Documents found
-
172.More information
Paul Zumthor's last book, Babel ou l'Inachèvement, sounds quite different from his other works, insofar as the author of the Essai de poétique médiévale seems here to stand aloof from a modernity that he had exalted for a long time, and to draw a very dark picture of the presentday society. The study of this opus ultimum allows us, moreover, to go back to a lesser known novel of our author, Le Puits de Babel, which is an attempt to revive the figure ofAbelard, a character who has, as it is well known, always fascinated Zumthor. Finally the recurrent images of Babel and of Héloïse 's lover allow us to sketch an analysis of the imaginary of Zumthor, a writer for whom literary creation and scholarly research were always intimately linked.
-
174.More information
This article compares the works and careers of Leo Africanus, Moroccan geographer born in Granada, and of the Morisco Ahmad al-Hajarî, focusing on their contributions to travel literature and to the development of Oriental studies in Europe.
Keywords: Jean Léon l'Africain (v. 1490- v. 1554), Ahmad al-Hajarî (1569 ou 70 – après 1640), Orientalisme, littérature de voyage, Morisques, écrivains marocains, Leo Africanus (ca. 1490-ca. 1554), Ahmad al-Hajarî (1569 or 70 – after 1640), Orientalism, travel literature, Moriscos, Moroccan writers, Juan León el Africano (ca. 1490-ca. 1554), Ahmad al-Hajarî (1569 o 70 – después de 1640), orientalismo, literatura de viajes, Moriscos, escritores marroquí
-
175.More information
This two-part article examines Du Creux's rewriting of the Relations, with a view to understanding the Jesuits' reasons for publishing the Historiae canadensis (François Du Creux, Paris: Cramoisy et Mabre-Cramoisy, 1664). The first part deals with the content of the Historiae canadensis as historical truth. To begin with, it presents the coherence of the work as envisaged by Du Creux in the front matter. Then, it focuses on the relationship between the history and its sources by analyzing the construction of the ethos of the historian, able to defend the truth transmitted by the work by presenting the rewriting in a certain way. The second part is devoted to the way in which Du Creux employs the historical genre to serve the Company of Jesus. It begins by examining the passages in which the author uses his status as a historian to take a prudent position on the delicate issue of sainthood. Then, it demonstrates the apologetic use of this history to deal with trade issues and, especially, theological ones. These considerations lead to the formulation of hypotheses on the reasons that may have motivated the rewriting of the Relations.
-
177.More information
If Henri Lopes was politically at the forefront in the building of a people's republic in the Congo of the 1970s, he also pioneered a democratic practice of the novel based on three major aspects. First, he artfully creates a special relationship to his reader, to which his tales often specifically address, while his various narrators embody the hermeneutic activities of the investigator trying to join the different dots in a plot. Some mirroring effects are also set up between distinct and distant worlds or characters, thus establishing equivalence relations between Africa, Europe, America and the Caribbean. Finally, the various narratives favour common places, be they topographical, linguistic or literary, which provide horizontal connections between nations, cultures and generations.
-
178.More information
This article examines the various kinds of editing in two series conceived for the new televisual streaming services: Transparent (Jill Soloway, 2014-19) and I Love Dick (Sarah Gubbins and Jill Soloway, 2016-17). These works' queer posture enables them to concentrate a multiplicity of options in a serial format (in a logic in which identity is located between several options). Editing here is understood as: a) relations between the elements in each episode, similar to film editing; b) the relation between the episodes and the series' entire season; and c) a performance capable of reactivating certain meanings across seasons through readings and against-the-grain rewritings which upset the meaning of the entire series after the fact. While this final category plays on a somewhat abusive translation of the English term editing, it has the merit of underscoring the “serial reactivation” gesture, which makes it possible to emphasize, by means of the effects of rhythm and of the viewer's memory, the importance of the queer potential of seriality.
-
179.More information
Whenever reality is inconvenient or difficult to accept, it is now commonplace to dispute it, to pronounce it false and align oneself quickly with the Truth, while concealing the sense of unreality and false perception this process implies. Rereading Freud's letter to Romain Rolland, in 1936, “A Disturbance of Memory on the Acropolis,” with a focus on the sense of falseness, allows us to explore the characteristics of a psyche that is under the sway of post-traumatic denial, based on the construction of a false internal self. Hypotheses are formulated regarding the question of sibling relationships, which is central to this “letter to a brother,” leading eventually to an interpretation involving the unrepresentable archaic, extending Freud's theorization around the father complex. If the belief today is that “nothing is true, therefore anything goes,” it is because sibling rivalry has been reduced to a trivialized murder.
Keywords: vérité, Freud, Romain Rolland, inquiétante étrangeté, rivalité fraternelle, truth, Freud, Romain Rolland, uncanny, sibling rivalry, fake news
-
180.More information
Le volet critique de ce mémoire porte sur l'influence de l'ironie voltairienne telle qu'elle se manifeste dans Candide sur la poétique de Guy de Maupassant, et plus précisément dans le conte de jeunesse intitulé « Le Docteur Héraclius Gloss ». S'appuyant sur une conception binaire de l'ironie, qui oppose l'ironie corrective (cherchant à corriger le réel) à l'ironie littéraire (posant la question du langage), l'analyse permet de montrer que dans la première partie de son conte, Maupassant emprunte à Voltaire sa manière ludique de combiner les effets d'ironies corrective et littéraire pour se moquer de son personnage principal. La veine voltairienne est toutefois abandonnée dans la seconde partie du récit, au profit d'une écriture plus empathique, et conforme à la poétique réaliste dont il est …