Le bruissement de la langue

Je la voulais lointaine by Gaston-Paul Effa (review)

Suzanne Dow’s thesis revisits the topos of female madness in twentieth-century French writing, focusing on a key period between 1946 and 1976. By looking it at it in a critical framework derived from Derridian deconstruction, Dow sees la folie as a metaphor for both the (unlicensed) act of creativity on the part of the female writing subject and for the stigma that attaches to the woman who ‘‘takes up the pen.’’ Offering striking new accounts of texts by Leduc, Beauvoir, Cardinal, Duras and Hyvrard, and always alert to the historicity of her material, Dow takes as her starting point the debate between Foucault and Derrida over Foucault’s radical new account of madness in L’Histoire de la folie, and then explores shifts in the balance between the three key terms in her thesis— madness, women, and writing—over the period considered. By a practice of close reading, which weaves theory (Felman, Butler, Macherey, Kofman, et al.) with textual detail, Dow locates the divergent pathways of reading engendered by texts where the positions of narrator, protagonist and receiver are consistently problematized. In ways that are different yet complementary (and hence mark out a specific cultural moment) ‘‘madness’’ figures that which, in the nexus that binds together women and writing, proves resistant to any final delimitation of the boundaries between self and other, text and desire. In the texts considered the lure of identification with madness works with and against a range of other pressures and structures, making the borderline between writing and madness, authoring and loss of authority, a touchstone of the travails of gendered identity. Whilst always deriving her main evidence from critical analysis of specific texts, Dow provides a thorough conspectus of feminist accounts of literary creativity, both in the target period (1946–1976) and since then. Not the least interesting feature of her work is the way it provides invaluable tools with which to approach, contrastively, the new trends in women’s writing in France that have emerged in the last few years.

Madness in French Women's Twentieth-century Writing

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Koltès, capitalismo e dramaturgia (3+1) koltès, capitalisme et dramaturgie (3+1)

espanolEste articulo presenta un estudio de la manera en la que el pensamiento estetico y literario de ciertos teoricos marxistas de lengua alemana (Lukacs, Brecht, Adorno, etc) influencia la teoria literaria de Roger Garaudy y de Jean-Paul Sartre El debate entre realismo y modernismo, muy importante en la epoca, resulta crucial para el desarrollo de la “litterature engagee”, uno de los conceptos esenciales del enfoque literario sartriano Del mismo modo, el “realisme sans rivages” de Garaudy supone una enmienda a la teoria del reflejo lukacsiana A su vez, ambos estudiosos franceses tuvieron una discusion a proposito del existencialismo EnglishThis paper aims to study the way that the literary and the aesthetic thought of some marxists german thinkers (Lukacs, Brecht, Adorno, etc) influenced Roger Garaudy and Jean-Paul Sartre’s literary theory The debate between realism and modernism, very important at the time, was indeed crucial for the development of the “engaged literature”, one of the essential concepts of the sartrean literary approach In the same way, Garaudy’s realisme sans rivages is an amandment of lukacsian “reflex theory” In turn, at the same time Garaudy and Sartre had a aesthetic discussion between them on the subject of existentialism francaisCet article vise a etudier la maniere dont la pensee litteraire et esthetique de certains penseurs marxistes allemands (Lukacs, Brecht, Adorno, etc) a influence la theorie litteraire de Roger Garaudy et Jean-Paul Sartre Le debat entre realisme et modernisme, tres important a l’epoque, a ete crucial pour le developpement de la “litterature engagee”, l’un des concepts essentiels de la demarche litteraire sartrienne De meme, le “realisme sans rivages” de Garaudy est un amendement de la “theorie du reflexe” lukacsienne A leur tour, Garaudy et Sartre ont eu entre eux une discussion esthetique a propos de l’existentialisme

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El "réalisme sans rivages" y la "littérature engagée": los diálogos de la teoría literaria de Garaudy y de Sartre

Abstract This study proposes an innovative, triangular close reading of three Persian authors: Nezāmi, Golshiri, and Mandanipour. It argues that the two modern authors, Hushang Golshiri with his famous novella Shāh-e siyāhpushān, the “King of those clad in black,” and Shahriar Mandanipour in his Censoring an Iranian Love Story, are not only bound to each other in a close master-disciple relationship, but also consciously expound on the subversive potential of the twelfth-century poet Nezāmi. In the process, the divide between modern and classical narrative traditions in Persian literature is bound to disappear, allowing for novel interpretations and perspectives on Nezāmi and for his epics to be heard.

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Le bruissement de la langue

Citations

Je la voulais lointaine by Gaston-Paul Effa (review)

Madness in French Women's Twentieth-century Writing

Koltès, capitalismo e dramaturgia (3+1) koltès, capitalisme et dramaturgie (3+1)

El "réalisme sans rivages" y la "littérature engagée": los diálogos de la teoría literaria de Garaudy y de Sartre

Intertextuality and Subversion: Nezāmi in Modern Persian Literature

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