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AbstractYing Chen has published five novels since her arrival in Québec in 1989, but up to now her work has attracted little attention from critics. As a result, the following article proposes a re-reading of her first novel (La mémoire de l'eau, 1992), the study of which makes it possible to highlight a number of important anchor points with a view to sociocritical analysis. We will observe, notably, how the text setting is influenced by fragments of the social and historical discourse, and by what stylistic methods the writer succeeds in conveying her world view to the reader.
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AbstractBorn in Saint-Petersburg to a French father and Russian mother, André Beucler, upon entering the Parisian literary scene in the 1920s, contributed to the promotion of Slavic literature and culture in France. Because he frequented the writers most representative of this Franco-Russian identity, Joseph Kessel or Emmanuel Bove, his imagination was to a large extent “naturally” influenced by the Russian novelists; he was very consciously influenced as well, however, since Beucler analyzed the works of his predecessors, as in the unpublished essay, “Dostoevsky and the Ideal Man,” which sketches the broad outlines of his own poetics. The critical reception of Mauvais sort (Sad Fate) also shows that the narrative had indeed been read within the light cast by the notable figures of Oblomov and The Idiot, regarding both their character and existential philosophy. However, if Philippe Bohême, Beucler's “anti-hero,” is an already recognizable type, he nonetheless anticipates the most spectacular successes in this complex register, Sartre's Roquentin or Camus' Meursault, emblems of a new “mal de siècle,” between lack of will and murderous impulse.
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AbstractThis article proposes a study of the textual mechanisms of irony in Une saison dans la vie d'Emmanuel (A Season in the Life of Emmanuel), a novel by the Québec author Marie-Claire Blais (1965) and in the short story collection Noirs paradis (Dark Paradise) by her Finnish sister in writing, Rosa Liksom (1989). Ironic writing has recourse to two linguistic processes: semantics (antiphrase, antonymy, isotopy, polysemy), which takes its essence from the cotext, and pragmatics (reading pact, polyphony, implicit meanings), which is dependent upon context. The pragmatic dimension of irony, especially, is the reason why black humour changes into yellow laughter, its target being the prejudices shared by the reader. The omnipresence of the absurd transforms the narratives from serious to comical, and the less than “politically correct” laughter turns the comical at the same time into criticism.
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Keywords: Anne Guilbault, Pas de deux, James Joyce, Le livre jamais lu, Ulysse, Andrée Christensen, Littérature franco-ontarienne, Julien Blanc, Écrivains méconnus, BD, Sébastien Gnaedig, Futuropolis, La Mèche, Laurent Lussier, Éric Mathieu, Margaret Atwood, Katie Paterson, Future Library 2014-2114, Bibliothèque du futur, C’est le cœur qui lâche en dernier, La servante écarlate, Alias Grace, Hervé Bel, Renaud Longchamps, Babelle, Pierre Guyotat, Éden, André Loiselet, Le mal des anges, Siddhartha Mukherjee, Il était une fois le gène, Andrea Dworkin, Féminisme, La Scouine, Albert Laberge, Anti-terroir, Gabriel Marcoux-Chabot, Sophie Gagnon-Bergeron, François Ouellet, Prix Hommage SILQ, Poésie, Poésie franco-ontarienne, Raphaël Arteau McNeil, Metka Zupančič, Louise Erdrich, Hans-Jürgen Greif, Michel Pleau, Guylaine Massoutre, Littérature québécoise
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In this article, the author addresses translation from the point of view of a writer whose work has been translated. According to Brossard, being translated implies a transformation, a becoming other in the other language. She analyzes the dialogic practice that is translation from a dual perspective—that of the solitary translator and that of the receptors. Translation is in effect an instigator of circulation, of encounters, and of human interaction in addition to being an invitation to take a fresh look at one's own language, examining its origins and its ongoing evolution. Translation is thus an endeavour whereby meaning is produced, so it is the translators' duty to strike the perfect balance between penetrating and moving away from a work's intimacy. The author proposes to describe three approaches to this process: an approach that involves translating meaning as it appears on the page, an identity-based approach (meaning sought); a permissive, playful approach (overarching meaning); and an interactive approach that can be either dutifully faithful or free (reinvented meaning). This dialogue, or interaction, that is translation, opens up the possibility of writing or rewriting the text. The translated text, then, is a place of transformation and of meetings of minds out of which comes an invitation to dream.
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