Pub Date : 2023-11-29DOI: 10.1080/17409292.2023.2261334
Brigitte Tsobgny
Le 11 mars 2011, la terre tremble au Japon pendant environ 2 minutes. Le séisme déclenche un tsunami qui provoque à son tour un accident nucléaire de la même ampleur que celle de Tchernobyl. Dans F...
{"title":"Fukushima, récit d’un désastre de Michaël Ferrier, Une alliance heureuse de la science et de la littérature.","authors":"Brigitte Tsobgny","doi":"10.1080/17409292.2023.2261334","DOIUrl":"https://doi.org/10.1080/17409292.2023.2261334","url":null,"abstract":"Le 11 mars 2011, la terre tremble au Japon pendant environ 2 minutes. Le séisme déclenche un tsunami qui provoque à son tour un accident nucléaire de la même ampleur que celle de Tchernobyl. Dans F...","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138527204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-29DOI: 10.1080/17409292.2023.2263295
Carine Schermann
This comparative article brings together the works of two painters of Tokyo: Francophone writer Michaël Ferrier and his hybrid collection of poetic essays, Tokyo, petits portraits de l’aube (2004),...
这篇比较文章汇集了两位东京画家的作品:法语作家Michaël Ferrier和他的混合诗集《东京，小画像de l 'aube》(2004)，……
{"title":"Le chemin le moins court : L’art du détour chez Michaël Ferrier et Jirō Taniguchi","authors":"Carine Schermann","doi":"10.1080/17409292.2023.2263295","DOIUrl":"https://doi.org/10.1080/17409292.2023.2263295","url":null,"abstract":"This comparative article brings together the works of two painters of Tokyo: Francophone writer Michaël Ferrier and his hybrid collection of poetic essays, Tokyo, petits portraits de l’aube (2004),...","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138527212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237795
Donald Joseph
Abstract This article examines the multifaceted process of queer subjectivity (re)formation that queer Maghrebi subjects undergo as they (re)interpret their relationship to and orientation toward social norms, masculinity, and the spaces of exchange they inhabit. Bahaa Trabelsi’s Une vie à trois [A Life of Three] (2000) assembles an intricate literary text to signal the inequalities many non-normative or queer Maghrebi subjects encounter via conservative discourse. This article understands Trabelsi’s work as a critique of masculinity and society, in which she does reconfigure masculinity to develop a plural form, which is to say, “masculinities,” to go beyond singular, essentialized interpretations of the concept. To engage with Trabelsi’s apparent critique of Moroccan society, this article postulates that the several narratives in the novel assemble figures of revolt, which involve subjects purposefully eliding societal pressures, therefore, situating themselves as “others” within their communities to maintain agency and individual subjecthood.
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Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237788
Patoimbasba Nikiema
AbstractFor the African continent, the global turn not only marks a significant shift in the nature of the relationships it maintains with other regions of the world but is also characteristic of increasing demands for internal sociopolitical changes. After a presence in the world through troubling times characterized by uncertainties and doubts, Sub-Saharan Africa is gradually writing its chapter on optimism and entering its Renaissance. However, recent protests in Francophone Africa, which are symptomatic of overwhelming social exasperations and of growing frustrations remind the necessity for the continent to reimagine new ways of responding to its internal social demands while reassessing its place in a more and more transnational global space. Consequently, reflections on the being-in-the-global of the continent entail crucial interrogations and analyses on the multidimensional axes of domination that define Africa’s relations with the rest of the world, while opposing them to the single axis relationships that symbolize colonial times. This work, therefore, calls for the continent’s awareness concerning the contemporary models of global relationships and their implications. It argues that the stakes of the continent’s presence in the global require both an Afrotopian vision and a global black response.Keywords: AfricaAfrotopiaReappropriationExtraversionglobalizationreturn Additional informationNotes on contributorsPatoimbasba NikiemaPatoimbasba Nikiema is an Assistant Professor of French and Francophone Studies, Global Black Studies and Afropean Studies at the Michele Bowman Underwood Department of Modern Languages and Literatures at the University of Miami. He is currently working on the participation of African and Afrodiasporic authors in Afrotopia and explores the return from exile in Caribbean and African literary productions.
{"title":"Reinterpreting Africa’s Presence in the Global: Afrotopia, Diaspora, Return, and Global Black Reappropriation","authors":"Patoimbasba Nikiema","doi":"10.1080/17409292.2023.2237788","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237788","url":null,"abstract":"AbstractFor the African continent, the global turn not only marks a significant shift in the nature of the relationships it maintains with other regions of the world but is also characteristic of increasing demands for internal sociopolitical changes. After a presence in the world through troubling times characterized by uncertainties and doubts, Sub-Saharan Africa is gradually writing its chapter on optimism and entering its Renaissance. However, recent protests in Francophone Africa, which are symptomatic of overwhelming social exasperations and of growing frustrations remind the necessity for the continent to reimagine new ways of responding to its internal social demands while reassessing its place in a more and more transnational global space. Consequently, reflections on the being-in-the-global of the continent entail crucial interrogations and analyses on the multidimensional axes of domination that define Africa’s relations with the rest of the world, while opposing them to the single axis relationships that symbolize colonial times. This work, therefore, calls for the continent’s awareness concerning the contemporary models of global relationships and their implications. It argues that the stakes of the continent’s presence in the global require both an Afrotopian vision and a global black response.Keywords: AfricaAfrotopiaReappropriationExtraversionglobalizationreturn Additional informationNotes on contributorsPatoimbasba NikiemaPatoimbasba Nikiema is an Assistant Professor of French and Francophone Studies, Global Black Studies and Afropean Studies at the Michele Bowman Underwood Department of Modern Languages and Literatures at the University of Miami. He is currently working on the participation of African and Afrodiasporic authors in Afrotopia and explores the return from exile in Caribbean and African literary productions.","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237781
Julia Praud
AbstractHenri Lopes’s Citation1990 novel, Le Chercheur d’Afriques, embraces the post-colonial reality of multiple roots (Glissant). Much like Jazz music itself, the novel embodies the principles of la créolité outlined by Bernabé, Chamoiseau, and Confiant in their 1989 work, Éloge de la Créolité. This paper will explore the rhythms, musical composition, and musical intersections that enrich and shape the novel paying particular attention to jazz music, lyrics, rhythm, and sounds embedded in the novel’s structure, language, and imagery, and examine ways in which the layering music and musical references throughout the text has the power to create soundscapes, evoke emotions and memories.Keywords: Henri LopesCréolitéJazzCongoFrancophone Notes1 All translations are mine2 The narrator, André, notes that he thought Mouloudji was biracial like him “because of his lips and his hair” (Lopes 14).3 In response to the question about the role music plays in Lopes’ work, the author replies, “En fait, je pense que l’entrée de la musique se trouve dans Le chercheur d’Afriques” (Prüschenk 130).4 A soundtrack for Henri Lopes’s novels compiled by Anthony Mangeon is available on YouTube at the following link: https://www.youtube.com/playlist?list=PLrBC0vF_Opv-o1CNGQPLdTJ3muA0ul-8i5 “www.rfimusique.com/siteFr/biographie/biographie_9027.asp”6 “www.pbs.org/wnet/americanmasters/print/robeson_p.html”7 “The drum beats, and insists, inviting the village to gather. Thump, thump, thump. Muted, throbbing beats. One, then several women wail. The drum continues its demonic rhythm as if to convince even the wise ones and the elders to get up to come stomp the ancestral grounds.”8 “Charlie Parker’s sax threw a musical serpentine into the piece, gliding, spinning, whirling quickly to take off again, unstoppable, into a spiraling rocket” (33).9 Mpoto = EuropeAdditional informationNotes on contributorsJulia PraudDr. Julia Praud is an Associate Professor of French at the United States Military Academy where she serves as the French Program Director in the Department of Foreign Languages. At West Point, Julia teaches a variety of courses from language to literature. Her research interests include francophone literature from Africa with a focus on post-independence literary production.
摘要:亨利·洛佩斯(ri Lopes)在Citation1990年出版的小说《非洲之车》(Le Chercheur d’afriques)拥抱了多元根源的后殖民现实。就像爵士乐本身一样，这部小说体现了伯纳伯纳、查莫瓦索和康菲纳特在1989年的著作《Éloge de la crolit》中概述的la crolit原则。本文将探讨节奏、音乐组成和音乐的交集，丰富和塑造小说，特别注意爵士乐、歌词、节奏和声音嵌入小说的结构、语言和意象，并研究在整个文本中分层音乐和音乐参考的方式，这些音乐和音乐参考具有创造音景、唤起情感和记忆的能力。关键字:亨利·洛佩斯(Henri lopescrolitjazz)刚果(congo)法语注释1所有的翻译都是我的2叙述者andr指出，他认为穆卢吉和他一样是混血儿，“因为他的嘴唇和头发”(Lopes 14)对于音乐在Lopes的作品中所扮演的角色的问题，作者的回答是:“En fait, je pense que l ' entre de la musique se trouve dans Le chercheur d ' afriques”(pr schenk 130)安东尼·曼金(Anthony Mangeon)为亨利·洛佩斯(Henri Lopes)的小说编录的配乐可在YouTube上下载:https://www.youtube.com/playlist?list=PLrBC0vF_Opv-o1CNGQPLdTJ3muA0ul-8i5 " www.rfimusique.com/siteFr/biographie/biographie_9027.asp " 6 " www.pbs.org/wnet/americanmasters/print/robeson_p.html " 7 "鼓声不停地敲着，邀请全村的人聚在一起。咚咚，咚咚，咚咚。柔和的，悸动的节拍。先是一个，然后是几个女人在哭泣。鼓声继续着它那恶魔般的节奏，似乎要说服智者和长老们站起来，来踏祖先的土地。“查理·帕克的萨克斯管在乐曲中抛出了一个音乐蛇形，滑行，旋转，快速旋转，再次起飞，不可阻挡，进入螺旋火箭”(33)Mpoto =欧洲更多信息撰稿人说明julia PraudDr。Julia Praud是美国军事学院的法语副教授，在那里她担任外语系法语项目主任。在西点军校，茱莉亚教授从语言到文学的各种课程。她的研究兴趣包括非洲法语文学，重点是独立后的文学创作。
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Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237803
Frédérique Chevillot
AbstractThis article examines three texts written by Black women and/or racialized creators writing in French: Trop noire pour être française (2017) by Isabelle Boni-Claverie, Je suis quelqu’un (2018) by Aminata Aidara and Chair Piment (2002) by Gisèle Pineau. Together, these texts interrogate historical and contemporary forms of racism and sexism embedded in the French language and search for ways to humanize the experience of characters generally denigrated by colonizing French white supremacy.Keywords: Antiracist literary writingracialized women writing in FrenchFrench whitenessIsabelle Boni-ClaverieAminata AidaraGisèle Pineau Notes1 https://www.legifrance.gouv.fr/loda/article_lc/LEGIARTI000037090124/2019-03-182 https://www.sbctc.edu/resources/documents/colleges-staff/programs-services/administrators-of-color/central-frames-colorblind-racism-sum2019.pdfAdditional informationNotes on contributorsFrédérique ChevillotFrédérique Chevillot is Professor at the University of Denver. Her research focuses on contemporary novels and short stories by women authors writing in French. She is the author of La Réouverture du texte (Anma Libri), and, co-edited with Anna Norris, Des Femmes écrivent la guerre (Complicités, 2007). She is co-editor of Rebelles et criminelles chez les écrivaines d’expression française, a volume on literary representations of rebellious and criminal women by female authors (Rodopi, 2013). She also collaborated with Elizabeth Hall, Eilene Hoft-March, and Maribel Peñalver Vicea, on an editorial volume titled Cixous After 2000/Cixous depuis 2000, published with Rodopi/Brill (2017).
摘要本文考察了黑人女性和/或种族化创作者用法语创作的三篇文本:Isabelle Boni-Claverie的《黑色的Trop noire pour être franaise》(2017)、Aminata Aidara的《我很孤独》(2018)和gisnaire Pineau的《椅子》(2002)。这些文本共同探讨了法语中存在的历史和当代形式的种族主义和性别歧视，并寻求将被殖民法国白人至上主义所诋毁的角色的经历人性化的方法。关键词:反种族主义文学写作礼貌化女性法语写作法国白人伊莎贝尔·博尼-克拉维里阿米娜塔·艾达拉·is勒·皮诺Notes1 https://www.legifrance.gouv.fr/loda/article_lc/LEGIARTI000037090124/2019-03-182 https://www.sbctc.edu/resources/documents/colleges-staff/programs-services/administrators-of-color/central-frames-colorblind-racism-sum2019.pdfAdditional信息投稿人说明弗莱姆·萨维罗弗莱姆·萨维罗是丹佛大学的教授。她的研究重点是用法语写作的女性作家的当代小说和短篇小说。她著有《文本中的)》，并与安娜·诺里斯合编了《女性的)》(2007年出版)。她是《叛逆与犯罪》(rebeles et criminelles chez les crivaine d’expression aise)的联合编辑，该书是一本关于女性作家对叛逆和犯罪女性的文学表现的书(Rodopi, 2013)。她还与Elizabeth Hall、Eilene Hoft-March和Maribel Peñalver Vicea合作，出版了名为《2000年后的Cixous》/《2000年的Cixous depuis》的编辑卷，由Rodopi/Brill出版社(2017)出版。
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Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237806
Bernadette Cailler
AbstractThis article considers Valéry’s postulation (Cahiers, 1923) that critics should work on discovering the « problem » experienced by the author consciously or unconsciously and decide whether it was successfully resolved. Three years later, Valéry added that critics should therefore concentrate their attention on the work itself and try to decipher all its meanings through close reading (Cahiers, 1926). Through interviews and multiple exchanges with readers, Ferrier, the author, himself a seasoned critic, provides many reading clues. Such practices, however, threaten to kill critics’ efforts by turning them into parrots, less good than their master, and perhaps kept away from offering new perspectives. Also, another trap for critics is to take their own reading problems for those the writer might have had. The only solution is to reject the « affective fallacy » denounced by The New Critics, and to consider texts between author, narrator, contexts and critic. This article deals with François, portrait d’un absent, and Scrabble. Une enfance tchadienne. The conclusion briefly examines Valéry’s negative attitude towards novels, wondering what his reactions might have been, if confronted, for instance, with Glissant’s or Ferrier’s poetic novels.Keywords: ValéryFerrierclose readingaffective fallacyFrançoisScrabble Notes1 Mes précisions en italiques.2 Voir les deux essais écrits par William Kurtz Wimsatt et Monroe Beardsley, « The Intentional Fallacy » et « The Affective Fallacy. » Parmi les critiques adonnés à la « Reader-Response Theory, » on compte Wolfgang Iser, Stanley Fish, Roland Barthes, Walter Slatoff, Norman Holland. D’Edward W. Said, voir The World, the Text and the Critic, en particulier le premier chapitre du même titre.3 Je reprends ici une expression utilisée plusieurs fois par Édouard Glissant dans ses essais où il commente les techniques narratives de William Faulkner, à savoir le « détour » et le « différé, » ainsi que la vision d’identités morcelées. Voir les articles de Michael Wiedorn, Hugues Azerad et Celia Britton dans American Creoles: The Francophone Caribbean and the American South.4 Photo choisie par Martin Munro pour la couverture de son livre traduit.5 Entre autres instruments, Ferrier étudiera le piano. Il écrivit sa Maîtrise sur les chansons de Georges Brassens; plus généralement, il aime les chansons françaises et autres. Il consacra sa thèse de doctorat à la Chanson chez Céline, thèse qui devint un livre: Céline et la chanson.Additional informationNotes on contributorsBernadette CaillerBernadette Cailler is professor emerita at the University of Florida. She received degrees from the Universities of Poitiers, Paris, and Cornell (PhD in Comparative Literature, 1974). A member of the African Lliterature Association from 1975 to 2015 and of the International Council for Francophone Studies from its foundation (1987–2022), she received the 1999 Maurice Cagnon Prize (now I.C.F.S. Prize) for her contributions. She has p
摘要本文考虑了valsamry的假设(Cahiers, 1923)，即批评家应该有意识或无意识地发现作者所经历的“问题”，并决定是否成功地解决了这个问题。三年后，valsamry补充说，因此，评论家应该把注意力集中在作品本身，并试图通过仔细阅读来破译它的所有含义(Cahiers, 1926)。作者费里尔本人也是一位经验丰富的评论家，他通过采访和与读者的多次交流，为读者提供了许多阅读线索。然而，这样的做法有可能使批评家的努力付诸东流，使他们变成鹦鹉学舌，不如他们的主人好，而且可能无法提供新的观点。此外，评论家的另一个陷阱是把他们自己的阅读问题当作作者可能有过的问题。唯一的解决办法是拒绝“新批评”所谴责的“情感谬误”，并考虑作者，叙述者，语境和评论家之间的文本。这篇文章讨论了法语、肖像画和拼字游戏。一名高级军官。结语部分简要地考察了瓦尔杰里对小说的消极态度，想知道如果他面对格利桑特或费里尔的诗歌小说，他会有什么反应。关键词:valemassry ferrier近读情感谬误valemassry scrabble注1 Mes pracry决策斜体威廉·库尔兹·温萨特和门罗·比尔兹利合著的《意图谬误》和《情感谬误》。《读者-反应理论》，沃尔夫冈·伊瑟尔、斯坦利·菲什、罗兰·巴特、沃尔特·斯拉托夫、诺曼·霍兰德合著。D 'Edward W. Said，《世界、文本与批评家》，特别是《même》第一章我重复ici一个表达式utilisee几个次par爱德华Glissant在ses essais ou il看到莱斯技术叙述德威廉·福克纳知道le«绕道»等le«均依照ainsi»,la愿景d 'identites morcelees。Michael Wiedorn, Hugues Azerad和Celia Britton的《美国克里奥尔人:讲法语的加勒比地区和美国南部》中心乐器，Ferrier samudiera钢琴。我将与matrise sur les chansons de Georges Brassens进行交流;加上获得的薪金和薪金，将会减少薪金和薪金的变化。Il consacra sa th de doctorat la Chanson chez csamine, the qui devint un livre: csamine et la Chanson。作者简介:伯纳黛特·卡勒伯纳黛特·卡勒是佛罗里达大学名誉教授。她毕业于巴黎普瓦捷大学和康奈尔大学(1974年获得比较文学博士学位)。1975年至2015年，她是非洲文学协会的成员，1987年至2022年，她是法语研究国际理事会的成员。1999年，她因其贡献获得了莫里斯·卡格农奖(现为国际文学联合会奖)。她出版了关于aimise csamsaire(1976年)和Édouard Glissant(1988年)的书籍(和文章)，以及关于其他法国作家的文章，并著有《Carthage ou la flamme du brasier》。在Virgile, senhor, Mellah, Ghachem, Augustin, Ammi, Broch, et Glissant(2007)中，msammoire et samchos。她目前正在研究Michaël Ferrier和Lorand Gaspar。
{"title":"De Paul Valéry (« découvrir quel problème l’auteur s’est posé ») à une lecture de Michaël Ferrier","authors":"Bernadette Cailler","doi":"10.1080/17409292.2023.2237806","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237806","url":null,"abstract":"AbstractThis article considers Valéry’s postulation (Cahiers, 1923) that critics should work on discovering the « problem » experienced by the author consciously or unconsciously and decide whether it was successfully resolved. Three years later, Valéry added that critics should therefore concentrate their attention on the work itself and try to decipher all its meanings through close reading (Cahiers, 1926). Through interviews and multiple exchanges with readers, Ferrier, the author, himself a seasoned critic, provides many reading clues. Such practices, however, threaten to kill critics’ efforts by turning them into parrots, less good than their master, and perhaps kept away from offering new perspectives. Also, another trap for critics is to take their own reading problems for those the writer might have had. The only solution is to reject the « affective fallacy » denounced by The New Critics, and to consider texts between author, narrator, contexts and critic. This article deals with François, portrait d’un absent, and Scrabble. Une enfance tchadienne. The conclusion briefly examines Valéry’s negative attitude towards novels, wondering what his reactions might have been, if confronted, for instance, with Glissant’s or Ferrier’s poetic novels.Keywords: ValéryFerrierclose readingaffective fallacyFrançoisScrabble Notes1 Mes précisions en italiques.2 Voir les deux essais écrits par William Kurtz Wimsatt et Monroe Beardsley, « The Intentional Fallacy » et « The Affective Fallacy. » Parmi les critiques adonnés à la « Reader-Response Theory, » on compte Wolfgang Iser, Stanley Fish, Roland Barthes, Walter Slatoff, Norman Holland. D’Edward W. Said, voir The World, the Text and the Critic, en particulier le premier chapitre du même titre.3 Je reprends ici une expression utilisée plusieurs fois par Édouard Glissant dans ses essais où il commente les techniques narratives de William Faulkner, à savoir le « détour » et le « différé, » ainsi que la vision d’identités morcelées. Voir les articles de Michael Wiedorn, Hugues Azerad et Celia Britton dans American Creoles: The Francophone Caribbean and the American South.4 Photo choisie par Martin Munro pour la couverture de son livre traduit.5 Entre autres instruments, Ferrier étudiera le piano. Il écrivit sa Maîtrise sur les chansons de Georges Brassens; plus généralement, il aime les chansons françaises et autres. Il consacra sa thèse de doctorat à la Chanson chez Céline, thèse qui devint un livre: Céline et la chanson.Additional informationNotes on contributorsBernadette CaillerBernadette Cailler is professor emerita at the University of Florida. She received degrees from the Universities of Poitiers, Paris, and Cornell (PhD in Comparative Literature, 1974). A member of the African Lliterature Association from 1975 to 2015 and of the International Council for Francophone Studies from its foundation (1987–2022), she received the 1999 Maurice Cagnon Prize (now I.C.F.S. Prize) for her contributions. She has p","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237786
Hollie Harder
AbstractIn The Mysterious Correspondent: New Stories, two manuscript fragments, under the title “After Beethoven’s Eighth Symphony,” highlight Marcel Proust’s exploration of the possibility of deep spiritual communication between individuals. In each fragment, the qualities of the human voice and symphonic music are compared, underscoring the extent to which the emotional and aesthetic effects of sound depend on milieu and medium. The limitations of conversation as a means of achieving spiritual intimacy contrast dramatically with the potential of music to engender more profound human connections. This juxtaposition of voice and music gives readers a glimpse of Proust’s early efforts to transpose into words the seemingly ineffable qualities of music.Keywords: ProustBeethovenvoicemusicmanuscriptspirituality Notes1 Unless otherwise noted, the English versions of The Mysterious Correspondent: New Stories are from Charlotte Mandell’s translation.2 Suzette Lemaire was the daughter of Madeleine Lemaire, an artist in her own right, known for her paintings of flowers, who entertained members of high society as well as artists and intellectuals at her salon on the rue de Monceau in Paris. Marcel Proust and Reynaldo Hahn met at one of Madeleine Lemaire’s soirées in 1894, around the time Proust was writing the manuscripts compiled in Le Mystérieux Correspondent.3 All unattributed translations are mine.4 In the Recherche, we see a similar juxtaposition when the banalities of conversation clash with the elation inspired by Vinteuil’s music. At the Verdurin salon between movements of the septet, audience members chat briefly with the Proustian protagonist: “Un duc, pour montrer qu’il s’y connaissait, déclara: ‘C’est très difficile à bien jouer.’ Des personnes plus agréables causèrent un moment avec moi. Mais qu’étaient leurs paroles, qui, comme toute parole humaine extérieure, me laissaient si indifférent, à côté de la céleste phrase musicale avec laquelle je venais de m’entretenir?” (Proust 3: 762) [“A duke, in order to show that he knew what he was talking about, declared: ‘It’s a difficult thing to play well.’ Other more agreeable people chatted for a moment with me. But what were their words, which like every human and external word left me so indifferent, compared with the heavenly phrase of music with which I had just been communing?”] (Moncrieff 5: 344).5 For example, the Proustian narrator links the shape and color of Bloch’s nose to the nasal quality of his voice: “Son nez restait fort et rouge, mais semblait plutôt tumifié par une sorte de rhume permanent qui pouvait expliquer l’accent nasal dont il débitait paresseusement ses phrases, car il avait trouvé, de même une coiffure appropriée à son teint, une voix à sa prononciation, où le nasonnement d’autrefois prenait un air de dédain d’articuler qui allait avec les ailes enflammées de son nez” (qtd. in Pisano, p. 112).Additional informationNotes on contributorsHollie HarderHollie Harder is Professor o
在《神秘的通讯员:新故事》中，两篇题为“贝多芬第八交响曲之后”的手稿片段，突出了马塞尔·普鲁斯特对个体之间深层精神交流可能性的探索。在每个片段中，比较了人声和交响乐的品质，强调了声音的情感和美学效果取决于环境和媒介的程度。对话作为一种获得精神亲密的手段的局限性，与音乐产生更深刻的人际关系的潜力形成了鲜明的对比。这种声音和音乐的并列，让读者得以一窥普鲁斯特早年的努力，他将音乐看似难以形容的品质转化为文字。关键词:普鲁斯特贝多芬音乐手稿灵性注释1除特别注明外，《神秘通讯员:新故事》的英译本均来自夏洛特·曼德尔的译本苏泽特·勒梅尔是马德琳·勒梅尔的女儿，马德琳·勒梅尔是一位独立的艺术家，以画花而闻名，她在巴黎蒙索街的沙龙里招待上流社会的成员、艺术家和知识分子。马塞尔·普鲁斯特和雷纳尔多·哈恩于1894年在玛德琳·勒梅尔的一次聚会上相识，当时普鲁斯特正在写《秘密通讯》的手稿。所有未署名的翻译都是我的在《追思》中，我们看到了类似的并置，当谈话的陈腐与文特伊音乐所激发的喜悦发生冲突时。在Verdurin沙龙上，在七重奏的乐章之间，观众们与这位普鲁斯特式的主角简短地聊天:“unduc, pour montrer qu ' il s ' y connaisit, dsamclara: ' C ' est tr difficile bien jouer。”他说:“这些人加上可变性的人造成的后果是，每时每刻都在改变。”但是瞿'etaient帮助他们解脱,,,像吹捧假释humaine exterieure,我laissaient si漠不关心,象牙海岸de la celeste短语音乐会用的那个我venais m 'entretenir ?(普鲁斯特3:7 62)“一位公爵，为了表明他知道自己在说什么，宣称:‘演奏好是一件困难的事情。还有一些比较随和的人和我聊了一会儿。但是，他们的话，就像所有的人和外界的话语一样，使我如此漠不关心，与我刚才交谈的神圣的音乐相比，又算得了什么呢?(Moncrieff 5: 344)例如，普鲁斯特式的叙述者将布洛赫鼻子的形状和颜色与他声音的鼻音联系起来:“Son nez restait fort et rouge, mais semblit plutôt tumififiee par one sorte de rhume permanent qui pouvait expliquer l 'accent鼻音don ' il danci.com/ com/发音，car il avit trouvise, de même one coffent concient danci.com/， one voixcom/发音，où le nasonement d 'autrefois prepreit air de danci.com/和'articuler ququestall ' aanci.com/”(qtd)。《皮萨诺》，第112页)。作者简介:霍利·哈德是马萨诸塞州沃尔瑟姆市布兰迪斯大学法语和法语研究教授。她曾在Émile Zola和Michel Houellebecq上发表文章，此外还发表了关于马塞尔·普鲁斯特的作品，其中包括《在海滩和闺室:马塞尔·普鲁斯特的À la recherche du temps perdu中的阿尔贝蒂娜》在法国论坛上，《普鲁斯特的人类喜剧》在《剑桥普鲁斯特伴侣》上，以及《普鲁斯特的小说糖果:弗朗索瓦兹的烹饪和马塞尔的书》在现代语言研究。
{"title":"The Sound of the Soul Mediated through Voice and Music in an Early Proustian Manuscript (“Après la 8e symphonie de Beethoven” [“After Beethoven’s Eighth Symphony”])","authors":"Hollie Harder","doi":"10.1080/17409292.2023.2237786","DOIUrl":"https://doi.org/10.1080/17409292.2023.2237786","url":null,"abstract":"AbstractIn The Mysterious Correspondent: New Stories, two manuscript fragments, under the title “After Beethoven’s Eighth Symphony,” highlight Marcel Proust’s exploration of the possibility of deep spiritual communication between individuals. In each fragment, the qualities of the human voice and symphonic music are compared, underscoring the extent to which the emotional and aesthetic effects of sound depend on milieu and medium. The limitations of conversation as a means of achieving spiritual intimacy contrast dramatically with the potential of music to engender more profound human connections. This juxtaposition of voice and music gives readers a glimpse of Proust’s early efforts to transpose into words the seemingly ineffable qualities of music.Keywords: ProustBeethovenvoicemusicmanuscriptspirituality Notes1 Unless otherwise noted, the English versions of The Mysterious Correspondent: New Stories are from Charlotte Mandell’s translation.2 Suzette Lemaire was the daughter of Madeleine Lemaire, an artist in her own right, known for her paintings of flowers, who entertained members of high society as well as artists and intellectuals at her salon on the rue de Monceau in Paris. Marcel Proust and Reynaldo Hahn met at one of Madeleine Lemaire’s soirées in 1894, around the time Proust was writing the manuscripts compiled in Le Mystérieux Correspondent.3 All unattributed translations are mine.4 In the Recherche, we see a similar juxtaposition when the banalities of conversation clash with the elation inspired by Vinteuil’s music. At the Verdurin salon between movements of the septet, audience members chat briefly with the Proustian protagonist: “Un duc, pour montrer qu’il s’y connaissait, déclara: ‘C’est très difficile à bien jouer.’ Des personnes plus agréables causèrent un moment avec moi. Mais qu’étaient leurs paroles, qui, comme toute parole humaine extérieure, me laissaient si indifférent, à côté de la céleste phrase musicale avec laquelle je venais de m’entretenir?” (Proust 3: 762) [“A duke, in order to show that he knew what he was talking about, declared: ‘It’s a difficult thing to play well.’ Other more agreeable people chatted for a moment with me. But what were their words, which like every human and external word left me so indifferent, compared with the heavenly phrase of music with which I had just been communing?”] (Moncrieff 5: 344).5 For example, the Proustian narrator links the shape and color of Bloch’s nose to the nasal quality of his voice: “Son nez restait fort et rouge, mais semblait plutôt tumifié par une sorte de rhume permanent qui pouvait expliquer l’accent nasal dont il débitait paresseusement ses phrases, car il avait trouvé, de même une coiffure appropriée à son teint, une voix à sa prononciation, où le nasonnement d’autrefois prenait un air de dédain d’articuler qui allait avec les ailes enflammées de son nez” (qtd. in Pisano, p. 112).Additional informationNotes on contributorsHollie HarderHollie Harder is Professor o","PeriodicalId":10546,"journal":{"name":"Contemporary French and Francophone Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135841537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237802
Alina Cherry
AbstractThis article examines the impact of TV disaster coverage on viewers’ temporal perception and sense of reality, through the lens of Dany Laferrière’s Tout bouge autour de moi (2011) and Ryoko Sekiguchi’s Ce n’est pas un hasard: Chronique japonaise (2011). The first book, written in the form of a journal, covers the devastating magnitude 7.0 earthquake that struck Haiti on January 12, 2010, and its aftermath. The second book, also written as a journal, deals with the triple disaster—earthquake, tsunami, nuclear meltdown (Fukushima)—that occurred in Japan on March 11, 2011. Both authors suggest that the media, and images, more broadly, play a crucial role in fashioning viewers’ perceptions of disaster by constructing an artificial reality that draws on the real, yet at the same time imposes its own temporality, chronological sequence, and logic. In addition, Laferrière’s and Sekiguchi’s reflections on the circulation and constant replay of images of disaster raise ethical questions about the media’s appropriation and commodification of suffering, the traumatic impact of images of atrocity, as well as our widespread addiction to watching disasters unfold in real time on television.Keywords: Dany LaferrièreRyoko SekiguchiimagedisasterTV coveragetemporality Notes1 I am referring to the French title of Boltanski’s book, La Souffrance à distance.2 I am using the distinction proposed by Susan Sontag in Regarding the Pain of Others (40–47) between handmade images (paintings and drawings), which evoke (it is an invented horror by an artist), and photographs, which show and count as evidence, thus provoking both shock and shame in the viewer.3 For a detailed account of how images are redeployed during the news coverage of a catastrophe, one can consult Geoff King’s article “‘Just like a movie’?: 9/11 and Hollywood Spectacle.”Additional informationNotes on contributorsAlina CherryAlina Cherry is Associate Professor of French at Wayne State University in Detroit, where she teaches contemporary French and Francophone literatures and cultures. She is the author of Claude Simon: Fashioning the Past by Writing the Present (Fairleigh Dickinson UP, 2016), as well as articles on Jean-Philippe Toussaint, Marguerite Duras, Claude Simon, and Joan Miró. Her current book project focuses on the 2010 Haiti earthquake and the 2011 triple disaster—earthquake, tsunami, nuclear meltdown—in Japan.
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Pub Date : 2023-08-08DOI: 10.1080/17409292.2023.2237805
Amin Erfani
AbstractOn a piece of paper, stored in one of the two suitcases that Jean Genet gave to his lawyer two weeks before his death—a testament to what he will not have published, and which will nevertheless be published by Albert Dichy thirty-four years after his death—Genet writes: “I committed the crime of escaping crime, of escaping prosecution and its risks. I said who I was, instead of living who I was, and saying who I was, I was no longer.” Through this gesture, Genet exposes a fundamental paradox: the act of writing consists of a betrayal; any medium remains at odds with the content it claims to summon. In the same way, Genet wrote that theater must be performed, not on stages, but in cemeteries and columbaria, to show how representation is above all a process of annihilation. This acute awareness of the deadly power of the medium eventually pushes Genet into an editorial—not a scriptorial—silence: he stops publishing but continues to write. This article examines the singular status of that writing and its relationship to death.Keywords: CirqueÉcritureGenetMortThéâtreValises Notes1 Pour une analyse plus étendue de cette déclaration, voir Erfani.Additional informationNotes on contributorsAmin ErfaniAmin Erfani is a professor of French and Comparative Literature at Lehman College, City University of New York, specializing in theater and literary and psychoanalytic theory. He is also an American English translator of the works of Valère Novarina and Bernard-Marie Koltès.
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