This article makes the case for reading Zola’s protagonists Laurent and Thérèse as literary foils for one of the founding fathers of the experimental method, namely the physiologist Claude Bernard, and his wife, Fanny Martin. Drawing more particularly on elements from Bernard’s and Martin’s lives, as well as Bernard’s scientific writings, the article shows that Zola ‘performs’ two grueling experiments in the aforementioned novel: the first one, initiated by the author himself, results in the death of three protagonists and the paralysis of the fourth one; the second experiment, initiated by Laurent, reveals that the latter’s evaluation of Thérèse and his ensuing hypothesis are seriously flawed. In fact, Laurent’s gaze is marred by his tendency to ‘dirty’ nature (‘salir la nature,’ to borrow Zola’s expression), and his experiment doesn’t turn out the way he had originally planned, as both lovers turned murderers end up committing suicide together. This article thus argues that, in Thérèse Raquin, Zola resorts to critical posturing as a vivisector in a text that can be read as a revenge narrative which gestures towards the possibility for vivisectors to be ‘redeemed’ as individuals made fully capable of feeling compassion for their objects through angelic intervention.
{"title":"La Critique et le dépassement de la « méthode expérimentale » dans Thérèse Raquin","authors":"Hélène Sicard-Cowan","doi":"10.3366/nfs.2021.0330","DOIUrl":"https://doi.org/10.3366/nfs.2021.0330","url":null,"abstract":"This article makes the case for reading Zola’s protagonists Laurent and Thérèse as literary foils for one of the founding fathers of the experimental method, namely the physiologist Claude Bernard, and his wife, Fanny Martin. Drawing more particularly on elements from Bernard’s and Martin’s lives, as well as Bernard’s scientific writings, the article shows that Zola ‘performs’ two grueling experiments in the aforementioned novel: the first one, initiated by the author himself, results in the death of three protagonists and the paralysis of the fourth one; the second experiment, initiated by Laurent, reveals that the latter’s evaluation of Thérèse and his ensuing hypothesis are seriously flawed. In fact, Laurent’s gaze is marred by his tendency to ‘dirty’ nature (‘salir la nature,’ to borrow Zola’s expression), and his experiment doesn’t turn out the way he had originally planned, as both lovers turned murderers end up committing suicide together. This article thus argues that, in Thérèse Raquin, Zola resorts to critical posturing as a vivisector in a text that can be read as a revenge narrative which gestures towards the possibility for vivisectors to be ‘redeemed’ as individuals made fully capable of feeling compassion for their objects through angelic intervention.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48964348","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}
La Curée is a novel about financial excesses and sexual appetites. A problem arises for Zola: how to describe sexual acts and avoid censorship? Zola's strategy is to portray sexuality in a slightly indirect way. He uses a scientific gaze as an alibi to describe human sexuality. This article demonstrates how Zola combines references to botany and fairground anatomy for this purpose. Botany allows Zola to write about sexuality in a way that is both explicit and indirect. In addition, the naturalistic method of observation offers a ‘neutral’ scientific perspective of sexuality. Finally, references to anatomical Venuses allow the pseudo-pedagogical observation of the naked female body. Therefore, an indecent, voyeuristic gaze reveals itself behind science as alibi, behind the naturalist gaze.
{"title":"De L'œil du savant au regard impudique dans La Curée","authors":"Aude Campmas","doi":"10.3366/nfs.2021.0329","DOIUrl":"https://doi.org/10.3366/nfs.2021.0329","url":null,"abstract":"La Curée is a novel about financial excesses and sexual appetites. A problem arises for Zola: how to describe sexual acts and avoid censorship? Zola's strategy is to portray sexuality in a slightly indirect way. He uses a scientific gaze as an alibi to describe human sexuality. This article demonstrates how Zola combines references to botany and fairground anatomy for this purpose. Botany allows Zola to write about sexuality in a way that is both explicit and indirect. In addition, the naturalistic method of observation offers a ‘neutral’ scientific perspective of sexuality. Finally, references to anatomical Venuses allow the pseudo-pedagogical observation of the naked female body. Therefore, an indecent, voyeuristic gaze reveals itself behind science as alibi, behind the naturalist gaze.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49469285","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}
{"title":"Introduction: New Dialogues with Breton Literature and Culture","authors":"David. Evans, Heather Williams","doi":"10.3366/NFS.2021.0313","DOIUrl":"https://doi.org/10.3366/NFS.2021.0313","url":null,"abstract":"","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42184719","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}
While Breton literature has often been viewed as either nationalist or nostalgic, Paol Keineg offers alternative expressions of Breton consciousness. From his first published work, Le Poème du pays qui a faim (1967), inspired by Aimé Césaire, Keineg inscribes Breton literature in transnational paradigms while resisting essentialist and nationalist discourses through literary strategies of displacement. This article compares two protagonists in Keineg's theatre. First, I describe the decolonial context of Keineg's first play Le Printemps des bonnets rouges (1972), written with Jean-Marie Serreau and modelled on Césaire's theatre of négritude, before analysing the poetic displacements of the play's Breton hero Sebastian Ar Balp. I then explore how Keineg's depiction of Irish nationalist Sir Roger Casement in Terre lointaine (2004) highlights his contradictions and ambiguities, and deploys ghosts, or spectres in the Derridean sense, which allow for multiple histories, geographies, and identities to overlap, further inscribing them in transnational paradigms.
虽然布列塔尼文学经常被视为民族主义或怀旧，但保罗·基恩提供了布列塔尼意识的另一种表达方式。从他的第一部出版的作品《饥饿的女人》(1967)开始，Keineg受到aim csamsaire的启发，将布列塔尼文学纳入跨国范式，同时通过文学策略的转移来抵制本质主义和民族主义话语。这篇文章比较了Keineg戏剧中的两位主角。首先，我描述了基恩的第一部戏剧《红帽子的春天》(1972)的非殖民背景，这部戏剧是与让-玛丽·塞罗(Jean-Marie Serreau)合作创作的，以csamsaire的“nsams感恩剧场”为蓝本，然后分析了剧中布列塔尼英雄塞巴斯蒂安·阿尔·巴尔普(Sebastian Ar Balp)的诗意置换。然后，我探讨了Keineg在《Terre lointaine》(2004)中对爱尔兰民族主义者罗杰·凯斯门特爵士(Sir Roger casment)的描述如何突出了他的矛盾和模棱两可，并在Derridean的意义上部署鬼魂或幽灵，这允许多种历史，地理和身份重叠，进一步将它们铭刻在跨国范式中。
{"title":"Performing Identities, Displacing Homelands: Transnational Poetics in the Theatre of Paol Keineg","authors":"Annie de Saussure","doi":"10.3366/NFS.2021.0319","DOIUrl":"https://doi.org/10.3366/NFS.2021.0319","url":null,"abstract":"While Breton literature has often been viewed as either nationalist or nostalgic, Paol Keineg offers alternative expressions of Breton consciousness. From his first published work, Le Poème du pays qui a faim (1967), inspired by Aimé Césaire, Keineg inscribes Breton literature in transnational paradigms while resisting essentialist and nationalist discourses through literary strategies of displacement. This article compares two protagonists in Keineg's theatre. First, I describe the decolonial context of Keineg's first play Le Printemps des bonnets rouges (1972), written with Jean-Marie Serreau and modelled on Césaire's theatre of négritude, before analysing the poetic displacements of the play's Breton hero Sebastian Ar Balp. I then explore how Keineg's depiction of Irish nationalist Sir Roger Casement in Terre lointaine (2004) highlights his contradictions and ambiguities, and deploys ghosts, or spectres in the Derridean sense, which allow for multiple histories, geographies, and identities to overlap, further inscribing them in transnational paradigms.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44531207","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}
This article examines the tensions which shaped the careers of three Breton writers – Charles Le Goffic, Anatole Le Braz and Auguste Dupouy – who achieved a degree of national recognition during their lifetime while maintaining their regional affiliations. Although ‘regionalist’ writing was in vogue from 1890 to the early 1940s, such a label could be a handicap for authors attempting to achieve legitimacy on the national stage. In contrast to ‘French’ authors well established in Paris, these ‘polygraphic’ writers published works across a wide variety of genres, with multiple publishing houses both in the capital and in Brittany. All three lived a kind of double life, oscillating between works of universal scope and those which foregrounded local specificity. This analysis offers a fluid model of literary activity which calls into question the rigidity of the familiar Paris/provinces dichotomy, demonstrating how these authors helped to redefine the frontiers of national literary life while affirming their regional identity.
这篇文章探讨了三位布列塔尼作家职业生涯中的紧张关系 – Charles Le Goffice、Anatole Le Braz和Auguste Dupouy – 他们在一生中获得了一定程度的国家认可，同时保持了地区关系。尽管“地区主义”写作在1890年至1940年代初很流行，但对于试图在国家舞台上获得合法性的作者来说，这样的标签可能是一个障碍。与在巴黎站稳脚跟的“法国”作家不同，这些“多图”作家出版了各种类型的作品，在首都和布列塔尼都有多家出版社。三人都过着一种双重生活，在普遍范围的作品和强调局部特异性的作品之间摇摆。这一分析提供了一个流动的文学活动模型，对人们熟悉的巴黎/省份二分法的僵化提出了质疑，展示了这些作者如何帮助重新定义国家文学生活的边界，同时确认他们的地区身份。
{"title":"La Bretagne à l'Académie française","authors":"Mannaig Thomas","doi":"10.3366/NFS.2021.0318","DOIUrl":"https://doi.org/10.3366/NFS.2021.0318","url":null,"abstract":"This article examines the tensions which shaped the careers of three Breton writers – Charles Le Goffic, Anatole Le Braz and Auguste Dupouy – who achieved a degree of national recognition during their lifetime while maintaining their regional affiliations. Although ‘regionalist’ writing was in vogue from 1890 to the early 1940s, such a label could be a handicap for authors attempting to achieve legitimacy on the national stage. In contrast to ‘French’ authors well established in Paris, these ‘polygraphic’ writers published works across a wide variety of genres, with multiple publishing houses both in the capital and in Brittany. All three lived a kind of double life, oscillating between works of universal scope and those which foregrounded local specificity. This analysis offers a fluid model of literary activity which calls into question the rigidity of the familiar Paris/provinces dichotomy, demonstrating how these authors helped to redefine the frontiers of national literary life while affirming their regional identity.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41466216","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}
{"title":"Entretien avec Paol Keineg","authors":"Annie de Saussure","doi":"10.3366/NFS.2021.0321","DOIUrl":"https://doi.org/10.3366/NFS.2021.0321","url":null,"abstract":"","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48543110","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}
This article explores the poetry of François Jaffrennou, who published under the druidic pseudonym Taldir ab Hernin, as a case study in decolonized multilingualism. Close readings of Taldir's writing in Breton, Welsh and French reveal the pressures of negotiating a hybrid Celtic-French identity, as he affirms his Celticity while maintaining a careful relationship with France. Taldir criticizes the French state in his Welsh texts, whereas in French and Breton his critique is more guarded, subtly codified. The Celtic space which emerges here is full of tensions, as Taldir works both within and against the impulse to reconcile Celtic and French identities. I argue that being provincially Other in France requires a delicate balancing act, a special way of being French. I also contend that to work on the local is to work on the global, looking beyond regionalist and postcolonial approaches to Breton writing in an effort to dismantle the monolingualizing tendencies of French Studies.
本文探讨了弗朗索瓦·贾夫伦努以德鲁伊教笔名Taldir ab Hernin出版的诗歌，作为非殖民化多语言主义的一个案例研究。仔细阅读塔尔迪尔用布列塔尼语、威尔士语和法语写的作品，可以发现他在与法国保持谨慎关系的同时，也肯定了自己的凯尔特人身份，因此他在协商凯尔特人-法国混合身份时面临着压力。塔迪尔在他的威尔士文本中批评法国政府，而在法语和布列塔尼，他的批评更加谨慎，巧妙地编纂。这里出现的凯尔特空间充满了紧张，因为塔尔迪尔既在内部工作，也在反对调和凯尔特和法国身份的冲动。我认为，在法国做一个“外省的他者”需要一种微妙的平衡，一种作为法国人的特殊方式。我还认为，研究地方就是研究全球，超越地域主义和后殖民主义的方法来研究布列塔尼人的写作，以努力消除法语研究的单一语言化倾向。
{"title":"Are the Bretons French? The Case of François Jaffrennou/Taldir ab Hernin","authors":"Heather Williams","doi":"10.3366/NFS.2021.0316","DOIUrl":"https://doi.org/10.3366/NFS.2021.0316","url":null,"abstract":"This article explores the poetry of François Jaffrennou, who published under the druidic pseudonym Taldir ab Hernin, as a case study in decolonized multilingualism. Close readings of Taldir's writing in Breton, Welsh and French reveal the pressures of negotiating a hybrid Celtic-French identity, as he affirms his Celticity while maintaining a careful relationship with France. Taldir criticizes the French state in his Welsh texts, whereas in French and Breton his critique is more guarded, subtly codified. The Celtic space which emerges here is full of tensions, as Taldir works both within and against the impulse to reconcile Celtic and French identities. I argue that being provincially Other in France requires a delicate balancing act, a special way of being French. I also contend that to work on the local is to work on the global, looking beyond regionalist and postcolonial approaches to Breton writing in an effort to dismantle the monolingualizing tendencies of French Studies.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46061358","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}
This article examines the various constructions of Breton identity in twelve anthologies of poetry revealing three broad conceptual phases: celebration of an essential ethno-cultural otherness which nonetheless belongs within the French Republic (1830–1918), calls for independence which harness pan-Celtic or postcolonial discourses (1919–71), and a playful, performative notion of identity based on cultural affinity, inclusive of incomers (1976–2000). I focus on strategies of editorial framing which, in each phase, insist on the apartness, and the authenticity, of Breton expression. These anthological, quasi-anthropological projects both anticipate and encourage the reader's touristic gaze, betraying anxieties about Brittany's relationship to the nation within which it must negotiate a place. These negotiations are played out in texts which, in their use of the French language and French poetic forms, operate a constant dialogue with the national tradition, a mode of self-questioning to which the poem is particularly well suited.
{"title":"Myths of Authenticity and Cultural Performance: Breton Identity in the Poetry Anthology, 1830–2000","authors":"David F. Evans","doi":"10.3366/NFS.2021.0314","DOIUrl":"https://doi.org/10.3366/NFS.2021.0314","url":null,"abstract":"This article examines the various constructions of Breton identity in twelve anthologies of poetry revealing three broad conceptual phases: celebration of an essential ethno-cultural otherness which nonetheless belongs within the French Republic (1830–1918), calls for independence which harness pan-Celtic or postcolonial discourses (1919–71), and a playful, performative notion of identity based on cultural affinity, inclusive of incomers (1976–2000). I focus on strategies of editorial framing which, in each phase, insist on the apartness, and the authenticity, of Breton expression. These anthological, quasi-anthropological projects both anticipate and encourage the reader's touristic gaze, betraying anxieties about Brittany's relationship to the nation within which it must negotiate a place. These negotiations are played out in texts which, in their use of the French language and French poetic forms, operate a constant dialogue with the national tradition, a mode of self-questioning to which the poem is particularly well suited.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42361667","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}
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