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231.More information
In this article, the author analyzes representations of the Orient (China, Korea, Japan) created by four Quebec writers of different origins as expressed through one topos, that of Chinatown. Based on a sample of four novels—Les lettres chinoises by Ying Chen, L'enfant chinois by Guy Parent, Kimchi by Ook Chung and Tsubame by Aki Shimazaki—, he brings to light a critique of Orientalism expressed in these works through a poetics of disorientation. Finally, he raises questions about the future of “disorientalism,” a writing strategy focusing on a deliberate effort to disorient, in contemporary Quebec literature.
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AbstractOver the last two decades academic, political and individual discourse on sex has become more frequent. The discourse on sexuality and its reality are however not synonymous. To apprehend the content of various sources — written documents, audiocassettes and ethnographic observation — is compared. The private correspondence between Fantine, a prostitute and Jeanne, a young journalist, are the starting point. Fantine's letters are compared with those of some of her colleagues written to elected politicians during their recent mobilization in France. The two collections reveal some partly opposing facets. Jeanne, however, in letters sent to her lover, exposes all the dimensions of her life. But the complexity and the paradoxes in her correspondence is echoed by a sort of exhibited coherence in the political framework or exposed to sociologists. Fantine and Jeanne also reveal the plurality of private confidence depending on recipient or recipients. They oblige social science to question the status of proof and to multiply methods so as to attempt to re-construct the puzzle of sex. Thus these written documents are an opportunity to debate on the content and the limits inherent in the various sources used by the social sciences to treat sexuality. The choice of the populations studied (the most often minorities) and the approach used are the basis of a project of knowledge curtailed by the categories of contemporary thought. In face of scientific scattering and dogma, the association of two women with apparently such differing profiles then takes on the value of a real performance.
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The purpose of this article is to isolate the discourse of reading and of learning to read in French-speaking Quebec at the turn of the twentieth century. It is an exploratory study relating to every number of the Journal de l'Instruction publique that appeared monthly from 1874 to 1898. Besides working with the usual enunciator parameters (who is speaking, when, and where?), this process of identifying the discourse of reading operates by culling the units of meaning that compose that discourse: definitions of the book, reading, authors, and literary genres; methods and forms of learning and appropriation; school practices; and the issues involved in the act of reading. The analysis conducted allows us to name the concerns that underlie this discourse, and defines its objectives: developing the capacity to read and restricting the use of reading to moral or social ends. The aphorism “earn to read well in order to read little” ascribed to Seneca, sums up this position.
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In this article, the author sheds light on poetic innovations in four texts published in the collection known as “Les romans de la jeune génération” (1931-1932). Specifically, it shows how “life,” seen as a philosophical ideal shaping French-Canadian social space in the 1930s, appears in the novelistic discourses and forms of the four works in the ephemeral collection created by publisher Albert Lévesque: Dans les ombres, by Éva Senécal; La chair décevante, by Jovette-Alice Bernier; Dilettante, by Claude Robillard; and L'initiatrice, by Rex Desmarchais. After presenting the authors and the social and literary context in which the collection was created, the article analyzes the texts, focusing on three variables: the novelistic genre, the representation of speech either written or read, and the themes and discourses that are dominant in the series.
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Lise Tremblay's fiction is teeming with characters and narrators whose daily life is shaped by the experience of shame. A specific feature of La pêche blanche and La danse juive is that they locate the origin of shame in childhood: it arises from the father's disdainful way of looking at the child's body—at a lame, scrawny (“chétif”) son or an obese daughter. Through the traumatic experience of this specific affect, subjects are required to embrace their image under someone else's gaze—an image that is not what they want, but that will nonetheless determine who they are. Tremblay's work presents fathers whose gaze and voice define real and imaginary boundaries that constrain subjects both in their bodies and in space. Using a psychoanalytical view of identification, this article analyzes a specific poetic articulation of shame, the father figure and the body set out in the work of Lise Tremblay, one that enables us to read the murder of the father in La danse juive as the extension of a parricidal fantasy already expressed in La pêche blanche.
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This article focuses on metalinguistic glosses in three narratives translated into Wolof : Camara Laye's L'Enfant noir (Goneg nit ku ñuul gi), Mariama Bâ's Une si longue lettre (Bataaxal bu gudde nii) and J.M.G. Le Clézio's L'Africain (Baay sama, doomu Afrig). We argue that these texts reveal three different uses of glosses that provide information about the translators' projects and construct different ethos : the translator as go-between (Goneg nit ku ñuul gi), the linguist as activist (Bataaxal bu gudde ni) and the translator as storyteller (Baay sama, doomu Afrig).
Keywords: traduction postcoloniale, traduction en langue africaine, wolof, poétique plurilingue
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Among V.Y. Mudimbe's novels, Le bel immonde has often been considered as the only one to possess a plot and to clearly display its subversive intentions within the theme of the marginal. The novel's protagonist is a prostitute, in love or not, we do not know for sure, with an influential minister in the country. In my opinion, the modernity of the novel appears in its reflexive practices (metatextuality and mise en abyme) and in various figures of displacement such as metalepse or anamorphosis. In the present paper, I propose to illustrate that Mudimbe's text is often accompanied by a metatext, represented as a mise en abyme, a hypotyposis, a metalepse, an anamorphosis. The french word « immonde », referring to the religious notion of the impure and to the aesthetics of beauty, is encompassed within the most ordinary utterance, gesture, fact or even silence. A dialectical relationship between self and other subverts clichés on social life in Mudimbe's novel.
Keywords: Mudimbe, roman, société, métatextualité, mise en abyme, Mudimbe, novel, society, metatextuality, mise en abyme