Pub Date : 2023-01-01DOI: 10.47743/aic-2022-2-0005
L. Balagué
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Pub Date : 2023-01-01DOI: 10.47743/aic-2023-1-0009
HASSOUNA MANSOURI
intenable qui conduit le personnage vers une fin tragique. Le corps est à l’image de l’âme qui est en perte de repères. Le mal contre lequel Exupère se bat dans son esprit se traduit par une souffrance et un dérèglement phy - siologique. Nous nous proposons d’analyser la manière dont cette psychose est prolongée par la souffrance du corps. Elle est transfor-mée en un sujet littéraire érigeant ainsi le personnage pathétique peut en un type particulier de héros romanesque.
{"title":"« Demande un esprit sain dans un corps vigoureux » – lecture d’Un assassin est mon maître d’Henry de Montherlant","authors":"HASSOUNA MANSOURI","doi":"10.47743/aic-2023-1-0009","DOIUrl":"https://doi.org/10.47743/aic-2023-1-0009","url":null,"abstract":"intenable qui conduit le personnage vers une fin tragique. Le corps est à l’image de l’âme qui est en perte de repères. Le mal contre lequel Exupère se bat dans son esprit se traduit par une souffrance et un dérèglement phy - siologique. Nous nous proposons d’analyser la manière dont cette psychose est prolongée par la souffrance du corps. Elle est transfor-mée en un sujet littéraire érigeant ainsi le personnage pathétique peut en un type particulier de héros romanesque.","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"90 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":"135653664","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 : 2022-01-01DOI: 10.47743/aic-2022-1-0014
Johanna Biehler
Marie NDiaye’s literary work is at times considered as an example of magical realism, a kind of realism whereby one of the structural elements does not quite fit within an otherwise true-tolife world, which therefore unexpectedly triggers the magical. In NDiaye’s dramatic works (in particular Hilda, Les Grandes Personnes and Toute vérité, the last one written in collaboration with Jean-Yves Cendrey, her husband), this “magical” element transpires in the characters’ desires. These “abnormal” (sexual perversion, narcissistic perversion) and out of the ordinary desires turn characters into monsters, even though, in a world where magic and reason are conflated, monsters are not necessarily defined in the traditional way. In addition, the exploration of devious phenomena leads to quasi clinical descriptions of behavioural disorders, such as BPD (borderline personality disorder), which takes Marie NDiaye’s works to a blurred border where magic and psychiatry can happily coexist, and where each reader/spectator can see a monster according to his/her own desires. L’œuvre de Marie NDiaye est parfois décrite comme relevant du « réalisme magique », un réalisme dont un élément ne trouve pas sa place dans cet univers proche du quotidien et cela de façon inexplicable, ce qui fait surgir la magie. Dans ses textes dramatiques (et tout particulièrement Hilda, Les Grandes Personnes et Toute vérité, ce dernier écrit en collaboration avec son époux, Jean-Yves Cendrey), l’élément « magique » se retrouve dans les désirs des personnages. Leurs désirs sont considérés comme anormaux (perversion sexuelle, perversion narcissique) et ces désirs hors normes transforment les personnages en monstres, même si le monstre n’est pas toujours celui que l’on croit dans un univers où magie et raison se confondent. L’exploration de ce phénomène de déviance se rapproche aussi de certains tableaux cliniques concernant les troubles du comportement, comme la personnalité-limite, amenant l’œuvre de Marie NDiaye à une frontière trouble entre la magie et la psychiatrie, où chaque lecteur/spectateur peut voir un monstre selon ses propres désirs.
玛丽·恩迪亚耶(Marie NDiaye)的文学作品有时被认为是魔幻现实主义的一个例子，这种现实主义的一个结构元素不太适合真实的生活世界，因此意外地触发了魔幻。在恩迪亚耶的戏剧作品中(尤其是《希尔达》、《大人物》和最后一部与丈夫让-伊夫·辛德雷合作完成的《图蒂·维萨里》)，这种“神奇”的元素体现在人物的欲望中。这些“不正常的”(性变态、自恋变态)和不寻常的欲望把角色变成了怪物，尽管在一个魔法和理性相结合的世界里，怪物不一定以传统的方式定义。此外，对扭曲现象的探索导致了对行为障碍的准临床描述，如BPD(边缘性人格障碍)，这将玛丽·恩迪亚耶的作品带到了一个模糊的边界，在那里魔法和精神病学可以愉快地共存，每个读者/观众都可以根据自己的欲望看到一个怪物。L ' œuvre de Marie NDiaye est parfois dsamicite comme relevant du ' reacimalisme magque '， unsamacimisme not unsamacimement ne trouve pas sa place dans, et univers proche du quotidien et cela de fadien莫名其妙，ce qui fait surgir la magie。Dans ses textesdramques (et tout particuliement Hilda, Les Grandes Personnes et Toute vacry, ce dernier samcrit en collaboration avec son sampoux, Jean-Yves Cendrey)， Dans ' magque ' se trotrove Dans Les dsamsirs des persons。他们渴求是考虑像anormaux (sexuelle扭曲、变态narcissique)等这些渴求开胃规范transforment les personnages monstres, meme si le monstre不始终celui问我们croit在环宇或者朋友et存在se confondent。1 .关于身体上的障碍与健康上的障碍的探讨，关于个人的障碍与健康上的障碍的探讨，关于个人的障碍与健康上的障碍的探讨，关于个人的障碍与健康上的障碍与健康上的障碍的探讨，où关于讲师/观众的障碍与健康上的障碍与健康上的障碍的探讨，关于个人的障碍与健康上的障碍的探讨。
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Pub Date : 2022-01-01DOI: 10.47743/aic-2022-1-0011
D. Dobos
George Orwell’s Nineteen Eighty-Four (1949) is his most important work, one which also enjoys undiminished popularity and political relevance. This dystopia, which is a novel of ideas, is populated with monsters, the proponents of the tyrannical regime of Oceania, who aimed at absolute control not only of people’s bodies, but also of their minds, mainly through the ‘rationalized’ artificial language called Newspeak, which was meant to make all other forms of thought impossible. The importance of Newspeak in the construction of the argument of this novel is not only literary, but also linguistic; thus, Nineteen Eighty-Four is also considered Orwell’s chief work of linguistics, one which has had lexicological effects in inspiring a host of further creations including doublespeak, teenspeak and nukespeak, besides the popularization of several slogans, including ‘Big Brother is watching you’. In fact, language was one of Orwell’s major concerns. This paper argues that from a linguistic viewpoint Newspeak is a monster in itself, completely frozen as it is, immune to change and other semantic processes, thus going against the principles on which any natural language is based.
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Pub Date : 2022-01-01DOI: 10.47743/aic-2022-1-0004
Mădălina Elena Mandici
This paper approaches the manner in which Charlotte Brontë’s Jane Eyre, a parentless avid reader, comes into contact with parodies of the patriarchal Victorian family, where monstrous male figures exercise authority over female members of the household – the strange child, the vulnerable outcast, the lunatic. To explore the textual and social tensions the figure of the female reader as a threatening force produced in the nineteenth century, this paper focuses on a sagacious heroine civilizing a bestial hero representative of the fairy-tale genre. Though certainly ahistorical, Jane subverts the fairy-tale game of submission and dominance, inviting contemporary readers to see her as a participant in the cons truction of social meanings and challenge conflicting assumptions around her seemingly dark double and physical inferiority. Touching as it does on female experience within domesticity, this study submits findings consistent with the idea that the home – the locus of Victorian well-being – can easily adjoin a horrific Gothic site of incarceration and terror, populated by male tyrants and colonized monsters. For Jane Eyre and other reading heroines confined to such places as symbolic prisons or intellectual hospitals, books turn out to subsume plentiful underlying supplies of vitality.
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Pub Date : 2022-01-01DOI: 10.47743/aic-2022-1-0007
Mădălina Elena Mandici
This paper deals with the context in which the monstrously distorted textual encounters of the four female characters – Catherine Earnshaw, Maggie Tulliver, Dorothea Brooke and Dinah Morris –and the printed word seen as a dangerous entity occur. Emily Brontë and George Eliot bring to the forefront their heroines’ library tour of fictional choices to raise red flags related to 19th-century anxieties about women readers who begin to incarnate the texts read in solitude. The drastic change of reading patterns in the 19th-century involves, by extension, women’s habituation with unguided reading for pleasure instead of domestic duties. Within the same social context denying the existence of a sophisticated female reading public, there is a spectacular growth and diversification of texts penned and read by women. The two novelists themselves, both of whom assume a pen name, remain hesitant about the disclosure of their public persona. Much of the fascination that the embedded intertexts of Wuthering Heights, The Mill on the Floss, Middlemarch and Adam Bede hold over the female characters is linked with their quest for personal exploration and expansion. The aim of this paper is to illuminate women’s conflicting contribution to hermeneutical events which, in the nineteenth-century, not only appall and paralyze readers with fear, but also admonish, instruct, and entertain the audience. Această lucrare are în prim-plan contextul care înglobează întâlnirile textuale monstruos distorsionate dintre patru personaje feminine – Catherine Earnshaw, Maggie Tulliver, Dorothea Brooke and Dinah Morris – şi cuvântul scris, văzut ca entitate periculoasă. Emily Brontë şi George Eliot realizează un tur al bi bliotecilor ficţionale deţinute de eroine pentru a semnala anxietăţile secolului al XIX-lea cu privire la transformarea lecturii colective, intensive în practică individuală şi extensivă. Modificarea drastică a tiparelor de lectură aduce cu sine deprinderea femeilor cu lectura necălăuzită, de plăcere, în defavoarea obligaţiilor casnice. În acelaşi context social care neagă existenţa unui public cititor feminin rafinat, textele citite şi semnate de femei încep să sporească şi să se diversifice. Cele două romanciere adoptă, la rândul lor, pseudo nime literare, fiind constrânse să-şi ascundă identitatea publică. O mare parte din fascinaţia pe care referinţele intertextuale încorporate de La răscruce de vînturi, Moara de pe Floss, Middlemarch şi Adam Bede o au asupra personajelor feminine este legată de căutarea unui mijloc de explorare şi expansiune. Scopul acestei lucrări este să clarifice contribuţia controversată pe care femeile au adus-o actului hermeneutic care, în secolul al XIX-lea, nu numai că frapa şi inducea frică paralizantă în cititori, dar totodată sfătuia, educa şi delecta audienţa.
本文探讨了四个女性角色——凯瑟琳·恩肖、玛吉·特利弗、多萝西娅·布鲁克和黛娜·莫里斯——与被视为危险实体的印刷文字发生的可怕扭曲的文本相遇的背景。艾米丽Brontë和乔治·艾略特将他们的女主人公的图书馆之旅放在了最重要的位置，这些小说的选择引起了19世纪对女性读者的焦虑，她们开始化身为孤独阅读的文本。从广义上讲，19世纪阅读模式的巨大变化涉及到女性习惯了为了娱乐而非家务而进行无指导的阅读。在否定成熟女性阅读群体存在的同样社会背景下，女性写作和阅读的文本出现了惊人的增长和多样化。这两位小说家都使用笔名，他们对公开自己的公众形象仍然犹豫不决。《呼啸山庄》、《弗洛斯河畔的磨坊》、《米德尔马契》和《亚当·比德》中嵌入的互文本对女性角色的吸引力，很大程度上与她们对个人探索和扩张的追求有关。本文的目的是阐明女性对解释学事件的相互矛盾的贡献，在19世纪，这些事件不仅使读者感到恐惧和麻痹，而且还告诫、指导和娱乐观众。aceasti - lucrare是在一个prim-plan的环境护理中，在globeazi - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss - miss艾米丽Brontë 乔治·艾略特实现了azei untural bi bliotecilor ficţionale deţinute de eroine pentru a semnala anxietăţile secolului XIX-lea cu private la transformarea讲课集体，密集实践，个人，广泛。修改区域drastictici a tiparelor de lecturi adce cu sine deprinderea femilor cu lectura necililuzitei, de plilecere, n defavoarea obligaţiilor casnice。În acela上下文社会关怀neagei existenţa unui公共公民女性rafinat，文本城市 semnate de femei ncep susesporeascci susese diversity。Cele doui romanciere adoptou, la rndullor，假名文学，find constrainse se -。O mare parte din fascinaţia pe care referinţele inter文性的 ncorporate de La rrucce de vnturi, Moara de pe Floss, Middlemarch i Adam Bede O au asupa personajelor feminine estestlegatue de curutarea unui mijloc de explorare i expsiune。研究范围:acestei lucrrri este sue clarice contribuţia controversate - pe care femeile au adus-o actututic care， n seculal 19 -lea, nu numai cue frapa i inducea fricei palizantu n cititori, dar totodatei sturia, educa delecta audienţa。
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Pub Date : 2022-01-01DOI: 10.47743/aic-2022-1-0001
Nicolae Bobaru
Fictional works that are centered on elements pertaining to the maritime imaginary are established around individual figures as those of the sea monsters. They express terror and instinctive repulsion. By associating the sea monsters with the waves, one can argue that, for instance, the malignant representations of the mermaid – wave is the animation of the sea water, same as the waving of mermaid’s hair represents an animation of her seductive power – evoke seafarers’ phantasmas connected to the image of a fatal woman. Saint Augustin defined the monster as a deviation from the norm. Therefore, monster can be seen as the Other, as the alterity of the human condition. In the medieval period, man was terrified by the immensity of the maritime spaces, and this feeling was reflected in stories about sea monsters, but the development of the maritime field made that terror be transformed in curiosity. In the present essay we’ll focus on the development of the theories related to sea monsters and we’ll argue that these monsters are nothing but ways in which we perceive the world around us and demand us to reassess our cultural assumptions towards differences and force us to tolerate any forms of expression.
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Pub Date : 2022-01-01DOI: 10.47743/aic-2022-1-0006
Mercedes Vernet
This article explores the concept developed by the French philosopher Jacques Rancière, the distribution of the sensible, and applies it to the analysis of the construction and perception of one of the best known monsters in literary history: Mr Hyde. As the distribution of the sensible refers, broadly speaking, to who is allowed to speak, what is visible and what remains invisible within a perceptual framework, this article offers an analysis of narrative voices that allow readers to get a glimpse of Mr Hyde’s mysterious identity and his relationship with respectable Dr Jekyll. Their silences also speak of the true nature of this monster, special attention being given to the reasons why narrative voices fail to provide a full account of events. Consequently, what is said by various characters in The Strange Case of Dr Jekyll and Mr Hyde and what is left unsaid guide the study that ultimately attempts at determining the aesthetico-political regime the novella —written by Robert Louis Stevenson in 1886— belongs to.
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Pub Date : 2022-01-01DOI: 10.47743/aic-2022-1-0008
F. Năstase
The current paper intends to discuss the figure of the ‘vampiric’ mother in Arthur Conan Doyle’s Sherlock Holmes story, “The Adventure of the Sussex Vampire”, in which a young woman is suspected and accused of sucking the blood of her young infant. When Holmes is sent to investigate, he discovers that the mother is innocent of the charge and was, in fact, only trying to protect her baby, but the horror and abjection of the mother figure devouring her child supersedes the horror of the vampire. The paper argues that motherhood equals, multiplies and even replaces the monstrosity of the vampire. In spite of the mother’s ultimate innocence, her status as foreigner and Other (both female and Peruvian) marks her as an indeterminate threat. In order to explain the marginality and peril of the foreign mother, the paper will also turn to postcolonial theories, relating them to theories of gender, race and motherhood.
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