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This essay, at the crossroad of cinema, philosophy, and literature, emerges from an interdisciplinary reading of News from Home (1977) by Belgian cinematographer Chantal Akerman. By focusing on the journey of the letter (from mother to daughter, from writing to reading, from paper to screen) and its different mediations—this essay addresses the intersubjective connections (Derrida, Lacan) and the relationship of trust (Marzano, Foucart) established by the correspondence and its filmic mediation. Commonly considered as an intimate place of confidence and trust, the epistolary exchange, as portrayed in Akerman's film, is also imbued with anxiety and uncertainty: although the telos of the letters is to abolish the distance between mother and daughter, we shall see that the transaction they establish paradoxically intensifies the weight of absence (Foucart, 2018). Considering the letter as a means of relaying subjectivities, this article will further study how the combination of specific sounds—city sounds, Akerman's voice, silences—and images—static shots of empty streets, crowded boulevards—allow the director to represent her and her mother's subjectivity, conveying two spatial and temporal realities at the same time. Such reflections lead us to conclude by questioning the issues of memory and inheritance raised by the public becoming of the letters in dialogue with the notion of “secret” developed by the psychoanalyst Anne Dufourmantelle in her essay Défense du secret (2015).
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AbstractJacques Ferron's letters to his sisters, collected in Laisse courir ta plume, predate his genuine birth as a writer. However, the image that the young college student gives of himself in this correspondence suggests that he is already caught up in the game of fiction. As the correspondence evolves, Ferron successively constructs for himself a letter-writing persona and a writer's persona. His readings quickly become triggering factors, enabling him to discover his own conception of the writer's work and to find his style. Gradually, Ferron becomes capable of imposing his own style and personality through a discourse that has become more and more free of conventional constraints.
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This article examines the representations of digital writing in several contemporary stories published between 2009 and 2021, and in particular the figuration of writers grappling with digital tools. Whether taken in a humorous or a more decisively satirical way, these representations constitute a particular form of reflexivity, giving us an opportunity to think about the literary aspect of contemporary digital uses.
Keywords: réflexivité, mise en abyme, métalepse, représentations littéraires du numérique, poétique du code, reflexivity, mise en abyme, metalepsis, literary representations of the digital, poetics of code
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Luxury is in the wealth of a supplement related to the writing of an abundant interchange of letters between women, based on friendship, a pleasure highly significant in the work of Colette. The intimate epistolary contract is opened to the narrative of the peculiar frames of mind and body, the tenuous events of everyday life, showing also a resistance to the literary creation which implies a very demanding personal ideal of style. We also find in this lengthy correspondence the sensuality of the writer and the connected fantasy present in the intersubjective mode of the mutual exchange. The sharing in the discourse is an energy-giving and a capture of the other, developing an ethics of desire.
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This critique features the organization and themes of Jacques (1834), a George Sand's epistolary novel which orchestrates some major topics of the works of George Sand: feminine education and sexuality, androgyny, matrimony and incest. Modelled on Jean-Jacques Rousseau's la Nouvelle Héloïse (1761), Jacques borrows procedures from the epistolary novel, but changes the treatment of romantic topics: love, the relationship between brothers and sisters, and incest.Through a polyphonic structure and ironical discourse on fiction, the author reconsiders traditional roles in society and upholds an egalitarian concept of the relation of men and women.