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AbstractThis article deals with a theoretical problem : the processes of brevity in literature. Starting from the distinction between brevity (a notion that falls within the domain of enunciation) and short text (dimensional nature of writing), we focus here on the work of the Argentine writer Andrés Rivera (Buenos Aires, 1928-2016), master of doubtful enunciation in contemporary Argentine literature. Nevertheless, the historical reality of the 19th and 20th centuries is the favorite material of his narrative fiction. Our attention focused on the processes implemented to divert the narrative organization and the sentence rhythm. In a prose composed of sentences that become longer and longer, in texts that become shorter and shorter, discontinuity creates a dynamic of legible brevity in a narrative rhythm scattered with blanks, ellipses and repetition figures.
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AbstractThe starting point of this article is that, hypothetically, the writer's biography, by virtue of the inventiveness of its writing, represents a special form of the filiation narrative. Five “ biofictions ” will be used here to illustrate three distinct processes – mediatisation, appropriation, and tension – whose choice is based upon the variable distance that marks the relationship between the biographer and the biographed. More a question of utterance than wording, biography has to do with a discursive protocol that requires the representation of this relationship.
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397.More information
Keywords: Quotidian, Quotidien, Francophone literature, Littérature contemporaine, Contemporary literature, Littérature francophone
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398.More information
This article proposes a cross-analysis of the correspondence of Franco-Canadian writer Marie Cardinal (1928-2001) and the novel La clé sur la porte(1972) in connection with the theme of the “discours des tricots". By combining the critical tools of gender and literary genetics, I will show how the author's embrace of a taboo, marginal and banal discourse tinges her creative process with a strong subversive dimension. Thus, we will understand how this poetic choice engages Cardinal in a process of distancing himself on the one hand, and on the other hand, with regard to the issues of reception, in what way this discourse implies a global deconstruction of the feminine and so-called “écriture féminine.”
Keywords: Cardinal, Cardinal, Marie, Marie, Ecritures du quotidien, Writing the everyday, Text genetics, Génétique littéraire, Francophone literatures, Littératures francophones, Gender studies, Etudes de genre, Feminist studies, Etudes féministes
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Over the past fifteen years, since the publication of the collective collection Aimititau! Parlons-nous! edited by Laure Morali, several literary and artistic projects have emerged based on a dialogue between Indigenous and non-Indigenous subjects. Among these projects are: « Suite d'automne (correspondance) » and Uashtessiu Lumière d'automne by Rita Mestokosho and Jean Désy (2011), Nous sommes tous des sauvages by Joséphine Bacon and José Aquelin (2013), Kuei, je te salue. Conversation sur le racisme by Deni Ellis Béchard and Natasha Kanapé Fontaine (in a new, augmented edition published in 2020), and many other texts such as Shuni by Naomi Fontaine (2019) that, although they do not explicitly feature a dialogue, are based on an exchange with more or less implicit recipients. This article aims to study and compare, in these texts and collective works, the way in which, beyond the expressed intentions, speech is given or attributed to Indigenous subjects, or else ceded or simply… received. By considering the works in relation to each other, and by maneuvering between the questions of elocution and delocution, as well as questions related to plurilingualism and circular thought, and never forgetting that these works are published in whole or in very large part in the colonial language that is French, the article questions the way in which discourse is orchestrated and asks whether these texts participate in a process of decolonization of speech or if, sometimes or partially or unconsciously, they perpetuate the colonial distribution of discourse?
Keywords: dialogue, littérature autochtone, discours, énonciation, décolonisation, dialogues, Indigenous literature, discourse, enunciation, decolonization
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The attitude defined by Sōseki as fundamental to the writing of shaseibun is what Freud calls “humour”. On the other hand, humour qua “sense of the world” should be distinguished from the carnavalesque according to Bakhtin. For Freud, the joke, qua “contribution to the comical by means of the unconscious” must be distinguished from humour, “the contribution of the comical through the superego”. For me, humour may entertain some rapport to psychosis and Sōseki's shaseibun may be tied to a sort of suffering which cannot be easily cured with the help of jokes or of the tragic catharsis. It is not the suffering of neurosis, but that of psychosis. It is the suffering of the modern person. And yet it cannot wholly be told in the style of the modern novel. According to the norms of modern literature, Sōseki's long novels are failures. Yet there is no reason for us to see his novels as failures. They constituted, rather, Sōseki's struggle against the type of fiction through which modern literature sought to resolve and to find a synthesis for such failures.