The title of this article was inspired by a piece called "Voices in the Text" by my brother Daniel Boyarin (1986). His article is a close analysis of a brief example of midrash, the early genre of rabbinic literature which records the sages' expansions on the Bible. His title pointed to the multivocality of the founding rabbinic texts, whose primary character is that of represented dialogue. My "voices around the text" are those of myself, my fellow students, and teachers in an informal class that has been meeting for several years at a yeshiva on the Lower East Side of New York City. The quotes from Greenblatt and Iser suggest that, despite the apparent gap in time, the voices "in" and "around" these texts are mutually dependent and coexistent. Without the text, we who constitute the class would have no basis for dialogue among ourselves. Without us, the rabbis' inscribed words would remain only potential.' The intersubjectivism Iser identifies as inherent in any literary reading opens into a vast (though bounded) number of relational possibilities when several voices together read several voices. The dialogism between reader and text identified in these quotes should not blind us to the social process among groups of readers collectively constructing given texts. Therefore this article aims to address three primary issues:

Voices around the Text: The Ethnography of Reading at Mesivta Tifereth Jerusalem

Cette these se propose d’interroger la notion d’evenement comme motif organisateur de la fiction de Don DeLillo. En effet, l’assassinat du president J. F. Kennedy et les attentats du 11 septembre sont des phenomenes qui resistent infatigablement au « reel », et a toute tracabilite ontologique ou phenomenologique. A ce titre, ils excedent la pensee et exigent une reponse necessaire de l’auteur et de son ecriture face a leur irruption. Ils representent une incursion excessive dans le « reel » et se manifestent sous la forme du surplus. Mais l’evenement n’est pas simplement un surplus de realite, il est aussi un surplus de sens, entendu comme inadequation du signe a ce qu’il designe. Il s’agira de montrer dans un premier temps que l’evenement se montre excessivement dans le retrait de sa monstration. Nous aborderons cette dialectique du voilement et du devoilement a travers le prisme de l’Histoire en tenant compte de sa dimension non seulement phenomenologique et traumatique mais egalement a partir de la notion d’alterite que l’evenement sous-tend. Ce paradoxe une fois revele, nous nous pencherons sur la question du temps car l’evenement remet en question l’origine qui le fait advenir et ne prend sens seulement que lorsqu’il est advenu. Il deregle de facto la temporalite qui avait cours. Il sera alors question de mettre en lumiere le dereglement des instances du temps « classique » : passe, present et futur. Nous nous focaliserons sur la question du ressassement en nous interessant, par ailleurs, a la maniere par laquelle les concepts de temps, d’evenement et d’alterite fonctionnent de conserve. Enfin, nous aborderons l’evenement en tant qu’evenement-recit en accentuant notre etude sur le terrorisme et la terreur, notions indissociables de la fiction delillienne, en ce qu’ils fournissent des modeles de totalite et de totalisation que l’ecriture de l’evenement s’emploie — ethiquement — a defaire. En ce sens, l’evenement prendra la forme d’un contre-evenement. Il s’agira par consequent de decrypter les evenements de texte que DeLillo propose comme moyen de resistance a toute totalisation. Enfin, nous considererons certains personnages comme des evenements dans la mesure ou ils reassertent le caractere evenemential de l’individu.

https://tel.archives-ouvertes.fr/tel-01157946/document

L'écriture de l'évènement dans la fiction de Don DeLillo

..................................................................................................................................................... i Acknowledgements ............................................................................................................................... iii Epigraph* ................................................................................................................................................. iv Table of

Haunted, religious modernity and reenchantment

Collective memory cannot be divorced from its construction in culture. As the Broadway version of The Diary of Anne Frank did so phenomenally, plays, novels and movies generate cultural perceptions in ways that are particularly problematic and that stimulate further media reworking of the memory, which may produce stronger images than documentary presentation of facts and testimony by witnesses, educators and historians. In the United States the Holocaust entered popular culture as an American experience, first through the TV miniseries Holocaust (1978) and more recently in Steven Spielberg’s Schindler’s List (1993), which gave the definitive photo-realism touch to a Hollywood story of the morally ambiguous but can-do hero who pits his wits against absolute evil. The same year, the Holocaust became accessible in the National Holocaust Museum in Washington DC alongside the nation’s other museums and monuments. The question behind what is frequently called the “Americanization of the Holocaust” is what shapes the memory when it has become a cultural artifact with tenuous relevance to

The Future of the Past: Countermemory and Postmemory in Contemporary American Post-Holocaust Narratives

" This books is less a critical study than an impassioned meditation on the deeper sources of the Holcaust novel. Amont the authors examined are Elie Wiesel, Arnost Lustig, Aharon Appelfeld, Katzetnik 135633, Primo Levi, Yehuda Amichai, Piotr Rawicz, A. Anatolit, Saul Bellow, I.B. Singer, Anna Langfus, Rachmil Bryks, and Ilse Aichinger. The Shriek of Silence is a first in several respect: the first to examine the Holocaust novels in their original languages, the first to articulate a theoretical basis for its approach, and the first phenomenological investigation -- one that attempts to penetrate the process of creation for these novelists. The novelists of the Holocaust, in witnessing through their words, regain their voices and in so doing are reborn.

The Shriek of Silence: A Phenomenology of the Holocaust Novel

Le livre de l'hospitalité

The Book of Questions

Cycle de recits, melant des dialogues imaginaires et des reflexions sur la poesie, compose de 7 livres : "Livre des questions" (1963), "Le livre de Yukel" (1964), "Le retour au livre" (1965), "Yael" (1967), "Elya" (1969), "Aely" (1972), "El ou le dernier livre" (1973)

Edmond Jabès

Papers

Le livre de l'hospitalité

The Book of Questions

Le livre des questions

From Le Livre des Questions

Un étranger avec, sous le bras, un livre de petit format