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AbstractIn her two novels, Louise Dupré develops a literariness of lived experience, with the narrators of La memoria and La Voie lactée being especially attentive to the slightest details that organize their world. Following a loss or drama that has shaken their lives, they choose to invent a new history for themselves, turning away from the event towards ordinary life in order to rebuild a life on a human scale. Intending to begin their lives anew, they scrutinize daily life and intimacy (space) as well as memory and the present moment (time), in their resolve to mourn and release those they have lost without forgetting them, and to become happy women.
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Has literature for young adults used the representation of adolescent characters to traverse a dual discourse, simultaneously addressing both an acknowledged reader, the adolescent, and, below the surface, an adult reader? These two different intended readers seem to appear in François Gravel's novels for young adults. In the article, this hypothesis is tested through an examination of the narrator's status and the narrative perspective.
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On arriving in Montréal in 1904, the young French illustrator Théophile Busnel was immediately recruited by the La Patrie newspaper to continue “Timothée,” a series created by Albéric Bourgeois. In the summer of 1908, however, Busnel had to return to his native Brittany, where he was to die as the result of a long illness. Although his time in Montréal was short, it coincided with the beginning in 1904, and the decline from 1908, of the comic strip in Quebec's French language press; the strip was gradually replaced by American, then French imports. While Busnel was not the original cause of the comic strip's golden age, he was almost immediately involved in it and became one of its main actors. Based on a corpus of drawings published in La Patrie, this article sheds light on Busnel's contribution to the history of comic strips and cartoons in Quebec, examining his interactions with Bourgeois and assessing his graphic, narrative and iconographic innovations.
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This article is intended to test the hypothesis that the disfigurement of Angéline de Montbrun, a central element of the story that directs her toward writing as a path, is in that sense a profoundly liberating gesture, a vector of renewal even of the novel's form. In addition to releasing the heroine from the law of the Father and enabling her to construct an image that truly belongs to her, the heroine's physical transformation also provides the novel itself with a way out. Reshaping the established structures of terroir literature, Conan introduces an intimate writing that unsettles novelistic conventions, making her new poetics out of fragmentation.
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AbstractAs a narrative genre among others, the récit differs from the novel or short story in that it includes several distinctive generic features. Specifically, it is characterized by its existential quest and by the fundamentally narcissistic dimension of its writing. The article focuses on this discursive practice and its constant elements with regard to form and substance (content and expression), on the basis of three contemporary récits: Quand il pleut sur ma ville by Pascal Sabourin, Les images by Louise Bouchard and Sept roses pour une boulangère by Négovan Rajic.
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Parmi les centaines de productions scripturales dénichées dans le cadre d'une recherche consacrée aux manuscrits asilaires de Saint-Jean-de-Dieu (M. Nevett, 1994), un groupe de textes plus remarquable que les autres s'est offert à mon attention: ceux contenus dans le dossier 24195, celui de Jeanne R*, une femme internée de 1933 à 1974 pour paranoïa. Loin de n'être, de l'avis de ses proches puis de ses psychiatres, qu'un « [...] tissu de paroles incohérentes », l'abondante production épistolaire de Jeanne forme un récit d'une étrange familiarité. Construites autour d'une alliance subtilement menée entre faits historiquement datables et anecdotes personnelles, ces missives convient leurs lecteurs à interroger conjointement le délire et la créativité de leur auteure. Dans cette optique, j'ai commencé par rendre compte, dans le premier …