Dans Touching the Rock (1990), temoignage que J. Hull publia apres avoir perdu la vue, l’auteur presente un sejour dans son Australie natale comme un moment central dans l’effacement de son identite voyante. Prive des paysages de sa jeunesse, il raconte avoir vecu l’ultime alienation que produit la cecite. Un tel recit confirme par opposition le role de catalyse que joue le paysage dans la formation de l’identite. La dimension optique du paysage explique sa place dans le livre de Hull et l’adaptation qu’en proposent Middleton et Spinney dans un documentaire et un projet VR intitules Notes on Blindness (2016). Du Victoria battu par les vents a un Birmingham pluvieux, la cecite apporte une perturbation fructueuse a l’elaboration du paysage. Elle abandonne un modele d’appropriation reciproque entre le sujet et la vue qui s’offre a lui. Manifestant l’emergence d’une autre phenomenologie du regard, le travail de l’echolocation nous rappelle aux ec(h)osystemes perceptifs que nous partageons.
在j·赫尔(J. Hull)失明后发表的《触摸岩石》(Touching the Rock, 1990)一书中，作者将在家乡澳大利亚的一次停留描述为他的远见身份消失的中心时刻。被剥夺了年轻时的风景，他讲述了cecite产生的最终异化。相反，这样的叙述证实了景观在身份形成中的催化作用。景观的光学维度解释了它在赫尔书中的位置，以及米德尔顿和斯宾尼将其改编成纪录片和虚拟现实项目《失明笔记》(2016)。从狂风肆虐的维多利亚到下雨的伯明翰，雪松给景观带来了富有成效的干扰。它放弃了主体和提供给他的视野之间相互占有的模式。回声定位的工作表明了另一种视觉现象的出现，提醒我们共同的感知系统ec(h)。
{"title":"Landscape Shaped by Blindness. Touching the Rock (1990) and Notes on Bl","authors":"Diane Leblond","doi":"10.4000/EBC.4726","DOIUrl":"https://doi.org/10.4000/EBC.4726","url":null,"abstract":"Dans Touching the Rock (1990), temoignage que J. Hull publia apres avoir perdu la vue, l’auteur presente un sejour dans son Australie natale comme un moment central dans l’effacement de son identite voyante. Prive des paysages de sa jeunesse, il raconte avoir vecu l’ultime alienation que produit la cecite. Un tel recit confirme par opposition le role de catalyse que joue le paysage dans la formation de l’identite. La dimension optique du paysage explique sa place dans le livre de Hull et l’adaptation qu’en proposent Middleton et Spinney dans un documentaire et un projet VR intitules Notes on Blindness (2016). Du Victoria battu par les vents a un Birmingham pluvieux, la cecite apporte une perturbation fructueuse a l’elaboration du paysage. Elle abandonne un modele d’appropriation reciproque entre le sujet et la vue qui s’offre a lui. Manifestant l’emergence d’une autre phenomenologie du regard, le travail de l’echolocation nous rappelle aux ec(h)osystemes perceptifs que nous partageons.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70073117","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}
This article looks at the way in which the archetypal Victorian house with its multiple repressed histories informs the novel Atonement. Questions of guilt, of not waking up in time from the dream of the nineteenth-century and failing to atone for the sins of the war and of class struggle are central to McEwan’s work of fiction. The view from the upper stories of the Victorian house affords a view of dangers past and of those to come but the Anglo-Saxon and protestant distaste for personal atonement means that action is rarely taken. Practices of scapegoating and averting the gaze are two strategies of avoidance that replace true atonement in the novel and prevent the important stage of regeneration. The article also looks at the post-war desire for renewal as it was expressed both in society (the festival of Britain of 1951 for example) and also in late twentieth century British literature. The case for McEwan’s own need for atonement as a writer is also briefly made.
{"title":"Remembering Atonement in Atonement","authors":"S. Thornton","doi":"10.4000/EBC.5562","DOIUrl":"https://doi.org/10.4000/EBC.5562","url":null,"abstract":"This article looks at the way in which the archetypal Victorian house with its multiple repressed histories informs the novel Atonement. Questions of guilt, of not waking up in time from the dream of the nineteenth-century and failing to atone for the sins of the war and of class struggle are central to McEwan’s work of fiction. The view from the upper stories of the Victorian house affords a view of dangers past and of those to come but the Anglo-Saxon and protestant distaste for personal atonement means that action is rarely taken. Practices of scapegoating and averting the gaze are two strategies of avoidance that replace true atonement in the novel and prevent the important stage of regeneration. The article also looks at the post-war desire for renewal as it was expressed both in society (the festival of Britain of 1951 for example) and also in late twentieth century British literature. The case for McEwan’s own need for atonement as a writer is also briefly made.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074515","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}
‘Trieste-Zurich-Paris, 1914-1921’. ‘Paris, 1922-1939’. These famous dates and places with which Ulysses and Finnegans Wake respectively close tell a long story, and suggest the extent to which the composition of those two books is embedded in the social, historical and cultural life of the cities in which Joyce wrote them. The crucial role played by Paris’s literary movers and shakers in relation to the writing and, more importantly, to the publication of Ulysses is now amply documented, as i...
{"title":"LOUKOPOULOU Eleni, Up to Maughty London: Joyce’s Cultural Capital in the Imperial Metropolis","authors":"S. Belluc","doi":"10.4000/ebc.5683","DOIUrl":"https://doi.org/10.4000/ebc.5683","url":null,"abstract":"‘Trieste-Zurich-Paris, 1914-1921’. ‘Paris, 1922-1939’. These famous dates and places with which Ulysses and Finnegans Wake respectively close tell a long story, and suggest the extent to which the composition of those two books is embedded in the social, historical and cultural life of the cities in which Joyce wrote them. The crucial role played by Paris’s literary movers and shakers in relation to the writing and, more importantly, to the publication of Ulysses is now amply documented, as i...","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074526","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}
Nation and Citizenship in the Twentieth-Century British Novel addresses the ways modern novels represent or imagine new forms of citizenship and posits that literature can foresee major historical or political changes, as well as inscribe national developments at the heart of characterisation and narrative strategies. By looking at novels by E. M. Forster, Virginia Woolf, Elizabeth Bowen, Sam Selvon, Buchi Emecheta and Salman Rushdie, Janice Ho shows that British literature interrogates philo...
{"title":"HO Janice, Nation and Citizenship in the Twentieth-Century British Novel","authors":"L. Mellet","doi":"10.4000/ebc.5721","DOIUrl":"https://doi.org/10.4000/ebc.5721","url":null,"abstract":"Nation and Citizenship in the Twentieth-Century British Novel addresses the ways modern novels represent or imagine new forms of citizenship and posits that literature can foresee major historical or political changes, as well as inscribe national developments at the heart of characterisation and narrative strategies. By looking at novels by E. M. Forster, Virginia Woolf, Elizabeth Bowen, Sam Selvon, Buchi Emecheta and Salman Rushdie, Janice Ho shows that British literature interrogates philo...","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48401904","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}
Modernist writers are often considered to have moved away from ambivalent or even negative representations of the city – which Victorian writers had depicted as the antithesis to the Eden-like countryside – and shifted towards a celebration of city life. While Mrs Dalloway is celebrated for its city scenes, casual allusions to conversations ‘among the vegetables’ reveal an often overlooked subtext. For Woolf and for Cusk, the garden functions as a contained space through which to work through problematic emotions and achieve at least temporary reconciliation between the past and present. Rather than working within polarised conceptions of a paradise lost or regained, both authors experiment with the idea of a fragmented paradise that can be pieced together in sudden moments of self-realisation. The cultivated space of a domestic garden brings into focus the perception of being ‘walled-in’ (MD, 64) by emotional perceptions of past experiences. Self-consciousness that struggles to be articulated is realised with sudden clarity in heightened ‘moments of being’. Virginia Woolf and Rachel Cusk thus experiment with the trope of the garden in order to explore the depths of the self, beyond the urban spaces that have been so central in their writings.
{"title":"‘Walled-in’: The Psychology of the English Garden in Virginia Woolf’s Mrs Dalloway","authors":"N. Boileau, Rebecca Welshman","doi":"10.4000/EBC.4483","DOIUrl":"https://doi.org/10.4000/EBC.4483","url":null,"abstract":"Modernist writers are often considered to have moved away from ambivalent or even negative representations of the city – which Victorian writers had depicted as the antithesis to the Eden-like countryside – and shifted towards a celebration of city life. While Mrs Dalloway is celebrated for its city scenes, casual allusions to conversations ‘among the vegetables’ reveal an often overlooked subtext. For Woolf and for Cusk, the garden functions as a contained space through which to work through problematic emotions and achieve at least temporary reconciliation between the past and present. Rather than working within polarised conceptions of a paradise lost or regained, both authors experiment with the idea of a fragmented paradise that can be pieced together in sudden moments of self-realisation. The cultivated space of a domestic garden brings into focus the perception of being ‘walled-in’ (MD, 64) by emotional perceptions of past experiences. Self-consciousness that struggles to be articulated is realised with sudden clarity in heightened ‘moments of being’. Virginia Woolf and Rachel Cusk thus experiment with the trope of the garden in order to explore the depths of the self, beyond the urban spaces that have been so central in their writings.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70073313","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":"SHERRY Vincent, Modernism and the Reinvention of Decadence","authors":"Catherine Delyfer","doi":"10.4000/ebc.5801","DOIUrl":"https://doi.org/10.4000/ebc.5801","url":null,"abstract":"","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47828100","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}
Le paysage est un protagoniste central dans l’œuvre de Sarah Hall. Nee et elevee dans le Lake District, elle situe tout ou partie de ses cinq romans dans le comte de Cumbria. Cet article propose une analyse du premier roman de l’auteur, Haweswater, a la lumiere de cette relecture et reecriture systematique de sa region natale. Sarah Hall problematise le comte de Cumbria dans sa dimension de paysage culturel dont elle mobilise les strates historiques, geologiques, politiques et sociales pour depeindre les luttes de pouvoir qui s’y jouent. Haweswater narre l’histoire d’une communaute rurale en 1936 dont la vallee est sur le point d’etre engloutie par la construction d’un reservoir. L’œuvre de Hall reflete les questionnements actuels sur la spatialisation puisque les conflits territoriaux viennent refleter la lutte individuelle au sein de combats politiques collectifs. Ce premier roman eclaire ainsi la strategie d’ecriture naturaliste poursuivie ensuite par l’auteur dans les quatre romans suivants publies a ce jour.
{"title":"The Significance of Cumbria in Sarah Hall’s First Novel, Haweswater","authors":"Émilie Walezak","doi":"10.4000/EBC.4887","DOIUrl":"https://doi.org/10.4000/EBC.4887","url":null,"abstract":"Le paysage est un protagoniste central dans l’œuvre de Sarah Hall. Nee et elevee dans le Lake District, elle situe tout ou partie de ses cinq romans dans le comte de Cumbria. Cet article propose une analyse du premier roman de l’auteur, Haweswater, a la lumiere de cette relecture et reecriture systematique de sa region natale. Sarah Hall problematise le comte de Cumbria dans sa dimension de paysage culturel dont elle mobilise les strates historiques, geologiques, politiques et sociales pour depeindre les luttes de pouvoir qui s’y jouent. Haweswater narre l’histoire d’une communaute rurale en 1936 dont la vallee est sur le point d’etre engloutie par la construction d’un reservoir. L’œuvre de Hall reflete les questionnements actuels sur la spatialisation puisque les conflits territoriaux viennent refleter la lutte individuelle au sein de combats politiques collectifs. Ce premier roman eclaire ainsi la strategie d’ecriture naturaliste poursuivie ensuite par l’auteur dans les quatre romans suivants publies a ce jour.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70073042","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}
Cet article traite de la question de la liminalite dans les romans de Ian McEwan, a travers le prisme des paysages de plage. De Dover, a Chesil et Brighton, les paysages de plages occupent la fiction recente du romancier de facon surprenante. Ils offrent tout d’abord une dimension fortement intertextuelle aux romans, en ce qu’ils connectent ces derniers a la tradition litteraire (Matthew Arnold en particulier) de la Grande Bretagne. Ils fonctionnent egalement comme des espaces liminaux, dont l’hapticite, au sens deleuzien du terme, obscurcit paradoxalement la vision tout en permettant un renouveau identitaire potentiel. Cependant, il semble que dans On Chesil Beach, et dans la fiction de McEwan de facon plus generale, la liminalite ne constitue pas, ou en tous cas pas seulement, le lieu d’un entre-deux positif. Sa permanence paradoxale, reliee a l’impossibilite pour le sujet de franchir certains seuils symboliques, peut suggerer une contre-interpretation de la modernite des annees 1960 : un problematique instant de transition dont on ne connait pas la fin.
{"title":"‘A sudden space began to open out’: Beachscapes and Liminality in Ian McEwan’s On Chesil Beach","authors":"Elsa Cavalié","doi":"10.4000/EBC.4687","DOIUrl":"https://doi.org/10.4000/EBC.4687","url":null,"abstract":"Cet article traite de la question de la liminalite dans les romans de Ian McEwan, a travers le prisme des paysages de plage. De Dover, a Chesil et Brighton, les paysages de plages occupent la fiction recente du romancier de facon surprenante. Ils offrent tout d’abord une dimension fortement intertextuelle aux romans, en ce qu’ils connectent ces derniers a la tradition litteraire (Matthew Arnold en particulier) de la Grande Bretagne. Ils fonctionnent egalement comme des espaces liminaux, dont l’hapticite, au sens deleuzien du terme, obscurcit paradoxalement la vision tout en permettant un renouveau identitaire potentiel. Cependant, il semble que dans On Chesil Beach, et dans la fiction de McEwan de facon plus generale, la liminalite ne constitue pas, ou en tous cas pas seulement, le lieu d’un entre-deux positif. Sa permanence paradoxale, reliee a l’impossibilite pour le sujet de franchir certains seuils symboliques, peut suggerer une contre-interpretation de la modernite des annees 1960 : un problematique instant de transition dont on ne connait pas la fin.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70073070","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}
Le present article propose de lire Atonement d’Ian McEwan (2001) a travers les notions de vue, vision et imagination afin de redefinir la poetique visuelle de l’auteur. Nous analyserons d’abord les cadres qui faconnent la vision de la jeune Briony, en tant qu’enfant et en tant qu’ecrivaine novice. Scrutant le monde depuis sa nursery, le regard de Briony est explicitement percu comme a la fois enfantin et litteraire (melodramatique), captive et rebute, en somme contradictoire, ce qui se materialise dans les points aveugles equivoques de ses obsessions visuelles. Nous terminerons en explicitant en quoi l’idee de « vision », a la fois comme theme et comme strategie de representation, relie McEwan a la tradition litteraire, a Conrad notamment, et contribue a elaborer une esthetique hybride du montage qui influe sur la lecture ethique du roman.
{"title":"‘And above all to make you see’: Vision, Imagination and the Aesthetics of Montage in Atonement","authors":"Adèle Cassigneul, Elsa Cavalié","doi":"10.4000/EBC.5294","DOIUrl":"https://doi.org/10.4000/EBC.5294","url":null,"abstract":"Le present article propose de lire Atonement d’Ian McEwan (2001) a travers les notions de vue, vision et imagination afin de redefinir la poetique visuelle de l’auteur. Nous analyserons d’abord les cadres qui faconnent la vision de la jeune Briony, en tant qu’enfant et en tant qu’ecrivaine novice. Scrutant le monde depuis sa nursery, le regard de Briony est explicitement percu comme a la fois enfantin et litteraire (melodramatique), captive et rebute, en somme contradictoire, ce qui se materialise dans les points aveugles equivoques de ses obsessions visuelles. Nous terminerons en explicitant en quoi l’idee de « vision », a la fois comme theme et comme strategie de representation, relie McEwan a la tradition litteraire, a Conrad notamment, et contribue a elaborer une esthetique hybride du montage qui influe sur la lecture ethique du roman.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074311","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}
La question de l’intertextualite est intimement liee a celle de la reflexivite, dans la mesure ou une œuvre intertextuelle peut etre consideree comme mise en scene potentielle d’un discours reflexif sur le rapport de cette œuvre a d’autres textes. Cet article tente d’exposer les differentes relations possibles entre ces deux concepts ; il examine egalement la maniere dont ils peuvent s’appliquer dans le cadre d’une etude comparee du roman d’Ian McEwan et de son adaptation filmique par Joe Wright. La dimension ethique de ce versant reflexif des œuvres est egalement abordee comme point commun entre le film et le roman.
{"title":"Intertextuality and Reflexivity in Joe Wright’s Atonement (2007)","authors":"C. Gelly","doi":"10.4000/ebc.5350","DOIUrl":"https://doi.org/10.4000/ebc.5350","url":null,"abstract":"La question de l’intertextualite est intimement liee a celle de la reflexivite, dans la mesure ou une œuvre intertextuelle peut etre consideree comme mise en scene potentielle d’un discours reflexif sur le rapport de cette œuvre a d’autres textes. Cet article tente d’exposer les differentes relations possibles entre ces deux concepts ; il examine egalement la maniere dont ils peuvent s’appliquer dans le cadre d’une etude comparee du roman d’Ian McEwan et de son adaptation filmique par Joe Wright. La dimension ethique de ce versant reflexif des œuvres est egalement abordee comme point commun entre le film et le roman.","PeriodicalId":53368,"journal":{"name":"Etudes Britanniques Contemporaines","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70074381","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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