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Australian Journal of French Studies最新文献

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Une histoire de famille : guerre(s) au Liban, trauma et postmémoire dans Yallah Bye de Joseph Safieddine et Kyungeun Park 家庭故事:黎巴嫩战争、创伤和记忆在雅拉再见,约瑟夫·萨菲丁和京根公园
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-10-01 DOI: 10.3828/ajfs.2022.32
Myriem EL MAIZI
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引用次数: 0
The Contested Politics of Humour and the Crisis of Exposure 幽默政治与暴露危机
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-10-01 DOI: 10.3828/ajfs.2022.26
L. Warde
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引用次数: 0
Performing a Sense of Belonging: East Asian Comedians in France 表演归属感:在法国的东亚喜剧演员
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-10-01 DOI: 10.3828/ajfs.2022.29
Jonathan Ervine
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引用次数: 0
Memories of the Present in Bensaïd’s Jeanne de guerre lasse Bensaïd的Jeanne de Guerre Lasse中的当下记忆
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-10-01 DOI: 10.3828/ajfs.2022.31
Josep Maria Antentas
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引用次数: 2
“Radical Bilingualism” in Fouad Laroui’s Une année chez les Français Fouad Laroui的“激进双语主义”在法国的一年
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-01-01 DOI: 10.3828/ajfs.2022.03
T. Agar
This article considers language practices in Une année chez les Français, a 2010 novel by the multilingual Moroccan writer Fouad Laroui, by drawing on Abdelkébir Khatibi’s concept of “radical bilingualism” and on Mikhail Bakhtin’s understanding of “polyglossia”. It focuses on ways in which French cultural and linguistic domination is both reinforced and contested by a range of textual and linguistic strategies, including relexification, code-switching, translation, neologism and word play. Laroui’s radical bilingualism will be shown to blur language borders and destabilize the notion of language purity, while creating a literary space that is playful, dynamic, plural and unstable. Radical bilingualism in this novel will be revealed as a subversive strategy that Laroui uses to engage in a “double critique” of French neo-colonial domination and privilege and of Moroccan nationalist essentialism.
本文通过借鉴哈提比的“激进双语主义”概念和巴赫金对“多语”的理解,研究摩洛哥多语作家Fouad Laroui于2010年出版的小说《Une annacime chez les francadais》中的语言实践。它关注的是法国文化和语言的主导地位是如何通过一系列文本和语言策略得到加强和挑战的,包括放松化、代码转换、翻译、新词和文字游戏。Laroui激进的双语主义模糊了语言边界,动摇了语言纯洁性的概念,同时创造了一个有趣的、动态的、多元的、不稳定的文学空间。在这部小说中,激进的双语主义将被揭示为一种颠覆性的策略,Laroui使用这种策略对法国的新殖民统治和特权以及摩洛哥的民族主义本质主义进行“双重批判”。
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引用次数: 0
Art and Archive: Louise Bourgeois through a Feverish Gaze 艺术与档案:路易丝·布尔乔亚透过一种狂热的凝视
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-01-01 DOI: 10.3828/ajfs.2022.05
L. Vuong
This article examines uses of archival documents in the work of French-American artist Louise Bourgeois (1911-2010). Jacques Derrida’s seminal essay on “Archive Fever” (1995) provides a framework for the close study of Bourgeois’s multi-modal archives. The article discusses how the artist’s archives, while embedded in the site that manages them, pursue their existence outside their institutional home: displayed in exhibition spaces, reproduced in print publications and recorded on film, they are constantly moving, all the while pointing to a continuous shift in the place, value and nature of the artist’s archives and a reconsideration of their relationship with Bourgeois’s oeuvre and its evolving critical reception.
本文考察了档案文件在法裔美国艺术家路易斯·布尔乔亚(1911-2010)作品中的使用。雅克·德里达关于“档案热”的开创性文章(1995年)为深入研究布尔乔亚的多模式档案提供了一个框架。这篇文章讨论了艺术家的档案在嵌入管理它们的网站时,是如何在他们的机构住所之外追求它们的存在的:在展览空间中展示,在印刷出版物中复制,并记录在电影中,它们不断地移动,同时指向这个地方的持续变化,艺术家档案的价值和性质,以及对它们与布尔乔亚作品及其不断演变的批判性接受的关系的重新思考。
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引用次数: 0
Un exemple de transgression : l’intrusion de l’Italien dans Candide de Voltaire 违法行为的一个例子:意大利人入侵伏尔泰的《坎迪德》
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-01-01 DOI: 10.3828/ajfs.2022.08
S. A. Viselli
This article considers the multi-faceted Italian in Voltaire’s philosophical tale Candide as figured in the old woman, the eunuch and Pococuranté. It examines the study of contradictory signs that make up the Italian ethnos in Candide, an example of projection in which the other, the foreigner, nevertheless remains undefinable. In the eighteenth century, the figure of the Italian was imbued with political and moral ambiguity. Often described through degrading stereotypes and a dampened discourse, the figure of the foreigner or other often mitigates the severity painted in a cruel, violent and immoral reality, a paradoxical reality that represents France and Italy in an epoch where disorder reigns, and in a century that, despite its attempts to wax philosophical, is not philosophical enough. Making the other speak, especially in his own language, therefore becomes a writerly ruse, a discursive strategy adopted by French philosophers and novelists such as Voltaire to communicate a reformist agenda, at once reactionary and rebellious. Through often denigrating commentary in Italian, the fictional discourse of the Enlightenment complicates a simpler classical narrativity and becomes a topos of transgression, a shocking locution, that, masked under the guise of a harmless farce, forces one to reflect on often humiliating topics such as rape, fanaticism, violence or injustice. A discourse overdetermined by a superficial ethnic referent thus underlies more serious preoccupations.
本文将伏尔泰哲学故事《坎迪德》中的多方面的意大利形象视为老妇人、太监和波库奎的形象。它考察了《坎迪德》中对构成意大利民族的矛盾符号的研究,这是一个投影的例子,在这个例子中,另一个外国人仍然是不可定义的。在十八世纪,意大利人的形象充满了政治和道德上的模糊性。外国人或其他人的形象经常通过有辱人格的刻板印象和压抑的话语来描述,这往往减轻了残酷、暴力和不道德现实中描绘的严重性,这是一个矛盾的现实,代表了法国和意大利在一个混乱盛行的时代,在一个尽管试图表现哲学,但还不够哲学的世纪。因此,让另一个人说话,尤其是用他自己的语言说话,就成了一种写作策略,一种由伏尔泰等法国哲学家和小说家采用的话语策略,目的是传达一种既反动又叛逆的改革主义议程。通过经常用意大利语进行诋毁性的评论,启蒙运动的虚构话语使更简单的古典叙事变得复杂,并成为一种越轨行为,一种令人震惊的话语,伪装成一场无害的闹剧,迫使人们反思强奸、狂热、暴力或不公正等经常令人羞辱的话题。因此,由表面的种族参照过度确定的话语是更严重的关注点的基础。
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引用次数: 0
Romanticizing the Romani: Unruly Representations of the “Internal Other” in the Work of Tony Gatlif 浪漫化罗姆人:托尼·加特利夫作品中“内在他者”的不羁表现
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-01-01 DOI: 10.3828/ajfs.2022.04
A. McGregor
Of French-Algerian and Andalusian-Romani descent, French film director Tony Gatlif offers an intriguing insight into the culture of one of Europe’s most marginalized, misunderstood and misrepresented others: the Romani (Gypsies). This article examines the rules of engagement in Gatlif’s representation of cultural minorities, particularly in relation to his claims to cultural “truth” and authenticity in his filmmaking. Also explored are the dynamics of exoticism and the narratives of perpetual discovery that characterize Gatlif’s success on the film festival circuit, which has its own set of rules and vested interests when it comes to film programming in the context of a self-serving, heavily mediated and orientalist altruism. Such dynamics reveal as much about the idiosyncrasies of film critics, curators and audiences as of the filmmaker himself, all of which combines to form the rules of engagement in filmmaking and spectatorship in the exoticized and “othered” space of World Cinema.
法国电影导演托尼·加特利夫是法裔阿尔及利亚人和安达卢西亚罗姆人后裔,他对欧洲最边缘化、被误解和歪曲的其他人之一罗姆人(吉普赛人)的文化有着有趣的见解。本文探讨了加特利夫对文化少数群体的表现中的参与规则,特别是与他在电影制作中对文化“真实性”和真实性的主张有关。此外,还探讨了异国情调的动态和永恒发现的叙事,这是Gatlif在电影节巡回演出中取得成功的特点。在自私、高度中介和东方主义利他主义的背景下,电影节巡回演唱会有自己的一套规则和既得利益。这种动态既揭示了影评人、策展人和观众的特质,也揭示了电影制作人自己的特质,所有这些都结合在一起,形成了世界电影的异国情调和“另类”空间中参与电影制作和观众的规则。
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引用次数: 0
New Rules for Old Age: Gavarni, the Goncourts and Les Lorettes vieillies 老年生活新规:加瓦尔尼、龚古尔和洛雷特家族
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-01-01 DOI: 10.3828/ajfs.2022.07
Rachel Skokowski
This article examines caricaturist Paul Gavarni’s lithographic series Les Lorettes vieillies and Jules and Edmond de Goncourt’s short text La Lorette as two conflicting visions of the lorette, a type of nineteenth-century prostitute celebrated in literary and visual sources. The Goncourts’ text has previously been studied for its explicit aim to break the rules around representing the lorette; this essay argues, however, that Gavarni’s little-known images were in fact more radical. Exploring the ways in which Les Lorettes vieillies humanizes the experience of the ageing lorette, a taboo topic in other sources, this article shows how the series challenges society’s norms around age and gender. Finally, one should consider Les Lorettes vieillies, published at the same time and in the same newspaper as La Lorette, as an important intertext informing the Goncourts’ own presentation of the lorette as a transgressive figure.
本文考察了漫画家保罗·加瓦尼的平版版画系列《美丽的洛雷特》和儒勒和埃德蒙·德·龚古尔的短篇小说《洛雷特》,认为这是对洛雷特的两种相互矛盾的看法。洛雷特是一种19世纪的妓女,在文学和视觉资料中都很出名。龚古尔的文本此前曾被研究过,因为它的明确目的是打破围绕代表洛雷特的规则;然而,本文认为,加瓦尔尼鲜为人知的形象实际上更为激进。这篇文章探讨了《洛蕾特》如何将老年洛蕾特的经历人性化,这在其他来源中是一个禁忌话题,并展示了该系列如何挑战社会对年龄和性别的规范。最后,我们应该把与《洛雷特》同时发表在同一份报纸上的《洛雷特的观点》(Les loretttes vieillies)视为一个重要的互文,告诉龚古尔自己把洛雷特描绘成一个越界的人物。
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引用次数: 0
A pulizziesca : genèse du roman policier corse Pulizziesca:科西嘉侦探小说的起源
4区 文学 0 LITERATURE, ROMANCE Pub Date : 2022-01-01 DOI: 10.3828/ajfs.2022.02
Clara Sitbon
The rise of regional detective novels in Europe has generated an expanding interest, as is evident in the proliferation of scholarship on works in this genre. One type of crime narrative, however, escapes this rule: Corsican crime fiction. Because it is part of unique editorial, literary, cultural, political, and linguistic dynamics, Corsican crime fiction raises important questions about the future of regional literature within a national, international, and transnational literary canon. This article proposes a genesis of the Corsican detective novel; through a recontextualization of the genre in both the literary context of the island and the generic context of the detective novel, it will demonstrate how the serialization effect typical of crime fiction, coupled with the intrinsic plurality of the notion of authenticity, allows Corsican crime fiction to redefine the codes of the traditional detective novel and bring a new facet to the broader notion of Mediterranean Noir in its insular form known as the pulizziesca.
欧洲地区侦探小说的兴起引起了人们越来越多的兴趣,这一点在这一类型作品的学术研究中表现得很明显。然而,有一种类型的犯罪叙事逃脱了这一规则:科西嘉犯罪小说。因为它是独特的编辑、文学、文化、政治和语言动态的一部分,科西嘉犯罪小说在国家、国际和跨国文学经典中提出了关于地区文学未来的重要问题。本文提出了科西嘉侦探小说的起源;通过在《孤岛惊魂》的文学语境和侦探小说的一般语境中对这一类型进行重新文本化,它将展示犯罪小说典型的连载效应,加上真实性概念的内在多元性,允许科西嘉犯罪小说重新定义传统侦探小说的密码,并以其被称为pulizziesca的孤立形式为更广泛的地中海黑概念带来新的方面。
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Australian Journal of French Studies
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