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AbstractThe charisma called into question is first discussed by the way of its representation in Wallenstein's Camp, a play in which the dialog shapes the special powers of the absent leader. This paradox illustrates the task of the poet to shape his characters, body and soul as well as their memorable gestures with mere words . The analysis of the narrated body language concentrates on Schiller's short stories and reveals his familiarity with Richardson's and Diderots' poetics. It also shows his sense of classical unity and his choice of beautiful gestures as an alternative to the abuses seen in German courts.
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AbstractTranslating The Lonely Londoners into French : The Experience of Métissage — In 1956, The Trinidadian born writer Sam Selvon (1923-1994) published The Lonely Londoners, a novel entirely written in a language formerly stigmatised and whose literary representation was mostly confined to direct speech : Trinidadian Creole English. Although this novel has now become a classic of West Indian literature, it has not yet been translated into French. Based on an analysis of the materiality and the narrative functions of this literary dialect, the essay attempts to show that while The Lonely Londoners offers a unique example of text creolisation, its translation requires the recreation of a dialect that subverts the norms of acceptability of the French literary polysystem. Assessing the existence of micro-textual translation equivalents to the Creole forms used in the original, the author suggests that the translation problematics should not be addressed in terms of "authenticity" or even as a question of choice between one strategy or the other (fluency or resistance). Indeed, having himself bridged the gap between oral Creole and written British language-cultures, Selvon compels his translator to disregard traditional dichotomies in order to think translation as a three-part relationship between French, Caribbean (Creole), and English language-cultures. Far from replacing a foreign dialectics (Britain-West Indies) by a domestic dialectics (France-French Caribbean), far from modeling the foreign text according to the terms of the debate in the target context, translation may become a means for actually destabilising this very debate and proposing new approaches to literary creolisation.
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This paper uses recent TV serial dramas about laid-off female workers as an example to demonstrate the often neglected affective dimension of Chinese TV drama and its ambivalent televisual discourse on the economic reforms and the new dominance of capital in Chinese society. Based mainly on close generic analysis of settings, characters, plotlines, and audio-visual language, supplemented by audiences' viewing experiences, I explore the affective strategies and emotional meanings of these dramas, in particular, the social implications and emotional impact of these melodramatic narratives in the context of the public discourse on retrenchment (xiagang), which has been one of the most divisive and painful consequences of China's economic reforms. I argue that the plight and potential salvation of laid-off women, and by extension, of other less privileged social groups, has been used as a powerfully affective dramatic form by various social agents with their own agendas. Such agendas include promoting the government's re-employment project ; voicing social discontent and emotional distress ; and attempting to make sense of the enormous changes taking place in China today.
Keywords: Kong, mélodrame, travailleuses licenciées, affects, identification émotionnelle, Kuqing xi, texte polysémique, Kong, Melodrama, Laid-off Women Workers, Affect, Emotional Identification, Kuqing Xi, Polysemic Text, Kong, melodrama, trabajadores despedidas, afectos, identificación emotiva, Kuqing xi, texto polisémico