This article uses the figure of the mosaic to explore the multiple ways in which Breton creators of bande dessinée have engaged with cutural, social and political questions from the 1940s to the twenty-first century. Graphic works published in the 1940s magazine O Lo Lê, created by Herri and Ronan Caouissin and later revived in the early 1970s, offered nostalgic images of a fantasized past, a form of cultural propaganda based on myths of Celtic ancestors, literary forefathers such as Auguste Brizeux, and the politics of provincialism. In the second half of the 1970s and early 1980s, amid calls for internal decolonization, the Breton BD scene became more varied, depicting emigration, unemployment and social unrest while giving voice to political dissent and deconstructing the clichés of picturesque localism. Finally, a selection of contemporary texts offers a space for re-examining Frenchness through the interplay between different languages and cultures, new models of relationality informed by postcolonial and ecocritical frameworks. As a hybrid, dynamic art form, BD emerges as a key contributor to the construction and deconstruction of community and group identities.
这篇文章使用马赛克的图形来探索从20世纪40年代到21世纪，布列塔尼风格的乐队创作者以多种方式处理文化、社会和政治问题。Herri和Ronan Caouisin创作的20世纪40年代杂志《O Lo Lê》上发表的平面作品，后来在20世纪70年代初复兴，提供了幻想过去的怀旧图像，这是一种基于凯尔特祖先神话、奥古斯特·布里泽等文学祖先和地方主义政治的文化宣传形式。20世纪70年代后半叶和80年代初，在呼吁内部非殖民化的呼声中，布列塔尼BD的场景变得更加多样化，描绘了移民、失业和社会动荡，同时表达了政治异见，解构了风景如画的地方主义的陈词滥调。最后，精选的当代文本为通过不同语言和文化之间的相互作用重新审视法语提供了一个空间，这些新的关系模式是由后殖民和生态批评框架提供的。BD作为一种混合的、充满活力的艺术形式，在构建和解构社区和群体身份方面做出了重要贡献。
{"title":"A Breton Bande Dessinée? Graphic Mosaics of Brittany","authors":"Armelle Blin-Rolland","doi":"10.3366/NFS.2021.0320","DOIUrl":"https://doi.org/10.3366/NFS.2021.0320","url":null,"abstract":"This article uses the figure of the mosaic to explore the multiple ways in which Breton creators of bande dessinée have engaged with cutural, social and political questions from the 1940s to the twenty-first century. Graphic works published in the 1940s magazine O Lo Lê, created by Herri and Ronan Caouissin and later revived in the early 1970s, offered nostalgic images of a fantasized past, a form of cultural propaganda based on myths of Celtic ancestors, literary forefathers such as Auguste Brizeux, and the politics of provincialism. In the second half of the 1970s and early 1980s, amid calls for internal decolonization, the Breton BD scene became more varied, depicting emigration, unemployment and social unrest while giving voice to political dissent and deconstructing the clichés of picturesque localism. Finally, a selection of contemporary texts offers a space for re-examining Frenchness through the interplay between different languages and cultures, new models of relationality informed by postcolonial and ecocritical frameworks. As a hybrid, dynamic art form, BD emerges as a key contributor to the construction and deconstruction of community and group identities.","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":"43303624","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}
Despite their long histories as a culturally valuable commons and sites of biodiversity, the Breton landes were frequently depicted by nineteenth-century authors, travellers and administrators as wild, unproductive wastelands. While the architects of France's ‘interior colonization’ identified such areas as an ugly, infertile expanse to be cleared and put to use, many visual artists were producing a compelling counter-narrative, representing the landes and zones humides as places of beauty and reverie. This article examines the work of artists such as François Blin, Camille Bernier, Alexandre Ségé and Henri Rivière from an ecocritical perspective, arguing that their work contributed to a discourse of preservation by encouraging new ways of seeing the land, not for its extractive utility but as a space of unexpected splendour and enchantment. Far from a regressive form of nostalgia, these images encourage a unique ‘dwelling perspective’ which uses aesthetic beauty to reveal the area's ecological potential and to articulate a call for responsible environmental stewardship.
{"title":"‘Terres vaines et vagues’: Ecocriticism and Breton Wastelands in Visual and Literary Representation","authors":"M. Coughlin","doi":"10.3366/NFS.2021.0315","DOIUrl":"https://doi.org/10.3366/NFS.2021.0315","url":null,"abstract":"Despite their long histories as a culturally valuable commons and sites of biodiversity, the Breton landes were frequently depicted by nineteenth-century authors, travellers and administrators as wild, unproductive wastelands. While the architects of France's ‘interior colonization’ identified such areas as an ugly, infertile expanse to be cleared and put to use, many visual artists were producing a compelling counter-narrative, representing the landes and zones humides as places of beauty and reverie. This article examines the work of artists such as François Blin, Camille Bernier, Alexandre Ségé and Henri Rivière from an ecocritical perspective, arguing that their work contributed to a discourse of preservation by encouraging new ways of seeing the land, not for its extractive utility but as a space of unexpected splendour and enchantment. Far from a regressive form of nostalgia, these images encourage a unique ‘dwelling perspective’ which uses aesthetic beauty to reveal the area's ecological potential and to articulate a call for responsible environmental stewardship.","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":"42941737","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}
Arguing that the concept of littérature-monde conceals unequal relations between literary cultures, this article examines the socio-economic contexts of literary translation from and into Breton from the fifteenth to the twenty-first century. The value of translation across the corpus of 1025 texts lies primarily in creating intercultural relationships and promoting cultural diversity. Translation into Breton represents a vital defence of a language with dwindling speaker numbers: in the late 1970s it increases dramatically, with littérature de jeunesse spearheading a change in state policy allowing regional languages to be taught in schools. Yet translation can also reinforce an existing power imbalance, highlighting the central role played by French in the linguistic and literary construction of Breton society. Poetry, songs and contes translated from Breton often perpetuate stereotypes of a bardic, oral culture, while nationalist writers reject self-translation into French as capitulation before the dominant culture. Since the 1980s, many have chosen to bypass French by translating into languages such as Welsh, Scottish, Irish or Catalan, creating a network of minority literatures. Since the market for Breton translation is so small, however, such texts serve as valuable identity markers, a symbolic, affective force articulating a quest for socio-political legitimacy via literature.
{"title":"Évolution du phénomène de traduction dans le domaine littéraire de langue bretonne","authors":"N. Blanchard","doi":"10.3366/NFS.2021.0317","DOIUrl":"https://doi.org/10.3366/NFS.2021.0317","url":null,"abstract":"Arguing that the concept of littérature-monde conceals unequal relations between literary cultures, this article examines the socio-economic contexts of literary translation from and into Breton from the fifteenth to the twenty-first century. The value of translation across the corpus of 1025 texts lies primarily in creating intercultural relationships and promoting cultural diversity. Translation into Breton represents a vital defence of a language with dwindling speaker numbers: in the late 1970s it increases dramatically, with littérature de jeunesse spearheading a change in state policy allowing regional languages to be taught in schools. Yet translation can also reinforce an existing power imbalance, highlighting the central role played by French in the linguistic and literary construction of Breton society. Poetry, songs and contes translated from Breton often perpetuate stereotypes of a bardic, oral culture, while nationalist writers reject self-translation into French as capitulation before the dominant culture. Since the 1980s, many have chosen to bypass French by translating into languages such as Welsh, Scottish, Irish or Catalan, creating a network of minority literatures. Since the market for Breton translation is so small, however, such texts serve as valuable identity markers, a symbolic, affective force articulating a quest for socio-political legitimacy via literature.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44621228","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}
Nous éloignant de lectures antérieures de La Moustache qui se penchent sur les questions de la folie et de l'identité, nous nous intéressons de manière systématique à l'exploitation du motif de la photographie par Emmanuel Carrère dans son roman (1986) et son film (2005). La première section s'intéresse au rôle du langage dans la création d'images ambivalentes dans le roman. La deuxième section est consacrée à l'adaptation cinématographique qui pose par le biais des photographies la question de la vérité. Dans une troisième section, nous examinons l'influence des représentations sur la réalité. Nous montrons qu'au travers de différentes manipulations autour des images photographiques, La Moustache, dans ses deux versions, met en question la perception, la représentation du réel et la question de la vérité.
{"title":"La Preuve par l'image: l'usage de la photographie dans La Moustache d'Emmanuel Carrère","authors":"Caroline Ferraris-Besso","doi":"10.3366/NFS.2021.0307","DOIUrl":"https://doi.org/10.3366/NFS.2021.0307","url":null,"abstract":"Nous éloignant de lectures antérieures de La Moustache qui se penchent sur les questions de la folie et de l'identité, nous nous intéressons de manière systématique à l'exploitation du motif de la photographie par Emmanuel Carrère dans son roman (1986) et son film (2005). La première section s'intéresse au rôle du langage dans la création d'images ambivalentes dans le roman. La deuxième section est consacrée à l'adaptation cinématographique qui pose par le biais des photographies la question de la vérité. Dans une troisième section, nous examinons l'influence des représentations sur la réalité. Nous montrons qu'au travers de différentes manipulations autour des images photographiques, La Moustache, dans ses deux versions, met en question la perception, la représentation du réel et la question de la vérité.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":"60 1","pages":"98-113"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42431965","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}
Mon article analyse la relation entre humanisme et biopolitique chez Albert Camus et Malika Mokeddem. Faisant appel au concept de la civilité, je suggère que Mokeddem rapièce l’écart creusé par Camus entre vie humaine et vie politique. Proposée par Étienne Balibar, la civilité présuppose l'inséparabilité de l'appartenance à l'humanité et l'appartenance à la vie politique; l'impossibilité de diviser l'existence humaine entre la vie nue et la vie politique. Camus et Mokeddem désignent l'espace de la politique comme la sphère d'une apparence, où un sujet se rend visible et audible par la parole. Mokeddem trace une civilité capable d'intégrer le droit de cité des femmes, dessinant une communauté égalitaire soustraite à la logique des régimes biopolitiques. « Féminisant » l'humanisme, Mokeddem démontre qu'une capacité politique partagée en commun fait l'humanité, et pas le contraire. Camus et Mokeddem offrent des alternatives au « nécro-pouvoir » identifié par Achille Mbembe comme constitutif des régimes coloniaux et postcoloniaux.
{"title":"Humanisme, biopolitique et civilité: les cas d'Albert Camus et Malika Mokeddem","authors":"Raji Vallury","doi":"10.3366/NFS.2021.0308","DOIUrl":"https://doi.org/10.3366/NFS.2021.0308","url":null,"abstract":"Mon article analyse la relation entre humanisme et biopolitique chez Albert Camus et Malika Mokeddem. Faisant appel au concept de la civilité, je suggère que Mokeddem rapièce l’écart creusé par Camus entre vie humaine et vie politique. Proposée par Étienne Balibar, la civilité présuppose l'inséparabilité de l'appartenance à l'humanité et l'appartenance à la vie politique; l'impossibilité de diviser l'existence humaine entre la vie nue et la vie politique. Camus et Mokeddem désignent l'espace de la politique comme la sphère d'une apparence, où un sujet se rend visible et audible par la parole. Mokeddem trace une civilité capable d'intégrer le droit de cité des femmes, dessinant une communauté égalitaire soustraite à la logique des régimes biopolitiques. « Féminisant » l'humanisme, Mokeddem démontre qu'une capacité politique partagée en commun fait l'humanité, et pas le contraire. Camus et Mokeddem offrent des alternatives au « nécro-pouvoir » identifié par Achille Mbembe comme constitutif des régimes coloniaux et postcoloniaux.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":"60 1","pages":"114-130"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47158398","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 discusses the thought of the contemporary French philosopher and economist Frédéric Lordon and analyses his responses to the 2008 global financial crisis. The key focus is on a play in alexandrine verse that Lordon wrote about the crisis, D'un retournement l'autre: comédie sérieuse sur la crise financière (2011). The article contextualizes the play and situates it within Lordon's wider intellectual project, which draws on Marx and Spinoza to provide a political theory of affects. I compare the ways Lordon explains the derivative finance at the heart of the subprime crisis in both his play and his economic writings. My discussion centres on the concepts of affect and image in Lordon's attempt to explain the crisis to the public, in whom Lordon wants to inspire the desire for political change. I conclude by asking critically how useful Lordon's theory and literary work are in a time of crisis.
本文讨论了法国当代哲学家和经济学家弗莱姆·洛登的思想，并分析了他对2008年全球金融危机的反应。重点是伦敦用亚历山大诗体写的一部关于危机的戏剧，D'un retournement l'autre: commimassrieuse sur la crisis financire(2011)。这篇文章将这部戏剧置于伦敦更广泛的智力项目中，这一项目利用马克思和斯宾诺莎提供了一种情感的政治理论。我比较了伦敦在他的戏剧和他的经济学著作中解释次贷危机核心的衍生金融的方式。我的讨论集中在伦敦试图向公众解释危机时的情感和形象概念上，伦敦希望激发公众对政治变革的渴望。最后，我提出了一个批判性的问题:在危机时期，伦敦的理论和文学作品有多大用处?
{"title":"‘Une image bien choisie qui fait bouillir les sangs’: Frédéric Lordon and the 2008 Financial Crisis","authors":"Calum Watt","doi":"10.3366/NFS.2021.0303","DOIUrl":"https://doi.org/10.3366/NFS.2021.0303","url":null,"abstract":"This article discusses the thought of the contemporary French philosopher and economist Frédéric Lordon and analyses his responses to the 2008 global financial crisis. The key focus is on a play in alexandrine verse that Lordon wrote about the crisis, D'un retournement l'autre: comédie sérieuse sur la crise financière (2011). The article contextualizes the play and situates it within Lordon's wider intellectual project, which draws on Marx and Spinoza to provide a political theory of affects. I compare the ways Lordon explains the derivative finance at the heart of the subprime crisis in both his play and his economic writings. My discussion centres on the concepts of affect and image in Lordon's attempt to explain the crisis to the public, in whom Lordon wants to inspire the desire for political change. I conclude by asking critically how useful Lordon's theory and literary work are in a time of crisis.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":"60 1","pages":"33-49"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43683998","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}
In ‘Le Noir et l'or de Dresde’ ( Europes, 2005), Jacques Réda's quixotic project is to excavate a Dresden that is no more. Fully aware of this paradoxical aim as he walks through its martyred cityscape ‘vers la Dresde du XVIIIe siècle en sachant qu'elle n'existait plus’, he reflects on images present and past: sun-drenched spires remembered from eighteenth-century paintings that stand as witness to what no longer exists, the brutal bombings by American and British forces during the Second World War, and the commercialized aftermath of German reunification. As Réda moves beyond assessing tragedy through a historical lens, his poetic prose commemorates trauma by accentuating chromatic, lexical and aural textures and intensities in order to open avenues towards shared subjectivity. He establishes an ethical and aesthetic trajectory that responds creatively to war's destruction, and concludes by reframing the city's heraldic colours, black and gold, within sunset's unifying transit across a poetically reconstructed skyline
在《黑色与德累斯顿》(欧洲，2005)中，雅克·雷姆达的堂吉诃德式计划是挖掘一个已不复存在的德累斯顿。当他走在这座充满苦难的城市景观“vers la Dresde du XVIIIe sisoulcle en sachant qu'elle n'existait plus”时，他充分意识到这个矛盾的目标，他反思了现在和过去的图像:从18世纪的绘画中想起的阳光普照的尖塔，见证了不再存在的东西，第二次世界大战期间美国和英国军队的残酷轰炸，以及德国统一后的商业化后果。随着雷姆达超越了通过历史镜头来评估悲剧，他的诗意散文通过强调色彩、词汇和听觉的纹理和强度来纪念创伤，从而打开通往共同主体性的道路。他建立了一种道德和美学的轨迹，创造性地回应战争的破坏，并通过重新定义城市的纹章色彩，黑色和金色，在日落统一的过境中，诗意地重建了天际线
{"title":"Jacques Réda's ‘Le Noir et l'or de Dresde’: Ethics and Aesthetics in War's Wake","authors":"L. Anderson","doi":"10.3366/NFS.2021.0309","DOIUrl":"https://doi.org/10.3366/NFS.2021.0309","url":null,"abstract":"In ‘Le Noir et l'or de Dresde’ ( Europes, 2005), Jacques Réda's quixotic project is to excavate a Dresden that is no more. Fully aware of this paradoxical aim as he walks through its martyred cityscape ‘vers la Dresde du XVIIIe siècle en sachant qu'elle n'existait plus’, he reflects on images present and past: sun-drenched spires remembered from eighteenth-century paintings that stand as witness to what no longer exists, the brutal bombings by American and British forces during the Second World War, and the commercialized aftermath of German reunification. As Réda moves beyond assessing tragedy through a historical lens, his poetic prose commemorates trauma by accentuating chromatic, lexical and aural textures and intensities in order to open avenues towards shared subjectivity. He establishes an ethical and aesthetic trajectory that responds creatively to war's destruction, and concludes by reframing the city's heraldic colours, black and gold, within sunset's unifying transit across a poetically reconstructed skyline","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":"60 1","pages":"131-144"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43892511","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}
French Canadian poet William Chapman is generally dismissed as second-rate imitator of Lamartine, Hugo or his compatriot Louis Fréchette. Chapman's bitter feud with Fréchette has been – much more than the five collections of verse he published between 1876 and 1912 – his claim to fame. Despite being at odds with his North American contemporaries, Chapman was indefatigable in his pursuit of literary prestige. Chapman's quest for literary honours including the Nobel Prize, while it has thus far attracted the derision of critics, in fact provides context for a deeper understanding of his poetic practice within the shifting philanthropic landscape of the turn of the century. Close readings of two of Chapman's poems, ‘À M. Andrew Carnegie’ and ‘Nobel’, alongside contemporary journalistic sources, point to a new understanding of Chapman's considerable body of occasional verse and of Chapman himself as a savvy professional attuned to the developing ‘economy of prestige’.
{"title":"The Poet and the Philanthropists: William Chapman's Aspirational Bid for the Nobel Prize","authors":"Erin E. Edgington","doi":"10.3366/NFS.2021.0301","DOIUrl":"https://doi.org/10.3366/NFS.2021.0301","url":null,"abstract":"French Canadian poet William Chapman is generally dismissed as second-rate imitator of Lamartine, Hugo or his compatriot Louis Fréchette. Chapman's bitter feud with Fréchette has been – much more than the five collections of verse he published between 1876 and 1912 – his claim to fame. Despite being at odds with his North American contemporaries, Chapman was indefatigable in his pursuit of literary prestige. Chapman's quest for literary honours including the Nobel Prize, while it has thus far attracted the derision of critics, in fact provides context for a deeper understanding of his poetic practice within the shifting philanthropic landscape of the turn of the century. Close readings of two of Chapman's poems, ‘À M. Andrew Carnegie’ and ‘Nobel’, alongside contemporary journalistic sources, point to a new understanding of Chapman's considerable body of occasional verse and of Chapman himself as a savvy professional attuned to the developing ‘economy of prestige’.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":"60 1","pages":"1-17"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48190275","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}
In this article, the critical reception of two of Jean Genet's most political texts is studied and discussed with regards to the theoretical opposition between poetical and political language. While Un captif amoureux had a fairly heterogeneous and confused reception, ‘Violence et brutalité’ was generally rejected and described as pro-terrorist propaganda. This difference is explained as a result of both textual and historical factors. Moreover, the critics’ inability to attach a genre to Un captif amoureux is discussed and explained as a result of the work's innovative style and structure, for example its particular way of assembling political and poetical patterns.
{"title":"La Réception critique de l'écriture engagée de Jean Genet: les exemples de «Violence et brutalité» et d'Un captif amoureux","authors":"Karl Ågerup","doi":"10.3366/NFS.2021.0304","DOIUrl":"https://doi.org/10.3366/NFS.2021.0304","url":null,"abstract":"In this article, the critical reception of two of Jean Genet's most political texts is studied and discussed with regards to the theoretical opposition between poetical and political language. While Un captif amoureux had a fairly heterogeneous and confused reception, ‘Violence et brutalité’ was generally rejected and described as pro-terrorist propaganda. This difference is explained as a result of both textual and historical factors. Moreover, the critics’ inability to attach a genre to Un captif amoureux is discussed and explained as a result of the work's innovative style and structure, for example its particular way of assembling political and poetical patterns.","PeriodicalId":19182,"journal":{"name":"Nottingham French Studies","volume":"60 1","pages":"50-63"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44836445","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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