Recherche multi-critères

“Somewhere between coloured and white”: ambivalence and loss of bearings in Caryl Phillips’ A View of the Empire at Sunset par Mathilde Branchereau, publié le 14/02/2024

[Fiche] In A View of the Empire at Sunset, Caryl Phillips proposes a fictionalised version of the life of novelist Jean Rhys – a Creole woman from Dominica expatriated in Europe – as a mirror image of the decline and dissolution of the British colonial Empire over the course of the 20th century. By depicting the protagonist’s struggle to find a sense of belonging, the novel highlights how colonial subjects may be confronted to a feeling of identity ambivalence and a loss of bearings.

Crafting a poetic voice as a 21st century Indian woman – An introduction to Menka Shivdasani par Manon Boukhroufa-Trijaud, publié le 20/12/2022

This article aims at shedding light on the work of Menka Shivdasani, a key figure of contemporary Indian poetry in English. It highlights her involvement in the collective poetry scene of Mumbai and her commitment to connect it to the world. It also focuses on the singular poetic voice she elaborates in the personal itinerary of her poetic work, shaping the self-portrait of a woman poetess in contemporary India.

De "sujets" à "objets de discours" : exclusion et affabulation dans trois nouvelles de Jean Rhys par Elsa Lorphelin, publié le 27/10/2022

Cet article examine trois nouvelles de Jean Rhys, « Again the Antilles » (1927), « Pioneers, Oh, Pioneers » (1969), et « Fishy Waters » (1976). Conçues comme un cycle de nouvelles, toutes trois mettent en scène un personnage récurrent et déclinent le thème de la mise au ban d’un homme par la communauté créole. Cette exclusion, loin de n’être qu’un phénomène social, est avant tout un phénomène discursif qui évacue la voix des marginaux et permet à Jean Rhys de proposer une satire de la culture dominante blanche et d’une certaine tendance à l’affabulation.

Alienation and defamiliarization in Chimamanda Ngozi Adichie’s Americanah (2013) par Annalena Geisler, publié le 15/06/2022

In Americanah, Nigerian writer Chimamanda Ngozi Adichie tells the story of high school lovers Ifemelu and Obinze, their experiences of migration to the US and the UK, and their reunion 13 years later back in Nigeria. Through the means of defamiliarization and the depiction of Ifemelu’s sense of alienation in the US, Adichie sheds new light on America’s relationship with race and racism.

At the Intersection(s) of Aesthetics and Politics: Bernardine Evaristo’s Girl, Woman, Other (2019) par Annalena Geisler, publié le 25/05/2022

Even before winning the prestigious Booker Prize in 2019, Bernardine Evaristo had been an integral part of the British literary landscape, not only because of her experimental style, but also due to her activism and wish to cut down discrimination in the literary institution. In Girl, Woman, Other, the British writer with Nigerian and Irish roots, attempts to give a voice to Black British women, who have long been invisible and voiceless in the public sphere.

Gandhi’s and Ambedkar’s views on caste: the representation of historical figures in Arundhati Roy’s The Doctor and the Saint par Fleur-Ann Dany Brouard, publié le 31/12/2020

In The Doctor and the Saint, Arundhati Roy compares and contrasts the lives and beliefs of Mahatma Gandhi and B. R. Ambedkar, the father of the Indian Constitution. Analyzing the two men's trajectories, Roy seeks to explain their conflict on the subject of Untouchability during the Second Round Table Conference (1931). In doing so, she dismantles the myth of Gandhi's sainthood and radical progressivism while defending and justifying Ambedkar's attack on Hinduism. Through its references to Narendra Modi's career, The Doctor and the Saint also offers insight into India's contemporary politics.

Giving Voice in Mike Lew’s Teenage Dick: Disability in a Modern Rewriting of Richard III par Méline Dumot, publié le 09/10/2020

This article examines a contemporary rewriting of Shakespeare’s Richard III by Chinese-American playwright Mike Lew. In his play Teenage Dick (2018), Lew gives a new voice to Shakespeare’s well-known villain. Noticing that one of the most famous disabled characters in theatre history is rarely – if ever – performed by a disabled actor, Lew centers his play on Richard’s experience as a disabled teenager. The play questions our current vision of disability, both in the theatrical world and in our society. This article explores the ways in which Lew adapts the Shakespearean legacy to produce a new narrative and envisions the concept of accessibility in multiple ways.

Reconfigurations of space in Partition novels par Sandrine Soukaï, publié le 19/09/2019

This article examines two Indian novels Clear Light of Day (1980) by Anita Desai and The Shadow Lines (1988) by Amitav Ghosh along with Burnt Shadows (2009) by Anglo-Pakistani novelist Kamila Shamsie, books written about the Partition of India that accompanied independence in 1947. Partition led to violence on an enormous scale; the exact number of people who were killed has never been ascertained, and estimates vary between one and two million. Partition also caused massive displacements of population, estimated between 12 and 18 million. This paper examines the way in which space – national, familial and communal – was divided and then reshaped by and through Partition. After discussing the fractures, ruptures and uprooting brought about by this trauma, I will consider the way in which diasporic writers devise fictional maps of memory of the past that foster exchanges across geographical borders.

All men are created equal? Barack Obama and the American Revolution par Steven Sarson, publié le 28/03/2019

Barack Obama believes that the American nation's founding documents—the Declaration of Independence and the Constitution (including the Bill of Rights)—have been the driving forces of American history and remain the foundations of American politics today. In this talk we will explore Obama's analyses of these documents and of their legacies since, in particular in relation to slavery, the Civil War, Jim Crow, and Civil Rights. We will look at the words of Barack Obama, as derived from his writings and speeches, and also at historical sources from the time of the American Revolution, through the Civil War, and to the Civil Rights era.

Clue (Kate Summerscale) par Kate Summerscale, publié le 09/10/2017

Chaque année les invités anglophones des Assises Internationales du Roman rédigent la définition d'un mot de leur choix. Les traductions françaises de ces textes ainsi que les mots-clés des auteurs de langue française des sept premières saisons des AIRs sont éditées par Christian Bourgois dans un volume intitulé le Lexique Nomade. Nous vous invitons ici à découvrir le texte Clue, de Kate Summerscale.

Taiye Selasi: On Emotions par Taiye Selasi, publié le 31/08/2015

How do writers succeed in submerging us in situations so unlike our own lives? I would argue that, as a reader, I have yet to encounter a situation in literature "unlike" my life. The demographic details may differ: Charlotte is a spider, I am a human; Teju Cole's narrators are men, I am a woman; many of Toni Morrison's characters are mothers, I am not. The list of things that I am not is long: white, male, a parent, a soldier, Chinese-speaking, South American, a witness to any war.

Cinematic (Manu Joseph) par Manu Joseph, publié le 29/06/2015

As a lonely young man largely forgotten by the world and invisible to the most gorgeous women whom you adore, should you not be writing melancholy poetry or the vain prose of deep self-regard. Instead you are drawn to cinema, you derive so much from movies, and it appears that you have been infected by the unsung altruism of commercial cinema, its duty to entertain. Is it because you think you know how to entertain? Is that your conceit? Or is it humility that pushes you to entertain? Is it not true that you find the need to have a deal with your audience – ‘I have something to say and I am afraid you may not be interested, but I seek the right to say it by giving you something in return’. Isn’t that the humility of cinema?

Satyajit Ray, ambassadeur de Tagore par Brigitte Gauthier, publié le 15/09/2014

Il y a quelque chose de délicat, subtil, dans l’œuvre du cinéaste Satyajit Ray. Il nous prend par la main et nous invite à pénétrer une culture autre en douceur. On est immédiatement happé par son univers même si la langue et la culture sont distantes. Comment parvient-il à se faire l’ambassadeur de l’Inde en pleine mutation ? On suit ses films de l’intérieur. On est invité à placer notre regard au centre du film et non à l’extérieur, sans pour autant à aucun moment nous identifier aux personnages qui sont totalement autres. On se glisse derrière la caméra, et la lenteur des plans nous permet de nous imprégner de la vie qui se déroule. Les villageois passent le long d’un chemin, les personnages entrent et sortent des plans. Partout, qu’il tourne des scènes d’intérieur ou d’extérieur, le flux de la vie anime l’image...

Kirsty Gunn: Sound and Writing par Kirsty Gunn, publié le 08/09/2014

That sound you hear, as though coming off the lonely Scottish hills, through the fine Highland air, passing across straths and glens, along rivers and to the sea... Is the sound of the piobaireachd, the classical music of the great Highland bagpipe, a music made for Gatherings, Salutes and Laments, a grand and grave and complicated music - Ceol Mor it is in Gaelic - The Big Music. The Big Music, too, is the title of my latest work of fiction - not a novel, but an elegy, as Virginia Woolf described all her work - a story that sounds as much as it says... An experience of words, of a story of people and a landscape, of a love story played across generations, that nevertheless sounds in the mind...

Lorna Goodison: a short story par Lorna Goodison, publié le 05/09/2014

Dans le cadre de notre partenariat avec la Villa Gillet, nous avons le plaisir de publier cette délicieuse historiette de Lorna Goodison sur les rapports conjugaux…

Minorities and democracy par Siddhartha Deb, publié le 17/01/2014

In 1916, the Indian poet Rabindranath Tagore delivered a series of lectures that would eventually be collected into the book, Nationalism. Tagore was writing in the glow of his own celebrity (he had just won the Nobel Prize for literature) and from within the heart of the crisis engulfing the modern world, two years into the slow, grim war that had converted Europe into a labyrinth of trenches covered over with clouds of poison gas. For Tagore, this was the tragic but inevitable outcome of a social calculus that valued efficiency, profit and, especially, the spirit of us versus them that bonded together the inhabitants of one nation and allowed them to go out, conquer and enslave other people, most of them members of no nation at all.

Are You Going to Write That in Your Book? par Siddhartha Deb, publié le 03/12/2013

Born in north-eastern India in 1970, Siddhartha Deb is the recipient of grants from the Society of Authors in the UK and has been a fellow at the Radcliffe Institute of Advanced Studies at Harvard University. His latest book, a work of narrative nonfiction, ((The Beautiful and the Damned)), was a finalist for the Orwell Prize in the UK and the winner of the PEN Open award in the United States. His journalism, essays, and reviews have appeared in Harpers, The Guardian, The Observer, The New York Times, Bookforum, The Daily Telegraph, The Nation, n+1, and The Times Literary Supplement.

Translation as Muse: Muse as Teacher par Mary Jo Bang, publié le 15/11/2013

how can reading not add to one’s experience, and in turn influence a person’s writing? And wouldn’t translation especially affect the brain, since translation involves the closest sort of reading, one where the mind simultaneously reads for meaning and tries to access the equivalent word or expression in another language. Wouldn’t reading the word “pelle” in Italian similarly send a message to the brain to access the synaptic record of all past sensory experience having to do with leather: black jacket, kid gloves, car seat, red belt with an alligator buckle, toy-gun holster, shoe shop. Wouldn’t the experiential knowledge of how those various leathers felt be carried along as the translator toggled between two different linguistic systems? And of course each of those leather memories would be connected to other associational memories, some quite rich in subjectivity.

David Vann: Secret and subtext par David Vann, publié le 07/10/2013

All of the conventions of literary fiction can be successfully broken except one: there must be subtext, a second story beneath the surface. We don’t have to care about a protagonist or even really have a protagonist. We’re not limited to any particular style or structure. But our entire idea of literature being “about” something is based on a second narrative, something else that the surface narrative can point to. What’s interesting to me about this is that we live in a time when surface narratives are taking over. Blogs are generally so worthless for this one reason, that they lack subtext. The online world is, above all, earnest, saying exactly what it means.

Goldie Goldbloom: Portraits and Faces - Appearance and Disfigurement par Goldie Goldbloom, publié le 27/09/2013

Chekhov is well known for his impartial observations of his characters and for his grasp of “realism”. When I first read his description of the lady with the little dog, I discovered that she is “a fair-haired young lady of medium height, wearing a beret.” I was puzzled. This less than enthusiastic description of the woman Gurov will come to love leaves out many basic details such as the colour of Anna Sergeyevna’s eyes and whether she has an attractive figure. I wondered why Chekhov departs from the wordier earlier traditions of written portraiture, and how his simple sketch of Anna illustrated the “realism” for which he is known.

Rebelling as a female in the 18th and 19th century literature. From Pamela to Jane Eyre: a path to equality? par Marion Lopez-Burette, publié le 23/09/2013

This article intends to study and compare the way Pamela, Richardson's early heroine of the novel genre, and Charlotte Brontë's romantic Jane, rebel. What follows will underscore the path trodden by female fictional characters in terms of shaping the individual, from the Enlightenment period to the romantic era. The patterns of entrapment and self-willed seclusion the protagonists are involved in function as incentives for rebellion. The ideals they rebel for play the role of living forces in a way that is meaningful to comprehend how the essence of rebellion evolved with time. No matter how much the protagonists' respective procedure may differ, from moral conservatism to personal answering of moral questions through rites of passage, the two female heroines are equally conscious of their value as human beings. Their handling of their hardships and their allegiance to God, however, points to the qualitative and quantitative evolution of the notion of equality.

Kate O'Riordan: Visions of Ireland - A writer's view par Kate O'Riordan, publié le 17/09/2013

A Londoner by adoption, Kate O’Riordan grew up in the small city of Bantry on the west coast of Ireland. With Le Garçon dans la lune, published in 2008 and Pierres de mémoire, in 2009, O’Riordan signed two new remarkable opuses in which she questions family relationships. A novelist and short-story writer, Kate O’Riordan also writes for the cinema and continues to confirm her legitimate place among Irish authors who count. She came to the Villa Gillet to take part in a discussion on 'Ireland by Irish writers'.

The Essential David Shrigley par Johanna Felter, publié le 21/05/2013

"David Shrigley is a multidisciplinary artist who started his career in the early nineties self-publishing art books containing cartoon-like drawings for which he is mainly famous. Their trademarks, which are also recognizable in his varied artistic productions – clumsy execution, sloppy handwriting, disturbing or puzzling text, dark humour and uncanny atmosphere – helped Shrigley to gradually shape a clearly distinctive personality in his work which brought him out as one of the current key figures of British contemporary art scene."

Kate Chopin as a Vocal Colourist: Vocalscapes in “Beyond the Bayou” par Manuel Jobert, publié le 16/04/2013

Authors sometimes pepper their writings with features of orality. Charles Dickens, Emily Brontë, Thomas Hardy or George Bernard Shaw have become household names renowned for this propensity to rely on the vocal medium. Orality, however, is an umbrella term that covers a wide range of possible meanings. In this paper, I shall mainly be concerned with direct speech and the way it represents spoken discourse proper.

How Healing Are Books? par Pierre Zaoui, publié le 22/01/2013

The idea that novels, theater, or poetry often help us live, that they help us feel cleansed or feel stronger, more energized, more alive, or that they at least help us survive by giving us the boost we need to hang on a little longer, is not simply a constant topos of literature, be it western, eastern, or universal. It is an indisputable truth for those who make use of it, whether they write it, read it, comment on it, or transform it into a first-aid kid of maxim-prescriptions and citation-medicines to use as needed.

Some Thoughts on Identity par Claude Arnaud, publié le 18/01/2013

It is the topic par excellence, the enigma that is impossible to solve. This puppet that we call somewhat pompously “The Self,” what is it in the end? An actor who resigns himself, around the age of thirty, to play only one role, or a born clown who struggles to understand himself, having changed so often?

Some Thoughts About Memory, Identity, and the False Family Narrative par Mira Bartók, publié le 15/01/2013

Identity and family legacy are partially formed by the family “memory narrative”—a family member, usually our mother or father, tells us stories about what happened before we were born or when we were too young to remember momentous events. But what happens when that narrator in the family is mentally ill, or a compulsive liar? In my case, my schizophrenic mother was the unreliable narrator of our family history. And my alcoholic father, a gifted writer who left when I was four, told my mother’s family grandiose lies about his own past.

Becoming No One par Gwenaëlle Aubry, publié le 15/01/2013

"The writing project came as the answer to a question that can, in retrospect, be formulated as follows: How can we grieve for a melancholy person, a person who was grieving himself? How can we get to grips with the absence of someone who was never really present?"

For another Hysterature par Emilie Notéris, publié le 17/12/2012

Since the question of women’s freedom in writing, or “Why stories of transgression or women’s assertions of freedom are less tolerated than those of men?” only highlight ordinary male chauvinism (the answer to the question is undeniably related to cultural issues), I prefer to focus on the counter strategies that can be deployed in response to the insults made to women, like the one Eileen Myles describes in her introduction to I love Dick by Chris Kraus, What about Chris?: “She’s turned female abjection inside out and aimed it at a man.” In other words, rather than identifying the reasons for the violent reception of women’s transgressive writing, I prefer to think about the strategies that can flow from them.

Not Looking for Love par Chris Kraus, publié le 17/12/2012

As women, we are often identified through our choice of sexual partners. When an “attractive” woman has sex with an ugly man, it is a descent into “abjection.” But why? Clearly, it is because as women, we are still believed to attain most of our identities through sexuality. In the present assimilationist climate, any non-monogamous, non-relational sexual act is read as a symptom of emotional damage. Our culture persists in believing that sex holds the magic key to a person’s identity — which is, of course, wrong — and in behaving as if female writers are uniquely charged with upholding the sacred intimacy of the sexual act.

The Words of the Flesh par Wendy Delorme, publié le 11/12/2012

There are people who write from the place that they have been assigned. Some of them with rage so as to get away from it; others, by contrast, who follow the path that has been mapped out for us. There are those who would rather stay on the margin of that space, away from the feminine, off-centered, but are then dragged back to it, kicking and screaming. Their words are women's words, words that are situated. The masculine remains the universal reference. Feminine words stay in the realm of the singular, indexed to the gender of who said them.

Declaration of Disinclinations par Lynne Tillman, publié le 11/12/2012

I like the theoretical ideal of neutrality, of non-hierarchical thinking. I’d like to be a writer, a person, but I am not. None of this naming is my choice. I’m a woman, “still” or I’m “only a woman.” “A good, bad woman, a silly, frivolous woman, an intelligent woman, a sweet woman, a harridan, bitch, whore, a fishmonger, gossipy woman. A woman writer.” What is “a woman writer”? Does “woman” cancel or negate “writer”? Create a different form of writer? Or does “woman” as an adjective utterly change the noun “writer”? “Man writer”? Not used. “Male writer,” rarely employed. Are there “man books” being read in “man caves?” OK, I declare: I’m a woman who writes, a person who writes. But how am I read?

Some thoughts on silence and the contemporary “investigative memoir” par Marco Roth, publié le 06/12/2012

Critics and readers, at least in the United States, seem to be slower to recognize the investigative memoir as a narrative mode deserving of attention as such. The American memoir comes burdened with a history of survivor’s tales and evangelical Protestant redemption stories: the writer is usually delivered from bondage: slavery or captivity in the 19th century, Communism, Nazi Europe, or “substance abuse” in the 20th, and into freedom or the light of truth. THE END. Testifying, in both legal and religious senses, is important. Important too is the sense that the author can be written into a social order, given a normal or productive life...

For Free Union in Criticism par Pierre Bayard, publié le 14/02/2012

The idea of attributing old works to new authors is not original. It has long been practiced by those lovers of literature, our students, who do not hesitate to attribute The Old Man and the Sea to Melville or War and Peace to Dostoevsky. What is interesting is that this kind of reinvention is not always properly appreciated by teachers. Students are not the only readers to practice reattribution. Scientific discoveries have on occasion forced historians of literature - and even more, of art - to ascribe works to creators other than those to whom they were at first incorrectly attributed...

Katherine Mansfield’s Short Stories: An Introduction par Emilie Walezak , publié le 28/06/2011

Katherine Mansfield wrote short stories exclusively and produced a large body of work though she died quite young from tuberculosis when she was 30. She is one the best representatives of modernist short story writing. Virginia Woolf herself admitted to Mansfield that she was jealous of her writing: "and then Morgan Foster said the Prelude and The Voyage Out were the best novels of their time, and I said damn Katherine! Why can't I be the only woman who knows how to write?"

Sens de quelques petits riens dans le roman d’Arundhati Roy, The God of Small Things par Fabienne Labaune, publié le 30/05/2011

Cet article se propose d'analyser le sens des petits riens qui donnent leur titre au roman. Ils seront vus comme un système de signes qui renvoient d'abord à la société et sont au service de la satire. Mais le déchiffrage de ces signes invite à voir le roman comme un palimpseste et les petits riens comme les signes de l'expérience traumatique ou de ses traces, donc comme les signes de l'exercice de la mémoire. Enfin, on montrera que les petits riens valent pour eux-mêmes, dans leur fragilité, et qu'ils renvoient à une conception de l'enfance et plus largement de l'écriture.

Théâtralisation et kathakali dans The God of Small Things d’Arundhati Roy par Florence Labaune-Demeule, publié le 30/05/2011

Le roman d'A. Roy, The God of Small Things, fait la part belle à la théâtralisation, que cette dernière se manifeste par de courtes références intertextuelles à Shakespeare par exemple, ou par de plus longs renvois au kathakali, genre dramatique typique du sud de l'Inde, qui allie théâtre, danse, chant et musique. La théâtralisation, dans ce roman, prend aussi un sens beaucoup plus général, car on observe que la codification extrême, parfois excessive, de la société anglophile d'Ayemenem conduit chacun à surjouer le rôle qu'il se donne. Cet article s'attachera donc à montrer comment théâtralisation et codification s'expriment au quotidien, avant d'analyser le lien qui s'établit entre théâtralisation, sacralisation et expiation grâce au kathakali. Enfin, on montrera comment l'écriture de Roy peut elle-même être perçue comme une forme de théâtralisation décentrée ou « ex-centrée » cette fois qui conduit le lecteur à une condition quasi extatique par la magie du verbe.

Breaking Bounds in Arundhati Roy’s The God of Small Things par Catherine Pesso-Miquel, publié le 13/05/2011

This article on Arundhati Roy's novel focuses more particularly on the idea of dividing lines, turned into parodied, ridiculous devices, and on their transgression. Analysing in particular the love scenes between the two lovers and the incest scene between the two twins, it attempts to define the differences rather than the similarities between such scenes, asking the question: is transgression necessarily linked with progression? The article will show that Roy, like other Indo-Anglian novelists such as Salman Rushdie, goes to war with the sacrosanct notion of purity, celebrating instead mixing, hybridizing, and the blurring of boundaries.

Le retour dans The God of Small Things d’Arundhati Roy par Elsa Sacksick, publié le 02/05/2011

The God of Small Things, est une œuvre sous le signe du retour. Celui-ci s'inscrit dans le rapport à l'espace, au temps, dans la construction narrative et se révèle affecter la langue elle-même. Nous verrons, après avoir étudié les différentes modalités du retour en tant que réitération, que s'il prend à première vue la forme d'un ressassement, d'une régression ou d'un bégaiement, il apparaît également à l'origine d'un rythme puissant qui scande l'écriture et lui insuffle une qualité éminemment poétique.

Benang, itinéraire d’une reconstruction identitaire : de la dislocation à la renaissance par Isabelle Bénigno, publié le 08/04/2011

L'écrivain aborigène Kim Scott doit indiscutablement sa notoriété à la publication en 1999 de son second roman, Benang. Harley (métis aborigène) tente de retrouver ses racines, de comprendre pourquoi il est aborigène alors qu'il est blanc de peau. A travers l'examen de documents historiques authentiques (des origines de l'Australie coloniale à la mise en œuvre de la politique d'assimilation) et le récit des vies brisées des grands-parents, oncles et tantes du narrateur, ce dernier explore les violences physiques et psychologiques subies par les Aborigènes. L'éclatement de la diégèse accompagne le narrateur dans la découverte progressive d'une généalogie personnelle pour le moins cruelle. Au terme de cette quête, Harley réalise qu'il est le « résultat » de plusieurs générations de métissage imposé par des autorités australiennes déterminées à « blanchir la race » et dont son grand-père, Ern Solomon Scat est l'un des artisans.

Introduction à The God of Small Things d'Arundhati Roy par Florence Labaune-Demeule, publié le 21/03/2011

The God of Small Things, roman publié en 1997, permit à son auteur, la romancière indienne Arundhati Roy, de recevoir le Booker Prize la même année. Publié dans de nombreux pays et traduit en plus de quarante langues, ce roman a été applaudi à maintes reprises par la critique, notamment en raison de l'analyse subtile des relations humaines qui y est abordée. Comme le dit A. Roy elle-même, « The book really delves, very deep I think, into human nature. The story tells of the brutality we're capable of, but also that aching, intimate love [shared by twins]. »

« [Setting] the Terror rolling » (199) : Le déclenchement de la Terreur dans The God of Small Things par Florence Labaune-Demeule, publié le 15/03/2011

Cet article propose un commentaire de la scène capitale où Vellya Paapen, le père de Velutha, dévoile la transgression des amants à Mammachi, la mère d'Ammu. Cette scène de révélation évolue en une scène de confrontation violente, qui permet au lecteur de percevoir le vrai visage des personnages dont la vie est régie par les lois sociales implacables de l'Inde de la fin des années soixante. Mais le tragique de l'extrait est subverti par la caricature et le grotesque, donnant à la narration une ambivalence inattendue.

The God of Small Things d’Arundhati Roy : lecture du chapitre 21, le dénouement par Fabienne Labaune, publié le 03/02/2011

L'article se propose de s'interroger sur le choix de cet épisode de rencontre amoureuse et sur le sens du dénouement en analysant d'abord l'aspect tragique de la scène puis son lyrisme, pour montrer enfin, en reliant le chapitre 21 au chapitre précédent, qu'Arundhati Roy a ainsi voulu donner à son roman une dimension mythique.

Beverley Naidoo: A conversation with students par Beverley Naidoo, Lycée Jean-Baptiste de la Salle, Rouen, publié le 03/06/2010

La transcription d'une visioconférence entre Beverley Naidoo et les élèves du Lycée Jean-Baptiste de la Salle (Rouen).

Incroyable fiction : L’histoire de Pi de Yann Martel (2001), relecture contemporaine de Noé et Robinson par Anne Besson, publié le 14/12/2009

Le roman de Yann Martel, typique de la post-modernité, dont l'intrigue "surfictionnelle" mêle théologie et zoologie, exploite de façon à la fois massive et désinvolte ses références intertextuelles, et en premier lieu le parallèle avec le Noé biblique, dans un hymne à la fiction et à la foi ne faisant qu'une, à la croyance et au déguisement métaphorique du réel comme enchantement de l'existence.

A reading of The Brooklyn Follies through the lens of autofiction par Marie Thévenon, publié le 02/10/2009

From his very first novel, The Invention of Solitude, to his very last, Man in the Dark, Paul Auster has always played with the mixture between autobiography and fiction. The Brooklyn Follies pertains to this tradition and it is through the lens of autofiction that this article proposes to explore this novel. The author starts by observing the similarities between Paul Auster and his characters and pays close attention to the intertextual dimension. She then analyses the metafictional aspects of the narration. Finally, she places this novel among Paul Auster's other works and wonders if there has been an evolution in his writing.

Qu'est-ce que l'intertextualité ? par Emilie Walezak, Jocelyn Dupont, publié le 18/09/2009

Cette page propose une définition de l'intertextualité et regroupe les communications de la journée d'étude sur l'intertextualité dans le roman contemporain de langue anglaise, organisée le 19 juin 2009 à Lyon 2 par le CARMA.

The “obstinate resistance” of Woolf’s short stories par Christine Reynier, publié le 31/03/2009

I have often wondered why, although I have regularly gone back to Virginia Woolf's short stories, I still feel I do not know them very well. This is of course no other than the secret charm of Woolf's short stories: they are so hermetic or puzzling that one cannot help re-reading them; they are so varied that one keeps forgetting them; they are so challenging that one feels bound to delve into them again and again. They offer the "obstinate resistance" (Woolf 1988: 158) of the text that Woolf loves in Sir Thomas Browne's writings and that she analyses in her essay "Reading". The military metaphor of resistance might suggest that once the fortress of the text has been assaulted, it will surrender to the reader. However, the author makes it clear that such is not the case.

Across the ‘Wide Sargasso Sea’: Jean Rhys’s Revision of Charlotte Brontë’s Eurocentric Gothic par Sylvie Maurel, publié le 20/03/2008

In this article, Sylvie Maurel analyses the Gothic destabilizing machinery at work in Jean Rhys’s "Wide Sargasso Sea". The first Gothic element the author looks at is the demonic agency that haunts the novel. Colonial history lingers in Rhys’s world and accounts for some of the strange and unexpected phenomena that occur on the island. Actually, the narrative is under the double influence of a past set in an actual history of slavery and a future already written in the story of "Jane Eyre". Rhys’s characters have an uncanny prescience of what lies ahead and a sense that they cannot evade repetition. The motif of witchcraft is another element that links "WSS" to the Gothic. The motif goes beyond a picturesque reference to the West Indian context and functions as a metaphor of the relationship between language and power. Christophine’s witchcraft and Rochester’s Eurocentric discourse are two similar attempts at transforming the world through language. The power of language is also reflected in the way the novel constantly brings together multiple voices and conflicting views which seem to hide a secret rather than reveal a final truth. Rochester can only feel the presence of such a secret and risks delirium as he tries to get a grip on something that constantly eludes him.

Jean Rhys ou la revenance : Wide Sargasso Sea par Frédéric Regard, publié le 20/09/2007

Cet article est un chapitre extrait de "L'Ecriture féminine en Angleterre", de Frédéric Regard, publié aux Presses Universitaires de France (2002) dans la collection "Perspectives anglo-saxonnes".

Wide Sargasso Sea de Jean Rhys : "L'ailleurs de l'ailleurs" par Eileen Williams-Wanquet, publié le 19/09/2007

"Wide Sargasso Sea" ne peut se lire qu’en référence – et en comparaison – à "Jane Eyre", sur lequel il oblige à porter un autre regard, un autre point de vue. Mais Rhys, nous dit l’auteur de cet article, ne se contente pas de présenter simplement le revers de "Jane Eyre" et nous montre qu’il existe toujours l’ « ailleurs de l’ailleurs ».