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This article presents an unpublished interview with British writer Aldous Huxley, conducted by Hubert Aquin for the Premier Plan television program and broadcast by Radio-Canada on June 12th 1960. By analysing how the interview was produced, broadcast, and received by the public ; and by placing it in the context of several major interviews undertaken by Aquin in 1960, the article provides a better understanding of the impact of Aquin's career as a journalist on his intellectual development as a writer, political activist, and media figure. Finally, the article underscores the significance of newly accessible audio-visual sources related to Aquin held at the Université de Montréal, sources that offer new perspectives on his life's work.
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The “denarrativization” of Céline's writing in the German trilogy allows him to write a History of chaos, to achieve an infra-writing of History steeped in the commonplace, to give voice to the “non-tellable.” This study explores how a literary writing of history (and the concomitant reading thereof) makes it possible to at once recount History in another way, to tell a story different from the official historiography, and finally to recount something other than history.
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Philippe Vilain’s work is a significant contribution to the contemporary literary field, because it invests the styles and genres of his time (autofiction, exofiction and non-fiction)as much as it is invested by theoretical concerns: his fictions pensives are characterized by their capacity to offer a fictional framework for pondering the love experience, which is likely to influence the writing of essays and feed on it. This article proposes to highlight some of these fictional expansions of his thinking, their relationship to his work as an essayist, as well as the writer's ability to transform ordinary experience into both a literary object and a structured thought.
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This article considers Julia Kristeva's novel Murder in Byzantium in the context of some of the most pressing ethical and political dilemmas faced by Europe today, regarding the role of religion and the inclusion of religious references in the Constitution of European Union. It traces Kristeva's remapping of the European tradition, and places feminine creativity at the core of her analysis. I argue that this remapping that revalorizes feminine creativity and sensibility envisions the question of the eternal Europe as an illusion to be endlessly reinvented.
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This essay first offers a review of the critical positions of Marilyn Randall in relation to the novel Trou de mémoire (1968) by Hubert Aquin. I focus specifically on the concept of biolectography, removing its prefix to examine the idea of lectography, a reading no longer centered on the search for the image of the author in the margins of fiction, but on the responsibility of the reader. Trou de mémoire is an unusual detective novel because the criminal’s identity is quickly discovered however the motives for the crimes that structure the plot are otherwise obscure. Based on criticism theorized and practiced by Pierre Bayard, I propose an investigation that reconstructs the characters’ motivations, without sparing an examination of the reader's desire. This insistence on the encounter with the text gives rise to a conceptual character that I refer to as the detective reader. At the helm of the investigation, the detective reader revisits the enigmas of Trou de mémoire, plunging into the vanishing point of the text, less to propose a solution but rather to survey the questionable logic put forth by the novel.
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This study analyzes the relationship between the promise implied in the paratext of Roland Brival's novel (Gallimard, 2016) and the book's contents. Its title, Nègre de personne (Nobody's Negro), sounds like a proud claim. Its backcover states that the novel is about Léon-Gontran Damas's trip to New York in order to meet the Black intellectuals of the Harlem Renaissance. This « self-set appointment with history » will force him « to radically review his own conviction », while « a young and passionate rebel woman » enters his life. Such packaging is rather attractive, but Damas's trip to Harlem was invented by Brival, just like the diary in which Damas addresses Césaire and Senghor and in which he confides his torrid sexual encounters with a female Haitian artist – a choice that runs rather counter to recent queer readings of Damas's poems. Brival's novel thus raises all kinds of questions about the merits of his text and the meaning of a fictional autobiographical tale that takes so many liberties with literary history, including imitations of Damas's poems of dubious authorship.
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470.More information
AbstractGulliver's Travels (Swift, 1726) enjoyed considerable success in 19th century France. Over one hundred editions appeared between 1815 and 1898, which figure includes over fifteen different revisions, abridged or bowdlerized versions and retranslations. Among these the 1727 translation by Pierre-François Guyot abbé Desfontaines is predominant. An analysis of the three versions (a reedition of Desfontaines's text, a retranslation and a bowdlerized children's version), published between 1832 and 1843, reveals how the notion of translation evolved during the 150-year period. An examination of paratextual discourse and examples taken from the most problematic passages (issues of “good taste” or convention) demonstrates that divergent translational practices coexisted throughout the 19th century. Nevertheless, editors seemed to be in agreement when it came to offering their French readership reworked texts that transformed Gulliver by infantilizing him and effacing his essence.
Keywords: Voyages de Gulliver, retraduction, réédition, monarchie de Juillet