Documents found
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582.More information
At the turn of the 1870s, the daughters of the Congregation of Notre-Dame presented politically-themed theatrical plays within the walls of the convents. Depicting European revolutionaries portrayed as Satan, these plays raised funds to send Zouaves in Italy. Unintentionally, the girls also took part in Bishop Bourget's ambition to eradicate liberal ideas and spread ultramontanism within the French Canadian bourgeoisie.
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583.More information
This article sets out to show how an existential reading of Krzysztof Kieślowski's film Bleu (Blue, 1993) makes it possible to bring into focus the changing identity of its heroine, Julie. We will see how the brutal loss of her husband and daughter bring her to a point of a ruptured identity, breaking the “calm” so important to Kieślowski's work. We will be able to understand that this rupture in the film is tied to a dramatic loss which cannot be incorporated into its story. Julie tries to pacify the traumatic eruption of the past by distancing herself from what reminds her of it. This retreat brings about an attempt to dissolve her identity. Julie is saved by the intervention of another person, enabling her to be reborn and transformed by her loss. The hermeneutic approach adopted in the article brings the existential description of the theme of identity in the film into dialogue with a body of continental philosophy and with psychoanalysis.
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584.More information
Although sociology and psychoanalysis are interested in the topic of abjection, few studies to date have been devoted to its artistic forms, whether literary or cinematic. This article evaluates representations of the abject mother through four pairs of texts and films in Quebec transcreation: Un homme et son péché (Grignon 1933 ; Binamé 2002), Le torrent (Hébert 1950 ; Lavoie 2012), Le collectionneur (Brouillet 1995; Beaudin 2002), and Borderline (Labrèche 2000; Charlebois 2008). Pivotal to the theme of these novels, the mother is represented as the cause of marginality and the site of abhorrence for the characters trying to distance themselves from her. The films based on these books are not content, however, to depict abject mother semes on screen: they transcend this theme, which as a result invests the various filmic strata. Drawing on André Gaudreault's narratological theories, the article considers in turn, in four micro-analyses (on pre-credit sequences, filming effects, framing, and editing), different faces of abjection disseminated through images, texts and sounds.
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586.More information
After highlighting the interactions between the novel Colette Baudoche. Histoire d'une jeune fille de Metz (1909) by Maurice Barrès and the social imagination of the years 1870-1914-1918, after citing Claude Duchet's sociogram of France as a state (2005), this article traces the evolution of the sociogram of the state of France, drawing upon texts and moments from the French Revolution until the present day. Its main steps are: Waterloo and Hugo, Fantine and Hugo, Joan of Arc and Michelet, Henri-Dominique Lacordaire and Marie-Madeleine, Colette Baudoche, Barrès and revanchism, Le silence de la mer (Vercors) and the Liberation of Paris (as seen by Charles de Gaulle), les “Trente Glorieuses” (Jean Fourastié), the ideologeme of the great replacement (Renaud Camus) and the current rise of the extreme right (Le Pen, Zemmour, et al.).
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589.More information
Among V.Y. Mudimbe's novels, Le bel immonde has often been considered as the only one to possess a plot and to clearly display its subversive intentions within the theme of the marginal. The novel's protagonist is a prostitute, in love or not, we do not know for sure, with an influential minister in the country. In my opinion, the modernity of the novel appears in its reflexive practices (metatextuality and mise en abyme) and in various figures of displacement such as metalepse or anamorphosis. In the present paper, I propose to illustrate that Mudimbe's text is often accompanied by a metatext, represented as a mise en abyme, a hypotyposis, a metalepse, an anamorphosis. The french word « immonde », referring to the religious notion of the impure and to the aesthetics of beauty, is encompassed within the most ordinary utterance, gesture, fact or even silence. A dialectical relationship between self and other subverts clichés on social life in Mudimbe's novel.
Keywords: Mudimbe, roman, société, métatextualité, mise en abyme, Mudimbe, novel, society, metatextuality, mise en abyme