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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
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The goal of this article is to reflect on how Francophone identity is represented in three Fransaskois plays: Lorraine Archambault's De blé d'inde et de pissenlits, André Roy's Il était une fois Delmas, Sask… mais pas deux fois! and Joey Tremblay's Elephant Wake. I analyze the discourses contained in these works with the help of concepts developed by scholars who, from a sociological and cultural perspective, investigate the reality of Francophones living in a minority context (Monica Heller, Normand Labrie, Joseph Yvon Thériault and François Paré) and who focus on the production and reception of Fransaskois drama while studying the strategies of inclusion and resistance contained within it (Marie-Diane Clarke, Nicole Côté, Deborah Cottreau, Louise Ladouceur, Shavaun Liss, Jane Moss, Ian C. Nelson and Nicole Nolette). After drawing a distinction between works that are primarily community-oriented and those which are more concerned with aesthetics and form, the article concludes with a defense of such occasional accommodations within the sphere of Francophone theatre in Western Canada as the use of surtitles, as this type of strategy has proven itself essential to the survival and growth of a minority art form that allows members of the Fransaskois community (whether by birth or adoption) to assert their identity on stage.
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The Egyptian author Albert Cossery, who wrote in French, provides a raw, timeless and yet devoid of orientalism view of Cairo society which is unique in Arab literature, and has garnered him unanimous appreciation in France. However, the reception of Cossery's recently published works in the United States reveals a transatlantic cultural gap, both in terms of criticism and literary analysis. While the Anglo-Saxon world tends to view the work from a postcolonial and politically contemporary perspective, on the French side a more individual and history-grounded approach prevails, as attested by the interest literary genetics arouses in France. The translation of some passages likely to shock in Cossery's novels thus raises the issue of fidelity to the author's voice, which resonates differently as it is decontextualized and distanced from Cossery's personal history. The American translators have displayed openness to the writer's vision and empathy with his characters; nevertheless, they have carried out some smoothing out of a moral nature in these problematic passages, possibly in an attempt to resolve the tension between the adequacy and social acceptability of the translation as defined by Gideon Toury (1995/2004).
Keywords: littérature égyptienne, traduction littéraire, postcolonialisme, censure, génétique littéraire, Egyptian literature, literary translation, postcolonialism, censorship, literary genetics, literatura egipcia, traducción literaria, post-colonialismo, censura, genética literaria
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The increasing number of users of smart drugs on university campus, go-pills in the army or coast-to-coast meds in long-distance truckers is a invitation to revisit the growing legitimacy of the «adaptive use » of psychostimulants through a reinterpretation of the traditional categories through which functionalists and interactionists tried to understand the legitimate modes of adaptation and social inadaptation. Could we envisage new categories of deviance «by excess » of integration such as the over-obedience or hyper-responsibility ? Should we encourage the use of mid-ethical and mid-sociological oxymorons to characterize practices increasingly common but whose legitimacy is problematic such as “conformist innovation,” or the practice of “appropriate doping” ? Through the case study of smart drugs, we mobilize the concepts of pharmaceuticalization and biosociality to identify some of the sociological features of the ideal-typical figure of the insider (both avant-garde consumer, hypersocialized individual, responsible innovator, etc.) which is, in principle, the reverse image of the famous Howard Becker's outsider.
Keywords: Insiders, smart drugs, pharmaceuticalisation, déviance, psychostimulants, biosocialité, Insiders, smart drugs, pharmaceuticalization, deviance, psychostimulants, bio-sociality, Insiders, Smart drugs, farmaceuticalización, desvío, psicoestimulantes, bio- sociabilidad