{"title":"Degenerative Realism. Novel and Nation in Twenty-First-Century France by Christy Wampole (review)","authors":"P. Lyons","doi":"10.1353/FRF.2020.0019","DOIUrl":"https://doi.org/10.1353/FRF.2020.0019","url":null,"abstract":"","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"255 - 257"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46399646","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 L'Homme qui rit, de Victor Hugo, Gwynplaine suscite l'hilarité des foules, qui payent pour voir son visage grotesquement déformé. Personnage « dénué d'humour » selon Joe Friedmann, il ne rit jamais.Gwynplaine apparaît alors comme le porteur contagieux mais sain d'un virus auquel il est lui-même immunisé. Les modalités de cette contagion sont un foyer d'infection unique, lui-même et un contact direct. Il est un phénomène dont il faut faire l'expérience à la source. Ce rire est contagieux, mais pas épidémique, il ne se communique pas d'homme à homme en son absence.Le rire de Gwynplaine pervertit ainsi son message personnel, un message révolutionnaire d'égalité, qu'il délivre dans un discours vite noyé sous les rires provoqués par son apparence physique. En effet, pour Marie-Hélène Huet, si l'épidémie est propice aux idées révolutionnaires, portées par l'air du temps, la contagion, elle, correspond à un mode de pensée conservateur : on peut la contenir, et confiner les cas dangereux afin d'étouffer l'infection. Et c'est bien un effet antirévolutionnaire qu'a ce rire sur le peuple : leur permettant d'oublier leur misère le temps d'un spectacle, il retarde d'autant un vrai soulèvement populaire. C'est ainsi que le rire de Gwynplaine, ce rire tyrannique et contagieux, trahit son message et entérine malgré lui le status quo.
摘要：在维克多·雨果（Victor Hugo）的《笑的人》（L'homme qui rit）中，格温普兰（Gwynplaine）引起了观众的欢笑，他们花钱看他那张怪诞扭曲的脸。乔·弗里德曼（Joe Friedmann）说，他是一个“没有幽默感”的角色，从不笑。格温普兰似乎是一种他自己免疫的病毒的传染性但健康的携带者。这种传染的方式是单一感染源、自身和直接接触。这是一种必须从源头体验的现象。这种笑声是有传染性的，但不是流行病，在没有笑声的情况下，它不会在人与人之间传播。格温普兰的笑声扭曲了他的个人信息，一个革命性的平等信息，他在一次演讲中传达了这一信息，很快就淹没在他外表引起的笑声中。事实上，对于Marie-Hélène Huet来说，如果疫情有利于革命思想，由当时的空气携带，那么传染对应于一种保守的思维方式：我们可以控制它，限制危险病例，以扼杀感染。这种笑声确实对人民产生了反革命的影响：让他们在演出期间忘记自己的痛苦，它推迟了真正的群众起义。因此，格温普兰的笑声，这种暴虐和富有感染力的笑声，背叛了他的信息，并不顾一切地认可了现状。
{"title":"Le rire au service de la tyrannie dans: L'Homme qui rit, de Victor Hugo","authors":"Julie Hugonny","doi":"10.1353/FRF.2020.0012","DOIUrl":"https://doi.org/10.1353/FRF.2020.0012","url":null,"abstract":"Abstract:Dans L'Homme qui rit, de Victor Hugo, Gwynplaine suscite l'hilarité des foules, qui payent pour voir son visage grotesquement déformé. Personnage « dénué d'humour » selon Joe Friedmann, il ne rit jamais.Gwynplaine apparaît alors comme le porteur contagieux mais sain d'un virus auquel il est lui-même immunisé. Les modalités de cette contagion sont un foyer d'infection unique, lui-même et un contact direct. Il est un phénomène dont il faut faire l'expérience à la source. Ce rire est contagieux, mais pas épidémique, il ne se communique pas d'homme à homme en son absence.Le rire de Gwynplaine pervertit ainsi son message personnel, un message révolutionnaire d'égalité, qu'il délivre dans un discours vite noyé sous les rires provoqués par son apparence physique. En effet, pour Marie-Hélène Huet, si l'épidémie est propice aux idées révolutionnaires, portées par l'air du temps, la contagion, elle, correspond à un mode de pensée conservateur : on peut la contenir, et confiner les cas dangereux afin d'étouffer l'infection. Et c'est bien un effet antirévolutionnaire qu'a ce rire sur le peuple : leur permettant d'oublier leur misère le temps d'un spectacle, il retarde d'autant un vrai soulèvement populaire. C'est ainsi que le rire de Gwynplaine, ce rire tyrannique et contagieux, trahit son message et entérine malgré lui le status quo.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"139 - 154"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49322149","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":"Victims of the Book. Reading and Masculinity in Fin-de-Siècle France by François Proulx (review)","authors":"D. Holmes","doi":"10.1353/FRF.2020.0020","DOIUrl":"https://doi.org/10.1353/FRF.2020.0020","url":null,"abstract":"","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"257 - 259"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43859071","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:Current approaches within the humanities wish to represent nature beyond anthropocentric limits. In this article, I examine this approach through the trope of the water and the oceanic in Amélie Nothomb's novel Métaphysique des tubes and Marie Darrieussecq's Le mal de mer. Against the Freudian notion of the "Oceanic Feeling," in which the ocean is reduced to a mere metaphor of a firm dissolution of the ego, the literary articulation of oceanic space in these works render it a productive force, unremittingly changing, and differentiating from itself. In essence, the works show that water is not necessarily inert, stable, and calm: water can definitely be inert, but also tremulous, productive, and creative. For that, the oceanic has to be perceived as a movement between finitude and infinitude, not as a limit defined "outside" of life correspondingly to Freud, but as a limit within life, or perhaps, a limit that the motion towards it is life itself. Thus, they invite us to conceive the ocean in a posthuman fashion: not as a clichéd literary metaphor of the exotic force of nature, but as a true manifestation of constant differing and becoming—utterly the process which composes both literature and life.
{"title":"Literature Underwater: The Oceanic Becomings of Nothomb and Darrieussecq","authors":"Gai Farchi","doi":"10.1353/FRF.2020.0015","DOIUrl":"https://doi.org/10.1353/FRF.2020.0015","url":null,"abstract":"Abstract:Current approaches within the humanities wish to represent nature beyond anthropocentric limits. In this article, I examine this approach through the trope of the water and the oceanic in Amélie Nothomb's novel Métaphysique des tubes and Marie Darrieussecq's Le mal de mer. Against the Freudian notion of the \"Oceanic Feeling,\" in which the ocean is reduced to a mere metaphor of a firm dissolution of the ego, the literary articulation of oceanic space in these works render it a productive force, unremittingly changing, and differentiating from itself. In essence, the works show that water is not necessarily inert, stable, and calm: water can definitely be inert, but also tremulous, productive, and creative. For that, the oceanic has to be perceived as a movement between finitude and infinitude, not as a limit defined \"outside\" of life correspondingly to Freud, but as a limit within life, or perhaps, a limit that the motion towards it is life itself. Thus, they invite us to conceive the ocean in a posthuman fashion: not as a clichéd literary metaphor of the exotic force of nature, but as a true manifestation of constant differing and becoming—utterly the process which composes both literature and life.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"189 - 204"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42139545","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:Cet article porte sur la didactique que Roland Barthes a conçue dans ses dernières années en tant que directeur d'études à l'École des Hautes Études en Sciences Sociales (1971–1976). Pendant cette période, Barthes a réfléchi sur l'enseignement, a publié des textes sur le sujet (comme « Écrivains, intellectuels, professeurs » et « Au séminaire ») et, surtout, a développé des stratégies expérimentales d'enseignement dans son séminaire. Pour comprendre cette conception didactique dans son ensemble, on renvoie, d'abord, aux « points de fugue » de son « séminaire rêvé » (le « non-savoir », les procédures littéraires et l'exposé pluriel), énoncés au séminaire de 1971–1972 (« Dix ans de sémiologie : la théorie du texte »), ensuite aux théoriciens qui ont servi de base pour son expérimentation pédagogique (Benveniste, Nietzsche et Bataille) et, finalement, aux activités les plus importantes des séminaires « Les problèmes de la thèse et la recherche » (1972–1973), « Le lexique de l'auteur » (1973–1974) et les deux séminaires sur « Le discours amoureux » (1974–1975 et 1975–1976), qui peuvent être considérés ses cours les plus radicaux. Cette description a été possible grâce à la consultation des notes manuscrites de cours au Fonds Roland Barthes, à la Bibliothèque Nationale de France, et aussi à la consultation d'archives personnelles et de textes des étudiants de Barthes.Abstract:This paper explores the didactic proposed by Roland Barthes at his last years as a director of studies at the École de Hautes Études en Sciences Sociales (1971–1976). During that period, Barthes reflected on teaching with his students, published texts on the subject (such as « Écrivains, Intellectuels, Professeurs » and « Au séminaire »), and, above all, developed experimental didactic strategies in his seminar. In order to understand that didactic conception of Barthes as a whole, we refer first to the "fugue points" of his "dreamed seminar" ("non-knowledge", literary procedures and plural presentation), announced at the seminar of 1971–1972 ("Ten years of semiology: the Theory of the Text"), then to the thinkers who served as a basis for his pedagogical experimentation (Benveniste, Nietzsche and Bataille) and, finally, to the subjects and the concrete activities proposed at the seminars "The problems of thesis and research" (1972–1973), "The lexicon of the author" (1973–1974) and the two seminars named "The loving speech" (1974–1975 and 1975–1976), which can be considered his most radical courses. This description was made possible by consulting Barthes' manuscripts, at the Bibliothèque Nationale de France, and also by consulting the personal archives and texts of Barthes' students, besides the published seminars by Editions du Seuil.
摘要：本文讨论了罗兰·巴特（Roland Barthes）在担任高等社会科学学院（1971-1976年）研究主任的最后几年构思的教学法。在此期间，巴特反思了教学，发表了关于这一主题的文本（如“作家、知识分子、教授”和“在研讨会上”），最重要的是，在他的研讨会上制定了实验教学策略。为了从整体上理解这一教学概念，我们首先参考了他在1971-1972年研讨会（“符号学十年：文本理论”）上阐述的“梦想研讨会”（非知识、文学程序和复数阐述）的“赋格点”，然后参考了作为其教学实验基础的理论家（本维尼斯特、尼采和巴泰尔），最后，最重要的活动是“论文和研究问题”（1972-1973年）、“作者词典”（1973-1974年）和两次“爱情话语”研讨会（1974-1975年和1975-1976年），这可以被认为是他最激进的课程。这一描述是通过查阅罗兰·巴特基金会、法国国家图书馆的手写讲稿，以及查阅巴特学生的个人档案和文本而得以实现的。摘要：本文探讨了罗兰·巴特（Roland Barthes）在担任高等社会科学学院（1971-1976年）研究主任的最后几年提出的教学建议。在此期间，巴特反思了与学生的教学，发表了关于该主题的文章（如“作家、知识分子、教师”和“研讨会”），最重要的是，在研讨会上制定了实验性教学策略。为了理解巴特作为一个整体的教学概念，我们首先参考了他在1971-1972年研讨会上宣布的“梦想研讨会”（“非知识”、文学程序和复数陈述）（“符号学十年：文本理论”）的“赋格点”，然后参考作为其教学实验基础的思想家（本维尼斯特、尼采和巴泰尔），最后，研讨会“论文和研究问题”（1972-1973年）、“作者词典”（1973-1974年）和两个名为“爱的演讲”（1974-1975年和1975-1976年）的研讨会上提出的主题和具体活动，可被视为他最激进的课程。这一描述是通过咨询巴特在法国国家图书馆的手稿，以及咨询巴特学生的个人档案和文本，以及由Editions du Seuil出版的研讨会。
{"title":"La didactique magique de Roland Barthes. Les séminaires expérimentaux à l'École des Hautes Études en Sciences Sociales","authors":"Claudia Amigo Pino","doi":"10.1353/FRF.2020.0018","DOIUrl":"https://doi.org/10.1353/FRF.2020.0018","url":null,"abstract":"Abstract:Cet article porte sur la didactique que Roland Barthes a conçue dans ses dernières années en tant que directeur d'études à l'École des Hautes Études en Sciences Sociales (1971–1976). Pendant cette période, Barthes a réfléchi sur l'enseignement, a publié des textes sur le sujet (comme « Écrivains, intellectuels, professeurs » et « Au séminaire ») et, surtout, a développé des stratégies expérimentales d'enseignement dans son séminaire. Pour comprendre cette conception didactique dans son ensemble, on renvoie, d'abord, aux « points de fugue » de son « séminaire rêvé » (le « non-savoir », les procédures littéraires et l'exposé pluriel), énoncés au séminaire de 1971–1972 (« Dix ans de sémiologie : la théorie du texte »), ensuite aux théoriciens qui ont servi de base pour son expérimentation pédagogique (Benveniste, Nietzsche et Bataille) et, finalement, aux activités les plus importantes des séminaires « Les problèmes de la thèse et la recherche » (1972–1973), « Le lexique de l'auteur » (1973–1974) et les deux séminaires sur « Le discours amoureux » (1974–1975 et 1975–1976), qui peuvent être considérés ses cours les plus radicaux. Cette description a été possible grâce à la consultation des notes manuscrites de cours au Fonds Roland Barthes, à la Bibliothèque Nationale de France, et aussi à la consultation d'archives personnelles et de textes des étudiants de Barthes.Abstract:This paper explores the didactic proposed by Roland Barthes at his last years as a director of studies at the École de Hautes Études en Sciences Sociales (1971–1976). During that period, Barthes reflected on teaching with his students, published texts on the subject (such as « Écrivains, Intellectuels, Professeurs » and « Au séminaire »), and, above all, developed experimental didactic strategies in his seminar. In order to understand that didactic conception of Barthes as a whole, we refer first to the \"fugue points\" of his \"dreamed seminar\" (\"non-knowledge\", literary procedures and plural presentation), announced at the seminar of 1971–1972 (\"Ten years of semiology: the Theory of the Text\"), then to the thinkers who served as a basis for his pedagogical experimentation (Benveniste, Nietzsche and Bataille) and, finally, to the subjects and the concrete activities proposed at the seminars \"The problems of thesis and research\" (1972–1973), \"The lexicon of the author\" (1973–1974) and the two seminars named \"The loving speech\" (1974–1975 and 1975–1976), which can be considered his most radical courses. This description was made possible by consulting Barthes' manuscripts, at the Bibliothèque Nationale de France, and also by consulting the personal archives and texts of Barthes' students, besides the published seminars by Editions du Seuil.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"239 - 254"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0018","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48987945","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:Reading André Gide's novel Les Faux-monnayeurs (1924) through the lens of Kadji Amin's recent reflections on the historiographically unsteady category of modern pederasty, this article aspires to an understanding of queer as a distinctly narrative model of playfully contrived identity formation. Attention to how queer identities are forged in Gide, and historically in his wake, I argue, will allow new insights into queer theory's perpetual efforts at self-(re)invention.
{"title":"Pederasty and/as Narrative Form: André Gide's Queer Coinages","authors":"I. Fleishman","doi":"10.1353/FRF.2020.0013","DOIUrl":"https://doi.org/10.1353/FRF.2020.0013","url":null,"abstract":"Abstract:Reading André Gide's novel Les Faux-monnayeurs (1924) through the lens of Kadji Amin's recent reflections on the historiographically unsteady category of modern pederasty, this article aspires to an understanding of queer as a distinctly narrative model of playfully contrived identity formation. Attention to how queer identities are forged in Gide, and historically in his wake, I argue, will allow new insights into queer theory's perpetual efforts at self-(re)invention.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"155 - 169"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46003720","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 contemporary poet Pierre Alferi made a brief but notable foray into experimental filmmaking in the early 2000s. Taking seriously his assertion that when he extends his poetic work into audiovisual formats it is in order to "essayer la même chose avec d'autres moyens" (inTIME 17), this article investigates what Alferi's experimentation across media might clarify about his approach to poetry as, above all, a collection of "moyens." The regular cross-contamination between audiovisual media and literature in Alferi's work has generally been accounted for in light of this poet's unveiled obsession with the celluloid cinematic image: lines of poetry are broken in pursuit of montage effects, the vertical seriality of the poem interpellates that of the film strip, etc. The central objective of this article is to set aside the assumed primacy of film in Alferi's creative imaginary and re-center the discussion of the relationship between poetry and audiovisual media on the more varied media ecology within which his intermedial experiments actually takes place. Through readings of a sequence from the film Intime and of the 1994 poetry collection Kub or, both of which foreground the mediation and re-mediation of images via analog television transmission, I argue that models of remediation that shift images away from the concrete existence of celluloid in fact offer more complex and supple ways of thinking about the influence of image technologies on Alferi's poetics.
{"title":"Entre signal reçu et crypté: Pierre Alferi's Poetics of Remediation","authors":"Victoria Bergstrom","doi":"10.1353/FRF.2020.0016","DOIUrl":"https://doi.org/10.1353/FRF.2020.0016","url":null,"abstract":"Abstract:The contemporary poet Pierre Alferi made a brief but notable foray into experimental filmmaking in the early 2000s. Taking seriously his assertion that when he extends his poetic work into audiovisual formats it is in order to \"essayer la même chose avec d'autres moyens\" (inTIME 17), this article investigates what Alferi's experimentation across media might clarify about his approach to poetry as, above all, a collection of \"moyens.\" The regular cross-contamination between audiovisual media and literature in Alferi's work has generally been accounted for in light of this poet's unveiled obsession with the celluloid cinematic image: lines of poetry are broken in pursuit of montage effects, the vertical seriality of the poem interpellates that of the film strip, etc. The central objective of this article is to set aside the assumed primacy of film in Alferi's creative imaginary and re-center the discussion of the relationship between poetry and audiovisual media on the more varied media ecology within which his intermedial experiments actually takes place. Through readings of a sequence from the film Intime and of the 1994 poetry collection Kub or, both of which foreground the mediation and re-mediation of images via analog television transmission, I argue that models of remediation that shift images away from the concrete existence of celluloid in fact offer more complex and supple ways of thinking about the influence of image technologies on Alferi's poetics.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"205 - 221"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48813918","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/RÉSUMÉ:Cet article revient sur quelques textes récents de Leslie Kaplan – et tout particulièrement Mathias et la Révolution (2016) – pour s'interroger sur ce qui reste de la puissance émancipatrice de la littérature à notre époque. Au-delà de l'enjeu mémoriel que représente Mai 68 et, plus largement, la reprise du grand récit révolutionnaire, il s'agit ici de montrer que la question de que ce peut encore l'écriture repose chez Kaplan sur une pratique à première vue paradoxale du lieu commun.
{"title":"\"C'est quoi cette histoire (de révolution)?\": Leslie Kaplan et l'invention du lieu commun","authors":"Éric Trudel","doi":"10.1353/FRF.2020.0014","DOIUrl":"https://doi.org/10.1353/FRF.2020.0014","url":null,"abstract":"ABSTRACT/RÉSUMÉ:Cet article revient sur quelques textes récents de Leslie Kaplan – et tout particulièrement Mathias et la Révolution (2016) – pour s'interroger sur ce qui reste de la puissance émancipatrice de la littérature à notre époque. Au-delà de l'enjeu mémoriel que représente Mai 68 et, plus largement, la reprise du grand récit révolutionnaire, il s'agit ici de montrer que la question de que ce peut encore l'écriture repose chez Kaplan sur une pratique à première vue paradoxale du lieu commun.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"171 - 187"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43795075","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:Perhaps unsurprisingly, we often couch our present catastrophe of climate change in eschatological terms. In Greek, "apocalypse" signifies to "uncover, disclose"—the savior figure thus serves to enlighten us (OED). This trope of an enlightened messiah finds expression in two environmentally focused Caribbean novels: Jacques Roumain's Gouverneurs de la rosée and Patrick Chamoiseau's Les neuf consciences du Malfini. Although largely different, these novels both imply that humanity and the Earth need saving by exceptional figures. Outside the domain of fiction, recent groups such as the "Ecomodernists" have staked out technological ingenuity as our best way out of otherwise sure ecological disaster. Whether our salvation will stem from an extraordinary individual or profound technological advancement, these suggestions point to an apocalyptic end barring something bordering on the miraculous. My question, then, centers on this persistent anxiety: is modern eco-epistemology beset by a savior complex? What I wish to explore at present is how this tendency likely inhibits our ability to effectively act in a way that best mitigates the impending damage. Rather than argue, however, that these two novels are guilty of stymying collective action, I will contend that they are simply symptomatic of this proclivity—typical in Western literature—to produce savior figures. Furthermore, I will explore their nuanced approaches to the difficulties of representing an earth in ecological crisis, and how we might find alternatives to the capitalistic mode that has drastically accelerated environmental devastation.
{"title":"Eco-epistemology and Eschatology: Examining the Savior Complex in Jacques Roumain's Gouverneurs de la rosée and Patrick Chamoiseau's Les neuf consciences du Malfini","authors":"D. Vivian","doi":"10.1353/FRF.2020.0017","DOIUrl":"https://doi.org/10.1353/FRF.2020.0017","url":null,"abstract":"Abstract:Perhaps unsurprisingly, we often couch our present catastrophe of climate change in eschatological terms. In Greek, \"apocalypse\" signifies to \"uncover, disclose\"—the savior figure thus serves to enlighten us (OED). This trope of an enlightened messiah finds expression in two environmentally focused Caribbean novels: Jacques Roumain's Gouverneurs de la rosée and Patrick Chamoiseau's Les neuf consciences du Malfini. Although largely different, these novels both imply that humanity and the Earth need saving by exceptional figures. Outside the domain of fiction, recent groups such as the \"Ecomodernists\" have staked out technological ingenuity as our best way out of otherwise sure ecological disaster. Whether our salvation will stem from an extraordinary individual or profound technological advancement, these suggestions point to an apocalyptic end barring something bordering on the miraculous. My question, then, centers on this persistent anxiety: is modern eco-epistemology beset by a savior complex? What I wish to explore at present is how this tendency likely inhibits our ability to effectively act in a way that best mitigates the impending damage. Rather than argue, however, that these two novels are guilty of stymying collective action, I will contend that they are simply symptomatic of this proclivity—typical in Western literature—to produce savior figures. Furthermore, I will explore their nuanced approaches to the difficulties of representing an earth in ecological crisis, and how we might find alternatives to the capitalistic mode that has drastically accelerated environmental devastation.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"45 1","pages":"223 - 237"},"PeriodicalIF":0.0,"publicationDate":"2021-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/FRF.2020.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45190191","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}
Globalement les éléments agrométéorologiques déterminés grâce aux mesures et observations faites sur une quelconque de ces stations donnent des renseignements très utiles, sur les aspects climatiques (atmosphériques et édaphiques) des conditions de développement et de croissance des cultures. D’ailleurs, le domaine de représentativité de ces renseignements dépasse généralement très largement les limites de la circonscription administrative au lieu d’implantation de la station.
{"title":"Note de présentation","authors":"P. Met","doi":"10.1353/frf.2021.0013","DOIUrl":"https://doi.org/10.1353/frf.2021.0013","url":null,"abstract":"Globalement les éléments agrométéorologiques déterminés grâce aux mesures et observations faites sur une quelconque de ces stations donnent des renseignements très utiles, sur les aspects climatiques (atmosphériques et édaphiques) des conditions de développement et de croissance des cultures. D’ailleurs, le domaine de représentativité de ces renseignements dépasse généralement très largement les limites de la circonscription administrative au lieu d’implantation de la station.","PeriodicalId":42174,"journal":{"name":"FRENCH FORUM","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66392633","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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