Documents found
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334.More information
The genre of memory disorder fiction makes visible a correlation between the condition of postmodernity and memory disorders, as they enmesh the subject in a conspiracy concerning the past. In Man in the Dark (2008), Paul Auster uses insomnia and amnesia as narrative mechanisms to reflect upon the 9/11 attacks. This invocation of memory disorders bring forward new insights about personal and collective traumatic memories and demonstrates the role of fiction to transcend reality.
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By focussing on a study of the writer Sandoz in the novel L'Oeuvre by Émile Zola, this article interrogates the role that writing plays in the construction of one's self-image. It is concerned with understanding the significations and reasoning that govern fiction when it is put at the service of self-knowledge and self-promotion. We show that the writer Sandoz in Zola's fiction is there to depict Émile Zola: a performative image that shapes the social definition and image of its author.
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Paul Zumthor's last book, Babel ou l'Inachèvement, sounds quite different from his other works, insofar as the author of the Essai de poétique médiévale seems here to stand aloof from a modernity that he had exalted for a long time, and to draw a very dark picture of the presentday society. The study of this opus ultimum allows us, moreover, to go back to a lesser known novel of our author, Le Puits de Babel, which is an attempt to revive the figure ofAbelard, a character who has, as it is well known, always fascinated Zumthor. Finally the recurrent images of Babel and of Héloïse 's lover allow us to sketch an analysis of the imaginary of Zumthor, a writer for whom literary creation and scholarly research were always intimately linked.
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This article focuses on three novels that revisit a historical conflict (the invasion of Sicily during Italian unification, social tensions in 20th-century Jamaica and the second Iraq war) from the perspective of a posthumous narrator. Beyond the thematic relationship, its main purpose is to highlight similarities in the treatment of the narrator who is no longer, as in the realistic, modern and postmodern novel, conceived in the image of man, but who may be interpreted as a “being of spirit” inhabiting an individual or collective consciousness. These three examples illustrate the epistemological and narrative turning point that occurred at the dawn of the 21st century and that might be described, in keeping with Allan Kirby's proposal, as digimodernism.
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In Le Lièvre d'Amérique (2020), whose title alludes to the mythical hunting tale L'Élan d'Amérique (1972) by André Langevin, Mireille Gagné recounts the somewhat Kafkaesque metamorphosis of her protagonist : rather than turning into a « monstrous insect » like Gregor Samsa, she transforms into a hare—or a doe hare, the female of the species—following a genome-altering procedure in a transhumanist future presented as imminently feasible. In this novel / journal, most entries are dated in relation to D-Day of the procedure, a temporal marker signaling the onset of the mutation process. Diane, whose name references the Roman goddess of hunting, records the physical transformations linked to the operation but primarily reflects on her evolving relationship with her environment, particularly in the professional sphere, as well as in her relationship with male otherness.
Keywords: Animalité, Zoopoétique, Récit de chasse, Prédation, Mireille Gagné, Métamorphose, Animality, Zoopoetics, Hunting Tale, Predation, Mireille Gagné, Metamorphosis