Documents found
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151.More information
A comprehensive model for the cognitive act of reading popular fiction should include a basic four-component configuration (intensity of the moment that triggers reading, symmetry of supply and demand, the cardinal cognitive role of recognition, and extensivity), as well as a few counteractive factors (asymmetries between production and consumption, reading for play rather than recognition, the effect of irruptions and oscillations in formulae). Another important aspect of serial reading, its retroactivity, affects both readers and producers of popular fiction.
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152.More information
Why do some Africanist scholars feel they need to write a life story or a travel diary before or after a scientific monograph that resulted in a field survey ? Would the first form simply have a residual dimension, thus reduced to the appendix status of the second, or, on the contrary, would the two be complementary ? These problems cover a relatively wide field and period, ranging from the practice of reflexivity among human and social scientists – Michel Leiris, Georges Balandier and Jean-Loup Amselle – to the continuities and overlaps observed in literary and critical studies – Alain Ricard, Bernard Mouralis, Valentin Yves Mudimbe, Manthia Diawara, etc. It is favor continuities over than ruptures, we should put the term of « second book at the ethnographer », by Vincent Debaene, into perspective preferring that of the double book, favorable to the overlaps between productions, beyond genres.
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153.More information
This article raises the issue of the literary self-translation from an African language, Wolof, into a European language, French. The case of the Senegalese novelist Boubacar Boris Diop, who translated himself his first novel written in Wolof, Doomi Golo, into French, is a telling example. Indeed, a quick comparative reading of this novel and its translation, Les Petits de la guenon, reveals that this shift from the original language to the target language entails radical changes in the text. Using translation studies and genetic criticism, this article attempts to determine whether these shifts are due to the untranslatability of Wolof culturemes into French, or if they are simply a manifestation of the free choice of the author, resulting from an intentional strategy on his part to adapt to the universe of the target culture.
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154.More information
AbstractUntoward Incidents : Criminal Mysteries of thé Everyday in Postwar JapanThis article analyzes the Glico-Morinaga incidents of the mid- 1980s and their relationship to bourgeois notions of societal orderliness and criminality in postwar Japan. The incidents (in which a group calling themselves the " Mystery Man with the Twenty-one Faces " carried out a sustained harrassment of major food corporations, the media, and the police) disclose how deeply entwined narrative conventions of the modernist détective genre (established by the author Edogawa Rampo) have penetrated into the everyday consciousness of Japanese consumers. These conventions have facilitated the blurring of fiction and factuality in média representations of crime - nowhere more tellingly than in the GM incidents, which together have been called Japan's first " 21st Century Crime ". Twenty-one Faces's manipulation of the modernist lexicon of crime and detection, truth and falsehood. guerilla theater and situationist absurdity provides a telling commentary on the stabilities of what is often portrayed as the epitome of a crime-free. stable post-industrial polity.
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156.More information
Inspired by the reappearance of the ogre in the works of modern French novelists (Tournier, Chessex, Pennac), this article examines the role of his traditional ally and counterpart : the ogress. Amorally and ambiguously depicted by Paul Morand, Gabrielle Wittkop and Dynah Psyché, the ogress brings us to question the aesthetic relevance of abjection.
Keywords: ogres et ogresses, cannibalisme, mort et sexualité, mal infligé aux enfants, ogres and ogresses, cannibalism, death and sexuality, harm inflicted on children
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160.More information
ABSTRACTThe sixth (and last) chapter of David Lodge's Changing Places is written in the form of a scenario. What does this form involve as the conclusion of the novel? What are the similarities and differences of the scenario as a form in comparison with the rest of the novel and with a regular scenario? In the metalanguage he uses, the author reveals himself and enlightens us. In this chapter, the content (this metalanguage) echoes the form (the scenario form), as both point to a specific concept (the idea of a film). With Lodge, we find ourselves between two conceptions of a scenario, that of a writing in transition and that of a completed text.