Documents found
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351.More information
If androids dream of electric sheep, do replicants read analog novels? In the dystopian sci-fi world of Blade Runner 2049 (2017), literature plays a complex role. In particular, the film engages in a multi-leveled way with Vladimir Nabokov's novel Pale Fire (1962). A hardcover copy of the book appears in one scene, and it is quoted and covertly referenced in others. These appearances are like metafictive keys to a pattern of possible meanings, through which the film both embodies and reflects upon its method of archival replication. Translating between codex, screen, and holographic media, the film reanimates its source materials, dramatises the affinity between literary texts and embodied life, and suggests that literature may be a vector of resistance to techno-capitalist archival control.
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This article examines the narrative demands placed on asylum seekers to the United States. Engaging with scholars from the felds of narratology and literature, this article argues that “telling a story” is an implicit requirement of the asylum application process to the United States, and that the stories of asylum seekers are evaluated for their truthfulness on the basis of criteria that align with literary standards of veracity. The article examines the implications of bringing these literary standards of veracity to bear on asylum seekers’ stories, and explores the ways in which a “true” story told by an asylum seeker may fail to be recognized as such.
Keywords: political asylum, United States political asylum
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356.More information
Reality TV programs reveal a certain vision of women, though they don't claim any explicit relation to feminism. The stereotypes of femininity (i.e. the expectations about the way in which women are to behave in public as in private spheres) are over-represented, on a quasi-pornographic mode. Such quasi-pornography functions in order to favor the acquisition of the norm of internality whereby a young girl internalizes the social criteria for success and interprets them on the basis of the self-presentation that is re-enforced by reality programming – the role model being the star or its avatar, the Lolita. Such programs partake in social surveillance, turned into a spectacle that feeds on the young girl's interests in understanding mechanisms of social inclusion and exclusion that in turn will influence the way she will construct her personal identity. They tend to favor a discourse on femininity, in congruence with the audiovisual commercial model and the notoriety of brands, and to exclude a discourse on feminism, that could potentially be critical of the practices, displacements and dependencies created by the media. There results a clear impression of regression from the past inroads of feminist social movements and a great sense of disarray in relation to the precariousness of emancipation. Such difficulty in maintaining feminist gains implies to posit the new stakes of feminism in the need to bridge the gap between the generations as much as between the sexes.
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AbstractKeenly interested in Russian literature, Paul Morand was especially marked by his reading of Dostoevsky. If Gogol, Turgenev and Tolstoy steered him towards the tradition of Balzacian realism, the author of The Writer's Diary influenced him in a way that went beyond literature. The proof lies in an essay that occupies a discrete place in Morand's work but constitutes a mother lode: L'Europe russe annoncée par Dostoïevski (1948) (Russian Europe heralded by Dostoevsky). This article purports to examine Dostoevsky's importance using the moral context in which Morand outlined his major post-War narratives such as Le flagellant de Séville (The Flogger of Seville) and Le dernier jour de l'Inquisition (The Last Day of the Inquisition).
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This article weighs the advantages of using autobiography to shed light on the conceptual convergence of subject-writer, place and narrative. Its author examines three approaches to the interplay of subject-writer, place and narrative, and demonstrates that these notions, peculiar to literary geography, are seldom considered to equate with one another, conceptually speaking. He advocates an enriched conceptualization of subject (i.e. open to other influences) in which place has a dynamic function and narrative a mediating role. The work of the Californian writer Charles Bukowski (1920-1994) is autobiographical in a number of ways, and illustrates the mutually constituent relationships between these three notions. Autobiography, literary or otherwise, is a mine of examples of theoretical and methodological convergence.
Keywords: Bukowski, autobiographie, lieu, récit, sujet, Bukowski, autobiography, place, narrative, subject, Bukowski, autobiografía, lugar, relato, sujeto
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359.More information
The film Zift (Javor Gardev, 2008), a recreation of the period of Bulgarian totalitarianism, rejects the premises and techniques of a realist-inspired discourse which lays claim to or imitates the authenticity of the historical document. Zift replaces the impersonal language of reportage with an extreme depiction of an initiatory journey. By placing its narrative in the falsely naive perspective of an individual experience, the film blurs the images of knowledge made banal, based on commonplaces and received certainties. Scorning generic conventions, Zift subordinates the communist reality it depicts to the normative code of film noir. Against the backdrop of an unusual alliance, the film's narrative unfolds its underlying metaphors: symbols embodying the cogs of the totalitarian system, inseparable from scatology, the absurd and the grotesque. In the heart of this strange contextualization of totalitarian space, Zift appears to be searching for the generating principle of history to emancipate it from a past that has definitively doubled back on itself.
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360.More information
AbstractThis article consists in an examination of the ins and outs of hypertextual writings in the narrative mode during the 20th century. It successively analyzes the limits of hypertextuality (as compared to the notions of intertextuality, metatextuality, architextuality, and paratextuality) and its consequences for both the writing subject and the society that receives and consumes these particular productions. Thus, this investigation is designed to sketch out an overview of the poetical, sociopsychological, sociohistorical, and epistemological implications of the activity of hypertextual re-writing — without, however, ignoring its specifically aesthetic dimension.