Documents found
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301.More information
Although the collection of short stories Les Soirées de Médan (1880) presents itself as a naturalist manifesto, it is hard to see, at first glance, how the war context determines the characters’ actions. It is more common to consider these actions as transgressive because of their rejection of social norms at the time of their publication. If characters first seem to seek refuge in spaces where they can escape war, the conflict still intrudes. Their actions can therefore be interpreted as logical consequences of the context in which they evolve rather than as transgressive acts. In this regard, the short stories respect the deterministic principle of naturalism and presents characters directly influenced by their milieu and the circumstances in which they evolve, according to the natural laws set out in Zola’s theory.
Keywords: Les Soirées de Médan, Les Soirées de Médan, Émile Zola, Emile Zola, Guy de Maupassant, Guy de Maupassant, Huysmans, Huysmans, naturalisme, naturalism, war stories, récits de guerre
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302.More information
Hugo Pratt is now recognized as an innovator in the field of comics, and his influence in establishing the notion of the graphic novel can hardly be doubted (Baetens and alii). Within his body of works, the series of albums featuring Corto Maltese is certainly the most famous, and most clearly displays the characteristics associated with the graphic novel: a complex historical context, psychological ambivalence in the characters, extensive literary references, and a narrative that is often considerable in scope (Lesage). The reader is also struck by the cycle's combination of references to adventure novels - Conrad and Stevenson - with a contemplative approach to storytelling (with numerous text-free frames, a very gradual editing of action, narrative pauses on faces engrossed in meditation...). It would therefore be tempting to look for the same hybridity between realism, storytelling and abstraction in the animated films adapted from this work. Paul Wells (1999) has shown that the animated film, in its relationship to the adaptation of literary texts, lies at the crossroads between incarnation and derealization of the plot. I propose here to study an animated adaptation of an issue by Pratt, entitled Corto Maltese, la Cour secrète des Arcanes (adapted from Corto Maltese en Sibérie, by Pascal Morelli, 2002) to answer the following questions. What interactions are at play between the sequential semiotic system (Groensteen) of the comic strip and the storytelling of the animated film? How do the adaptations renegotiate and/or recognize the comic book's narrative system through their own narratives, through a phenomenon of remediation (Bolter and Grusin), or through quotation (Boillat)? Finally, how can we understand the narrative differences between the two works in terms of strategic adaptation choices and production context (Bourdier)? The approach chosen to analyze this corpus will therefore be focused on intermediality, and will address questions of poetics related to Pratt's aesthetics.
Keywords: Comics, Comic books, adaptation, adaptation, animation, animation, Hugo Pratt, Hugo Pratt, Pascal Morelli, Pascal Morelli, Corto Maltese, Corto Maltese
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303.More information
Even though Marie de Gournay's (1565-1645) numerous texts contain only a few direct references to the activities of the "salons" in the first half of the seventeenth century, they show ample evidence of the author's presence in public and social life. Through anecdotes, allusive references and dedications to prominent people she knew (or wished to know), Gournay reveals the complex web of relationships of which she was part. Not only do her collected works (Advis, 1641) suggest her association with public figures known to attend notorious "salons," they invite us to broaden our view of sociability, defined mostly, according to Gournay, in terms of intellectual endeavours and affinities. Describing herself as an active member of an intellectual community (formed mostly by well-known women), Gournay validates her life, work and ambitions through feminine solidarity-real or virtual.
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304.More information
This article proposes to analyze the corpus of writings constituting the “Querelle des Amyes” via the concept of “anti-eroticism.” This approach enables a clearer understanding of the highly paradoxical and multi-layered dynamics of these works, whose primary aim was to educate a female readership. Caught between subversion and conformity, texts that might at first appear starkly opposed turn out to be united in proposing an educational program which, while aporetic, offers valuable matter for reflection. On this view, the “Querelle des Amyes” corpus follows squarely in the footsteps of the broader “Querelle des Femmes,” although never showing a particular preference for either of the opposing camps. Being the key to an interpretation that is in effect no more than a problem or promise, Antéros unveils the (potential) nature of these texts’ meaning, which can only be understood as a tension between contradictory positions whose opposition is also the source of their significance.
Keywords: Querelle des Amyes, Antéros, Antérotisme, Paradoxe, Perfectionnement, Genre
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305.More information
AbstractLélia is a character whose existence, according to George Sand, was « tout à fait impossible… à force de vouloir être abstraite et symbolique », but who nonetheless proved to be a figure with a rich literary destiny. Violently attacked by certain critics, just as ardently admired by enthusiastic female readers, she exerted a great fascination in the cultural sphere of her time. Barbey d'Aurevilly will pay tribute to her in his short story of 1840, « L'amour impossible ». And Balzac will be inspired by her as he creates « the greatest writer of the Comédie humaine », Camille Maupin.
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306.More information
Abstract« Oh ! There You Are ! »Sex and the Heterosexual AnthropologistI have conducted fieldwork in Nigeria on seven separate occasions, in Kenya once, in England on five separate occasions, in the United States for many years with jazz musicians, resettled Ugandan Asians, and Italian-Americans, and in Canada on resettled Ugandan Asians. For each of these trips, I have been at a différent stage of professional and life-span development In addition, each trip has been différent in ils « sexual meaning ». For example, on one trip I sought out prostitutes, on another I had an adult student with me, my bride of a few weeks on yet another, and my wife and children on my last trip to Nigeria. I am using my expéeiences to discuss a number of variables that affect heterosexual practices in the field and influence the fieldwork that is conducted; specifically, age, professional status, place of fieldwork, persons accompanying the field worker, and so on. At this stage of our knowledge of fieldwork and sexuality, good description is essential to good analysis.
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307.More information
AbstractThe international cultural exchanges field is difficult to study. It is situated at the crossing point of various disciplinary domains and seems to be reluctant to any “ panoptical ” observation or analysis. But a communicational approach to some historical exchanges can help researchers avoid methodological problems. Thanks to the study of various documents related to French producer André Antoine's foreign experience between the 19th and the 20th centuries, it is possible to better understand the role played by the export of theatrical productions in the economy of performing arts. This role reaches financial, symbolic, media and artistic fields. Above all, it's the heterogeneousness of these exchange processes which is noticed. They fall under two categories : that of circulation and of translation.
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308.More information
Keywords: Eberhardt, Isabelle, Algérie, Écrivains voyageurs, Transfuge, Filiation féminine, Lotman, Youri, Jullien, François, Sebbar, Leila, Mokeddem, Malika
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309.More information
The formula of the "Charm of the voice", which is the title of a play by Thomas Corneille from 1657, constitutes the topical matrix of a vast corpus of works which, throughout the classical age, have questioned the powers of the voice. The article identifies two sets of topoi: in the tale of "Beauty and the Beast" and its rewrites between the 1740s and the 1770s, the "charm of the voice" is essentially considered from the point of view of gentleness and civilizational process, while in Cazotte's short story, Le Diable amoureux (1772-1776), it appears as a destabilizing power in relation to the witch's imaginary.
Keywords: T. Corneille, T. Corneille, Voice, Voix, Rewriting, Réécriture, Softness, Douceur, Power, Puissance
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310.More information
The article aims to analyze the ontological diffusion of bucolic songs in pastoral novels, taking in consideration the historical and aesthetic evolution of their writing. It demonstrates that shepherds’ songs, as original emblems of the Bergeries, evolve into various topical formulations of sound, within the framework of the complex evolution of pastoral romance in France, in the 16th and especially in the 17th century. Based on a fairly broad corpus (Sannazar, the first French Bergeries, Diana de Montemayor and its French translations, L'Astrée and its sequels), it highlights the formal vicissitudes and the dissonances suffered by pastoral song, in the temporal dynamic which marks these aesthetically hybrid Arcadian texts.
Keywords: Pastoral Novel, Roman pastoral, Chant pastoral, Pastoral Song, Honoré d’Urfé, Honoré d’Urfé, Montemayor, Montemayor, L’Astrée, L’Astrée, Los siete libros de la Diana, Los siete libros de la Diana