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Le bruissement de la langue

01 Jan 1993-
About: The article was published on 1993-01-01 and is currently open access. It has received 185 citations till now.
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28 Jun 2010
TL;DR: This paper analyzed the different aspects of Wright's rewriting with the help of the literary theories based on the notion of intertextuality as initiated by Mikhail Bakhtin and concluded that Wright's short stories are engaged in an ideological confrontation and tend to deconstruct Stowe's stereotypical representations.
Abstract: Referring to 'Uncle Tom's Cabin', the title of Richard Wright's collection of short stories clearly indicates a rewriting of what is considered the first American best-seller. Almost a hundred years after the publication of Harriet Beecher Stowe's novel, Uncle Tom's "children" are still subjugated by the white man. Therefore, they are liable to behave rebelliously and reject the enduring legacy of Uncle Tom's character in the mean time. Resultantly, Wright's short stories are engaged in an ideological confrontation and tend to deconstruct Stowe's stereotypical representations. This study therefore aims at analyzing the different aspects of Wright's rewriting with the help of the literary theories based on the notion of intertextuality as initiated by Mikhail Bakhtin.

5 citations

Journal ArticleDOI
TL;DR: In this paper, the authors explored how Sartean existentialism can be used to explain the sexual orientation of the main character Gabriel in Raymond Queneau's Zazie dans le metro.
Abstract: This article explores how Sartean existentialism can be used to explain the sexual orientation of the main character Gabriel in Raymond Queneau’s Zazie dans le metro. The article draws firs...

4 citations


Additional excerpts

  • ...Barthes’s two ‘monuments’ of literature (‘meta-langage’ and ‘langage-objet’) reflect the discursive choice between language as representation and language as ‘homogène à luimême’ (Barthes 1984, 13)....

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Journal ArticleDOI
01 Jan 2014-Mln
TL;DR: A recent boom in criminal violence has transformed social life in many parts of Latin America as mentioned in this paper, including Mexico, and has led to urgent national debates over ethical and political norms for media representations of such hyperviolence.
Abstract: A recent boom in criminal violence has transformed social life in many parts of Latin America. According to homicide statistics published by the United Nations in 2012, eight of the world’s ten most violent countries are located in Latin America or the Caribbean (“Burn-out”). In the United States, the history of the recent spike in violence in Mexico is well known: during the six-year term of President Felipe Calderón (2006–2012), a policy of direct military confrontation of organized crime resulted in some 70,000 confirmed killings and more than 27,000 disappearances in the so-called guerra contra el narcotráfico (Quesada). The terrifying intensity and spectacular nature of the criminal violence, including such tactics as broadcasting videos of torture and executions and public dumping and display of hung, mutilated and beheaded cadavers, has given rise to urgent national debates over ethical and political norms for media representations of such hyperviolence. Considerable attention has been focused on ferocious intimidation of journalists by criminal organizations and on government efforts to regulate journalistic and artistic discourses on el narco. A famous case in point is that of the popular drug-trafficking ballads known as narcocorridos, which have provoked numerous calls for

4 citations

Journal ArticleDOI
01 Jan 2014
TL;DR: This article examined the literary program of Emile Zola, drawing primarily on the French author's critical, theoretical and programmatic essays published under the title Le Roman experimental in 1880, arguing that although within the mimetic theory of artistic representation Zola's concept of the roman experimental advocates a hypermimeticism (S. Halliway), literary naturalism does not propose to indiscriminately reproduce reality in its full complexity, but aspires to a synthetic and coherent vision of a specific sector of society with the aim of identifying the factors that determine the social phenomenon under investigation.
Abstract: The study examines the literary programme of Emile Zola, drawing primarily on the French author's critical, theoretical and programmatic essays published under the title Le Roman experimental in 1880. In doing so, the article explores in detail the reasoning behind Zola's proposal to bring literature into line with science, discussing the author's main sources of inspiration and primary targets. The article argues that although within the mimetic theory of artistic representation Zola's concept of the roman experimental advocates a hypermimeticism (S. Halliway), literary naturalism, as conceived by its founding father, does not propose to indiscriminately reproduce reality in its full complexity, but aspires to a synthetic and coherent vision of a specific sector of society with the aim of identifying the factors that determine the social phenomenon under investigation. Here, the success of a writer depends largely on his perceptiveness at the point of setting up the experiment alias novel. A close look at Zola’s essays further reveals that, contrary to the accusations raised by many of his contemporaries, Zola did not subscribe to a fatalistic worldview; rather, the naturalist doctrine displays a profound optimism with regard to the possibility of bringing about social change.

4 citations

Journal ArticleDOI
TL;DR: Agarwal et al. as mentioned in this paper show that, a pesar de una semantizacion sui generis de la figura de autor, ambos escritores ponen en escena yoes autoficcionales melancolicos that son articulados by una dialectica de revelacion y ocultamiento and that trastornan el horizonte hermeneutico del lector.
Abstract: Ciertamente, una serie de los textos que se inscriben en el campo autoficcional contemporaneo se distingue por la recreacion, salpicada de una fuerte dosis de auto-ironia, de una figura de autor desacralizada o banalizada que parece jugar con el aura benjaminiana del autor. Escritores como el argentino Cesar Aira (1949) y el catalan Enrique Vila-Matas (1948) son dos de los mas destacados exponentes hispanos de esta modalidad autoficcional. En este trabajo se mostrara que, a pesar de una semantizacion sui generis de la figura de autor, ambos escritores ponen en escena yoes autoficcionales melancolicos que son articulados por una dialectica de revelacion y ocultamiento y que trastornan el horizonte hermeneutico del lector.

4 citations