ABSTRACT:Second novels are often where literary careers are made, or on the contrary where they founder. Julia Deck's Le Triangle d'hiver (2014) amply fulfills the rich promise of her first novel, Viviane Élisabeth Fauville (2012), putting on display a pleasing lightness of touch and an impressive degree of narrative confidence. That latter quality serves Deck particularly well, for the story she tells contains more than a few twists. Things are constantly in flux in this novel, and appearances are in some ways more reliable than realities. Even the most attentive of readers is likely to nonplussed at some point. But that sort of narrative sleight of hand is part of Deck's wager, of course; and like any successful feat of prestidigitation, it relies on our willingness to be fooled.
{"title":"Julia Deck's Geometries","authors":"W. Motte","doi":"10.1353/frf.2020.0006","DOIUrl":"https://doi.org/10.1353/frf.2020.0006","url":null,"abstract":"ABSTRACT:Second novels are often where literary careers are made, or on the contrary where they founder. Julia Deck's Le Triangle d'hiver (2014) amply fulfills the rich promise of her first novel, Viviane Élisabeth Fauville (2012), putting on display a pleasing lightness of touch and an impressive degree of narrative confidence. That latter quality serves Deck particularly well, for the story she tells contains more than a few twists. Things are constantly in flux in this novel, and appearances are in some ways more reliable than realities. Even the most attentive of readers is likely to nonplussed at some point. But that sort of narrative sleight of hand is part of Deck's wager, of course; and like any successful feat of prestidigitation, it relies on our willingness to be fooled.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"109 - 95"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41863687","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}
{"title":"World War II in Andreï Makine's Historiographic Metafiction: \"No One is Forgotten, Nothing is Forgotten\" by Helena Duffy (review)","authors":"A. Wanner","doi":"10.1353/frf.2020.0010","DOIUrl":"https://doi.org/10.1353/frf.2020.0010","url":null,"abstract":"","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"132 - 134"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48233795","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}
Abstract:Partant de la célèbre dispute qui oppose Rousseau et Voltaire au sujet du progrès des sociétés humaines, nous montrons d'abord que l'exemple des conquêtes tartares de la Chine y occupe une place de choix et que la façon dont les deux penseurs français des Lumières appréhendent le couple Chinois-Tartare dépend non seulement d'un positionnement idéologique préexistant mais aussi des sources où chacun puise ses informations. En faisant un pas de plus dans l'analyse philologique des documents tibétains, nous montrons ensuite que les points de vue contrastés que Voltaire et Rousseau livrent sur les Chinois "civilisés" et les Tartares "barbares" font écho à la manière dont les peuples d'Asie eux-mêmes, indépendamment des préjugés européens, se dénomment et se représentent les uns les autres.
{"title":"Civilisés ou barbares? Chinois et Tartares à l'époque des Lumières","authors":"Yunfei Bai","doi":"10.1353/frf.2020.0000","DOIUrl":"https://doi.org/10.1353/frf.2020.0000","url":null,"abstract":"Abstract:Partant de la célèbre dispute qui oppose Rousseau et Voltaire au sujet du progrès des sociétés humaines, nous montrons d'abord que l'exemple des conquêtes tartares de la Chine y occupe une place de choix et que la façon dont les deux penseurs français des Lumières appréhendent le couple Chinois-Tartare dépend non seulement d'un positionnement idéologique préexistant mais aussi des sources où chacun puise ses informations. En faisant un pas de plus dans l'analyse philologique des documents tibétains, nous montrons ensuite que les points de vue contrastés que Voltaire et Rousseau livrent sur les Chinois \"civilisés\" et les Tartares \"barbares\" font écho à la manière dont les peuples d'Asie eux-mêmes, indépendamment des préjugés européens, se dénomment et se représentent les uns les autres.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"1 - 15"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42067799","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}
Abstract:This article examines how Charlotte Delbo, a concentration camp survivor and resistance member, employs a structure of comparison in Les Belles lettres (1961) and in Mesure de nos jours (1971). In the former, Delbo recirculates letters about the Algerian War that were published in the French media between 1959-1961. In these letters, World War II is frequently invoked as a point of reference, setting up a structure of juxtaposition between it and the conflict in North Africa. While event and event are compared in Les Belles lettres, testimony and testimony are compared in Mesure de nos jours, a volume comprised of brief testimonial vignettes describing the process of reintegration in France after the Holocaust. Although Les Belles lettres is generically and thematically distinct from Mesure de nos jours, its composition offers insight into the ways that Delbo stages comparison as a process.While the benefits and drawbacks of drawing comparisons between the Holocaust and other events have been subject to extensive debate, this article explores acts of comparison with regard to Holocaust literary testimony, a genre predicated on a certain degree of incomparability by virtue of its mission to communicate personal experience(s). Through a close-reading of juxtaposition and cross-reference in Mesure de nos jours, I argue that Delbo offers a conceptual apparatus for integrating disparate and conflicting recollections into a single continuous act of memory. I contend that the staging of contrasting dialogue in Mesure de nos jours not only accounts for, but builds contradiction and discrepancy into the form of testimony itself, thus allowing for difference to enrich, rather than diminish, what it means to bear witness.
摘要：这篇文章探讨了集中营幸存者和抵抗运动成员夏洛特·德尔博如何在《美女》（1961）和《今日之歌》（1971）中采用比较结构。在前者中，德尔博转发了1959-1961年间在法国媒体上发表的关于阿尔及利亚战争的信件。在这些信件中，第二次世界大战经常被引用为参考点，在它与北非冲突之间建立了一种并置的结构。虽然《美女》中对事件和事件进行了比较，但《今日之歌》中对证词和证词进行了比较。这本书由简短的证词小插曲组成，描述了大屠杀后法国重新融入社会的过程。尽管Les Belles lettres在一般性和主题上与Mesure de nos jours不同，但其作品深入了解了Delbo将比较作为一个过程的方式。虽然将大屠杀与其他事件进行比较的好处和缺点一直存在广泛的争论，但本文探讨了大屠杀文学证词的比较行为，这是一种基于某种程度的不可比性的类型，因为它的使命是交流个人经历。通过仔细阅读《今日之美》中的并置和交叉参照，我认为德尔博提供了一种概念装置，可以将不同和冲突的回忆整合为一个连续的记忆行为。我认为，在《今日之家》中上演对比鲜明的对话不仅解释了证词本身，而且在证词本身的形式中构建了矛盾和差异，从而使差异丰富而不是减少了作证的意义。
{"title":"Communicating Difference: Charlotte Delbo and Holocaust Testimony","authors":"Charlotte F. Werbe","doi":"10.1353/frf.2020.0003","DOIUrl":"https://doi.org/10.1353/frf.2020.0003","url":null,"abstract":"Abstract:This article examines how Charlotte Delbo, a concentration camp survivor and resistance member, employs a structure of comparison in Les Belles lettres (1961) and in Mesure de nos jours (1971). In the former, Delbo recirculates letters about the Algerian War that were published in the French media between 1959-1961. In these letters, World War II is frequently invoked as a point of reference, setting up a structure of juxtaposition between it and the conflict in North Africa. While event and event are compared in Les Belles lettres, testimony and testimony are compared in Mesure de nos jours, a volume comprised of brief testimonial vignettes describing the process of reintegration in France after the Holocaust. Although Les Belles lettres is generically and thematically distinct from Mesure de nos jours, its composition offers insight into the ways that Delbo stages comparison as a process.While the benefits and drawbacks of drawing comparisons between the Holocaust and other events have been subject to extensive debate, this article explores acts of comparison with regard to Holocaust literary testimony, a genre predicated on a certain degree of incomparability by virtue of its mission to communicate personal experience(s). Through a close-reading of juxtaposition and cross-reference in Mesure de nos jours, I argue that Delbo offers a conceptual apparatus for integrating disparate and conflicting recollections into a single continuous act of memory. I contend that the staging of contrasting dialogue in Mesure de nos jours not only accounts for, but builds contradiction and discrepancy into the form of testimony itself, thus allowing for difference to enrich, rather than diminish, what it means to bear witness.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"53 - 65"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43756669","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}
Abstract:The tactile experience plays a major role in Paul Valéry's work. In Valéry's view, touch, or tactility takes part in the aesthetic experience not only at the immediate level, as an actual sensation, but also at the imaginary level, as a virtual experience which shapes human perception and consciousness. The very movement of the hand and the body, and its interaction with objects, endow the creative action with contingency and unpredictability. This notion of tactility is used by Valéry to emphasize the fragmented and discontinuous nature of the creative process, which eludes prior models and intentions. Most originally, Valéry frames touch as endowing matter with a certain temporal sequence or rhythm, rhythm which then proceeds to "infect" the recipients of the work. The article draws on late 19th and early 20th century discourse on tactility and temporality, in the domains of poetics, science, and technology, in order to contextualize Valéry's ideas and to stress their synthetic value and their originality. Special attention is given to Valéry's essay on Degas, as a piece which showcases this notion of tactility, both at the explicit level, in Valéry's analysis of Degas' work and method, and at the formal level, as a way to participate and pursue the painter's immanent rhythm.
{"title":"Tactility in Valéry's Aesthetics: Fragment and Duration","authors":"D. Rosenberg","doi":"10.1353/frf.2020.0002","DOIUrl":"https://doi.org/10.1353/frf.2020.0002","url":null,"abstract":"Abstract:The tactile experience plays a major role in Paul Valéry's work. In Valéry's view, touch, or tactility takes part in the aesthetic experience not only at the immediate level, as an actual sensation, but also at the imaginary level, as a virtual experience which shapes human perception and consciousness. The very movement of the hand and the body, and its interaction with objects, endow the creative action with contingency and unpredictability. This notion of tactility is used by Valéry to emphasize the fragmented and discontinuous nature of the creative process, which eludes prior models and intentions. Most originally, Valéry frames touch as endowing matter with a certain temporal sequence or rhythm, rhythm which then proceeds to \"infect\" the recipients of the work. The article draws on late 19th and early 20th century discourse on tactility and temporality, in the domains of poetics, science, and technology, in order to contextualize Valéry's ideas and to stress their synthetic value and their originality. Special attention is given to Valéry's essay on Degas, as a piece which showcases this notion of tactility, both at the explicit level, in Valéry's analysis of Degas' work and method, and at the formal level, as a way to participate and pursue the painter's immanent rhythm.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"33 - 51"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41471599","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}
Abstract:Names and numbers, mostly in the form of statistics, each play a role in the memorialization of collective tragedies. Names have nonetheless been privileged as that which humanizes the experience and subsumes affectless questions of scale to the personal. Writing at a time when AIDS was transitioning from a fatal epidemic to a chronic disease, Catherine Mavrikakis uses a fictocritical approach in Deuils cannibales et mélancoliques (2000) to relay for readers the receding experience of AIDS as an epidemic. A singular name, Hervé, an intertextual reference to the work of Hervé Guibert and Mavrikakis' own scholarship on Guibert's AIDS writings, functions as an indexical sign. Through repetition and conferral upon multiple (mostly HIV-positive) characters, Hervé – as name – becomes the metonymic means by which the coldness of numbers and the weight of mass tragedy are made appreciable, for the name acquires new semantic meaning through disassociation with individual characters. Breaking with conventions of naming and characterisation, Mavrikakis' complex and confusing text challenges readers to make sense of the interplay of names and numbers, individuals and groups, in memorial practices for what has become an endemic tragedy.
摘要：名字和数字，大多以统计的形式，在纪念集体悲剧中都发挥着作用。尽管如此，名字还是享有特权，因为它使体验人性化，并将毫无影响的规模问题纳入个人问题。Catherine Mavrikakis在《Deuils cannibales et mélancoliques》（2000）中使用了一种虚构的方法，向读者传达了艾滋病作为一种流行病正在消退的经历。Hervé是一个单数名称，是对HervéGuibert的作品和Mavrikakis自己关于Guibert艾滋病著作的学术研究的互文参考，起到了索引符号的作用。通过对多个（大多数是HIV阳性）角色的重复和赋予，Hervé——作为名字——成为了一种转喻手段，因为名字通过与单个字符的脱离而获得了新的语义。Mavrikakis复杂而令人困惑的文本打破了命名和人物描述的惯例，挑战读者在纪念这场已经成为地方性悲剧的实践中理解名字和数字、个人和群体的相互作用。
{"title":"Improbable Grief: Mavrikakis' Onomastic Practices of Memorialization","authors":"J. Robert","doi":"10.1353/frf.2020.0004","DOIUrl":"https://doi.org/10.1353/frf.2020.0004","url":null,"abstract":"Abstract:Names and numbers, mostly in the form of statistics, each play a role in the memorialization of collective tragedies. Names have nonetheless been privileged as that which humanizes the experience and subsumes affectless questions of scale to the personal. Writing at a time when AIDS was transitioning from a fatal epidemic to a chronic disease, Catherine Mavrikakis uses a fictocritical approach in Deuils cannibales et mélancoliques (2000) to relay for readers the receding experience of AIDS as an epidemic. A singular name, Hervé, an intertextual reference to the work of Hervé Guibert and Mavrikakis' own scholarship on Guibert's AIDS writings, functions as an indexical sign. Through repetition and conferral upon multiple (mostly HIV-positive) characters, Hervé – as name – becomes the metonymic means by which the coldness of numbers and the weight of mass tragedy are made appreciable, for the name acquires new semantic meaning through disassociation with individual characters. Breaking with conventions of naming and characterisation, Mavrikakis' complex and confusing text challenges readers to make sense of the interplay of names and numbers, individuals and groups, in memorial practices for what has become an endemic tragedy.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"67 - 81"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41804267","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}
{"title":"Impostors. Literary Hoaxes and Cultural Authenticity by Christopher L. Miller (review)","authors":"L. Moudileno","doi":"10.1353/frf.2020.0011","DOIUrl":"https://doi.org/10.1353/frf.2020.0011","url":null,"abstract":"","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"135 - 137"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46579599","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}
Abstract:The poetry of Christian Prigent focuses on the act of articulation involving both the body as a site of muscular movements and language as a codified system. This act is captured in the figure of the œuvide as a conflation of œuvre / œuf and vide insofar it conforms to the structure of desire and the void that lies at its centre. The study aims to gauge the significance of the œuvide by taking into account Prigent's theoretical and critical writings, including his explicit reference to Lacan. It proceeds by introducing two concepts that Prigent does not often refer to, namely full speech and imaginary excess, with the aim of showing how the melding of verbalization and corporality functions in Prigent's now substantial body of poetic work. Full speech appears in its association with the void around which Prigent's poetry gravitates in line with the negative logic of desire, and imaginary excess accounts for the role of the fantasized body and the constant interplay of body parts in the context of a poetic strategy that seeks to foreground the physical site of verbal emission. The notion of sceptical Cratylism is introduced to round out the analysis, specifically by demonstrating how Prigent, in presenting his version of verbal embodiment, avoids reducing the body to either the rule of representation or the idea of nature.
{"title":"Œuvide! Œuvide! Verbalization and Corporality in the Poetry of Christian Prigent","authors":"Peter Poiana","doi":"10.1353/frf.2020.0007","DOIUrl":"https://doi.org/10.1353/frf.2020.0007","url":null,"abstract":"Abstract:The poetry of Christian Prigent focuses on the act of articulation involving both the body as a site of muscular movements and language as a codified system. This act is captured in the figure of the œuvide as a conflation of œuvre / œuf and vide insofar it conforms to the structure of desire and the void that lies at its centre. The study aims to gauge the significance of the œuvide by taking into account Prigent's theoretical and critical writings, including his explicit reference to Lacan. It proceeds by introducing two concepts that Prigent does not often refer to, namely full speech and imaginary excess, with the aim of showing how the melding of verbalization and corporality functions in Prigent's now substantial body of poetic work. Full speech appears in its association with the void around which Prigent's poetry gravitates in line with the negative logic of desire, and imaginary excess accounts for the role of the fantasized body and the constant interplay of body parts in the context of a poetic strategy that seeks to foreground the physical site of verbal emission. The notion of sceptical Cratylism is introduced to round out the analysis, specifically by demonstrating how Prigent, in presenting his version of verbal embodiment, avoids reducing the body to either the rule of representation or the idea of nature.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"111 - 126"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48718852","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}
Résumé:Cet article s'interroge sur les zones ambivalentes séparant, dans Les Années d'Annie Ernaux, les descriptions photographiques de la reprise de la narration. Il étaye l'hypothèse selon laquelle ces zones indécidables révèleraient, en marge de la finalité déclarée de l'œuvre – celle de constituer l'autobiographie d'une époque – un autre de ses enjeux cruciaux, et permettraient de lire Les Années comme le récit d'une vocation d'écrivain. Les Années serait dès lors à lire aussi comme le récit de son propre avènement. Cet aspect se manifesterait tout particulièrement par l'importance croissante des références à la Recherche proustienne, qui consiste en l'histoire de sa propre émergence.Abstract:This articles examines the ambivalent passages which separate, in Annie Ernaux's Les Années, the photographic descriptions from the narration. It supports the idea that these undefinable passages reveal, apart from he book's stated aim – constituting the autobiography of an era – another crucial issue allowing us to read Les Années as the story of a vocation as a writer. We should then read Les Années as the story of its own birth. This dimension becomes apparent in the book with the growing importance of references to Proust's Recherche, which tells the story of it's own emergence.
{"title":"Les Années: Album-photo d'une vocation?","authors":"Yona Hanhart-Marmor","doi":"10.1353/frf.2020.0005","DOIUrl":"https://doi.org/10.1353/frf.2020.0005","url":null,"abstract":"Résumé:Cet article s'interroge sur les zones ambivalentes séparant, dans Les Années d'Annie Ernaux, les descriptions photographiques de la reprise de la narration. Il étaye l'hypothèse selon laquelle ces zones indécidables révèleraient, en marge de la finalité déclarée de l'œuvre – celle de constituer l'autobiographie d'une époque – un autre de ses enjeux cruciaux, et permettraient de lire Les Années comme le récit d'une vocation d'écrivain. Les Années serait dès lors à lire aussi comme le récit de son propre avènement. Cet aspect se manifesterait tout particulièrement par l'importance croissante des références à la Recherche proustienne, qui consiste en l'histoire de sa propre émergence.Abstract:This articles examines the ambivalent passages which separate, in Annie Ernaux's Les Années, the photographic descriptions from the narration. It supports the idea that these undefinable passages reveal, apart from he book's stated aim – constituting the autobiography of an era – another crucial issue allowing us to read Les Années as the story of a vocation as a writer. We should then read Les Années as the story of its own birth. This dimension becomes apparent in the book with the growing importance of references to Proust's Recherche, which tells the story of it's own emergence.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"83 - 94"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47335049","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}
Abstract:Dans Sodome et Gomorrhe, le narrateur décrit « le célèbre jet d'eau d'Hubert Robert ». Plusieurs critiques, dont Eve Sedgwick, distinguent dans ce blason de la fontaine une allégorie de la lecture. Cet article commence par une analyse de l'ekphrasis de ce jet d'eau dans la Recherche, puis contraste la lecture de Georges Poulet, qui recourt également à l'image de la fontaine, et celle d'Eve Sedgwick, notamment en ce qui a trait à la notion de temps. Contrairement à l'universalisme existentialiste de Poulet, Sedgwick introduit un point de vue typiquement féministe et queer. L'auteur ensuite démontre comment cette autre allégorie de la lecture et de la Recherche s'inscrit dans le prolongement du travail de Paul de Man. Enfin, l'auteur met en évidence comment le blason de la fontaine chez Sedgwick s'appuie sur ses lectures précédentes de Proust dans Epistemology of the Closet et fait écho à une autre allégorie : celle du placard de lecture. On peut ainsi retracer les métamorphoses de la théorie queer. La lecture par Sedgwick de l'allégorie de la fontaine met en évidence comment la théorie queer mène d'une critique systématique des caractérisations normatives de la sexualité à une déconstruction du sujet moderne qu'elles présupposent.
{"title":"Jeux d'eau et de lumière: Proust, de Man, Sedgwick et le placard de lecture","authors":"M. Philippe","doi":"10.1353/frf.2020.0001","DOIUrl":"https://doi.org/10.1353/frf.2020.0001","url":null,"abstract":"Abstract:Dans Sodome et Gomorrhe, le narrateur décrit « le célèbre jet d'eau d'Hubert Robert ». Plusieurs critiques, dont Eve Sedgwick, distinguent dans ce blason de la fontaine une allégorie de la lecture. Cet article commence par une analyse de l'ekphrasis de ce jet d'eau dans la Recherche, puis contraste la lecture de Georges Poulet, qui recourt également à l'image de la fontaine, et celle d'Eve Sedgwick, notamment en ce qui a trait à la notion de temps. Contrairement à l'universalisme existentialiste de Poulet, Sedgwick introduit un point de vue typiquement féministe et queer. L'auteur ensuite démontre comment cette autre allégorie de la lecture et de la Recherche s'inscrit dans le prolongement du travail de Paul de Man. Enfin, l'auteur met en évidence comment le blason de la fontaine chez Sedgwick s'appuie sur ses lectures précédentes de Proust dans Epistemology of the Closet et fait écho à une autre allégorie : celle du placard de lecture. On peut ainsi retracer les métamorphoses de la théorie queer. La lecture par Sedgwick de l'allégorie de la fontaine met en évidence comment la théorie queer mène d'une critique systématique des caractérisations normatives de la sexualité à une déconstruction du sujet moderne qu'elles présupposent.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"17 - 32"},"PeriodicalIF":0.0,"publicationDate":"2020-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/frf.2020.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47843885","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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