In 2010 Marie Darrieussecq published Rapport de Police, Accusations de plagiat et autres modes de surveillance de la fiction as a response to the accusations of plagiarism brought against her by Camille Laurens and Marie NDiaye. In this essay she claims her right to an openly intertextual writing. Il faut beaucoup aimer les hommes belongs to this type of writing: Darrieussecq draws strong images from other texts to renew and extend them. In particular, she reworks certain topoi, such as love at first sight, heterosexual passion, and White-Black relations. Her main intertexts are Passion simple by Annie Ernaux, Heart of Darkness by Joseph Conrad and Apocalypse Now, the film that Francis Ford Coppola made from it. She also uses several texts by Marguerite Duras, as well as songs, proverbs, key sentences, and anecdotes. She thus explores many clichés, including those relating to two legendary places, Hollywood and Africa. This rich intertextuality could have led to the dilution of her own voice if she had not also anchored her text in her own experience, by including the discreet presence of an auctorial I, and by ensuring through a large epitext that the autobiographical comparisons with its protagonist Solange are known as well as the fact that her text was also born from personal research on Africa and Hollywood. With Il faut beaucoup aimer les hommes, Darrieussecq has written a powerful and personal text despite, or rather thanks to, its vast intertextuality.
2010年，作为对卡米尔·劳伦斯和玛丽·恩迪亚耶对她的剽窃指控的回应，玛丽·达里乌塞克出版了《警察的关系》，《剽窃指控》和《作者的监视模式》。在这篇文章中，她主张自己有公开互文写作的权利。Il - faoup aimer les hommes属于这种类型的写作:达里塞克从其他文本中提取强烈的图像来更新和扩展它们。特别是，她重新创作了某些主题，如一见钟情，异性恋的激情，以及白人和黑人的关系。她的主要作品是安妮·埃诺的《单纯的激情》、约瑟夫·康拉德的《黑暗之心》和弗朗西斯·福特·科波拉根据《现代启示录》改编的电影《现代启示录》。她还使用了玛格丽特·杜拉斯的几篇文章，以及歌曲、谚语、关键句子和轶事。因此，她探索了许多陈词滥调，包括那些与好莱坞和非洲这两个传奇之地有关的故事。这种丰富的互文性可能会导致她自己的声音被淡化，如果她没有将她的文本锚定在她自己的经历中，通过包括谨慎的作者I的存在，并通过一个大的外文确保与主人公索兰吉的自传式比较以及她的文本也源于对非洲和好莱坞的个人研究这一事实。在《我的美丽的目标是我的人》一书中，尽管，或者说，多亏了它巨大的互文性，达里塞克还是写出了一部强大而个人化的作品。
{"title":"La puissante écriture intertextuelle de Marie Darrieussecq dans Il faut beaucoup aimer les hommes","authors":"C. Rodgers","doi":"10.7202/1086334ar","DOIUrl":"https://doi.org/10.7202/1086334ar","url":null,"abstract":"In 2010 Marie Darrieussecq published Rapport de Police, Accusations de plagiat et autres modes de surveillance de la fiction as a response to the accusations of plagiarism brought against her by Camille Laurens and Marie NDiaye. In this essay she claims her right to an openly intertextual writing. Il faut beaucoup aimer les hommes belongs to this type of writing: Darrieussecq draws strong images from other texts to renew and extend them. In particular, she reworks certain topoi, such as love at first sight, heterosexual passion, and White-Black relations. Her main intertexts are Passion simple by Annie Ernaux, Heart of Darkness by Joseph Conrad and Apocalypse Now, the film that Francis Ford Coppola made from it. She also uses several texts by Marguerite Duras, as well as songs, proverbs, key sentences, and anecdotes. She thus explores many clichés, including those relating to two legendary places, Hollywood and Africa. This rich intertextuality could have led to the dilution of her own voice if she had not also anchored her text in her own experience, by including the discreet presence of an auctorial I, and by ensuring through a large epitext that the autobiographical comparisons with its protagonist Solange are known as well as the fact that her text was also born from personal research on Africa and Hollywood. With Il faut beaucoup aimer les hommes, Darrieussecq has written a powerful and personal text despite, or rather thanks to, its vast intertextuality.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130725693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the first part of the article, I examine Rembrandt’s Belshazzar’s Feast in light of Butor’s interpretation of Rembrandt’s sight/blindness paradox. In the second part of the article, I then outline the numerous ways in which Belshazzar’s Feast flourishes in Butor’s own L’Emploi du temps. While numerous researchers have highlighted the importance of biblical intertextualities in this novel – Cain and Abel, Babel, the Apocalypse – Belshazzar’s Feast has been largely overlooked, despite being central to the text. Through a detailed analysis of both Rembrandt and Butor’s representations of Belshazzar’s Feast, I argue that, for both artists, the traditional distinctions between text and image blur when the mysterious and divine letters in this biblical scene cease to necessarily form words.
在文章的第一部分，我根据Butor对伦勃朗的视觉/失明悖论的解释来研究伦勃朗的《伯沙撒的盛宴》。在文章的第二部分，我概述了伯沙撒的盛宴在布托自己的L 'Emploi du temps中蓬勃发展的众多方式。虽然许多研究人员强调了这本小说中圣经互文性的重要性——该隐和亚伯、巴别塔、启示录——但伯沙撒的盛宴在很大程度上被忽视了，尽管它是文本的中心。通过对伦勃朗和布托对伯沙撒盛宴的详细分析，我认为，对于这两位艺术家来说，当这个圣经场景中神秘而神圣的字母不再必然形成文字时，文本和图像之间的传统区别就模糊了。
{"title":"Mené, Mené, Thecel, Upharsin : textes, images et énigmes chez Rembrandt et Butor","authors":"Rebecca Josephy","doi":"10.7202/1086336ar","DOIUrl":"https://doi.org/10.7202/1086336ar","url":null,"abstract":"In the first part of the article, I examine Rembrandt’s Belshazzar’s Feast in light of Butor’s interpretation of Rembrandt’s sight/blindness paradox. In the second part of the article, I then outline the numerous ways in which Belshazzar’s Feast flourishes in Butor’s own L’Emploi du temps. While numerous researchers have highlighted the importance of biblical intertextualities in this novel – Cain and Abel, Babel, the Apocalypse – Belshazzar’s Feast has been largely overlooked, despite being central to the text. Through a detailed analysis of both Rembrandt and Butor’s representations of Belshazzar’s Feast, I argue that, for both artists, the traditional distinctions between text and image blur when the mysterious and divine letters in this biblical scene cease to necessarily form words.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115716936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The question of vengeance appears in a particularly striking fashion in one of Gisèle Pineau’s many novels, Chair Piment, published in 2002. At the centre of the story is Mina, a young Guadeloupan woman living in exile in Paris and haunted by the ghost of her sister Rosalia who was killed in a fire 20 years earlier. Waiting in the wings is Suzon, whom the reader slowly discovers is harbouring a vengeful passion that will push her to exert a “supernatural retaliation”on the entire family of Mina’s father Melchior for his having abandoned her years earlier. Drawing from sociocriticism and the poetics of genre, this analysis will look at the language and discourse used in this somewhat fantastic treatment of the theme of vengeance. Amid this passionate melodrama lurk questions that provoke a discourse that is at times didactic, suggesting, as in fairy tales, that there is a right and a wrong path to follow. It is not vengeance that will cure the evils of the past but the magic of the spoken word.
{"title":"Chair Piment de Gisèle Pineau : au-delà de la vengeance, surmonter l’impardonnable","authors":"Christiane Ndiaye","doi":"10.7202/1086326ar","DOIUrl":"https://doi.org/10.7202/1086326ar","url":null,"abstract":"The question of vengeance appears in a particularly striking fashion in one of Gisèle Pineau’s many novels, Chair Piment, published in 2002. At the centre of the story is Mina, a young Guadeloupan woman living in exile in Paris and haunted by the ghost of her sister Rosalia who was killed in a fire 20 years earlier. Waiting in the wings is Suzon, whom the reader slowly discovers is harbouring a vengeful passion that will push her to exert a “supernatural retaliation”on the entire family of Mina’s father Melchior for his having abandoned her years earlier. Drawing from sociocriticism and the poetics of genre, this analysis will look at the language and discourse used in this somewhat fantastic treatment of the theme of vengeance. Amid this passionate melodrama lurk questions that provoke a discourse that is at times didactic, suggesting, as in fairy tales, that there is a right and a wrong path to follow. It is not vengeance that will cure the evils of the past but the magic of the spoken word.","PeriodicalId":206478,"journal":{"name":"La vengeance dans le roman francophone","volume":"203 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125688310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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