The stereotype of the Indian, usually male, has long been a shadow figure in American literature. Whether invisible in Hawthorne's forests, a savage in Cooper's frontier, or a noble red man evoked by Lawrence, the Indian character in fiction was one readers believed they "knew" because popular myths had been made real by constant repetition. Increasingly, however, a new image of American Indians is evolving in fiction. It is not surprising that the old images are being replaced by new views which are more complex and based in historical and contemporary realities. This change is, in part, a result of greater awareness of America's diversity; however, a new generation of American Indian writers is largely responsible for challenging old stereotypes and forcing a revolution in the image of American Indians in American literature. Increasingly, the face of American literature is becoming many-hued, reflecting the heterogeneous society of America and challenging easy assumptions about the past. The history of the American Indian novel is short by some literary standards, but it is a history that has evolved rapidly during the past twentyfive years. Following the publication of John Rollin Ridge's novel The Life and Adventures of Joaquin Murieta in 1854, there were less than a dozen novels published by American Indians prior to 1968. S[ophia] Alice Callahan's Wynema (1891) was the next novel by an American Indian and is probably the first by an Indian woman. Set in the Creek Nation in Indian Territory, the novel is dedicated to Indians "who have felt the wrongs and oppression of their pale-faced brothers." Simon Pokagon (O-gi-maw-kwe Mit-i-gwa-ki) is identified as the Potawatomi author of the 1899 novel Queen of the Woods; however, his authorship has been disputed by some critics. If Pokagon did not write Queen of the Woods, there were no other adult novels written by American Indians until the 1920s. John Milton Oskison, John Joseph Mathews, and D'Arcy McNickle published novels during the 1920s and 1930s, and Mourning Dove (Christine Quintasket) was the author of another early novel by an American Indian woman, Cogewea, the Half-Blood (1927). When John Joseph Mathews' novel Sundown (1934) was first published, the author was not identified as Indian because publishers at the time downplayed the ethnicity of authors, and authors themselves sought to "fit in" to Anglo society. John Milton Oskison wrote three novels (Wild Harvest, 1925; Black Jack Davy, 1926; and Brothers Three, 1935), but there was no reference to the author's Cherokee heritage, and the novels have little to do with Indian experience. Although N. Scott Momaday's novel House Made of Dawn (1968) was out
{"title":"American Indian Novels","authors":"Gretchen M. Bataille","doi":"10.2307/1347547","DOIUrl":"https://doi.org/10.2307/1347547","url":null,"abstract":"The stereotype of the Indian, usually male, has long been a shadow figure in American literature. Whether invisible in Hawthorne's forests, a savage in Cooper's frontier, or a noble red man evoked by Lawrence, the Indian character in fiction was one readers believed they \"knew\" because popular myths had been made real by constant repetition. Increasingly, however, a new image of American Indians is evolving in fiction. It is not surprising that the old images are being replaced by new views which are more complex and based in historical and contemporary realities. This change is, in part, a result of greater awareness of America's diversity; however, a new generation of American Indian writers is largely responsible for challenging old stereotypes and forcing a revolution in the image of American Indians in American literature. Increasingly, the face of American literature is becoming many-hued, reflecting the heterogeneous society of America and challenging easy assumptions about the past. The history of the American Indian novel is short by some literary standards, but it is a history that has evolved rapidly during the past twentyfive years. Following the publication of John Rollin Ridge's novel The Life and Adventures of Joaquin Murieta in 1854, there were less than a dozen novels published by American Indians prior to 1968. S[ophia] Alice Callahan's Wynema (1891) was the next novel by an American Indian and is probably the first by an Indian woman. Set in the Creek Nation in Indian Territory, the novel is dedicated to Indians \"who have felt the wrongs and oppression of their pale-faced brothers.\" Simon Pokagon (O-gi-maw-kwe Mit-i-gwa-ki) is identified as the Potawatomi author of the 1899 novel Queen of the Woods; however, his authorship has been disputed by some critics. If Pokagon did not write Queen of the Woods, there were no other adult novels written by American Indians until the 1920s. John Milton Oskison, John Joseph Mathews, and D'Arcy McNickle published novels during the 1920s and 1930s, and Mourning Dove (Christine Quintasket) was the author of another early novel by an American Indian woman, Cogewea, the Half-Blood (1927). When John Joseph Mathews' novel Sundown (1934) was first published, the author was not identified as Indian because publishers at the time downplayed the ethnicity of authors, and authors themselves sought to \"fit in\" to Anglo society. John Milton Oskison wrote three novels (Wild Harvest, 1925; Black Jack Davy, 1926; and Brothers Three, 1935), but there was no reference to the author's Cherokee heritage, and the novels have little to do with Indian experience. Although N. Scott Momaday's novel House Made of Dawn (1968) was out","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121157782","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}
{"title":"Trilogy of Treason. An Intertextual Study of Juan Goytisolo by Michael Ugarte (review)","authors":"Luis T. González-del-Valle","doi":"10.2307/1347286","DOIUrl":"https://doi.org/10.2307/1347286","url":null,"abstract":"","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121345621","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}
"Sometimes I don't know whether I'm real or whether I'm a character in one of my own novels," Fitzgerald once remarked to a friend.1 We sometimes experience a similar difficulty in distinguishing Fitzgerald and his wife Zelda from his characters, for the autobiographical element in his fiction is pervasive. And there is a corollary to this, natural enough when one stops to think about it, but which has been ignored: the fictional element in his autobiographical writing is significant.2I do not mean that he lied about his life in the usual sense of the word, but that he used devices of fiction such as selection, imagery, symbolism, and myth to shape and give substance to his autobiographical essays. The most notable example is "My Lost City,"3 in which he blends literary art with autobiography, as Thoreau and Whitman had done before him, to express his vision of American life and indeed of human life itself. In a remarkable way, displaying subtle and effective artistic strategy, "My Lost City" encapsulates his essential preoccupations and insights as a literary artist. The essay provides us with a fundamental paradigm for interpreting his fiction and helps us understand why it continues to be read, perhaps more now than ever. Before treating the essay itself, it is necessary to describe in a schematic way Fitzgerald's characteristic themes and attitudes. This will enable us to perceive more clearly how they are encapsulated in "My Lost City." Generalizing from his own experience, Fitzgerald once asserted that authors usually repeat themselves. They have two or three really significant experiences in their lives and retell in various disguises their two or three stories "maybe ten times, maybe a hundred, as long as people will listen." He confessed that he worked
菲茨杰拉德曾对一位朋友说:“有时候我不知道自己是真实存在的，还是自己小说里的一个人物。我们有时也会遇到类似的困难，难以将菲茨杰拉德和他的妻子泽尔达与他的人物区分开来，因为他的小说中充斥着自传体元素。这其中有一个推论，当你停下来思考的时候，这个推论是很自然的，但却被忽略了:他的自传写作中的虚构元素是很重要的。我并不是说他对自己的生活撒了通常意义上的谎，而是说他使用了虚构的手段，如选择、意象、象征主义和神话来塑造和充实他的自传体文章。最著名的例子是《我失落的城市》(My Lost City)。在这本书中，他将文学艺术与自传相结合，就像在他之前的梭罗和惠特曼所做的那样，表达了他对美国生活乃至人类生活本身的看法。《我失落的城市》以一种非凡的方式，展示了微妙而有效的艺术策略，浓缩了他作为一个文学艺术家的基本关注和见解。这篇文章为我们提供了一个解释他的小说的基本范式，并帮助我们理解为什么他的小说继续被阅读，也许比以往任何时候都更受欢迎。在对待文章本身之前，有必要以一种概要的方式描述菲茨杰拉德的特色主题和态度。这将使我们更清楚地认识到它们是如何被封装在《我的失落之城》中的。菲茨杰拉德从自己的经历中总结说，作家通常会重复自己的话。他们在生活中有两三个非常重要的经历，并以各种形式复述他们的两三个故事，“也许十次，也许一百次，只要人们愿意听。”他承认他工作
{"title":"Fitzgerald's Lost City","authors":"S. L. Tanner","doi":"10.2307/1347727","DOIUrl":"https://doi.org/10.2307/1347727","url":null,"abstract":"\"Sometimes I don't know whether I'm real or whether I'm a character in one of my own novels,\" Fitzgerald once remarked to a friend.1 We sometimes experience a similar difficulty in distinguishing Fitzgerald and his wife Zelda from his characters, for the autobiographical element in his fiction is pervasive. And there is a corollary to this, natural enough when one stops to think about it, but which has been ignored: the fictional element in his autobiographical writing is significant.2I do not mean that he lied about his life in the usual sense of the word, but that he used devices of fiction such as selection, imagery, symbolism, and myth to shape and give substance to his autobiographical essays. The most notable example is \"My Lost City,\"3 in which he blends literary art with autobiography, as Thoreau and Whitman had done before him, to express his vision of American life and indeed of human life itself. In a remarkable way, displaying subtle and effective artistic strategy, \"My Lost City\" encapsulates his essential preoccupations and insights as a literary artist. The essay provides us with a fundamental paradigm for interpreting his fiction and helps us understand why it continues to be read, perhaps more now than ever. Before treating the essay itself, it is necessary to describe in a schematic way Fitzgerald's characteristic themes and attitudes. This will enable us to perceive more clearly how they are encapsulated in \"My Lost City.\" Generalizing from his own experience, Fitzgerald once asserted that authors usually repeat themselves. They have two or three really significant experiences in their lives and retell in various disguises their two or three stories \"maybe ten times, maybe a hundred, as long as people will listen.\" He confessed that he worked","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"2019 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114302866","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}
political transformation, social dispossession, cultural rupture, and linguistic alienation. His provocative project invigorates the Chicano agenda of recovering the American Hispanic literary and cultural heritage; it complements the works by scholars such as Erlinda Gonzáles-Berry, José David Saldívar, Héctor Calderón, Norma Alarcón, Rosaura Sánchez, Sonia Saldívar-Hull, Yvonne Yarbro-Bejarano, Francisco Lomelí, María Herrera Sobek, Juan Bruce-Novoa, Nicholas Kanellos, Tey Diana Rebolledo, Luis Torres, Charles Tatum, Clara Lomas, Raymund Paredes, Gabriel Meléndez, and Enrique Lamadrid. In his serious effort to examine the origins of the Mexican American literary and cultural autobiographical production, Genaro Padilla searches for the cultural genre and critical autobiographical practice under multilayered documents unpublished or unread, untranslated or mistranslated. His critical interpretation of Mexican American autobiography not only charts a new theoretical model for autobiography scholars, but it proposes an invaluable cultural model to approach the concept of "new subjectivity" at the core of defeat and rupture. Genaro Padilla skillfully articulates Mexican American autobiographical writing as a cultural discourse, not of assimilation, but of resistance. This body of cultural autobiography, he suggests, registers the "cultural schizophrenia" during a crucial socio-cultural, political, and historical moment as Mexican Americans struggled to reposition themselves in a world of loss. My History, Not Yours: The Formation of Mexican American Autobiography is an indispensable reading in the fields of cultural analysis, ethnic studies, autobiography, and Chicano studies.
{"title":"Poetry of Mourning: The Modern Elegy from Hardy to Heaney by Jahan Ramazani (review)","authors":"Cynthia A. Kimball","doi":"10.2307/1347947","DOIUrl":"https://doi.org/10.2307/1347947","url":null,"abstract":"political transformation, social dispossession, cultural rupture, and linguistic alienation. His provocative project invigorates the Chicano agenda of recovering the American Hispanic literary and cultural heritage; it complements the works by scholars such as Erlinda Gonzáles-Berry, José David Saldívar, Héctor Calderón, Norma Alarcón, Rosaura Sánchez, Sonia Saldívar-Hull, Yvonne Yarbro-Bejarano, Francisco Lomelí, María Herrera Sobek, Juan Bruce-Novoa, Nicholas Kanellos, Tey Diana Rebolledo, Luis Torres, Charles Tatum, Clara Lomas, Raymund Paredes, Gabriel Meléndez, and Enrique Lamadrid. In his serious effort to examine the origins of the Mexican American literary and cultural autobiographical production, Genaro Padilla searches for the cultural genre and critical autobiographical practice under multilayered documents unpublished or unread, untranslated or mistranslated. His critical interpretation of Mexican American autobiography not only charts a new theoretical model for autobiography scholars, but it proposes an invaluable cultural model to approach the concept of \"new subjectivity\" at the core of defeat and rupture. Genaro Padilla skillfully articulates Mexican American autobiographical writing as a cultural discourse, not of assimilation, but of resistance. This body of cultural autobiography, he suggests, registers the \"cultural schizophrenia\" during a crucial socio-cultural, political, and historical moment as Mexican Americans struggled to reposition themselves in a world of loss. My History, Not Yours: The Formation of Mexican American Autobiography is an indispensable reading in the fields of cultural analysis, ethnic studies, autobiography, and Chicano studies.","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116498231","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}
{"title":"Hate Speech: The History of an American Controversy by Samuel Walker (review)","authors":"R. Hogge","doi":"10.2307/1348360","DOIUrl":"https://doi.org/10.2307/1348360","url":null,"abstract":"","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116516057","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}
{"title":"Chaucer and Langland: Historical and Textual Approaches by George Kane (review)","authors":"Linda Marie Zaerr","doi":"10.1353/rmr.1989.0041","DOIUrl":"https://doi.org/10.1353/rmr.1989.0041","url":null,"abstract":"","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121513265","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 myth of the quest in Black Literature of French Expression becomes the leit-motif which like a golden thread embroiders the texts of two contemporary Senegalese writers Cheikh Hamidou Kane (born in Matam in 1928) and Cheikh Badiane (born in Bambey in 1940). Both writers create characters who wander through a psychological labyrinth which leads them to the "prise de conscience."' Published in 1983, eleven years after Kane's L'Aventure ambigue, Badiane's Les Longs soupirs de la nuit creates a character, Kancila, who shares with Kane's Samba Diallo the preoccupation with delving deeper into his own self, only to realize at the end that "ce qui etait hier n'est plus aujourd'hui" (45). Badiane's novel is set in 1914, two generations after the presence of France in Senegal.2 On the other hand, Kane's novel deals with the waning years of colonial times just a decade before Senegal gains its independence. Les Longs soupirs de la nuit in fact deals with the awakening of Africans, who since 1914 have become aware that times have changed. Badiane places his characters in a long night which is superseded by another night colonialism: "L'Etranger decide a notre place." A new nightmare replaces the previous one and "personne ne pense plus a extirper ce cancer qu'est le colonialisme" (182). To view Badiane's novel as a reflection of the present world would be a useless effort, for Kancila, the main protagonist, joins hands with Samba Diallo in their common effort to find themselves within the realm of their ancestry. It is my intention, therefore, in this paper, to study both Badiane's and Kane's novels within the quest of the self. The orphic descent into the abyss of the self translates symbolically the principal preoccupation of the modern hero. Everything comes back to the individual and to his internal quest. As Joseph Campbell states: "today no meaning is in the group . . . in the world; all is in the individual" (388). Samba Diallo, the main protagonist of Kane's L'Aventure ambigue,exists totally in a mythopoeic context. He has embarked on a long journey, a voyage through his subjective world. Structurally, Samba Diallo's drama follows closely the plan of the archetypal hero. As Harry Slochower suggests, every hero must go through these stages: (1) birth and voyage; (2) return; and (3) epilogue (tragic transcendance) (22-24). In L'Aventure ambigue, the first stage is equated with the formation of Samba Diallo's spirit in the white school and his trip to France. His "prise de conscience" follows his return to his native country in that he sees both worlds as an integral part of his assimilated soul. Through his death, Samba Diallo
在法国黑人文学中，探索的神话就像一条金线一样，成为了两位当代塞内加尔作家谢赫·哈米杜·凯恩(1928年生于马塔姆)和谢赫·巴黛安(1940年生于班比)的主题。两位作家都创造了在心理迷宫中徘徊的人物，这将他们引向“良心的奖赏”。出版于1983年，比凯恩的《冒险之旅》晚了11年，巴黛安的《夜之恋》创造了一个名叫坎西拉的人物，他和凯恩的《桑巴·迪亚洛》一样，都专注于深入挖掘自己的内心，但最后却意识到“ce qui etait hier n'est plus aujourd'hui”(45)。巴黛安的小说发生在1914年，也就是法国入侵塞内加尔的两代人之后。而凯恩的小说讲述的是塞内加尔获得独立的十年前殖民时代的衰落。事实上，《漫长的夜晚》讲述的是非洲人的觉醒，自1914年以来，他们已经意识到时代已经改变。巴黛安把他的角色置于一个漫长的夜晚，而这个夜晚被另一个夜晚殖民主义所取代:“L' strangers decide a notre place。”一场新的噩梦取代了之前的噩梦，“一个人的死亡加上一个更严重的癌症，这就是殖民主义”(182)。把巴黛安的小说看作是对当今世界的反映是徒劳的，因为主人公坎西拉和桑巴·迪亚洛共同努力，在他们祖先的领域中找到自己。因此，在本文中，我的意图是在对自我的追求中研究巴黛安和凯恩的小说。堕入自我深渊的俄耳甫斯式堕落象征性地诠释了现代英雄的主要关注点。一切都回归到个人和他的内在追求。正如约瑟夫·坎贝尔所说:“今天，在群体中没有任何意义……在世界上;一切都在于个人”(388)。桑巴·迪亚洛是凯恩《模棱两可的冒险》的主角，他完全存在于一个神话的语境中。他踏上了一段漫长的旅程，一段穿越他主观世界的旅程。在结构上，桑巴·迪亚洛的戏剧遵循了原型英雄的计划。正如哈利·斯洛霍所言，每个英雄都必须经历这些阶段:(1)出生和航行;(2)返回;(3)尾声(悲剧性的超越)(22-24)。在《含糊的冒险》中，第一阶段等同于桑巴·迪亚洛在白人学校的精神形成和他的法国之旅。他的“良心的奖赏”是在他回到祖国之后出现的，因为他把这两个世界看作是他同化了的灵魂的组成部分。通过他的死，桑巴·迪亚洛
{"title":"Kane and Badiane: The Search for the Self","authors":"Victor Carrabino","doi":"10.1353/RMR.1987.0064","DOIUrl":"https://doi.org/10.1353/RMR.1987.0064","url":null,"abstract":"The myth of the quest in Black Literature of French Expression becomes the leit-motif which like a golden thread embroiders the texts of two contemporary Senegalese writers Cheikh Hamidou Kane (born in Matam in 1928) and Cheikh Badiane (born in Bambey in 1940). Both writers create characters who wander through a psychological labyrinth which leads them to the \"prise de conscience.\"' Published in 1983, eleven years after Kane's L'Aventure ambigue, Badiane's Les Longs soupirs de la nuit creates a character, Kancila, who shares with Kane's Samba Diallo the preoccupation with delving deeper into his own self, only to realize at the end that \"ce qui etait hier n'est plus aujourd'hui\" (45). Badiane's novel is set in 1914, two generations after the presence of France in Senegal.2 On the other hand, Kane's novel deals with the waning years of colonial times just a decade before Senegal gains its independence. Les Longs soupirs de la nuit in fact deals with the awakening of Africans, who since 1914 have become aware that times have changed. Badiane places his characters in a long night which is superseded by another night colonialism: \"L'Etranger decide a notre place.\" A new nightmare replaces the previous one and \"personne ne pense plus a extirper ce cancer qu'est le colonialisme\" (182). To view Badiane's novel as a reflection of the present world would be a useless effort, for Kancila, the main protagonist, joins hands with Samba Diallo in their common effort to find themselves within the realm of their ancestry. It is my intention, therefore, in this paper, to study both Badiane's and Kane's novels within the quest of the self. The orphic descent into the abyss of the self translates symbolically the principal preoccupation of the modern hero. Everything comes back to the individual and to his internal quest. As Joseph Campbell states: \"today no meaning is in the group . . . in the world; all is in the individual\" (388). Samba Diallo, the main protagonist of Kane's L'Aventure ambigue,exists totally in a mythopoeic context. He has embarked on a long journey, a voyage through his subjective world. Structurally, Samba Diallo's drama follows closely the plan of the archetypal hero. As Harry Slochower suggests, every hero must go through these stages: (1) birth and voyage; (2) return; and (3) epilogue (tragic transcendance) (22-24). In L'Aventure ambigue, the first stage is equated with the formation of Samba Diallo's spirit in the white school and his trip to France. His \"prise de conscience\" follows his return to his native country in that he sees both worlds as an integral part of his assimilated soul. Through his death, Samba Diallo","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114749296","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}
Si la traduction anglaise du titre semble détecter dans le roman de Michel Toumier l un appétit anthropophage que la légende allemande désavouerait, elle a pourtant le mérite de résumer avec saveur la réalité interne du héros. Le Roi des Aulnes se prête à de multiples interprétations où la critique peut à loisir puiser dans la tradition mythique pour extrapoler la véritable signification d'un symbolisme exacerbé. Dans une infinie série d'équations, Abel Tiffauges est d'abord ce garagiste de la Porte-des-Ternes, destiné à connaître le Canada de la liberté dans une orientation qui l'emmène au-delà des frontières de la France et de la guerre. Mais ce dépaysement ne fait que prolonger un déracinement tôt pressenti, entre les murs du collège de Saint-Christophe, dans la clôture de son garage et le sanctuaire de sa chambre. La monstruosité d'Abel Tiffauges provient ainsi d'une différence fondamentale entre lui et le monde, d'une vie parallèle qui le fait écrire de la main gauche, courir la chair fraîche, goûter aux plaisirs incongrus du voyeur. Au sentiment d'un destin exceptionnel se joint la sensation d'une unicité traduite par ses efforts à capter les effluves de son existence scatologique. Tout est polarité; seul le héros s'octroie le bénéfice de l'asexualité, afin de mieux recueillir les courts-circuits du fortuit et de l'insolite. Il ne s'agit cependant pas d'une quête surréaliste, pour le profit du scandale et de l'onirique. Les vies parallèles de Tiffauges sont justement
{"title":"L'Orientation d'Abel Tiffauges dans Le Roi des Aulnes de Michel Tournier","authors":"Phyllis Johnson, B. Cazelles","doi":"10.1353/RMR.1975.0016","DOIUrl":"https://doi.org/10.1353/RMR.1975.0016","url":null,"abstract":"Si la traduction anglaise du titre semble détecter dans le roman de Michel Toumier l un appétit anthropophage que la légende allemande désavouerait, elle a pourtant le mérite de résumer avec saveur la réalité interne du héros. Le Roi des Aulnes se prête à de multiples interprétations où la critique peut à loisir puiser dans la tradition mythique pour extrapoler la véritable signification d'un symbolisme exacerbé. Dans une infinie série d'équations, Abel Tiffauges est d'abord ce garagiste de la Porte-des-Ternes, destiné à connaître le Canada de la liberté dans une orientation qui l'emmène au-delà des frontières de la France et de la guerre. Mais ce dépaysement ne fait que prolonger un déracinement tôt pressenti, entre les murs du collège de Saint-Christophe, dans la clôture de son garage et le sanctuaire de sa chambre. La monstruosité d'Abel Tiffauges provient ainsi d'une différence fondamentale entre lui et le monde, d'une vie parallèle qui le fait écrire de la main gauche, courir la chair fraîche, goûter aux plaisirs incongrus du voyeur. Au sentiment d'un destin exceptionnel se joint la sensation d'une unicité traduite par ses efforts à capter les effluves de son existence scatologique. Tout est polarité; seul le héros s'octroie le bénéfice de l'asexualité, afin de mieux recueillir les courts-circuits du fortuit et de l'insolite. Il ne s'agit cependant pas d'une quête surréaliste, pour le profit du scandale et de l'onirique. Les vies parallèles de Tiffauges sont justement","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114765084","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}
{"title":"Speaking Two Languages: Traditional Disciplines and Contemporary Theory in Medieval Studies by Allen J. Frantzen (review)","authors":"A. Boyer","doi":"10.2307/1347631","DOIUrl":"https://doi.org/10.2307/1347631","url":null,"abstract":"","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114851065","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 : 2016-01-06DOI: 10.1353/rmr.1992.a459479
R. Ziegler
Sickened by the snobbism and fatuity of the Tout-Paris savaged in his columns, the infamous Jean Lorrain in 1900 abandoned what he called "la ville empoisonnee" in order to take up residence in Nice, where he savored the pleasure of wandering through the city's old quarter with its redolence of cheeses, musk, and spice. Lorrain had tired of being harried by litigation and public censure, had grown impatient with being attacked in the anonymous letters flooding his apartment in Auteuil. And so the writer who, in 1885, had arrived in Paris, anxious like Rastignac to join in "la lutte du poete contre la capitale corrompue" (Jullian 47), finally found himself obliged, at age 45, to concede defeat and to go into exile in the South. Better known today as the ether-addicted homosexual who consorted with wrestlers and garcons bouchers, chronicler of les moeurs parisiennes, whose accounts of the demi-monde both titillated and scandalized his readers, Lorrain was also a prolific poet, conteur, and dramatist, a novelist whose fictions offered comment on the unhealthy notoriety that made the author a familiar but marginal figure. Generally neglected and forgotten since his death in 1906, consigned to a literary purgatory where his writings have languished for too long, Lorrain, ne Paul Duval, was at once a conspicuous public figure, famous for his friendship with Sarah Bernhardt and for his duel with Marcel Proust, and a journalist who skewered social pretenders and poseurs in his abrasive Pall-Malls. Indeed, Lorrain's cynical depictions of Paris as a modern-day Babylon have often obscured his literary works that deal with the same themes. Published posthumously in 1908, Lorrain's novel Maison pour dames has been characterized by one critic as "une satire f6roce des petits cenacles journalistico-litteraires" (Kyria 107). Yet apart from giving insights into the operation of a typical turn-of-the-century poetry review, with its cynical commercial maneuverings and exploitation of contributors, the novel also shows the author's identity becoming just another fiction sold to the public, a collaborative text whose meaning depends on its production as a publicity vehicle accorded a favorable reception by a distant and patronized readership.
1900年，声名狼藉的让·洛兰(Jean Lorrain)对他在专栏中大肆抨击的巴黎图斯人的势利和愚蠢感到厌恶，于是放弃了他所谓的“la ville empoisonnee”，前往尼斯定居，在那里，他享受着在这座城市的老城区漫步的乐趣，那里散发着奶酪、麝香和香料的香味。洛兰已经厌倦了诉讼和公众谴责的骚扰，他在欧特伊的公寓里收到了大量匿名信，他对这些匿名信的攻击感到不耐烦。于是，这位1885年抵达巴黎的作家，像拉斯蒂涅一样渴望加入“反对腐蚀首都的诗人”(朱利安，47岁)，最终发现自己不得不在45岁时承认失败，流亡到南方。如今，洛兰更为人所知的身份是，他是一个沉迷于以太醚的同性恋者，与摔跤手和杂货商混在一起;他是《巴黎人报》的编年史家，他对半世界的描述既让读者兴奋又让读者愤慨。洛兰还是一位多产的诗人、作家和剧作家，他的小说对不健康的恶名发表了评论，这种恶名使他成为一个熟悉但又边缘的人物。自从1906年去世后，他就一直被人忽视和遗忘，在文学炼狱里，他的作品被冷落了太长时间，洛兰，即保罗·杜瓦尔，立刻成为了一个引人注目的公众人物，以他与莎拉·伯恩哈特的友谊和与马塞尔·普鲁斯特的决斗而闻名，他还是一名记者，用他那粗鲁的pal - malls杂志来抨击社会上的伪装者和装腔作势者。事实上，洛兰将巴黎描绘成现代巴比伦的愤世嫉俗的描写，常常掩盖了他处理相同主题的文学作品。罗琳死后于1908年出版的小说《少女之家》被一位评论家描述为“对新闻作家的一种讽刺”(Kyria 107)。然而，除了深入了解典型的世纪之交诗歌评论的运作方式、玩世不恭的商业手法和对撰稿人的剥削之外，这部小说还表明，作者的身份正在变成另一部卖给公众的小说，一种合作文本的意义取决于它作为一种宣传工具的生产，这种宣传工具得到了遥远而傲慢的读者的青睐。
{"title":"Editing the Text of Popular Opinion: Literature as Publicity in Jean Lorrain's Maison pour dames","authors":"R. Ziegler","doi":"10.1353/rmr.1992.a459479","DOIUrl":"https://doi.org/10.1353/rmr.1992.a459479","url":null,"abstract":"Sickened by the snobbism and fatuity of the Tout-Paris savaged in his columns, the infamous Jean Lorrain in 1900 abandoned what he called \"la ville empoisonnee\" in order to take up residence in Nice, where he savored the pleasure of wandering through the city's old quarter with its redolence of cheeses, musk, and spice. Lorrain had tired of being harried by litigation and public censure, had grown impatient with being attacked in the anonymous letters flooding his apartment in Auteuil. And so the writer who, in 1885, had arrived in Paris, anxious like Rastignac to join in \"la lutte du poete contre la capitale corrompue\" (Jullian 47), finally found himself obliged, at age 45, to concede defeat and to go into exile in the South. Better known today as the ether-addicted homosexual who consorted with wrestlers and garcons bouchers, chronicler of les moeurs parisiennes, whose accounts of the demi-monde both titillated and scandalized his readers, Lorrain was also a prolific poet, conteur, and dramatist, a novelist whose fictions offered comment on the unhealthy notoriety that made the author a familiar but marginal figure. Generally neglected and forgotten since his death in 1906, consigned to a literary purgatory where his writings have languished for too long, Lorrain, ne Paul Duval, was at once a conspicuous public figure, famous for his friendship with Sarah Bernhardt and for his duel with Marcel Proust, and a journalist who skewered social pretenders and poseurs in his abrasive Pall-Malls. Indeed, Lorrain's cynical depictions of Paris as a modern-day Babylon have often obscured his literary works that deal with the same themes. Published posthumously in 1908, Lorrain's novel Maison pour dames has been characterized by one critic as \"une satire f6roce des petits cenacles journalistico-litteraires\" (Kyria 107). Yet apart from giving insights into the operation of a typical turn-of-the-century poetry review, with its cynical commercial maneuverings and exploitation of contributors, the novel also shows the author's identity becoming just another fiction sold to the public, a collaborative text whose meaning depends on its production as a publicity vehicle accorded a favorable reception by a distant and patronized readership.","PeriodicalId":326714,"journal":{"name":"Rocky Mountain Review of Language and Literature","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127771026","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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