Le sanwen, de l’époque classique à l’époque moderne

Cet article retrace brièvement l’histoire du sanwen, en insistant sur la variété des écrits qu’il recouvre et sur la difficulté à le définir en tant que genre. À l’époque classique, le wen constituait avec le shi (poésie) la totalité de la littérature lettrée, dont étaient exclus les écrits romanesques et le théâtre. Souvent opposé à la prose fictionnelle (xiaoshuo), il entretient cependant avec elle des rapports complexes, et plus que le caractère non fictionnel, c’est l’engagement personnel de l’auteur qui semble en être la caractéristique essentielle. La Révolution littéraire du début du xxe siècle entraîne une recomposition du paysage littéraire : le sanwen, débarrassé des textes considérés comme non littéraires au sens moderne du terme, devient un des quatre grands genres aux côtés de la poésie, du roman et du théâtre. De nouveaux termes comme zawen ou xiaopinwen apparaissent pour désigner des types spécifiques de prose littéraire. Comme par le passé, les frontières entre fiction et non fiction ne sont pas étanches. Quoi qu’il en soit, le sanwen demeure très prisé pour l’image de profondeur et de distinction qu’il véhicule.This article briefly traces the history of sanwen, emphasizing the variety of writings it covers and the difficulty of defining it as a genre. In the classical period, the wen constituted with the shi (poetry) the whole of the highbrow literature, which did not comprise fiction and theater. Often opposed to fictional prose (xiaoshuo), it nevertheless maintains a complex relationship with the latter, and more than its being non-fictional, it is the personal commitment of the author that seems to be its essential characteristic. The Literary Revolution of the early 20th century entailed a reshaping of the literary landscape: sanwen, from which texts considered non-literary in the modern sense were excluded, became one of the four major genres alongside poetry, fiction and theater. New terms emerged, like zawen or xiaopinwen, to refer to specific types of literary prose. As in the past, the boundaries between fiction and non-fiction are not impervious. However, sanwen is still held in high esteem for the image of depth and distinction it conveys

Lu Xun, Errances (Wandering)

The vagaries of publishing have seen the simultaneous appearance in France of two complete versions of Lu Xun’s collection Wandering, only seven of whose eleven texts had hitherto been available in French. The one by Sébastian Veg, being considered here, is a scholarly edition, accompanied by copious amounts of critical material in the form of very detailed footnotes and “notes” offering a personal interpretation for each of the short stories. The whole is complemented by the annotated transl..

Noël Dutrait (ed.): L'Ecriture romanesque et théâtrale de Gao Xingjian.

This volume contains a collection of sixteen papers presented at the conference on the work of Gao Xinjiang, which was organised by the research team on Chinese literature and translation at the University of Provence, and was held on January 28th and 29th 2005. There is a introductory text by Noël Dutrait, who also authored one of the papers, and the volume concludes with a post-script and a selective bibliography of Gao's works available in French. The latter omits, among other items, extra..

De Lu Xun à Deng Tuo : les vicissitudes du zawen dans la Chine maoïste

Si Lu Xun est célébré comme le maître incontesté du zawen, l’essai polémique dans lequel il s’est illustré a été attaqué dès les années 1930 par ceux qui niaient toute valeur littéraire à ces petits textes de circonstance, avant que le contexte de la guerre ne conduise certains critiques de gauche à encourager un type d’écrits plus direct et plus simple. Mais c’est Mao lui-même qui sonnera le glas du zawen à la Lu Xun, en posant des limites explicites aux velléités contestataires des auteurs. L’article examine trois moments au cours desquels des écrivains ont tenté de redonner au zawen toute sa dimension critique : les années 1941 et 1942 à Yan’an, les Cent Fleurs et la période qui a suivi le Grand Bond en avant. Une place particulière est consacrée aux Yanshan yehua et à leur auteur, Deng Tuo, dont la fin tragique couronne des décennies de vicissitudes du zawen.Although Lu Xun is celebrated as the undisputed master of the zawen, the polemical essay for which he became famous was debased in the 1930s by those who denied any literary value to these small occasional texts, before the context of the war led some leftist critics to encourage a more straightforward and plain style of writing. But it was Mao himself who sounded the death knell for the zawen à la Lu Xun, by setting explicit limits to the oppositional stance of the authors. The article examines three moments during which writers attempted to restore the zawen to its full critical dimension: the years 1941 and 1942 in Yan’an, the Hundred Flowers period and the years following the Great Leap Forward. A special place is devoted to Yanshan yehua and its author, Deng Tuo, whose tragic end exemplifies decades of vicissitudes for the zawen

Lu Xun, Errances, édition établie par Sebastian Veg,

Les hasards de l’édition ont voulu que paraissent simultanément deux versions françaises intégrales du recueil de Lu Xun Errances, dont n’étaient disponibles jusqu’ici dans notre langue que sept des onze textes qui le composent. Celle de Sebastian Veg, dont nous avons à traiter ici, est une édition savante, pourvue d’un copieux appareil critique : notes très fouillées et « notices » proposant une interprétation personnelle de chacune des nouvelles. L’ensemble est complété par la traduction an..

Introduction

Qu’ils soient pour l’essentiel romanciers, poètes ou dramaturges, la plupart des auteurs chinois ont aussi composé des sanwen, un mot traduit communément par « essai » ou par « prose littéraire » mais qui n’a pas de réel équivalent dans la terminologie littéraire de langue française. En tant que terme générique, le sanwen constitue un des quatre grands genres de la littérature chinoise moderne, aux côtés de la littérature de fiction (roman et nouvelle), de la poésie et du théâtre : cette répa..

“Para mim é o 46 se faz favor”: A neofilia e neofobia no consumo de alimentos

Nas sociedades modernas globalizadas, o consumidor de alimentos é confrontado com uma variedade de produtos, motivações, valores e necessidades que ultrapassam o propósito básico da alimentação. Parece evidente que o consumidor exibe frequentemente um comportamento paradoxal ao adquirir produtos cujas características não conhece, reconhece ou mesmo ignora se satisfazem as suas necessidades.Coloca-se então a questão: o que leva um consumidor a comprar um produto do qual quase nada sabe? Porque coloca no seu prato um alimento que desconhece? Muitas vezes o consumidor utiliza informação de produtos já existentes para “reconhecer” os novos produtos, por isso é frequente as inovações partilharem características sensoriais com produtos reconhecíveis, de modo a facilitar a sua aceitação. Apresentamos alguns resultados da aplicação de um inquérito por questionário a uma amostra de 384 indivíduos, com mais de 15 anos de idade, da Região de Lisboa, que permite contribuir para o conhecimento destes consumidores e da sua relação com os novos alimentos.In modern global societies, food consumer faces a variety of products, goals and needs that go beyond the basic feeding propose. It seems clear that consumer behaves paradoxically when buying a product that is unknown and sometimes ignoring if it will fulfill its needs. There are questions that must be answered. What makes a consumer buy an unknown product? Why consume a completely strange food? It is usual that new food products imitate familiar foods in order to achieve acceptation. Some results of an inquiry, applied to a stratified sample (384 individuals, over 15 years old) of the population of Região de Lisboa, proposing to contribute to the understanding of consumer’s relation with novel foods are presented

Agents of May Fourth. Jing Yinyu, Xu Zhongnian, and the Early Introduction of Modern Chinese Literature in France

Jing Yinyu (1901-1931?) and Xu Zhongnian (1904-1981) played a pivotal role in the dissemination of modern Chinese literature in France at the turn of the 1930s. Best known as Lu Xun’s first translator into a Western language and a friend of Romain Rolland’s, Jing compiled the Anthologie des conteurs chinois modernes in 1929. In his Anthologie de la littérature chinoise. Des origines à nos jours, published in 1932, Xu also devoted a section to recent literary developments. By analyzing the nature of the two projects, the translated corpora, and their paratexts, I will describe the features of Jing’s and Xu’s dissemination of May Fourth literature in France and scrutinize their artistic and ideological stance vis-à-vis the new literary scene. Ultimately, I will attempt to pinpoint in what terms the two scholars-cum-translators’ agency contributed to foreign readers’ awareness of the cultural, social and political experience of the May Fourth Movement

Perry Link, The Uses of Literature : Life in the Socialist Chinese Literary System, Princeton University press, 2000

Rabut Isabelle. Perry Link, The Uses of Literature : Life in the Socialist Chinese Literary System, Princeton University press, 2000. In: Études chinoises, vol. 21, n°1-2, Printemps-Automne 2002. pp. 284-289