L’écriture rouge de Sherman Alexie : l’exemple de "The Sin Eaters"

If the bodies of Native American individuals seem perpetually tormented and exploited, they constitute means of rebellion when they are transformed into the testimony of a witness – into the body of work of the writer. One can read Sherman Alexie’s collection of short-stories, The Toughest Indian In The World (2001), as scattered bodies regaining shape on paper and forces through his angry red ink. The short-story “The Sin Eaters” constitutes its central nerve with a macabre allegory which links the holocaust to the genocide of the Native American tribes. This apocalyptic tale depicts, in an undetermined moment in time, the removal of Native Americans and their imprisonment in an underground military complex, from the point of view of a boy named Jonah. Though it portrays psychological and physical torture, the short-story manages to produce a truly emancipating knowledge. Putting in the wake of the aesthetic aspect of writing an epistemological questioning on the estrangement undergone by ethnic minorities in the United States nowadays, Alexie reflects on some of the greatest interrogations of philosophy and literature. After analyzing the implications of the chaotic temporality of the short-story, I endeavour to study how disfigured bodies altered into the narrator’s body of work betray both the oppressors’ and the victims’ respective languages of power. I then concentrate on the demystifications undertaken by Alexie’s writing of recollection which demonstrates that, by saying the Other, one becomes Oneself

L’écriture rouge de Sherman Alexie : l’exemple de "The Sin Eaters"

If the bodies of Native American individuals seem perpetually tormented and exploited, they constitute means of rebellion when they are transformed into the testimony of a witness – into the body of work of the writer. One can read Sherman Alexie’s collection of short-stories, The Toughest Indian In The World (2001), as scattered bodies regaining shape on paper and forces through his angry red ink. The short-story “The Sin Eaters” constitutes its central nerve with a macabre allegory which links the holocaust to the genocide of the Native American tribes. This apocalyptic tale depicts, in an undetermined moment in time, the removal of Native Americans and their imprisonment in an underground military complex, from the point of view of a boy named Jonah. Though it portrays psychological and physical torture, the short-story manages to produce a truly emancipating knowledge. Putting in the wake of the aesthetic aspect of writing an epistemological questioning on the estrangement undergone by ethnic minorities in the United States nowadays, Alexie reflects on some of the greatest interrogations of philosophy and literature. After analyzing the implications of the chaotic temporality of the short-story, I endeavour to study how disfigured bodies altered into the narrator’s body of work betray both the oppressors’ and the victims’ respective languages of power. I then concentrate on the demystifications undertaken by Alexie’s writing of recollection which demonstrates that, by saying the Other, one becomes Oneself

L’écriture rouge de Sherman Alexie : l’exemple de "The Sin Eaters"

If the bodies of Native American individuals seem perpetually tormented and exploited, they constitute means of rebellion when they are transformed into the testimony of a witness – into the body of work of the writer. One can read Sherman Alexie’s collection of short-stories, The Toughest Indian In The World (2001), as scattered bodies regaining shape on paper and forces through his angry red ink. The short-story “The Sin Eaters” constitutes its central nerve with a macabre allegory which links the holocaust to the genocide of the Native American tribes. This apocalyptic tale depicts, in an undetermined moment in time, the removal of Native Americans and their imprisonment in an underground military complex, from the point of view of a boy named Jonah. Though it portrays psychological and physical torture, the short-story manages to produce a truly emancipating knowledge. Putting in the wake of the aesthetic aspect of writing an epistemological questioning on the estrangement undergone by ethnic minorities in the United States nowadays, Alexie reflects on some of the greatest interrogations of philosophy and literature. After analyzing the implications of the chaotic temporality of the short-story, I endeavour to study how disfigured bodies altered into the narrator’s body of work betray both the oppressors’ and the victims’ respective languages of power. I then concentrate on the demystifications undertaken by Alexie’s writing of recollection which demonstrates that, by saying the Other, one becomes Oneself

Le portrait du roi : entre art, histoire, anthropologie et sémiologie

Dans la théorie des arts à l’époque moderne, le portrait du roi a un statut singulier : en tant que portrait, il dépend du dictat de la ressemblance au modèle naturel, qui l’éloigne de la noble quête de l’idéal, mais en tant que représentation du souverain, donc d’un personnage hors norme à la perfection incomparable, il a vocation d’être un chef-d’œuvre. De ce fait, le portrait du roi échappe, du moins dans la littérature encomiastique, au discrédit qui frappe progressivement le genre du por..

Com o diabo no corpo: os terríveis papagaios do Brasil colônia

Desde a Antiguidade, papagaios, periquitos e afins (Psittacidae) fascinaram os europeus por seu vivo colorido e uma notável capacidade de interação com seres humanos. A descoberta do Novo Mundo nada faria além de acrescentar novos elementos ao tráfico de animais exóticos há muito estabelecido pelos europeus com a África e o Oriente. Sem possuir grandes mamíferos, a América tropical participaria desse comércio com o que tinha de mais atrativo, essencialmente felinos, primatas e aves - em particular os papagaios, os quais eram embarcados em bom número. Contudo, a julgar pelos documentos do Brasil colônia, esses voláteis podiam inspirar muito pouca simpatia, pois nenhum outro animal - exceto as formigas - foi tantas vezes mencionado como praga para a agricultura. Além disso, alguns psitácidas mostravam-se tão loquazes que inspiravam a séria desconfiança de serem animais demoníacos ou possessos, pois só três classes de entidades - anjos, homens e demônios - possuíam o dom da palavra. Nos dias de hoje, vários representantes dos Psittacidae ainda constituem uma ameaça para a agricultura, enquanto os indivíduos muito faladores continuam despertando a suspeita de estarem possuídos pelo demônio. Transcendendo a mera curiosidade, essa crença exemplifica o quão intrincadas podem ser as relações do homem com o chamado “mundo natural”, revelando um universo mais amplo e multifacetado do que se poderia supor a princípio. Nesse sentido, a existência de aves capazes de falar torna essa relação ainda mais complexa e evidencia que as dificuldades de estabelecer o limite entre o animal e o humano se estendem além dos primatas e envolvem as mais inusitadas espécies zoológicas.Since ancient times, parrots and their allies (Psittacidae) have fascinated Europeans by their striking colors and notable ability to interact with human beings. The discovery of the New World added new species to the international exotic animal trade, which for many centuries had brought beasts to Europe from Africa and the Orient. Lacking large mammals, tropical America participated in this trade with its most appealing species, essentially felines, primates and birds - especially parrots - which were shipped in large numbers. It should be noted, however, that at times these birds were not well liked. In fact, according to documents from colonial Brazil, only the ants rank higher than parrots as the animals most often mentioned as agricultural pests. On the other hand, some of these birds were so chatty that people suspected them to be demonic or possessed animals, since only three classes of beings - angels, men and demons - have the ability to speak. Nowadays, several Psittacidae still constitute a threat to agriculture, and the suspicion that extremely talkative birds were demon possessed has also survived. More than a joke or a mere curiosity, this belief exemplifies how intricate man’s relationships with the “natural world” may be. In this sense, the existence of birds that are able to speak adds a further twist to these relationships, demonstrating that the problem of establishing a boundary between the animal and the human does not only involve primates, but also includes some unusual zoological species

Violences et imaginaires de violences à la frontière mexicaine-américaine dans « The snake » de Sergio Troncoso

L’écrivain Sergio Troncoso, né en 1961 à Ysleta, à l’Est d’El Paso au Texas, s’est installé un an au Mexique, après ses études à Harvard pour découvrir s’il est, pour le citer, Mexicano ou Americano. Il en est revenu assuré que le secret de son identité se situe en réalité à la frontera, dans un entre-deux mexicain-américain aussi violent que vertigineusement riche. Son recueil de nouvelles The Last Tortilla and Other Stories (1999), ses deux romans The Nature of Truth (2003) et From This Wic..

Une Haïtienne-Américaine en quête de mémoire à Haïti dans “The Missing Peace” d’Edwidge Danticat

Placé sous le sceau des interactions entre imaginaire, dynamiques de violence et enjeux mémoriels, cet article porte sur le récit “The Missing Peace” publié en 1995 dans le recueil Krik ? Krak ! de l’écrivaine haïtienne-américaine Edwidge Danticat. Il prend pour objet la perte de plusieurs mères : celles d’une Haïtienne-Américaine, d’une jeune Haïtienne orpheline mais également celle de la mère patrie écrasée par la violence de ses dirigeants. Faire le deuil d’une mère en lui offrant une place dans les mémoires collectives et intimes est mis en parallèle avec celui d’une patrie fantasmagorique. Cette recherche se donne pour objectif de comprendre la teneur des luttes identitaires et mémorielles qui traversent les quêtes des deux personnages féminins principaux, à plus forte raison lorsqu’elles se font à travers l’écriture de l’exil de son auteure et dans le contexte instable des Caraïbes, et plus particulièrement de Haïti, victimes de catastrophes naturelles et d’une douloureuse histoire humaine marquée par la colonisation, l’esclavage, des dictatures et une très grande pauvreté.Placed under the seal of the interactions between imagination, dynamics of violence and memorial stakes, this paper studies the short-story "The Missing Peace" published in 1995 in the collection Krik? Krak! by the Haitian-American writer Edwidge Danticat. It takes the subject of the loss of several mothers: those of an Haïtian-American, of a young orphan Haitian woman but also that of the mother country crushed by the violence of its leaders. Mourning a mother by offering her a place in collective and intimate memories is paralleled with that of a phantasmagorical homeland. This research aims to understand the content of identity and memory struggles that cross the quests of the two main female characters, all the more so when they are done through the writing in exile of its author and in the unstable context of the Caribbean, and more particularly of Haïti, victims of natural disasters and of a painful human history marked by colonization, slavery, dictatorships and extreme poverty

« Welcome to the Oasis » : la vie en exil selon Virgil Suarez

Introduction Virgil Suárez est l’auteur de plusieurs romans (Latin Jazz, Havana Thursdays, …) et d’une dizaine de recueils de poèmes (Guide to the Blue Tongue, 90 Miles, …) qui font de lui une figure importante et prolixe de la littérature cubaine-américaine contemporaine. Né à La Havane en 1962, il a suivi ses parents dans leur exil en Espagne en 1970 puis aux États-Unis en 1974. Son choix d’y rester ne se fait pas sans un désir de réfléchir à ce que signifie être un écrivain d’origine cubai..

"Dissidentités" (la double absence / double appartenance de nouvellistes américains (1992-2003))

Notre thèse s'articule autour de l'identité en pointillés de nouvellistes américains. Nous y décrivons l'écriture des dé/possessions africaines américaines et amérindiennes, suite au déplacement contraint de leurs ancêtres, à travers les récits de Randall Kenan, Stéphanie Allen, Sherman Alexie et Susan Power. Nous décryptons ensuite les narrations des frontières créées par l'immigration symbolique entre le Mexique et les Etats-Unis de David Rice, Sergio Troncoso et Oscar Casares. Puis notre recherche souligne la mise en mots des entre-deux Caribéens par les émigrations du Cubano-Américain Vírgíl Sua rez, du Jamaïco-Américain Thomas Glave, de l'Haïtienne Américaine Edwidge Danticat et du Dominicain Américain Junot Díaz. Enfin nous nous attachons à l'expression des éclats formés par les émigrations asiatiques de Chine, du Vietnam, du Maharashtra et du Bengale de Lan Samantha Chang, Linh Dinh, Ginu Kamani et Jhumpa Lahiri. Nous abordons l'absence et l'appartenance simultanées à deux espaces par une approche des réinscriptions et des (dés)inscriptions de ces auteurs. Notre thèse explore leurs jeux d'écriture entre un discours collectif et leur voix intime. Ces nouvellistes relient un projet esthétique individuel à une réappropriation toute aussi personnelle des batailles pour les droits civiques de la décennie de leur naissance (1961-69). Loin d'accepter l'étiquette réductrice de littérature des minorités ou de devenir des porte-parole, ces écrivains refusent néanmoins de gommer leurs racines. A l'orée du 21e siècle, ils démystifient l'Amérique anglo-saxonne tout comme un certain communautarisme.This thesis studies short-stories by american writers born between 1961 and 1969, at the core of the debate over the civil rights. It presents the dual senses of absence and belonging as seen by Randall Kenan and Stephanie Allen (African-American authors), Sherman Alexie and Susan Power (native American), David Rice, Sergio Troncoso and Oscar Casares (Mexican-American), Vírgíl Suárez (Cuban American), Thomas Glave (Jamaican-American), Edwidge Danticat (Haitian-American), Junot Díaz (Dominican-American), Lan Samantha Chang (Chinese-American), Linh Dinh (Vietnamese-American), Ginu Kamani (Maharashtran-American), and Jhumpa Lahiri (Bengali-American). They respectively write about the dis/possessions of their African and native American ancestors' lands, the frontiers experienced through the symbolic Mexican immigrations, the 'in-betweens" shaped by Caribbean emigrations, and the fragments from Asia. Their collections, published between 1992 and 2003, tackle the implications of their inscriptions in the United States following their ancestors' forced displacement, their family's or their own (real or figurative) migration into the "American Dream". In these collections, they discuss what is at stake in the tension between a collective discourse and their intimate voice at the transition towards the 21st century. These writers put in the wake of the aesthetic aspect of their very personal style an original questioning on the estrangement ethnic minorities still undergo in the United States. These fifteen authors underline the need to debunk American myths and hyphenated identities but also their own minorities.ORLEANS-BU Lettres (452342103) / SudocSudocFranceF