Documents found
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872.More information
Gilles Marcotte was a brilliant writer and a literary critic of both France and Quebec literatures and his work had influenced several generations of students. He was also an appreciated musical columnist for Liberté, a periodical in which, from 1985 to 1999, he published 73 articles under the title L'amateur de musique. We also find references to music here and there in his journalistic work as early as 1948. Where does this interest for music come from ? How does he speak of it ? How does he link it to literature ? These are the questions this article will attempt to analyse, first, by following his biographical path, from Sherbrooke, his home town, to Montreal where he settles in 1948 ; and secondly, by an analysis of his texts on music : the importance he gives to the sound, the instruments he was particularly attached to, the extensive repertoire he attented, and his views on modernity and contemporary music. This article will be completed by some observations on the humour and the literary style Marcotte used to communicate, this special manner by which he would enter into intimacy with his reader.
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873.
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875.More information
This article examines the premises of the notion of ‘active reader' and ‘act of reading' in an intellectual context wherein the author is pronounced dead and the book is being challenged by the rise of audiovisual media. The article is primarily based on paratexts and other essays by Jean Cayrol, Jean Paulhan and Gaëtan Picon, three literary publishers of the period eager to chronicle their editorial activities, their aesthetics criteria and contemporary conceptions of the mediation of literature. Their essays and critical journals amount to professional diaries intended as a dialogue not so much with the broader reading public as with counterparts and peers within the literary sphere. They also provide an understanding of reading protocols and guidelines which expert readers more or less explicitly encourage ordinary readers to follow. They exhibit how publishers of the time acknowledge the role of the reader, who remains anonymous, yet occupies an increasingly central position within the production and reception of literature, thus slowly but steadily paving the way for reader response theories.
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876.More information
This interview with author Boubacar Boris Diop deals with Wolof literature, the teaching and writing of national languages in Senegal and the Senegalese publishing industry. Diop first looks back at his experience in Rwanda and how it influenced his decision to write in his native language, Wolof. He then traces a brief history of Wolof literature before responding to common objections regarding the writing and teaching of national languages, and outlines the main challenges that his country faces regarding the promotion of national languages in both education and literature. The interview covers a wide range of topics, from the position of French language in Senegalese educational system to the much-debated issue of the languages used by African writers in their works of fiction.
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878.More information
Looking at aesthetics and heterogeneity in Abdelfattah Kilito’s Dites-moi le songe, this article examines how this work challenges the limits of literary genres. Dites-moi le songe includes essayistic digressions, fragmentary writing, oneiric narratives, and elements of the novel. Using literary and extra-literary intertextuality, it rehabilitates Classical Arabic literature.
Keywords: esthétique de l’hétérogénéité, esthetics of heterogeneity, uncertainty, incertitude, réhabilitation de la mémoire littéraire, literary memory, rêve, dream, fragmentary writing, écriture fragmentaire, Kilito, Kilito, Abdelfattah, Abdelfattah
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879.More information
Keywords: intermédialité, interartiel
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880.