Pub Date : 2023-01-01DOI: 10.47743/aic-2022-2-0007
Loudiyi Mourad
The theme of the book staged in the texts of Jorge Luis Borges has the capacity to generate significant intertextuality. Its frequency in the Borgesian literary production (tales, short stories, essays, even poetry) justified this study. One of the iconic fictions of this naming is, without a doubt, The Book of Sand, where Borges imagined that there could be an “Endless Book”, the book of books that contains all the books past, present and future. While the Argentine author invests the book in his fictional stories as a character in his own right, this heroization has a bearing on the outcome of the plot and on the characters’ actions. The book, like a character in a novel, is somehow “more than itself ”, a paper medium, stained with ink. Being the keystone of the narrative, it acquires a status that is more than that of a mere fictional figure. In Borgesian fictions, it became the germ of a conception of the world. The insertion of the book as the main character of the book highlights, Borges’s tender love for this substratum and the way he adds value to it. Le thème du livre mis en scène dans les textes de Jorge Luis Borges a la capacité de générer une intertextualité signifiante. Sa fréquence dans la production littéraire borgésienne (contes, nouvelles, essais, même poésies) a justifié cette étude. L’une des fictions emblématiques de cette mise en abyme est, sans aucun doute, Le Livre de sable, où Borges a imaginé qu’il puisse exister un « Livre sans fin », le livre des livres qui contient tous les livres passés, présents et à venir. Si l’auteur argentin investit le livre dans ses récits de fiction en tant que personnage à part entière, cette héroïsation influe sur l’issue de l’intrigue et sur l’agir des personnages. Le livre, à l’instar d’un personnage de roman, est en quelque sorte « plus que lui-même », support en papier, tacheté d’encre. Clé de voûte du récit, il acquiert un statut qui est davantage que celui d’un simple figurant fictif. Il devient alors, dans les œuvres de fiction borgésiennes, le ferment d’une conception du monde. L’insertion du livre comme personnage principal du livre met en évidence, la dilection de Borges pour ce substrat et la manière dont il le valorise.
在博尔赫斯的文本中上演的这本书的主题有能力产生重要的互文性。它在博尔赫斯文学作品(故事，短篇小说，散文，甚至诗歌)中的频率证明了这项研究的合理性。毫无疑问，这一命名的标志性小说之一是《沙之书》，博尔赫斯在书中设想可能会有一本“无尽之书”，一本包含过去、现在和未来所有书籍的书之书。虽然这位阿根廷作家把这本书作为他自己的虚构故事中的一个角色，但这种英雄化对情节的结果和人物的行为都有影响。这本书，就像小说中的一个人物，不知何故“超越了自身”，是一种纸媒，沾着墨水。作为叙事的基石，它获得的地位不仅仅是一个虚构的人物。在博尔赫斯的小说中，它成为一种世界观的萌芽。书的插入作为本书的主角，突出了博尔赫斯对这一基础的温柔的爱以及他为其增加价值的方式。“我的生活是我的生活，我的生活是我的生活，我的生活是我的生活，我的生活是我的生活，我的生活是我的生活，我的生活是我的生活，我的生活是我的生活。”Sa fracentence dans la production littsamraire borgsamsienne (contes, nouvelles, essais, même posamsies)和justified cette sametans。我的小说描述了一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，一个人的生活，和一个人的生活。我在阿根廷投资，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活，我的生活。Le livre, l ' ' inar d ' unpersonnage de roman, est en quelque sorte«plus que lui-même»，支持纸质文件，教师教师。如果你的职业生涯是职业生涯的一部分，那么你将获得比简单的职业生涯更重要的职业优势。我不同意，我不同意，我不同意，我不同意，我不同意，我不同意。如果你的生活是由你的生活所决定的，那么你的生活是由你的生活所决定的，而不是由你的生活所决定的。
{"title":"Borges et/est le Livre : fiction, fictionnalisation et fictivité","authors":"Loudiyi Mourad","doi":"10.47743/aic-2022-2-0007","DOIUrl":"https://doi.org/10.47743/aic-2022-2-0007","url":null,"abstract":"The theme of the book staged in the texts of Jorge Luis Borges has the capacity to generate significant intertextuality. Its frequency in the Borgesian literary production (tales, short stories, essays, even poetry) justified this study. One of the iconic fictions of this naming is, without a doubt, The Book of Sand, where Borges imagined that there could be an “Endless Book”, the book of books that contains all the books past, present and future. While the Argentine author invests the book in his fictional stories as a character in his own right, this heroization has a bearing on the outcome of the plot and on the characters’ actions. The book, like a character in a novel, is somehow “more than itself ”, a paper medium, stained with ink. Being the keystone of the narrative, it acquires a status that is more than that of a mere fictional figure. In Borgesian fictions, it became the germ of a conception of the world. The insertion of the book as the main character of the book highlights, Borges’s tender love for this substratum and the way he adds value to it. Le thème du livre mis en scène dans les textes de Jorge Luis Borges a la capacité de générer une intertextualité signifiante. Sa fréquence dans la production littéraire borgésienne (contes, nouvelles, essais, même poésies) a justifié cette étude. L’une des fictions emblématiques de cette mise en abyme est, sans aucun doute, Le Livre de sable, où Borges a imaginé qu’il puisse exister un « Livre sans fin », le livre des livres qui contient tous les livres passés, présents et à venir. Si l’auteur argentin investit le livre dans ses récits de fiction en tant que personnage à part entière, cette héroïsation influe sur l’issue de l’intrigue et sur l’agir des personnages. Le livre, à l’instar d’un personnage de roman, est en quelque sorte « plus que lui-même », support en papier, tacheté d’encre. Clé de voûte du récit, il acquiert un statut qui est davantage que celui d’un simple figurant fictif. Il devient alors, dans les œuvres de fiction borgésiennes, le ferment d’une conception du monde. L’insertion du livre comme personnage principal du livre met en évidence, la dilection de Borges pour ce substrat et la manière dont il le valorise.","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70889274","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}
Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0013
TZU-CHUN KING
I aim to examine the relation between body and image in Maurice Blanchot’s Death Sentence and The Most High . I will limit my analysis to two forms of image: molding and photography. I will touch briefly on the significations of molding in the context of the history of art and demonstrate how, in Death Sentence , molding transforms human body into a haunting subject and an erotic object at the same time. Then
{"title":"Le corps à l’épreuve de l’image : moulage et photographie chez Maurice Blanchot","authors":"TZU-CHUN KING","doi":"10.47743/aic-2023-1-0013","DOIUrl":"https://doi.org/10.47743/aic-2023-1-0013","url":null,"abstract":"I aim to examine the relation between body and image in Maurice Blanchot’s Death Sentence and The Most High . I will limit my analysis to two forms of image: molding and photography. I will touch briefly on the significations of molding in the context of the history of art and demonstrate how, in Death Sentence , molding transforms human body into a haunting subject and an erotic object at the same time. Then","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135653652","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}
Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0008
DRAGOŞ CARASEVICI
A playwright’s relationship with the stage can be documented from various materials (interviews, notes while working on their drama texts, theoretical writings on theater etc.), but the analysis of their stage directions is the only one that can provide a complete image in this respect. The present paper attempts to offer an overview of Friedrich Dürrenmatt’s vision of the stage and of the role that stage directions play in his drama texts when it comes to the actor’s corporal activity. The fact that our analysis uses the instruments of Theatre Semiotics allows a differentiated balance between facial expressions, gestures and proxemics, and proves that a dialectic relationship between staging and drama text can only arise if the so-called “pré-mise en scène” of the playwright is considered. Das Verhältnis eines Dramatikers zur Bühne kann anhand von verschiedenen Materialien dokumentiert werden (Interviews, Notizen während der Arbeit an den Dramentexten, theoretischen Schriften zum Theater usw.), aber die Analyse seiner Regieanweisungen ist je-doch die einzige, die in dieser Hinsicht ein umfassendes Bild anbieten kann. Der vorliegende Beitrag versucht, einen Überblick zu Friedrich Dürrenmatts Bühnenvorstellung und der Rolle der Bühnenanweisun-gen zur körperlichen Tätigkeit des Schauspielers in seinen Dramentex-ten anzubieten. Die theatersemiotische Systematisierung der Analyse erlaubt uns, eine differenzierte Bilanz zu ziehen, was Mimik, Gestik und Proxemik angeht, und beweist, dass ein dialektisches Verhältnis zwischen Inszenierung und Dramentext nur dann entstehen kann, wenn die sogenannte „pré-mise en scène“ des Dramatikers in Betra-cht gezogen wird.
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Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0007
PAUL MATEI CHRISTIAN BOTEZ
Corporality represents a key theme in Oscar Wilde’s famous novel, even though its relationship to the actual narrative is not devoid of ambiguity: in fact, for Dorian Gray, who wishes to mold his life in a way that resembles a work of art, the body is regarded as something undesirable because of its ephemeral character, subjected to the whims of time. This rejection is expressed through a pact which allows the young man to re legate the aging process and the accompanying physical decay to its painting, while conserving his youthfulness forever, but also, paradoxically, through the adoption of a hedonistic lifestyle, in which material pleasures are sublimated by the hero’s perspective and integrated into his new artistic identity. This article intends to study the place occupied by corporal reality in a literary world governed by the principles of aestheticism, whose major figure – namely the dandy – considers beauty to be a supreme value and displays an obvious lack of interest towards ethical issues. We will also demonstrate that there is a strong link between corporality and moral conscience, both of them repressed within a painted image, which ends up turning against its diabolically exquisite subject. La corporalité constitue un thème central du célèbre roman écrit par Oscar Wilde, même
{"title":"La corporalité refoulée dans Le Portrait de Dorian Gray","authors":"PAUL MATEI CHRISTIAN BOTEZ","doi":"10.47743/aic-2023-1-0007","DOIUrl":"https://doi.org/10.47743/aic-2023-1-0007","url":null,"abstract":"Corporality represents a key theme in Oscar Wilde’s famous novel, even though its relationship to the actual narrative is not devoid of ambiguity: in fact, for Dorian Gray, who wishes to mold his life in a way that resembles a work of art, the body is regarded as something undesirable because of its ephemeral character, subjected to the whims of time. This rejection is expressed through a pact which allows the young man to re legate the aging process and the accompanying physical decay to its painting, while conserving his youthfulness forever, but also, paradoxically, through the adoption of a hedonistic lifestyle, in which material pleasures are sublimated by the hero’s perspective and integrated into his new artistic identity. This article intends to study the place occupied by corporal reality in a literary world governed by the principles of aestheticism, whose major figure – namely the dandy – considers beauty to be a supreme value and displays an obvious lack of interest towards ethical issues. We will also demonstrate that there is a strong link between corporality and moral conscience, both of them repressed within a painted image, which ends up turning against its diabolically exquisite subject. La corporalité constitue un thème central du célèbre roman écrit par Oscar Wilde, même","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135653663","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}
Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0021
ANDREI VICTOR COJOCARU
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Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0004
ANA MARÍA ALONSO FERNÁNDEZ
El Buscón by Francisco de Quevedo is one of the most representative works of the Baroque narrative and the picaresque novel. Based on the constitutive features of this genre (autobiographical story addressed to a respectable person, itinerancy of the character, low social extraction, critical portrait of society), Quevedo creates a personal work in which he introduces a series of independent episodes to show the impossibility of social ascent. In the novel the body is described from different perspectives, purposes and narrative techniques, as we will show in this article. We will show the body as a result of hunger, and the scatological and grotesque as features that degrade the character, as well as the beatings and violence on the body to annul it. Finally, we will analyze some mechanisms to describe the body representative of Quevedo’s style by means of a critical approach to one of the most famous caricature portraits not only of the book but also of Spanish literature, that of “domine Cabra”. El Buscón de Francisco de Quevedo es una de las obras más re presentativas de la narrativa del Barroco y la novela picaresca. Partiendo de los rasgos constitutivos de este género (relato autobiográfico dirigido a una persona respetable, itinerancia del personaje, baja extracción social, retrato crítico de la sociedad), Quevedo crea una obra personal en la que introduce una serie de episodios independientes para mostrar la imposibilidad de ascenso social. En la novela el cuerpo es descrito desde diferentes perspectivas, propósitos y técnicas narra tivas, como mostraremos en este artículo. Aludiremos al cuerpo como reflejo del hambre, a lo escatológico y grotesco como rasgos que degradan al personaje, así como los golpes y violencia sobre el cuerpo para anularlo. Finalmente analizaremos algunos mecanismos para describir el cuerpo representativos del estilo de Quevedo mediante un acercamiento crítico a uno de los retratos caricaturescos más famosos no solo del libro sino de la literatura española, el del dómine Cabra.
{"title":"El Buscón de Quevedo: una visión grotesca y degradadora del cuerpo humano","authors":"ANA MARÍA ALONSO FERNÁNDEZ","doi":"10.47743/aic-2023-1-0004","DOIUrl":"https://doi.org/10.47743/aic-2023-1-0004","url":null,"abstract":"El Buscón by Francisco de Quevedo is one of the most representative works of the Baroque narrative and the picaresque novel. Based on the constitutive features of this genre (autobiographical story addressed to a respectable person, itinerancy of the character, low social extraction, critical portrait of society), Quevedo creates a personal work in which he introduces a series of independent episodes to show the impossibility of social ascent. In the novel the body is described from different perspectives, purposes and narrative techniques, as we will show in this article. We will show the body as a result of hunger, and the scatological and grotesque as features that degrade the character, as well as the beatings and violence on the body to annul it. Finally, we will analyze some mechanisms to describe the body representative of Quevedo’s style by means of a critical approach to one of the most famous caricature portraits not only of the book but also of Spanish literature, that of “domine Cabra”. El Buscón de Francisco de Quevedo es una de las obras más re presentativas de la narrativa del Barroco y la novela picaresca. Partiendo de los rasgos constitutivos de este género (relato autobiográfico dirigido a una persona respetable, itinerancia del personaje, baja extracción social, retrato crítico de la sociedad), Quevedo crea una obra personal en la que introduce una serie de episodios independientes para mostrar la imposibilidad de ascenso social. En la novela el cuerpo es descrito desde diferentes perspectivas, propósitos y técnicas narra tivas, como mostraremos en este artículo. Aludiremos al cuerpo como reflejo del hambre, a lo escatológico y grotesco como rasgos que degradan al personaje, así como los golpes y violencia sobre el cuerpo para anularlo. Finalmente analizaremos algunos mecanismos para describir el cuerpo representativos del estilo de Quevedo mediante un acercamiento crítico a uno de los retratos caricaturescos más famosos no solo del libro sino de la literatura española, el del dómine Cabra.","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135653678","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}
Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0017
ADIL BOUDIAB, OUTHMAN BOUTISANE
mises en situation du corps féminin dans tous ses états. Ceci dans le dessein de s’en prendre au patriarcat et à la misogynie qui minent leurs sociétés respectives
{"title":"Les représentations du corps chez Driss Chraïbi et Khaled Hosseini","authors":"ADIL BOUDIAB, OUTHMAN BOUTISANE","doi":"10.47743/aic-2023-1-0017","DOIUrl":"https://doi.org/10.47743/aic-2023-1-0017","url":null,"abstract":"mises en situation du corps féminin dans tous ses états. Ceci dans le dessein de s’en prendre au patriarcat et à la misogynie qui minent leurs sociétés respectives","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135653670","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}
Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0018
ALIOUNE DIENG
Located on the borders of tragic reality and imagination, the fan-tastic in the novels of Ken Bugul – Riwan ou le chemin de sable [ Riwan or the Sand Road ] (1999), La Folie et la Mort [ Madness and Death ] (2000) and De l’autre côté du regard [ On the Other Side of the Gaze ] (2003) – inscribes the heroine’s quest in a tragic and spiritual journey whose goal is to reconquer her lost identity. The fantastic is here analyzed from the point of view of the woman’s body, seen as a foundation of the traditional values and as a reflection of the drama entailed by the de-structuring effect of modernity in its relations to the traditional and urban environments. The transition from village to city is symbolized by the mutations suffered by the female body – object to desire and violence, full of meanings and a space of contradictions. This article attempts to show that Ken Bugul’s fantasy novel represents a double – aesthetic and hermeneutical – enterprise placed on the borders of narrative and poetry, which aims to rehabilitate an authentic imagination, stripped of the flaws of globalization. Situé aux confins de la réalité tragique et de l’imagination, le fan-tastique dans l’œuvre romanesque de Ken Bugul – Riwan ou le chemin de sable (1999), La folie et la Mort (2000) et De l’autre côté du regard (2003) – inscrit la quête de l’héroïne dans un parcours tragique et spirituel dont la finalité est la reconquête de l’identité perdue. Le fantastique est analysé ici sous l’angle du corps féminin, socle des valeurs tradi-tionnelles et reflet du drame de la modernité déstructurante, dans ses rapports avec les milieux traditionnel et urbain. Le parcours qui va du village à la ville est symbolisé par les mutations du corps féminin, objet de désir et de violence, chargé de sens et lieu de contradictions. L’objectif de cet article est de montrer que le fantastique bugulien relève d’une double entreprise esthétique et herméneutique située aux confins du récit et de la poésie, qui vise à réhabiliter un imaginaire au-thentique dépouillé des tares de la mondialisation.
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Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0014
BERNARD RIBEMONT
‘fin de siècle’ ou des peintres tels Von Stuck ; il reprend également quelques figures médiévales, comme Mélusine, qui offre bien des jeux possibles sur l’ambiguïté de la femme. Cependant, si la plupart des femmes oweniennes, conformément à l’esthétique du conte fantas-tique, sont dangereuses, l’auteur sait également proposer un regard plus attendri sur certaines créatures fragiles et victimes de la société comme des hommes. Cet article se propose donc d’étudier les procédés mis en œuvre par l’écrivain belge pour mettre en scène le corps de la femme.
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Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0016
MARIE-FRANCE PRISCA ANDEME MBA
The meditation on the body and the role of the bodily experience in the construction of knowledge make the object of many epistemic reflections. However, the question persists and literature is seizing upon it. Since always, writers have realized the description of the body through signs, for the body is the subject that ensures the significance of the world and its reproduction. Our article, entitled “Bodily Experience and Sensory Representations in the African Novel”, is intended as a contribution to the studies dedicated to the logic of the body and aims to grasp the discourses and practices of the body in African lit erature. In the novels here approached, the body never ceases to make sense and to designate a sign horizon. It bears the markers of a culture, of its social codes and rites, and, at the same time, it is the screen on which the most primitive traces are projected. Thus, based on Jacques Fontanille’s semiotics of passions (Greimas; Fontanille, 1991), we attempt to grasp the written text and its links with the world of experience. La méditation sur le corps et le rôle de son expérience dans la construction du savoir sont l’objet de nombreuses réflexions épistémiques. Mais la question persiste et la littérature s’en saisie. De tout temps, les écrivains ont éprouvé la description du corps par des signes car le corps est le sujet qui assure la signifiance du monde et de sa reproduction. Notre article, qui s’intitule « L’expérience du corps et les représentations sensibles dans le roman africain », se veut être une contribution aux études sur les logiques du corps et envisage de saisir les discours et les pratiques corporels de l’être dans les textes littéraires africains. Dans ces romans, la question du corps ne cesse de faire sens et de signifier toujours un horizon du signe. Elle désigne les signes de marquage d’une culture et des codes sociaux, des rites et, en même temps, l’écran où se projettent les traces les plus primitives. Ainsi, à partir de la sémiotique des passions de Jacques Fontanille (Greimas ; Fontanille, 1991), nous comptons saisir le texte écrit et son lien avec le monde de l’expérience.
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