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“How does art come out of common clay?”: The Ordinary and the Extraordinary in Alice Munro’s Dance of the Happy Shades

par Cécile Fouache, publié le 12/03/2016

article.png Cet article a été rédigé dans le cadre d'une journée d'étude consacrée aux thématiques de l'agrégation (session 2017), qui a eu lieu à l'Université de Caen-Normandie.

The Great Mouse Plot (Roald Dahl)

par ENS Lyon La Clé des Langues, publié le 25/11/2014

exercice.png texte.png In Boy: Tales of Childhood, Roald Dahl tells us about his youth, focusing on some of his most remarkable childhood memories. A lot of irony is introduced by the first person narrator who describes these scenes with the hindsight of age.

Gulliver's Travels (Jonathan Swift)

par ENS Lyon La Clé des Langues, publié le 21/11/2014

type-image.png exercice.png texte.png Travel books were very fashionable in the eighteenth century. Real travelers sometimes included elements of fiction in their accounts of their wanderings to make them sound more exotic and interesting. In Gulliver's Travels, Jonathan Swift makes fun of this literary genre by introducing a fictitious traveler, Gulliver, who tells us about his encounters with strange creatures and countries. Gulliver's first person narrative is introduced by a fake publisher's note which is also written in the first person...

Writing on the self

par ENS Lyon La Clé des Langues, publié le 14/11/2014

exercice.png texte.png Critics and academics tend to draw a line between autobiography and fiction. However, it is sometimes difficult to make such a clear distinction between what is made up and what is not. Here are some short texts written by authors who reflect on their use of the first person.

First person narratives

par ENS Lyon La Clé des Langues, publié le 10/11/2014

dossier.png exercice.png Ce dossier sur le thème des auteurs écrivant à la première personne regroupe trois ressources accompagnées d'exercices de compréhension et de production orales et écrites, ainsi que d'analyse d'image.

Finding the Way

par Gunnar Olsson, publié le 17/03/2014

article.png Gunnar Olsson explore l'influence du vocabulaire et des méthodes des géographes sur la pensée, la création littéraire, la religion et les arts. How do I find my way in the power-filled world of hopes and fears, truths and lies, love and hate, freedom and repression? By approaching it as if it was made of sticks and stones, mountains and rivers, as if it could be captured in a coordinate net of up and down, front and back, left and right..

Kate Chopin as a Vocal Colourist: Vocalscapes in “Beyond the Bayou”

par Manuel Jobert, publié le 16/04/2013

article.png 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.

Kate Colquhoun on the blurred boundaries between fiction and non-fiction

par Kate Colquhoun, publié le 11/09/2012

article.png Truman Capote called his 1966 book In Cold Blood the first non-fiction novel. Since then, the boundaries between fiction and non-fiction have become increasingly blurred. Are these false definitions? At least we could say that novelists are able to articulate the internal worlds – the thoughts and feelings – of their characters while non-fiction relies entirely on evidence.

Frederick Wiseman on Reality and film

par Frederick Wiseman, publié le 03/09/2012

article.png The provocative starting point sent to me for this debate states that "Artists and writers are vampires who feed on reality." I do not think this is any more true of artists and writers than it is of anybody whether they be doctor, lawyer, used car salesman, fishmonger, politician, farmer, priest, housewife or any of the other hundreds of thousands of jobs that exist.

Helen Oyeyemi, White is for Witching

par ENS Lyon La Clé des Langues, publié le 27/08/2012

dossier.png Helen Olajumoke Oyeyemi (born 10 December 1984) is a British novelist. Oyeyemi wrote her first novel, The Icarus Girl, while still at school studying for her A levels at Cardinal Vaughan Memorial School. Whilst studying Social and Political Sciences at Corpus Christi College, Cambridge, two of her plays, Juniper's Whitening and Victimese, were performed by fellow students to critical acclaim and subsequently published by Methuen.

Nick Flynn on the misfit and the outcast

par Nick Flynn, publié le 27/08/2012

article.png I wrote a memoir a few years ago (Another Bullshit Night in Suck City), which, in part, chronicled the five or six years my father spent living on the streets in Boston. I’d been a case-worker with the homeless for three years before he got himself evicted from his marginal living situation, ran out of options (he slept in his taxi, on friend’s couches) and eventually ended up at the shelter where I worked. I hadn’t grown up with him, I hadn’t met him, really, before he came into the shelter—that this is where I got to know him is in the Shakespearian realm of the unlikely coincidence that sets the play in motion (think Hamlet encountering his father’s ghost).

Helen Oyeyemi on haunted house novels

par Helen Oyeyemi, publié le 18/06/2012

article.png "You read of extreme cases of jamais vu in the newspapers. There was one recently involving a husband who, after eighteen years of happy stability with his wife, told her he had a surprise for her. He blindfolded her, then ‘hit her over the head with the blunt end of an axe, fracturing her skull in three places.’ She survived and tried to forgive him, even vouched for his good character in court. The husband-turned-attacker, unable to explain his moment of terminal hostility, deferred to psychiatrists who offered the opinion that it was his past that had caused it. "

Jonathan Dee on the place of the novel in a money-driven society

par Jonathan Dee, publié le 13/06/2012

article.png About money there is nothing new. Nor about social inequity. When I wrote The Privileges, I was careful to leave out as many time-specific details as possible, because I felt that to tie its characters, and the lives they led, to the circumstances of a particular moment in history was to excuse them, in a way, and thus to miss the point of their existence...

Nicholson Baker on his literary career and how he came to write about sex

par Nicholson Baker, publié le 13/06/2012

article.png I think the job of the novelist is to write about interesting things, including things that might not seem all that interesting at first glance--like, say, a lunch hour on an ordinary weekday – and to offer evidence that life is worth living. At least, that’s what I try to do – not always successfully. My first book was about a lunch hour – the second about sitting in a rocking chair holding a baby – the third about literary ambition. There was almost no sex in those three books. But I always wanted to be a pornographer – because after all sex is amazing and irrational and embarrassing and endlessly worth thinking about. My fourth book was called Vox, and it was about two strangers telling stories to each other on the phone. I decided to write it as one big sex scene, because if you’re going to do it, do it.

Helen Oyeyemi reading from White is for Witching - Assises Internationales du Roman 2012

par Helen Oyeyemi, Patricia Armion, publié le 08/06/2012

type-video.png Helen Oyeyemi took part in the sixth edition of the Assises Internationales du Roman, organised by the Villa Gillet and Le Monde. She was kind enough to read an extract from White is for Witching, her stunning Neo-Gothic novel.

An interview with Helen Oyeyemi - Assises Internationales du Roman 2012

par Helen Oyeyemi, Patricia Armion, publié le 06/06/2012

entretien.png type-video.png texte.png Helen Oyeyemi took part in the sixth edition of the Assises Internationales du Roman, organised by the Villa Gillet and Le Monde. She answered our questions on White is for Witching, a stunning Neo-Gothic novel.

An interview with Nick Flynn - Assises Internationales du Roman 2012

par Nick Flynn, Julia Arnous, publié le 05/06/2012

type-video.png Nick Flynn took part in the sixth edition of the Assises Internationales du Roman, organised by the Villa Gillet and Le Monde. He answered our questions on Another Bullshit Night in Suck City and his approach to non-fiction.

An interview with Douglas Kennedy - Assises Internationales du Roman 2012

par Douglas Kennedy, Clifford Armion, publié le 04/06/2012

type-video.png texte.png In June 2012, Douglas Kennedy took part in the sixth edition of the Assises Internationales du Roman, organised by the Villa Gillet and Le Monde. He answered our questions on his latest novel, The Moment.

Stylistics from Scratch: My ‘Take’ on Stylistics and How to Go About a Stylistic Analysis

par Mick Short, publié le 24/04/2012

conference.png type-video.png Mick Short was invited by Manuel Jobert as part of the tenth edition of the Discourse Analysis Conferences, organised by the Société de Stylistique Anglaise and Lyon 3. After giving some precious advice to students in stylistics and explaining the "foregrounding theory", he analysed a number of texts including the front page of a British tabloid, a poem by Robert Frost and a passage from Colum McCann’s Let the Great World Spin.

The Neurosciences and Literature: an “exquisite corpse” or a “meeting of the minds”?

par Lionel Naccache, publié le 16/02/2012

article.png In the context of the Walls and Bridges project in New York, a meeting has been organized for October between an American novelist - Siri Hustvedt - and a French neuroscientist on the topic of "fiction," both mental and literary. This will obviously be the time to ask ourselves: can we imagine a promising future for meetings between the neurosciences of cognition and the world of literary creation? Is this merely the random juxtaposition of two terms to which we are attached, or the genuine dialectical culmination of self-consciousness? An amusing, trendy quid pro quo, or a key moment in our knowledge of ourselves as tale tellers?

Conscious and Unconscious Narrative Literature, Psychoanalysis and Neuroscience

par Siri Hustvedt, Lionel Naccache, publié le 20/01/2012

conference.png type-video.png Nous passons une grande partie de notre vie à élaborer des fictions, à nous raconter des histoires et à en raconter aux autres. La narration est profondément enracinée dans l'esprit humain, à un niveau à la fois conscient et inconscient. Produire une narration est une façon de donner du sens à l'expérience factuelle. Mais les fictions créées par le cerveau humain et celles que les romanciers imaginent sont-elles de même nature ? L'écrivain américain Siri Hustvedt et le neurobiologiste français Lionel Naccache exprimeront leurs points de vue originaux, pénétrants et empathiques sur cette question. We all spend our time constructing fictions, telling stories to ourselves and to others. Narration is deeply rooted in the human mind, at a conscious and unconscious level. Producing a narrative is a way of giving meaning to factual experience. Are the fictions created by the human brain and those imagined by novelists of the same nature? American writer Siri Hustvedt and French neurobiologist Lionel Naccache express their original, incisive and empathetic views on these questions.

Le retour dans The God of Small Things d’Arundhati Roy

par Elsa Sacksick, publié le 02/05/2011

article.png 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.

La narrativité des 'progresses' : Marriage à-la-mode

par Clifford Armion, publié le 11/04/2011

article.png La série la plus célèbre de Hogarth est une satire du mariage arrangé entre l'héritier d'une famille noble désargentée et la fille d'un riche bourgeois de Londres. Les tableaux, peints par Hogarth entre 1743 et 1745, se vendirent mal ; cent vingt Guinées alors que l'encadrement à lui seul en avait coûté vingt-quatre. Ces toiles qui font aujourd'hui partie des collections de la national Gallery sont peintes à l'envers du sens voulu pour les gravures, cela pour éviter le travail fastidieux d'une copie au miroir. Hogarth avait pour visée principale la série de gravures. Elle sera réalisée par des français (G. Scotin, B. Baron, S. F. Ravenet), à l'exception des visages que Hogarth prétend avoir gravés lui-même.

Les histoires de William Hogarth

par Isabelle Baudino, publié le 01/04/2011

article.png William Hogarth (1697-1764) était connu de son temps pour son talent de conteur. Il n'était certes pas le premier peintre à vouloir raconter des histoires en images mais, il s'y employa avec une vivacité et une inventivité toujours renouvelées au cours de sa carrière. De même, sans être le premier peintre à rassembler des tableaux en séries, il s'appliqua à élaborer des récits picturaux autonomes (non asservis à des textes) et modernes (abordant des sujets de son époque, campés par des personnages en costumes contemporains évoluant dans des décors vraisemblables, voire reconnaissables)...

Promoting patients in narrative discourse: A developmental perspective

par Harriet Jisa , publié le 18/12/2009

conference.png type-video.png Languages provide speakers with a number of structural options for manipulating the expression of events in narrative discourse. Underlying narrative competence is the capacity to view events as dynamic actions composed of a bundle of elements such as, agent, patient, affectedness, etc. (Hopper and Thompson, 1980). This study examines the grammatical constructions used by children (5-6-, 7-8- and 10-11-year-olds) and adult speakers of Amharic, English, French and Hungarian to manipulate the expression of agent and patient participants in the expression of events. The narrative task used to elicit the data is composed of a series of pictures which recount the adventures of two principal characters (a boy and a dog) in search of their runaway frog (Frog, Where are you? Mayer 1969). Over the course of the story the boy and the dog encounter a host of secondary characters (a mole, an owl, a swarm of bees and a deer) and change participant status, going from controlling agent to affected patient of a secondary character's action. Our interest lies in the range of structures available in the languages studied and their use by children and adults in narrative discourse. We detail how children and adults native speakers of the four languages use topicalising constructions to promote the patient participant in an event to the starting point (Langacker, 1998) of the recounting of that event.

Le modernisme

par Anne Fauré, publié le 08/11/2007

article.png Nouvelle manière de penser l'art, en rupture avec le réalisme du XIXème siècle, le modernisme est le produit d'un monde caractérisé par des bouleversements socio-économiques, politiques, philosophiques et technologiques. Anne Fauré nous présente ici la littérature moderniste, littérature de crise et de mise en crise.