Pub Date : 2019-09-16DOI: 10.14220/9783737009690.325
Jenny Hong, Ahmed Bou-Rabee, Stephen W. Boyd
{"title":"Images","authors":"Jenny Hong, Ahmed Bou-Rabee, Stephen W. Boyd","doi":"10.14220/9783737009690.325","DOIUrl":"https://doi.org/10.14220/9783737009690.325","url":null,"abstract":"","PeriodicalId":53749,"journal":{"name":"Romanica Olomucensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88629777","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 : 2019-09-16DOI: 10.14220/9783737009690.57
{"title":"Deuxième partie: Réception directe et indirecte du théâtre nippon en France","authors":"","doi":"10.14220/9783737009690.57","DOIUrl":"https://doi.org/10.14220/9783737009690.57","url":null,"abstract":"","PeriodicalId":53749,"journal":{"name":"Romanica Olomucensia","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84915891","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 : 2019-09-16DOI: 10.14220/9783737009690.221
{"title":"Quatrième partie: Un Japon intériorisé dans un théâtre de rituel et de mort","authors":"","doi":"10.14220/9783737009690.221","DOIUrl":"https://doi.org/10.14220/9783737009690.221","url":null,"abstract":"","PeriodicalId":53749,"journal":{"name":"Romanica Olomucensia","volume":"14 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79913072","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":"The memory of the Rwandan genocide two decades after \"Rwanda: writing as a duty to memory\": psychological disorders and duty to justice for an exemplum in Eugène Ébodé's Souveraine magnifique","authors":"Louis Bertin Amougou","doi":"10.5507/ro.2019.011","DOIUrl":"https://doi.org/10.5507/ro.2019.011","url":null,"abstract":"","PeriodicalId":53749,"journal":{"name":"Romanica Olomucensia","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41895504","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}
espanolEste estudio busca explorar la relacion de la narrativa del escritor argentino Juan Jose Saer con la Historia -que suele aparecer en filigrana en las narrativas saerianas- y la memoria a traves de su obra tanto narrativa como ensayistica, de sus papeles de trabajo, de sus manuscritos y de parte de su correspondencia. Una aproximacion genetica de dichos materiales textuales saerianos, en el sentido amplio de la palabra, mostrando el taller del escritor y la coherencia de su proyecto a la hora de introducir lo historico, o sea la dictadura argentina, formal y esteticamente en su obra, a traves de personajes y de una poetica constante. La recuperacion de lo historico, a traves de las puestas en abismo o del sueno da a ver el cuerpo como el sitio de la experiencia estetica del horror saeriano. Ademas, construye una cadena escritural en torno al episodio de la desaparicion de Elisa y el Gato que aparece una y otra vez en varias novelas, asi como a traves de la figura del militante Angel Leto. Esos gestos de composicion del escritor nos llevaron a pensar la posicion del escritor frente a lo politico y su tiempo. Saer deja que la Historia irrumpa en la ficcion enmarcandola en los procesos de memoria que caracterizan sus escritos, en una estetica negativa. La figura de escritor que aparece entonces es la de opositor a la dictadura, pero no la de un escritor comprometido, afirmando asi la prevalia de la escritura sobre lo historico. EnglishThis paper explores the link between the Argentine author Juan Jose Saer's narrative and historical memory. The latter usually appears in between the lines in his novels, essays, work, papers, manuscripts, and correspondence, and yet it is of great significance. The main tool of this analysis is genetic criticism, in a broad sense of the term, which gives us access to the writer's desk. This reveals a coherence in Saer's work when introducing historical motifs from Argentina's Dirty War (1976-1983) through a personal aesthetic, addressing specific portrayals of characters and temporality. Through the use of the mise en abyme of his character's dreams and memories, Saer shows the importance of the body in the aesthetic experience of horror. Moreover, he builds a series of texts connecting different episodes of the forced disappearance of two recurring characters, Elisa and Gato, across various novels, and through the character of Angel Leto, a political activist. These gestures by Saer cause us to rethink his position when writing about political events in Argentina at the time at which they took place. Saer always claimed that he was not a politically committed writer and asserted the aesthetic independence of literature. At the same time, he embeds history into his fiction by inscribing it in the memories and recollections of his characters, which are characteristic of his writing and his negative aesthetics. Through this reading, the writer's figure shows itself as ideologically opposed to dictatorship.
espanolEste寻找探索关系研究阿根廷作家胡安何塞Saer故事与故事——通常出现在服饰narrativas saerianas -和记忆是通过自己的故事和ensayistica劳动力,其工作文件,其手稿和来自她的信件。上述文字材料的基因aproximacion saerianos在广义上的字,通过项目的一致性和作家的商店介绍它的历史时,即阿根廷、规范和esteticamente独裁的戏,是通过人物和一个poetica常数。通过透视或梦境，历史的恢复使身体被视为saerian恐怖的审美体验场所。此外，他围绕伊利莎和猫的失踪这一集建立了一个写作链，这一集在几部小说中反复出现，并通过激进的安吉尔·莱托的形象。作者的这些创作姿态让我们思考了作者在政治和他的时代面前的立场。萨尔让历史侵入小说，将其置于记忆过程中，这是他作品的特点，在一种消极的美学中。因此，作家的形象是独裁的反对者，但不是一个坚定的作家，从而肯定了写作优于历史的优势。本文探讨了阿根廷作家胡安·何塞·萨尔的叙事和历史记忆之间的联系。它通常出现在小说、散文、作品、论文、手稿和信件的字里行间，但它是非常重要的。The main tool of this analysis is genetic批评声音,in a broad sense of The劳教,which补救access to The writer ' s desk。这表明Saer的工作是一致的，他通过个人美学介绍了阿根廷的Dirty War(1976-1983)的历史主题，解决了人物和时间的具体描绘。通过使用他的角色的梦想和记忆的mise en abyme, Saer展示了身体在恐怖体验中的重要性。此外，他还建立了一系列文本，将两个重复出现的人物伊利莎和加托的不同情节联系起来，通过各种小说和安吉尔·莱托的性格，一个政治活动家。这些gestures by Saer引起us to rethink其定位当阿根廷writing about political events in at the time at which they讲席班的地方。称我Saer always was not a政治有writer and运the aesthetic独立文献。同时，我把历史写在小说里，写在人物的记忆里，写在人物的性格里，写在人物的性格里，写在人物的性格里。= =地理= =根据美国人口普查，这个县的面积为。
{"title":"La memoria histórica en el presente de la escritura saeriana","authors":"Perrine Guéguen","doi":"10.5507/RO.2019.016","DOIUrl":"https://doi.org/10.5507/RO.2019.016","url":null,"abstract":"espanolEste estudio busca explorar la relacion de la narrativa del escritor argentino Juan Jose Saer con la Historia -que suele aparecer en filigrana en las narrativas saerianas- y la memoria a traves de su obra tanto narrativa como ensayistica, de sus papeles de trabajo, de sus manuscritos y de parte de su correspondencia. Una aproximacion genetica de dichos materiales textuales saerianos, en el sentido amplio de la palabra, mostrando el taller del escritor y la coherencia de su proyecto a la hora de introducir lo historico, o sea la dictadura argentina, formal y esteticamente en su obra, a traves de personajes y de una poetica constante. La recuperacion de lo historico, a traves de las puestas en abismo o del sueno da a ver el cuerpo como el sitio de la experiencia estetica del horror saeriano. Ademas, construye una cadena escritural en torno al episodio de la desaparicion de Elisa y el Gato que aparece una y otra vez en varias novelas, asi como a traves de la figura del militante Angel Leto. Esos gestos de composicion del escritor nos llevaron a pensar la posicion del escritor frente a lo politico y su tiempo. Saer deja que la Historia irrumpa en la ficcion enmarcandola en los procesos de memoria que caracterizan sus escritos, en una estetica negativa. La figura de escritor que aparece entonces es la de opositor a la dictadura, pero no la de un escritor comprometido, afirmando asi la prevalia de la escritura sobre lo historico. EnglishThis paper explores the link between the Argentine author Juan Jose Saer's narrative and historical memory. The latter usually appears in between the lines in his novels, essays, work, papers, manuscripts, and correspondence, and yet it is of great significance. The main tool of this analysis is genetic criticism, in a broad sense of the term, which gives us access to the writer's desk. This reveals a coherence in Saer's work when introducing historical motifs from Argentina's Dirty War (1976-1983) through a personal aesthetic, addressing specific portrayals of characters and temporality. Through the use of the mise en abyme of his character's dreams and memories, Saer shows the importance of the body in the aesthetic experience of horror. Moreover, he builds a series of texts connecting different episodes of the forced disappearance of two recurring characters, Elisa and Gato, across various novels, and through the character of Angel Leto, a political activist. These gestures by Saer cause us to rethink his position when writing about political events in Argentina at the time at which they took place. Saer always claimed that he was not a politically committed writer and asserted the aesthetic independence of literature. At the same time, he embeds history into his fiction by inscribing it in the memories and recollections of his characters, which are characteristic of his writing and his negative aesthetics. Through this reading, the writer's figure shows itself as ideologically opposed to dictatorship.","PeriodicalId":53749,"journal":{"name":"Romanica Olomucensia","volume":"31 1","pages":"229-241"},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70754266","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":"The feeling of the past in Le Nez sur la vitre by Abdelkader Djemaï","authors":"Nabila Bekhedidja","doi":"10.5507/ro.2019.012","DOIUrl":"https://doi.org/10.5507/ro.2019.012","url":null,"abstract":"","PeriodicalId":53749,"journal":{"name":"Romanica Olomucensia","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43859619","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}
Increased by historic traumas and by the accelerated perception of the present, the memory includes an exercise of representation, elaboration, and freezing of an extinct time. In that sense, literature explores new ways to signify the past, to make an exercise of memory; an example of this is the narrative work of the Chilean writer Nona Fernández. First of all, from a general approximation of the treatment of the past in the story, followed by her narratological articulations, this paper analyses her seven books with the purpose of establishing how that literary creation operates on the construction of a singular memory. The study of the general aspects (temporary leaps in time and the legibility of the past), followed by the specific features of the narrative (articulations, strategies, and devices), led us to characterize this work as a twinkling, an intermittent construction, and a destabilization of the setting of the past, open to the utopia of its entire recovery. Fernández’s work gives an account of a potential quality to restore the memory of the forgotten, of a minor past shadowed by the historical narration. Facing the inevitable interstices of the past, her books reinforce the creative capacity that the literature must densify what is real. Thus, based on uncertain images, the memory completes itself in an oblique way, re-enlightening all that was swallowed by the blinding light of an empty memory.
{"title":"Superposition and coalescence, the twinkling mechanism in the narrative of Nona Fernández","authors":"Macarena Miranda Mora","doi":"10.5507/ro.2019.018","DOIUrl":"https://doi.org/10.5507/ro.2019.018","url":null,"abstract":"Increased by historic traumas and by the accelerated perception of the present, the memory includes an exercise of representation, elaboration, and freezing of an extinct time. In that sense, literature explores new ways to signify the past, to make an exercise of memory; an example of this is the narrative work of the Chilean writer Nona Fernández. First of all, from a general approximation of the treatment of the past in the story, followed by her narratological articulations, this paper analyses her seven books with the purpose of establishing how that literary creation operates on the construction of a singular memory. The study of the general aspects (temporary leaps in time and the legibility of the past), followed by the specific features of the narrative (articulations, strategies, and devices), led us to characterize this work as a twinkling, an intermittent construction, and a destabilization of the setting of the past, open to the utopia of its entire recovery. Fernández’s work gives an account of a potential quality to restore the memory of the forgotten, of a minor past shadowed by the historical narration. Facing the inevitable interstices of the past, her books reinforce the creative capacity that the literature must densify what is real. Thus, based on uncertain images, the memory completes itself in an oblique way, re-enlightening all that was swallowed by the blinding light of an empty memory.","PeriodicalId":53749,"journal":{"name":"Romanica Olomucensia","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41767649","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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