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Raymond Plante, one of Quebec's principal authors of children literature, published seven novels for teenagers between 1986 and 1998. This article proposes a synthetic study of the set, resituating it in the contemporary currents of children's literature. The spatio-temporal frame, characters, narrative techniques, functions of intertextuality, thematics, and axiology are analyzed in succession. One aesthetic trait, that of romanticism, calls for particular attention.
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Michael Lucey depicts the creation of "intimate publics" in Hervé Guibert's novels on AIDS. Focusing on "misfits," he offers an intersectional definition of queer sexuality that would not isolate it. He brings together Violette Leduc and Hervé Guibert in their creation of intimate and marginal counter-publics.
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AbstractIn publishing, under the title Sciomachie, an account of the festivities that Cardinal du Bellay had organized in Rome to celebrate the birth of Louis d'Orléans, second son of Henri II, Rabelais claims to supply an “extract of a copy of the letters written [to] Cardinal de Guise”, whereas what he is doing, in fact, is reworking and expanding the Italian report of a contemporary, Antonio Buonaccorsi. The epistolary alibi is continued in the body itself of the text, since the narrator justifies his overly brief introduction to the subject by citing a concern not to excede “the appropriate length of an epistle.” In reality, it would appear this epistolary alibi seeks to position the text within the genre of the letter of information (epistola nunciatoria) in general and the letter from Rome (Romsbrief) in particular in order to emphasize its apparently authentic and factual character. Even if the Sciomachie closely resembles this type of letter due to its preoccupation with dates and chronology, the narrative can be further considered a demonstrative letter because of its recourse to symmetrical repetitions and the use of technical terms or borrowings from Latin, ancient Greek and Italian, along with commentary provided as needed in standard French. Moreover, the very composition of the descriptions, particularly that of the fake fortress constructed for a simulated battle, corresponds quite closely to the method recommended by Erasmus in his De conscribendis epistolis. What the epistolary alibi aims to do is give the royalist propaganda of the Sciomachie the likely character of an epistolary account written from one individual to another, even if the narrative is in fact intended for a wider readership.
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The term "transnationalism" refers to a certain idea of a-historicity and suggests relationships of a vertical character, as opposed to the term "postcolonialism" whose prefix anchors it in a vector historicity. Starting from the premise that transnationalism is translated, from the point of view of language, by the metaphor (which earn with transnationalism this idea of verticality), the author of this article shows how the novel by Pierre Nepveu, L'Hiver de Mira Christophe, employs a strategy of performativity in order to illustrate the consequences of a mode of representation which would be metaphorical, an examination which is situated both with regard to literature and to its gloss, but also in a way of being in the world while being confronted with exile.
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Sophie Calle's work plays with the texts and the character of the French writer Hervé Guibert. No Sex Last Night begins with Sophie announcing the death of her friend, Hervé. Douleur exquise recounts a very intimate moment between Calle and Guibert, when they shared the same bathwater. Calle entrusted Guibert with a childhood photo, about which he wrote a text that Calle recopied in one of her own books. Calle's productions are marked by her sporadic, artistic rendez-vous with Guibert and his writings that are both springboards for or hindrances to Calle's creative process. Hervé Guibert is one of Calle's specters, an « image-fantôme », to refer to one of Guibert's books, that haunts Sophie from time to time and prompts her to heed to its demands and do its bidding. And it is by means of Sophie's childhood photograph, which she loaned to Guibert who lost it and then found it again, that we can understand the question « M'as-tu vue, Hervé? » that Calle repeats over and over in her own work.