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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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15 Nov 2019
TL;DR: In this article, the authors focus on the confirmation of the genre of the autobiographical novel and stake a case for its possible reception, through the redefinition of the terms fiction and reality in the literary field.
Abstract: espanolNuestra contribucion se centrara en la certificacion del genero de la novela autobiografica para una posible recepcion. Desde que Philippe Gasparini teorizo sobre este genero literario (2004) y se puso de manifiesto su principal caracteristica, a saber, la “ambiguedad generica” que la define, las teorias abundan sin que se haya logrado aun postular en cuanto a su recepcion. Mezclando ficcion y realidad, este genero desafia en cierto modo la logica a la vez que incita a la intriga. Es teniendo cuenta de esta mezcla contra natura que se origina nuestra argumentacion. Se trata de poner de manifiesto esta ambiguedad mediante la interpretacion artistica ante todo, sin pretender imponer alguna validez practica con semejante propuesta. Eso mismo es lo que invocamos con el tercer pacto de lectura del genero, a traves de la redefinicion de los terminos ficcion y realidad en el ambito literario. EnglishThis contribution will focus on the confirmation of the genre of the autobiographical novel and stakes a case for its possible reception. Since the theorisation of this literary genre by Philippe Gasparini (2004), and the identification of its main characteristic, namely its defining "genre-related ambiguity", theories abound yet continually fail to postulate as to its reception. Mixing fiction and reality, this genre challenges logic whilst also provoking intrigue. It is by tackling this unnatural amalgam that our argument stems. It is above all a question of valuing this ambiguity through an artistic interpretation, without claiming the practical validity of such a proposal. This is what we are claiming in the third reading pact of the genre, through the redefinition of the terms fiction and reality in the literary field. francaisNotre contribution insistera sur l’attestation du genre roman autobiographique et sur une proposition pour une possible reception. Depuis la theorisation de ce genre litteraire par Philippe Gasparini (2004), et la mise evidence de sa principale caracteristique a savoir son « ambiguite generique » qui le definit, les theories abondent et n’arrivent toujours pas a postuler quant a sa reception. Melant fiction et realite, ce genre defit dans un certain sens la logique et incite en meme temps a l’intrigue. C’est en tenant compte de cet amalgame contre-nature que notre propos prend sa source. Il s’agit de valoriser cette ambiguite par le biais d’une interpretation artistique avant tout, sans pretendre a une validite pratique d’une telle proposition. C’est ce que nous invoquons par le troisieme pacte de lecture du genre, en passant par la redefinition des termes fiction et realite dans le champ litteraire.
Cites background from "Le bruissement de la langue"
...Dorrit Cohn cite également dans cette même vision critique Roland Barthes qui dans Le Bruissement de la langue estime que le “je” de Proust est “comme un moi” d’écriture constitutivement vide de tout sens référentiel” (Barthes, 1984: 318)....
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29 Jun 2020
TL;DR: In this paper, Molder fait partie d'une etude plus large sur les contributions of Walter Benjamin et Roman Jakobson a la comprehension de la langue comme un phenomene materiel pour la poesie.
Abstract: Cet essai fait partie d’une etude plus large sur les contributions de Walter Benjamin et Roman Jakobson a la comprehension de la langue comme un phenomene materiel pour la poesie Dans un cas plus precis, cette etude considere cet aspect dans la poesie d’Herberto Helder, notamment avec le livre A faca nao corta o fogo (2008/2014), qui a ete lu a la lumiere de Dia alegre, dia pensante, dias fatais (2017), de Maria Filomena Molder
01 Jan 2017
TL;DR: This article focused on three mainland Chinese writers' literary reception and intertextual engagement with the first integral translation of La Recherche in their respective novellas and short stories, and investigated textual details, their particular contexts, and their cross-cultural implications, in a society which was exponentially evolving into postmodernity.
Abstract: This chapter focuses on three mainland Chinese writers’ literary reception and intertextual engagement with the first integral translation of La Recherche in their respective novellas and short stories. The three chosen writers of my corpus—WANG Xiaobo (1952–1997), YU Hua (1960–), and WEI Hui (1973–)—represent three successive generations and different literary schools of contemporary Chinese writing. Whilst sharing a number of common intertextual and appropriative strategies, their respective engagements with Proust are greatly influenced by, and at the same time interact with, the first integral translation. My analysis goes beyond the general treatment of these writers’ intertextual references to Proust as ‘empirical findings’, by investigating textual details, their particular contexts, and their cross-cultural implications, in a society which was exponentially evolving into postmodernity.
Book•
01 Jan 2017
TL;DR: The authors presented an overview of a macro study of 220 films over an eleven-year period, focusing on the evolution of the antihero as a character and narrative construct during a period of social, political, and economic flux in American history.
Abstract: This working paper presents an overview of a macro study of 220 films over an eleven-year
period. The findings it details are taken from my research on the evolution of the antihero as a
character and narrative construct during a period of social, political, and economic flux in
American history. These findings demonstrate how diverse conflicted protagonists challenge
narrative binaries and simplistic archetypes during a period of innovation in filmmaking.
Moreover, the working paper clearly demonstrates that important work is needed to understand the evolution of antiheroes during a period of Hollywood renaissance.
31 Dec 2015
TL;DR: In this article, the interplay between subjectivity, dialogism, and transitivity in Romanian poetry has been studied, with reference to the recent transformations of the poetic discourse, especially in the context of Romanian postmodernism.
Abstract: Poetic subjectivity, dialogism and transitivity. The paper studies the interplay between three key-concepts, subjectivity, dialogism and transitivity, with reference to the recent transformations of the poetic discourse, especially in the context of Romanian postmodernism. Poetry is traditionally considered the most subjective of genres, with subjectivity being perceived as a psychological element, with some philosophical overtones (particularly within Romanticism). Modern theories of enunciation and discourse can shed new light on this presupposition, by revealing the linguistic dimension of the subjective feature. By the same token, subjectivity is revealed as being intimately intertwined with dialogism. Although implicit in any type of discourse (as in Bakhtin’s account), dialogism can also be deliberately emphasized. The paper is concerned with the more explicit dialogization of contemporary poetic discourse. Transitivity pertains to the communicative dimension of poetry. Borrowed by Gheorghe Craciun from Tudor Vianu, who distinguished between the reflexive and the transitive function of language, transitivity is applied by Craciun to modern and postmodern poetry. In the corpus of Romanian poetry analysed in this article, the self is being deconstructed and reconstructed on new coordinates and interpersonal and intertextual dialogue is being employed as a means of resistance to ideology and social engineering. In the poem “Without them”, Mariana Marin writes a poetic homage to the German poets in Romania, who have influenced her towards a “committed subjectivity” and away from a neo-Romantic, narcissistic subjectivity. Letiția Ilea grafts reported discourse on her pseudo-confessional poem “A beautiful spring day. In the fields” in order to bring attention to the failure of genuine dialogue and the inner, polyphonic theatricality of the self. Dumitru Crudu in the poem “dimitrie” designs confessional personae for himself and solicits the readers’ empathy, while Ioan Flora, in “Poetry is a document, I said to myself ”, resorts to metapoetry, in search of a new poetics, of a more “truthful” and “just” type.