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955.More information
AbstractThis paper proposes the dictionary entries for eight French vocables that belong to the lexical field of 'nourriture' [='food']: NOURRIR 'feed [trans]', SE NOURRIR 'feed [intrans]', NOURRISSANT 'nourishing', et cetera. The description is carried out within the framework of the Explicative Combinatorial Dictionary of Modern French (ECDMF). Contrary to the position of the extant dictionaries, we claim that the field of 'nourriture' semantically underlies the field of 'aliment' [ = 'foodstuff', 'type of food']. Proceeding from the definitions found in extant dictionaries, we establish fundamental lexical meanings within the 'nourriture' field, point out semantic bridges between lexemes of the same vocable and suggest the order in which the lexemes of the above field should be defined. The impact of our semantic description of SE NOURRIR on the definitions of pronominal verbs in the ECDMF is discussed; certain semantic components used in the proposed definitions are justified.
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956.More information
Best known for her 2016 suspense novel, Chanson douce, Leïla Slimani first attracted attention for her novel about a female sex addict, Dans le jardin de l’ogre. Having realized that women never figure in media accounts of sexual addiction, she immersed herself in Leo Tolstoy’s Anna Karenina, François Mauriac’s Thérèse Desqueyroux, Joseph Kessel’s Belle de jour, and Gustave Flaubert’s Madame Bovary. Reviewers of Dans le jardin de l’ogre often mention the latter in passing, and Slimani herself has identified Emma as one of her favorite heroines, but thus far there has been only one scholarly study that deals with specific connections between the two novels. While they seem unlikely bedfellows on the surface—Flaubert’s text is a traditional nineteenth-century roman de formation that unfolds in linear fashion, while Slimani’s is decidedly modern in subject and in its slippage back and forth in time—a close reading reveals numerous uncanny similarities in narrative technique, characterization, themes, and motifs. It is hard to imagine a more promising pairing to test Julia Kristeva’s theory that “tout texte se construit comme mosaïque de citations, tout texte est absorption et transformation d’un autre texte” (85). This study shows that Dans le jardin de l’ogre is one of those mosaics that has “absorbed” many of Madame Bovary’s salient features and “transformed” them into something quite modern and distinctive.
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957.More information
Critical scholarship can be a way of enacting insurrections against entrenched and enduring dogmatisms of the nation-state and its inalienable right to systematically deploy violence against selective Others. This article focuses upon the violent bordering practices of the nation-statist system, their connexion to the bordering of knowledges, and their impact upon specific kinds of bodies at the border, which together enforce a systemic vulnerability that is tied to legacies of colonialism, slavery, and capitalism. In the first part, I reflect upon the violence of bordering practices in the nation-statist system, foregrounding how those who predominantly receive this violence in the form of death and debility are the racialized Others. I put forth four specific implications of these violent bordering practices: they enable a cascade of interlinked dehumanizations of people within the nation-state borders; they occlude from view how any nation-state is not homogeneous over time in terms of what one might see as national culture; they allow economic processes to be perceived as scientific and abstract rather than as embedded in the realms of contested political jurisdictions; and they render and sustain the nation-state itself as a racialized construct that both produces and profits from class inequality in contemporary capitalism. In the second part, I argue for the need to perceive the link between violent bordering practices and bordered knowledges, highlighting and synthesizing insights from across disciplines that can aid in asking counter-hegemonic questions. In conclusion, and as part of necessary anti-national scholarly enquiry, I call for a multidimensional and sustained critical stance towards the nation-states’ rights to enforce borders.
Keywords: Border, nation-state, nation-statism, violence, colonization, racialization
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958.
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959.More information
This article investigates the practice of self-translation in the context of migration by examining the literary production of Dôre Michelut, a Canadian author of Italian origins. It specifically illustrates how Michelut’s writing and translating are rooted in her migrant experience and operate as instruments through which the author can voice her hybrid identity and bridge Italian and Canadian worlds. Michelut’s experience of living in-between multiple linguistic and cultural spaces is recreated on the written page, which becomes the site where these multiple spaces are connected and interwoven. The act of writing and translating are thus interrelated in a continuous process of creation that leads to the production of a “hybrid text” and to the enactment of a “hybrid process.” In the first case, hybridity emerges through multilingual writing. In the second case, it is articulated around a specific form of self-translation that is in-between writing and translating.
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960.More information
In this study dedicated to Naked Lunch (Burroughs, 1959; Cronenberg, 1991) and A History of Violence (Wagner and Locke, 2005; Cronenberg, 2005), I articulate the notions of "image-espace" (Gaudin, 2014) and "filmic body" (Shaviro, 1994) in order to show that David Cronenberg's adaptations have a physical impact on the public's body, and are at the root of their guilt sensations - either due to anempathy (for the first example) or extreme excitement (in the second). While analyzing these "unfilmable" movies, which draw much of their abjection from the hypotexts, I would like to illustrate the impact of picturing abjection on our body but also express the filmic object's role (composed not only of what is portrayed but also how it is portrayed and what editing and sound-track brings to our experience) in elaborating an abject filmic experience. My main argument relies on the idea that the Torontonian director - both a source of abjection and hatred if one considers how scholars address him and his works - offers a new cinematic form which, through abjection, offers a path to liberating our imagination.
Keywords: abjection, abjection, adaptation, adaptation, David Cronenberg, David Cronenberg, Naked Lunch, Naked Lunch, A History of Violence, A History of Violence