3,662 research outputs found
Hybridité, animalité et métissage : la littérature francophone contemporaine entre parasitisme et devenir-autre
Postcolonial Francophone literature, as it has evolved since the independence movements in the French colonies (mainly in Africa and in the Caribbean islands), has known two major moments in the 20th century, where it distanced itself from metropolitan French Literature: in the forties, fifties and sixties, with the movement of the « négritude » and more recently, in the nineties, with the rise of "créolité"- which will lead to the actual current of "Littérature-monde" (2005), and corresponds to the era that will be investigated here. It would be naïve to think that this desire for literary independence could have been fulfilled entirely, while expressed in the language of the "oppressor". In spite of its claims to the contrary, this postcolonial francophone literature remains to this day haunted by its French model. To a certain degree, it is still very much dependent as can be seen from its fixation with Paris as the only "centre" of culture and the frequency of themes such as social parasitism and hospitality. But of course, Francophone literature cannot be reduced to such a simplistic model. Its relationship to French Literature can't be reduced to a purely mimetic one. In spite of (or maybe thanks to) its heavy borrowing from the French canon, it has succeeded in creating a new space of reciprocal exchanges and constant metamorphosis. It is this space that H. Bhabha called "third space", defined by hybridity and "métissage" - a paradoxical way of coping with the double inheritance of the same and the other. In opposition to the static behaviour in which the parasite engages when imitating, one has to conceive, according to G. Deleuze and F. Guattari, a heterogeneous relationship characterized by movement and fluctuation: a "becoming" rather than a "being". It is this notion of constantly changing identities that we will analyze in reaction to parasitism, which remains based on imitation: a need for metamorphosis best expressed in "animalisation" and the loss of identity it produces. In order to test this hypothesis, we will analyze a series of works of fiction where this theme of animalisation is most visible (produced over the past 15 years in Postcolonial Francophone literature). Some of the novels in our corpus are the following: Mémoires d'un porc-épic, by Mabanckou (from Congo); Moi, l'interdite, by Ananda Devi (from Mauritius), Temps de chien by P. Nganang (from Cameroun) and Un Chien mort aprÚs lui by Jean Rolin (France). We hope that the relative homogeneity of our findings will allow us to formulate new insights in the way Francophone literature deals with those ever returning questions of identity and otherness
« Un pied dans le devoir, un pied dans le désir » : les didascalies de Jean Anouilh
Les indications scĂ©niques dâAnouilh sont moins prĂ©cises que ce Ă quoi on pourrait sâattendre de la part dâun auteur passĂ© Ă la mise en scĂšne, amoureux des planches et hĂ©ritier du Cartel. Seule exception : les indications concernant le jeu des comĂ©diens, largement et finement dĂ©fini. Anouilh, fidĂšle Ă certains principes dramaturgiques ainsi quâĂ une pose quâil affectionne, nâest pas un didascale technique ni minutieux. En revanche, il propose des indications qui Ă©chappent au canon, offrant au lecteur tantĂŽt un peu de poĂ©sie de thĂ©Ăątre, tantĂŽt un peu de liant quasi narratif, tantĂŽt un peu de lest pĂ©dagogique. En fin de compte, la didascalie boite « un pied dans le devoir, un pied dans le dĂ©sir », soit un pied dans le rĂ©el (la vocation scĂ©nique) et un pied dans le rĂȘve (lâhorizon littĂ©raire).With one exception, Anouilhâs instructions in his plays are not as precise as one would expect from an heir to the Cartel and an author both well versed in staging and a lover of acting. The exception is Anouilhâs instructions to actors, which are broad and clear. While attached to certain principles and effects, Anouilh as a playwright is neither technical nor exacting in his instructions. However, he innovates in some respects: a little theatrical poetry here, some quasi-narrative continuity there, or a touch of pedagogical lest elsewhere. In the end, his instructions hop from the well-trodden to simply hopes, from the reality of staging instructions to the dream of literature
La reprĂ©sentation de lâhomosexuel(le) dans le cinĂ©ma français. Quelques pistes de rĂ©flexion
MalgrĂ© une plus grande visibilitĂ© des homosexuel-le-s, Ă la tĂ©lĂ©vision comme au cinĂ©ma, notamment depuis lâadoption du PACS (1999), les gays et les lesbiennes sont aujourdâhui encore trĂšs souvent stigmatisĂ©s comme en tĂ©moignent les nombreux actes homophobes, parfois violents, dont ils sont rĂ©guliĂšrement victimes. Lâhomosexuel-le est cet Autre dont lâĂ©trangetĂ© peut susciter lâangoisse de la diffĂ©rence comme lâont montrĂ© les auteurs de La ..
La Belle et la BĂȘte en famille. Cousinages historiques et poĂ©tiques
Dans cet article, Jean-Paul Sermain soulĂšve la question de lâanachronisme dans lâinterprĂ©tation des textes littĂ©raires et du conte de fĂ©es en particulier. « Peut-on », demande-t-il, « lire un texte Ă partir de son futur ? » Il rĂ©pond ici Ă cette question par une analyse des cousinages historiques et poĂ©tiques dâun conte de fĂ©es emblĂ©matique dont la famille, nombreuse, est prĂ©sente sur tous les continents, « La Belle et la BĂȘte ».In this article Jean-Paul Sermain raises the question of possible anachronisms in the interpretation of literary texts, and especially of the fairy tale. Can we, he asks, read a text from its literary descent? He answers this question by analyzing the historical and poetic versions of a particular fairy tale whose family has conquered all languages and continents : âThe Beauty and the Beastâ
Quand le thĂ©Ăątre sâinspire du cinĂ©ma : Jean Cocteau, SergueĂŻ Eisenstein et Tennessee Williams
La fascination de Tennessee Williams pour le cinĂ©ma a laissĂ© des traces dans son thĂ©Ăątre. Les projections sur Ă©cran envisagĂ©es dans les indications scĂ©niques de The Glass Menagerie ou lâimportance accordĂ©e Ă la musique dans nombre de ses piĂšces nâen sont que quelques illustrations. Or, au delĂ du simple apport technique, les avancĂ©es de lâart cinĂ©matographique de la premiĂšre moitiĂ© du XXe siĂšcle invitent Ă repenser le rapport entre le rĂ©el et sa reprĂ©sentation, rapport que Williams nâa cessĂ© dâexplorer tout au long de sa carriĂšre. Ses Ă©crits autobiographiques sont parsemĂ©s de rĂ©fĂ©rences Ă des films et Ă des rĂ©alisateurs qui ont jouĂ© un rĂŽle essentiel dans lâĂ©laboration de son « nouveau thĂ©Ăątre plastique ». Lâanalyse de sa piĂšce la plus connue, A Streetcar Named Desire, Ă la lumiĂšre de ces Ă©crits rĂ©vĂšle des influences diverses. Cocteau et Eisenstein affleurent ainsi Ă la surface de lâĂ©criture dans une piĂšce oĂč les univers des deux rĂ©alisateurs se rencontrent, ouvrant de nouvelles perspectives dâinterprĂ©tation sur une Ćuvre dont il reste encore beaucoup Ă dĂ©couvrir.Tennessee Williamsâs lifelong fascination with cinema left marks on his theatre. The use of projections in The Glass Menagerie and the role played by music in many of his plays are cases in point. Yet, the influence of cinema on Williamsâs writing goes far beyond the mere transposition of new technological devices onto the stage. For cinema brought about new ways of representing the world, thus providing the playwright with the means of escaping from the realist tradition and creating the ânew, plastic theatreâ he advocated as early as 1944. His autobiographical essays are peppered with references to famous filmmakers who helped him shape his language for the stage. The examination of his most famous play â A Streetcar Named Desire â reveals the influence of Cocteau and Eisensteinâs films and theories, giving us a new insight into Williamsâs creative process
Le travail de la viande
Le prĂ©sent article sâattarde au rĂŽle significatif dĂ©volu, durant le premier tiers du 20e siĂšcle, Ă la reprĂ©sentation culturelle des abattoirs comme emblĂšme de la modernitĂ© industrielle. Il met toutefois moins lâaccent sur la performance sacrificielle, telle que la commente le projet contemporain de Georges Bataille, que sur la scĂ©nographie machinique qui organise en AmĂ©rique la rencontre du travailleur et de lâanimal et qui semble avoir fascinĂ© romanciers, dramaturges, cinĂ©astes et dessinateurs de cette pĂ©riode. On sâemploiera Ă traquer deux topoĂŻ exemplaires : le premier a trait Ă lâanimalisation du travailleur et le second Ă son effacement, Ă sa dĂ©voration par la machine qui se nourrit de lui et le transforme en viande.This essay focuses on cultural representations of the slaughterhouse constructed, in the first third of the 20th century, as an emblem of industrial modernity. Rather than insisting on the sacrificial performance analysed by Georges Batailleâs contemporary project, we will study how, in novels, plays, films and cartoons of that period, the machine is shown as staging the encounter of worker and animal in two exemplary topoĂŻÂ : the first concerns the animalization of the worker through the double fragmentation of body and task and the second deals with the erasure and swallowing of the worker by the machine that feeds on him as it turns him into meat
L'actualisation de la pensée amoureuse platonicienne dans les films d'animation de Disney
Ce travail aborde les relations existant entre lâamour platonicien et lâamour prĂ©sent dans les films dâanimation de Walt Disney. Disney Ă©tant lâun des plus grands mĂ©dias culturels occidentaux, si ce nâest mondiaux, retrouver Platon chez Disney, câest voir lâinfluence de la philosophie grecque sur lâOccident actuel et son hĂ©ritage. La comparaison sera dĂ©ployĂ©e selon quatre grands thĂšmes : le rĂŽle du beau dans lâamour, áŒÏÏÏ comme intermĂ©diaire, lâamour comme folie divine, lâamour comme mĂ©thode Ă©ducative. Nous commencerons par exposer les mĆurs en GrĂšce antique, pour prĂ©senter adĂ©quatement la position de Platon. Nous nous demanderons ensuite les causes pouvant expliquer lâapparition de la thĂ©orie platonicienne de lâamour chez Disney. Nous prĂ©senterons par la mĂȘme occasion les contes qui ont inspirĂ© Disney et qui peuvent parfois avoir des racines platoniciennes. Finalement, nous comparerons les films de Disney avec la pensĂ©e de Platon au sujet de lâamour.This paper presents the existing correlations between the concept of platonic love and the love displayed in Walt Disney's animated movies. Disney being one of the biggest media in Occident, if not in the world, finding Plato's theory in Disney movies means seeing the traces of Greek philosophy in todayâs occidental world, and its heritage. We will ask ourselves why there is an existing relationship between Platoâs theory and Disney. The comparison will be made around four themes: the role of beauty in love, áŒÏÏÏ as intermediary, love as divine foolishness, love as educational method. We will first expose the customs of ancient Greece in order to present adequately Platoâs position. We will present the fairy tales that inspired Disney, which sometimes find their origin in Platonism. Finally, we will compare Disney movies with Platoâs reflections about love
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