语言运用：9分
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思想传递：4分
知识深度：5分
知识广度：7分
实用性：8分
章节划分：7分
结构布局：8分
新颖与独特：5分
情感共鸣：4分
引人入胜：6分
现实相关：5分
沉浸感：3分
事实准确性：5分
文化贡献：6分
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