[Sexe Entre Amis VS Sex Friends
Sharif Garmon
Dylan, aprs six mois de ngociation, dcide de partir habiter New York, et accepte le poste de directeur artistique du magazine GQ. Il sympathise donc avec Jamie qui devient trs vite sa meilleure amie. Aprs avoir bu quelques bires, Dylan et Jamie dcident d'entamer une relation purement sexuelle et amicale. Il s'ensuit alors une relation complexe qui deviendra trs vite une relation de sentiments.
La mise en place du lieu de tournage de Sexe entre amis se droule le 13 juillet 2010. Le tournage du film dbute le 20 juillet 2010 dans le quartier de Midtown Manhattan de New York[7] et se poursuit dans Central Park[8] ainsi que dans d'autres quartiers de New York de juillet aot avant de dlocaliser la production Los Angeles, en Californie[7].
Je dclare la guerre aux pointes sches et aux cheveux cassants. C'est le cri de rvolte d'une bande d'amis aux tats d'me interrompus par la sonnerie du tlphone portable, aux blessures existentielles soignes coups de gel dans les cheveux. Zro tatouage, zro piercing.
C'est l'univers de Friends, une srie tlvise qui a marqu la culture occidentale dans les annes 90 avec un cynisme bon enfant et des blagues surralistes l'amricaine. Un monde de Blancs sans punks, sans Noirs (entre nous, entre amis quoi!). Une mre nymphomane par-ci, un pre alcoolique par-l. Dans Friends, on coute la musique qui passe la radio. Quand on a un coup dur, les amis sont l (bon, pas trop longtemps quand mme!). Ils vous attendent dans l'obscurit pour chanter joyeux anniversaire quand vous rentrez tard le soir. Le look Friends: le tien, le mien (tu permets qu'on se tutoie?), a ressemble aux pages people des magazines avec des trucs cool, mais repasss (la bonne est invisible). Les filles ont toujours une robe bien coupe pour les grandes occasions, les garons un smoking leur taille. Mais le plat de rsistance, l'investissement long terme, c'est les cheveux. On imagine des montagnes de produits polluants non dgradables, des coiffeurs maniaco-dpressifs embusqus dans chaque coin de dcor pour discipliner ces mches sous contrat parce que je le vaux bien qui ont influenc la terre entire. La raie dcale de Rachel et ses cheveux si injustement lisses, si blonds, si Blanc ont gch l'existence de toutes les jeunes filles amoureuses de Brad Pitt.
Pas de militantisme prise de tte, pas vraiment de religion, sinon l'orthodontiste. On pense beaucoup au sexe, on croit l'amour. Les femmes sont indpendantes, c'est un fait accompli, elles jouent la soumission comme un jeu sexuel rigolo. Dans Friends, on prend plein de douches avec une pudibonderie un peu potache. L'idal de vie, c'est le confort auquel tout le monde aspire secrtement. Plus besoin d'avoir des amis, avec Friends: ils sont l chez vous, ils plaisantent, c'est encore mieux que dans la vraie vie, et puis ils ne fument pas, alors pas besoin de vider les cendriers.
From the numerous books and articles which have been devoted to the life and works of Belle de Zuylen, who later became Isabelle de Charrire, there emerge, broadly speaking, two different images. The first is the traditional image, the main outline of which can be found in certain writings of Benjamin Constant and which has been given memorable and influential expression in the biographical and critical studies published in the early years of the present century by Philippe Godet, Gustave Rudler and Geoffrey Scott.Ga naar voetnoot1. The second image is a new one, which is still being eloborated; it began to emerge in the early 1970s, when there was an extraordinary revival of interest in Belle de Zuylen, and it is now based, in essentials, on a close study of the van Oorschot edition of the OEuvres compltes, which was published between 1979 and 1984.Ga naar voetnoot2. This edition has made it possible for the first time for us to form a first-hand acquaintance with the whole of Belle de Zuylen's extant writings, including the correspondence, and it enables us - indeed, compels us - to re-examine that traditonal image which,over the last half-century or more, so many commentators have been reproducing uncritically and unimaginatively from Benjamin Constant and from the writings of Godet, Rudler and Scott.
The starting-point for any study of the traditional image is Benjamin Constant's Adolphe, which was begun in 1806 (a year after Isabelle de Charrire's death), completed in essentials by 1810 and finally published in 1816. As is well known, the public, much to the annoyance of the author, insisted in reading Adolphe as a roman clef or thinly-disguised autobiography based on real people and real-life situations. The sad hero, it was assumed, was Constant himself, the heroine was Germaine de Stal (or, according to
There was one place, however, where she was remembered for her own sake and where her writings were still admired. This was the canton of Neuchtel, where Henriette Gaullieur (ne L'Hardy) had inherited her literary manuscripts and where Isabelle Morel (ne de Glieu) hoped to publish a volume of her works with an introduction by Benjamin Constant.Ga naar voetnoot17. This plan came to nothing, but transcripts of some of her papers were communicated to Sainte-Beuve by Henriette Gaullieur's son, who himself, between 1845 and 1855, published a number of articles on Isabelle de Charrire, Benjamin Constant and related topics.Ga naar voetnoot18. Unfortunately, Gaullieur was no scholar and his publications are, for the most part, totally unreliable; however, he has his place in the history of Isabelle de Charrire's posthumous reputation, not only because he inherited her papers from his mother, but because it was he who drew Sainte-Beuve's attention to the real-life source of the portrait of the elderly lady in Adolphe. What Sainte-Beuve made of this, and of the texts he received from Gaullieur was, unfortunately, extremely damaging to the reputation of both Constant and Isabelle de Charrire; he suggested, without a shred of evidence, that Constant was a Chrubin who found in Isabelle de Charrire his first marraine - in other words, that their relationship was not innocent.Ga naar voetnoot19. Fortunately, there were better scholars in Neu-
Three years after the publication of Godet's biography of Isabelle de Charrire there appeared Gustave Rudler's Jeunesse de Benjamin Constant. Here we find a much more detailed study of Isabelle de Charrire's personality and, in some respects, a different interpretation of her life and works. The young Belle de Zuylen, according to Rudler, is not a sceptic: she is a highly-strung eighteenth-century rationalist whose norms are reason and nature. She is a rationalist living in an irrational world and the outcome, we are told, is bitterness, disappointment and, in philosophical terms, pessimism - that kind of pessimism which follows the collapse of the optimism of the
By this time it must have seemed to readers that there was not much left to say about Isabelle de Charrire; Godet had written an exhaustive biography and Rudler an exhaustive account of her friendship with Constant. It is hardly surprising, therefore, that when Geoffrey Scott decided to write a book on the subject, he should have relied mainly on what he found in these two scholarly works. The Portrait of Zlide, which Scott published in 1925 is, nevertheless, a work of considerable importance insofar as it brought Belle de Zuylen to the attention of a wide readership. The book, which is short and written in an extremely attractive style, was reprinted at least eight times in England in 1925 and was reprinted in America in 1927 and 1959; it was also translated into French, in 1937, and published with an introduction by Andr Maurois.Ga naar voetnoot32. It is interesting that when Simone de Beauvoir
refers to Isabelle de Charrire in a famous passage on Le Deuxime sexe (1949), it is not to Godet or Rudler that she refers, but to Scott.Ga naar voetnoot33. Nor is the Portrait of Zlide Scott's only contribution to the subject; he wrote an introduction to Four Tales by Zlide, which is a translation of some of her works of prose fiction published in 1925 by his wife Lady Sybil Scott.Ga naar voetnoot34. He also published, for the first time, in 1929, as volume II of the Boswell Papers, all the extant correspondence between Belle de Zuylen and Boswell.Ga naar voetnoot35. It is thanks to Scott that Belle, or Zlide, has become a name familiar to students of English literature.
This renewal of interest, which dates from the 1970s, is essentially the work of Simone and Pierre Dubois, who, along with the late Geert van Oorschot, set in motion the machinery for the publication of the OEuvres compltes. This renewal of interest led to the organisation of an international con-
gressGa naar voetnoot46. held in Zuylen in 1974 and many of us who were invited to that congress found ourselves reading Belle de Zuylen properly for the first time. We began to ask ourselves why she had been neglected for so long. Part of the answer may be simple prejudice and ignorance: the traditional image was of a marginal writer: marginal because she was a Dutchwoman living in Colombier and remote from such cultural centres as Paris and London; marginal because she was seen simply as the friend of Boswell or Constant; and marginal perhaps, in the minds of some readers, because she was a woman. But there is also another factor: it is that until the 1950s, or even later, there was a considerable prejudice against the literature of the eighteenth century, the period of Enlightenment; Voltaire and Diderot were not held in high esteem, nor was Laclos, now considered the most brilliant novelist of the period. There can be no doubt that many of the critical remarks made on Isabelle de Charrire's alleged scepticism, irony and frustrated rationalism by Godet and Rudler reflect their dislike of certain aspects of the eighteenth century and a preference for romanticism; today we not necessarily share this preference.
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