Tradition, Modernity, and the Enmeshing of Home and Away: The Shipping News and Proulx’s 1990s Newfoundland

In its portrait of coastal Newfoundland, Annie Proulx’s The Shipping News both exploits and subverts an idealized and romanticized notion of the quirky and close-to-nature “Folk.” Its depiction of island realities also emphasizes the challenging effects of postmodernity on the fictional outport community of Killick-Claw (although Lasse Halström’s film version largely omits this theme). Proulx’s exploration of the tension between tradition and modernity also addresses questions of ecology: the novel gains force from its descriptions of the wild and coastal landscapes that are the foundation of its appeal to tourists, and forces affecting Killick-Claw include big commercial and government interests, ecological decline, and the lack of sustainable work. Tensions between Home and Away and between tradition and modernity are explored through the complex trope of the sea, and the novel stresses the ways in which increased outside influences on Newfoundland force the community to deal with change

Introduction to New Work on Immigration and Identity in Contemporary France, Québec, and Ireland

No abstract provided for the introduction

Immigrant and Irish Identities in Hand in the Fire and Hamilton\u27s Writing between 2003 and 2014

In her article Immigrant and Irish Identities in Hand in the Fire and Hamilton\u27s Writing between 2003 and 2014 Dervila Cooke discusses the intertwining of Irish and immigrant identities. Cooke examines the connection between openness to memory and embracing migrant identities in Hamilton\u27s writing both in the 2010 novel and as a whole. The empathetic and inclusive character of Helen in Hand in the Fire is analyzed in contrast to characters who have repressed memory including the Serbian Vid. Helen\u27s ties to elsewhere, her openness to new influence, and her willingness to engage with traumatic elements of the past (Irish and Serbian) make of her a redemptive character. In Hand in the Fire, engaging with the past through the metaphor of self-renovation is seen as potentially healing. The novel connects the retrieval of memory with the (self) acceptance of migrants and of traumatic events in Irish experience

Tradition, Modernity, and the Enmeshing of Home and Away: The Shipping News and Proulx’s 1990s Newfoundland

In its portrait of coastal Newfoundland, Annie Proulx’s The Shipping News both exploits and subverts an idealized and romanticized notion of the quirky and close-to-nature “Folk.” Its depiction of island realities also emphasizes the challenging effects of postmodernity on the fictional outport community of Killick-Claw (although Lasse Halström’s film version largely omits this theme). Proulx’s exploration of the tension between tradition and modernity also addresses questions of ecology: the novel gains force from its descriptions of the wild and coastal landscapes that are the foundation of its appeal to tourists, and forces affecting Killick-Claw include big commercial and government interests, ecological decline, and the lack of sustainable work. Tensions between Home and Away and between tradition and modernity are explored through the complex trope of the sea, and the novel stresses the ways in which increased outside influences on Newfoundland force the community to deal with change

Flâneries et contraintes : promenades textuelles dans Les Ruines de Paris et Le Méridien de Paris de Jacques Réda

Jacques Réda est un flâneur important de l’époque contemporaine, en raison de ses errances dans Paris et aux environs, et surtout à cause de son ouvrage Les Ruines de Paris, publié en 1977 à une période de grands changements dans le paysage parisien. Son titre et sa forme – de petits morceaux de prose poétique – font écho au Spleen de Paris de Baudelaire, qui fut le commentateur des changements de la ville sous Haussmann.Le livre de Réda constitue une grande divagation subjective, essentielle..

Connection and peripheral encounters in Paris bout du monde and Les Passagers du Roissy-Express: text and photography by François Maspero and Anaïk Frantz

This article deals with questions of transit and home, as well as with externality, internality and representation in photography and text by François Maspero and Anaïk Frantz, mainly concerning the Parisian suburbs. The focus is on their collaborative travel work, Les Passagers du Roissy-Express (1990), which stresses that the travellers’ representation of experience, whether in text or in images, must remain incomplete and external to the lives they portray. The article also demonstrates the greater, yet problematic, sense of intimacy in Paris bout du monde (1992), a book of Frantz’s photographs with a short text by Maspero. Like Les Passagers, Paris bout du monde focuses on marginalized Parisians, yet differs in its stress on living spaces photographed from within. As with the earlier text, the emphasis is on transitory spaces, and it too suggests the incomplete and reductive nature of photographic representation

Le "climat Modiano" dans Des gens qui passent : Entretien avec Alain Nahum

Alain Nahum, photographe, dessinateur, et réalisateur, a accepté dans cet entretien de parler de son récent téléfilm pour France 2, adaptation d’Un cirque passe de Patrick Modiano (Des gens qui passent, 2009). Le film est désormais disponible en DVD chez Doriane Films, sous-titré en anglais. Nahum parle ici des éléments qu’il a privilégiés, y compris la lumière, la musique, les objets, les vêtements et les décors, pour tenter de respecter le « climat Modiano ». Il évoque aussi les défis présentés par le roman, et explique les raisons pour certaines décisions, telles que le parti pris de n’introduire ni voix off ni flashback. Il explique également quelques changements dans l’intrigue, parfois imposés par des contraintes pratiques, parfois employés pour souligner un élément souhaité (l’absence du chien, la présence plus forte de la guerre d’Algérie, l’objet structurant du projecteur, ou la mort suspecte de Grabley) et parle de l’expérience de travailler avec les acteurs du film

Le livre et ses espaces

LA CONNAISSANCE DU LIVRE se rattache ici à la mise en jeu dialectique de termes apparemment éloignés : « livre » et « espace ». Le livre ne se réduit donc pas à son support matériel. Notre intention n’est pas non plus de délimiter tous les espaces possibles du livre qu’ils soient physique, esthétique, littéraire, métaphysique ou anthropologique. Il s’agit plutôt de proposer au lecteur un voyage à travers l’espace dans le livre - la page, le texte…, l’espace pour le livre - la bibliothèque, la collection…, l’espace hors du livre - l’œuvre d’art, l’hypertexte… Le livre utopique de Lévinas, Blanchot ou Deleuze, la poésie plastique de Mallarmé, Apollinaire ou Claudel, le récit littéraire de Kundera, Le Clézio, ou Perec, l’espace pictural de Matisse, Kandinsky ou Gris, seront autant de jalons pour mieux mesurer l’étendue de ces espaces infinis que le livre invente