253 research outputs found
Christine Reynier, Virginia Woolf's ethics of the short story (2009)
Before the publication of Ralf Freedmanâs Virginia Woolf: Revaluation and Continuity (1980), Dean Baldwinâs Virginia Woolf: A Study of the Short fiction (1989) and Dominic Headâs chapter on Woolf in The Modernist Short Story: A Study in Theory and Practice (1992), Virginia Woolfâs short stories were considered by critics to be the marginal part of her canon. Woolf was better known as a novelist, and many critics tended to adopt her own âcasually dismissive attitudeâ (Reynier 2) when referring..
âThat fiction is a ladyâ: Gendering Fiction in Virginia Woolfâs Essays
International audienc
Ătudes de genre et critique fĂ©ministe dans le monde anglophone : histoire et parcours croisĂ©s
International audienc
What âitâ is about: The implicit in Virginia Woolfâs short fictions
Dans les nouvelles de Virginia Woolf, lâutilisation presque obsĂ©dante du pronom « it » ouvre, dans la surface trompeusement lisse et factuelle du texte, une brĂšche donnant accĂšs Ă lâespace plus insondable de lâimplicite :âWhat was the truth of it, John?â asked Charles suddenly, turning and facing him. âWhat made you give it up like that all in a second?ââBut Iâve not given it up,â John replied. (âSolid Objectsâ)âHere we left it,â she said. And he added,â âOh, but here too!â âItâs upstairs,â she murmured, âAnd in the garden,â he whispered. âQuietly,â they said, âor we shall wake them.â (âA Haunted Houseâ)Desiring truth, awaiting it, laboriously distilling a few words, for ever desiring â (âMonday or Tuesdayâ)But was it âhappinessâ? No. The big word did not seem to fit it, did not seem to refer to this state of being curled in rosy flakes around a bright light. (âHappinessâ)Ce que « it » signifie dans les nouvelles de Virginia Woolf semble dâabord correspondre Ă lâobjet dâune quĂȘte acharnĂ©e : celle que mĂšnent, au-delĂ des apparences, des faits et des mots, personnages et narrateurs. Mais au fur et Ă mesure que se dĂ©robent la rĂ©fĂ©rence et le signifiĂ© du pronom dans les labyrinthes de la mĂ©taphore apparaĂźt lâimpossibilitĂ© de la quĂȘte en mĂȘme temps que son illusoire intĂ©rĂȘt hermĂ©neutique.Jâaimerais tenter dâanalyser ici la maniĂšre dont un certain nombre dâoutils critiques (ceux proposĂ©s, entre autres, par la linguistique, la rhĂ©torique et la pragmatique) nous aident Ă mieux cerner la poĂ©tique Woolfienne de lâimplicite. Je formulerai ainsi lâhypothĂšse que ce que « it » dĂ©signe est moins lâinfinie rĂ©serve du sens littĂ©raire que lâincontrĂŽlable dimension implicite des langues naturelles et de toute forme de communication
Speech-acts, represented thoughts and human intercourse in âThe Introductionâ and âTogether and Apartâ
Dans Mrs Dallowayâs Party, cycle de nouvelles que Woolf rĂ©digea aux alentours de 1925 et que Stella McNichol publia pour la premiĂšre fois sous cette forme en 1973, Woolf Ă©tudie ce qu'elle appelle âl'Ă©tat de conscience-rĂ©ception, l'Ă©tat de conscience-robesâ. Dans la plupart des nouvelles de ce cycle (âThe New Dressâ, âHappinessâ, âAncestorsâ, âThe Introductionâ, âTogether and Apartâ, âThe Man Who Loved His Kindâ, âA Simple Melodyâ et âA Summing Upâ), âla rĂ©ceptionâ peut se lire comme une mĂ©taphore de la scĂšne sociale oĂč se jouent certains rĂŽles et jeux linguistiques. Cette  rĂ©ception permet Ă Woolf d'examiner les Ă©noncĂ©s dans leur contexte social, de poser des questions relatives aux hommes et aux femmes ainsi qu'Ă leur reprĂ©sentation et d'analyser le discours comme site d'ambiguĂŻtĂ© et de conflits.Convoquant les outils de la pragmatique et de la narratologie fĂ©ministe, cet article analyse ces sites discursifs d'ambiguĂŻtĂ© et de conflits dans âThe Introductionâ et âTogether and Apartâ oĂč le motif de la âprĂ©sentationâ suggĂšre une nĂ©gociation avec ce que la culture impose, avec l'autre et avec le langage, et oĂč les modes conflictuels de la focalisation interneâessentiellement du discours indirect libreâet du dialogue prĂ©sentent la communication comme une pratique oĂč se fondent tout Ă la fois le sujet, la reconnaissance intersubjective et les stratĂ©gies d'interprĂ©tation
What âitâ is about: The implicit in Virginia Woolfâs short fictions
Dans les nouvelles de Virginia Woolf, lâutilisation presque obsĂ©dante du pronom « it » ouvre, dans la surface trompeusement lisse et factuelle du texte, une brĂšche donnant accĂšs Ă lâespace plus insondable de lâimplicite :âWhat was the truth of it, John?â asked Charles suddenly, turning and facing him. âWhat made you give it up like that all in a second?ââBut Iâve not given it up,â John replied. (âSolid Objectsâ)âHere we left it,â she said. And he added,â âOh, but here too!â âItâs upstairs,â she murmured, âAnd in the garden,â he whispered. âQuietly,â they said, âor we shall wake them.â (âA Haunted Houseâ)Desiring truth, awaiting it, laboriously distilling a few words, for ever desiring â (âMonday or Tuesdayâ)But was it âhappinessâ? No. The big word did not seem to fit it, did not seem to refer to this state of being curled in rosy flakes around a bright light. (âHappinessâ)Ce que « it » signifie dans les nouvelles de Virginia Woolf semble dâabord correspondre Ă lâobjet dâune quĂȘte acharnĂ©e : celle que mĂšnent, au-delĂ des apparences, des faits et des mots, personnages et narrateurs. Mais au fur et Ă mesure que se dĂ©robent la rĂ©fĂ©rence et le signifiĂ© du pronom dans les labyrinthes de la mĂ©taphore apparaĂźt lâimpossibilitĂ© de la quĂȘte en mĂȘme temps que son illusoire intĂ©rĂȘt hermĂ©neutique.Jâaimerais tenter dâanalyser ici la maniĂšre dont un certain nombre dâoutils critiques (ceux proposĂ©s, entre autres, par la linguistique, la rhĂ©torique et la pragmatique) nous aident Ă mieux cerner la poĂ©tique Woolfienne de lâimplicite. Je formulerai ainsi lâhypothĂšse que ce que « it » dĂ©signe est moins lâinfinie rĂ©serve du sens littĂ©raire que lâincontrĂŽlable dimension implicite des langues naturelles et de toute forme de communication
MÚres et fils dans le théùtre de la Renaissance anglaise
Seeking dialogues between mothers and sons as moving and dramatically efficient as the French âQuatre RequĂȘtes de Notre-Dameâ results in finding no significant verbal exchanges in English biblical drama, moralities, interludes, and even early tragedies. Mothers are generally reduced to deplorations of sonsâ deaths. Shakespeare brilliantly puts an end to this scarcity of dialogues between mothers and sons with plays like Richard III, Coriolanus, and, above all, Hamlet, which this short study eludes. Instead, it focuses on the ââbardâsâ few predecessors and immediate successors, to find continuity, changes, borrowings and new trends concerning reproachful mothers and sons. Among the followers of Noah's sons dealing with their recalcitrant mother, we meet, in Nicholas Udallâs comic interlude Thersites, a son who first teases his mother, then seeks her protection, and ends with reproaches. Shakespeare's immediate successors, Middleton in The Revengerâs Tragedy and Webster in The White Devil, both dramatize relationships between mothers and sons, in several long scenes which we explore, because, unlike Shakespeareâs, they have received little attention
The dramaturgy of voice in five modernist short fictions: Katherine Mansfieldâs âThe Canaryâ, âThe Ladyâs Maidâ and âLate at Nightâ, Elizabeth Bowenâs âOh! MadamâŠâ and Virginia Woolfâs âThe Evening Partyâ
Cet article propose dâexplorer la mise en place dâune dramaturgie de la voix dans cinq nouvelles dâauteures modernistes et de montrer comment lâutilisation presque exclusive du mode discursif de la conversation sâaccompagne dâune exposition thĂ©Ăątrale du langage et dâune poĂ©tique de lâaffect qui font Ă©cho Ă lâanalyse de Michael Stephens dans The Dramaturgy of Style: âBy making fiction voice-centered, the stress goes away from the representational toward the presentational. It becomes gestual, human voice-activated, and the body is the soul because what you see is what you get.â Il sâagira dâabord de sâinterroger sur la façon dont cette dramaturgie de la voix renvoie au statut gĂ©nĂ©rique de ces cinq nouvelles, et plus gĂ©nĂ©ralement de la fiction brĂšve moderniste. La question du lien possible, mais problĂ©matique, entre la notion de âgenreâ littĂ©raire et celle de âgenderâ sera ensuite examinĂ©e dans le but de mettre en regard le drame de la voix et le drame du moi moderniste au fĂ©minin. La dimension orale, dramatique, pathĂ©tique ou ironique de la voix dans ces nouvelles nous conduira enfin Ă tenter de rĂ©pondre Ă la question du locuteur fĂ©minin dans âThe Canaryâ : âWhat is it â that I heard?
Technical, economic and environmental evaluation of advanced tertiary treatments for micropollutants removal (oxidation and adsorption)
International audienceTwo pilots for tertiary treatment, an advanced oxidation processes (AOP - O3/UV/H2O2) pilot and a granular activated carbon pilot, were tested in three different wastewater treatment plants after a secondary treatment. A total of 64 micropollutants including drugs, pesticides, alkylphenols, PAHs and metals were analysed in the samples at the inlet and the outlet of the pilots. The tertiary treatments studied (ozone, AOP and activated carbon) were efficient for the removal of most of the compounds analysed in this study, except metals. The addition of hydrogen peroxide to ozone increased the number of substances well removed but it did not improve the removal of substances that readily react with ozone (such as betablockers or carbamazepine). The other AOP (ozone/H2O2 and UV/H2O2) did not improve the number of substances well removed in comparison with ozone alone. The granular activated carbon was still efficient (R>70%) after 6 months working 24/7 for most of the drugs and the urea and triazine pesticides. The 5 technologies studied were sized at full scale in order to calculate their cost for two sizes of WWTP. The implementation of a tertiary treatment on a 60 000 to 200 000 PE WWTP would increase the wastewater treatment cost by 1,5 to 17,6 euros cents per cubic meter treated according to the technology and the removal objective. Concerning the environmental impact, for the big WWTP, the activated carbon is more impacting than the other processes for most of the impacts calculated. The order of POA by increasing environmental impact is ozone < ozone/H2O2 < ozone/UV ~ UV/H2O2. For the medium size WWTP however, the activated carbon is comparable to the other solutions regarding environmental impact
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