Documents found
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182.More information
By recounting, circa 1812, his professional and love life in Québec, then in Lower Canada, Pierre de Sales Laterrière defied the prejudices of his contemporaries' to the extent that the posthumous edition of his Memoirs would be expunged of details the abbé Casgrain deemed too “scabrous.” Some of these passages, however, escaped the censor's pen. These involve the underside of medical training, the clinical experiments and dissections practiced at the time by medical students, whether in Paris, Boston or Trois-Rivières. By examining how the memoirist highlights the medical “subject” for satirical and polemical purposes, we can observe the thresholds of tolerance of Canadian society under English rule, during a period when the colony was awakening to the Enlightenment against the background of the American and French revolutions, and then the Napoleonic wars.
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183.More information
SummaryIn telling the story of writing a book about literature, this article draws attention to the various categories of obstacle (not only conceptual, but also institutional, relational, and affective) that arise while working on a research project and, at the same time, the ways of overcoming them. Included in the latter, the book's material — i.e., literature — was among the most powerful by opening paths of reflection, overcoming resistances, and casting light on blindspots. It is shown that, contrary to an academic conception of the division of disciplines and categories of skills, there is a much greater proximity than one would think between the conceptual dimension and the sociological description of reality and the intuitive and affective dimension of its literary construction. And if the novelist is often in close touch with unconscious, it is not inconceivable to think that the sociologist can be, or at least should be, in touch with it as well.
Keywords: sociologie, littérature, livre, roman, identité, femme, introspection, psychanalyse, mythe, oedipe féminin, sociology, literature, book, novel, identity, woman, introspection, psychoanalysis, myth, feminine oedipus, sociología, literatura, libro, novela, identidad, mujer, introspección, psicoanálisis, mito, edipo femenino
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185.More information
LeChef-d'oeuvre inconnu (The Unknown Masterpiece) by Balzac tells the story of the painter Frenhofer, an artist gone stale, who meets a young woman model and believes that he can overcome failure and create the ultimate masterpiece. But through overwhelming regrets, his canvas becomes an unreadable screen which prefigures the painter's death. Rivette's La Belle Noiseuse, inspired by Balzac's story but also by the paintings of Bernard Dufour, portrays both the real time of painting and the fictive time of film, replaying, by raising the question of mimèsis, the aporia of the model's relationship to her representation, and bearing as well the missing image of the film. This is the impossible painting, that which Art connot take from Life without incurring the penalty of Death.
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186.More information
This article addresses the notion of history in the French Renaissance tragedies (Des Masures, Rivaudeau, La Taille, Gamier, Matthieu). History traditionally guaranties the truthfulness of the tragic discourse. However, during the time of religious wars, History becomes subject to uncertainty and anxiety. French Renaissance tragedies can be characterized as pathetic rather than didactic or dramatic. Tragic plays are largely unable to decide of the meaning of History, they are only able to register the dominant feeling about historic events. In the tragedies written by Protestant authors in particular, History challenges the Aristotelian criteria, both stylistically and dramatically, since historical facts are more important than the laws of the genre.
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187.More information
At the beginning of the 20th century the repertoire of "French" theatres in Montreal comprises mostly plays that glorify the image of the devoted father. In fact, Oscar Wilde assimilates such world vision to a kind of "age of the fathers". This paternalism however begins to be questioned by a small number of authors. Thus the dramas of Dumas fils, Brieux and Bernstein are frequendy presented between 1900 and 1918. In time, these "sowers of disorder" modify the horizon of expectations of Montreal audiences with controversial works that divide the nascent francophone theatre critic establishment. Social problems usually left out of public discourse are thus debated in newspapers. The reception study of these three authors show that before the First World War the rise of social melodrama pushes back the limits of what is socially presentable, contributes to erode the conservatism of a fraction of the French Canadian elite and paves the way for a new kind of realism.
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188.More information
Romanticism may be considered as a confictual phenomenon. With De l'Allemagne, Mme de Staël proposed to the French literary examples based on aesthetics derived from Plato's doctrines. Furthermore platonism constitutes the conceptual horizon of the works of Victor Hugo, Lamartine, Ballanche and many others. Yet, a few writers have shown their opposition to that aesthetical system, and Flaubert occupies a prominent place in the line of authors united by their common refusal of platonic doctrines. In l'Éducation sentimentale, for instance, Flaubert shows that the deceitful ideals puffed by the treatise De l'Allemagne are aesthetically sterile. And the originality of l'Éducation sentimentale also consists in not dissociating, in the demonstration, love from art : Frédéric Moreau's destiny illustrates that the platonic ideals of the romantics have resulted in blinding young people about their own amorous feelings.
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189.More information
AbstractThis article examines some reinterpretations of the myth of Alpheus and Arethusa from the time of Sannazar's Arcadia (1504) to the opera-ballets of the early 18th century. The motif of water — and, more specifically, the Ovidian legend of the undersea river of love flowing from the Peloponnesus as far as Sicily — played a major role in the invention of the pastoral myth. This legend made it possible to figure the henceforth decentred, idealized, and universalized Arcadia of previous geographic fame. Sannazar's Arcadia, in which the narrator's journey between his native land and Arcadia follows the undersea course of the Alpheus, marks a major shift in the symbolic meaning of a quaint, “ water-based ” fable. Upon being transposed onto the stage in the early 17th century, the allegory of depth and of the invisible link began to disappear, while Arcadia increasingly, and literally, shrank into the background. This article aims to show how, as this legend underwent a series of metamorphoses in the late Renaissance, pastoral space went from being represented in an allegorical mode to being handled in a fictional mode, before being recycled into the realm of the fairylike. At stake in this evolution was the disappearance of Arcadia as a metaphor.