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L’écriture détournée par la sérigraphie dans les poèmes-estampes de Roland Giguère
Get PDFThe surrealist Quebec poet, painter and artists’ books editor Roland Giguère has based his entire work on a dialogue between poetry and visual arts (painting, serigraphy, typography) in order to experiment the iconicity of writing. He has composed a graphic poetry made of plastic and iconic signs as well as graphic signs, playing with the semiotic ambiguity to create poetic effects and sense. His polysemiotic experiment of the poem based on a specific use of serigraphy has impacted the readability, but has paradoxically shown a new kind of poeticity and the expressiveness of writing. The aim of this article is to establish how the writing subversion and the semiotic experiment allowed by an original use of serigraphy creates poetry
Hybridité et voix auctoriale
Get PDFThis article analyzes three hybrid narratives – Sylvie Gracia’s Le livre des visages (2012), Pascal Quignard’s Les ombres errantes (2002), and Hélène Cixous’s Hyperrêve (2006). Although their hybridity can be found at different levels, such as the generic level, or the lexical level, all three texts attempt to catch the Mother in their narrative subterfuges in order to bring her back to life (or in the case of Cixous, to keep her alive), in vain. In the process, the authorial voice is reinforced as the voice leading the reader through narrative transgressions
Quand la littérature rencontre le cinéma : Paradis conjugal d’Alice Ferney et Le garçon incassable de Florence Seyvos
Get PDFIn a society characterized by ever-changing identity- and boundary-redefinition, the confines among different kinds of art are shifting consistently. Painting, photography, and cinema often surface in post-modern literature directly or indirectly. In particular, intertextual connections, generated by the intertwining of cinema and literature in literary works, lead to the creation of new text types which can hardly be classified according to traditional genre taxonomies. This essay aims to investigate some hybridization processes, triggered by the presence of cinema in literary texts, through the analysis of two novels which claim a direct connection with cinema: Paradis Conjugal d'Alice Ferney (2008) et Le Garçon incassable de Florence Seyvos (2013)
Le parlé-chanté dans Phèdre de Jean Racine et Partage de midi de Paul Claudel
Get PDFIn this article we will seek to answer how, in Phèdre to Jean Racine and Noon’s Sharing to Paul Claudel, the « parlé-chanté » is particularly significant. To do so, this article will be divided in three parts. In the first part, the « parlé-chanté » will be defined and linked to Arnold Schoenberg’s Sprechgesang. While the second part will issue on Phèdre by Jean Racine, the third and final part will focalize on Paul Claudel's Noon’s Sharing. By focusing on the two aforesaid plays we will try to prove that the operatic voice is always present in the acting choices and that the two playwrights accustomed the dramatic rules of their time
Les chamanes contemporains – figures d’instabilité
Get PDFAntoine Volodine and Christian Garcin both make a distinctive use of shamanism in fictional novels. By multiplying shaman characters and intertwining the shamanistic principles and the narrative, they develop a poetic of instability noticeable through various hybridization processes notably strengthened by the intrusion of supernatural elements. The analysis of three motives in which this game of unstable balance is particularly mirrored – identity, History and fiction – shall turn our attention to the role of shamanism as a vector of fictional dynamism
Mallarmé et la poétique de l’hybridité
Get PDFThe hybridity that is seen everywhere in symbolist poetry is not so much evidence of a temporary trend of the era following the interest in the crossing of species in nature as much as it is an attempt to confront the very nature of “art” itself. The time of the “quarrel of monsters” has passed, and the hybrids of contemporary poetry – competing for a place in the mythological scene that is symbolism – roam guiltless. And yet, beyond literary conventions, this mythological bestiary is anything but innocent and outdated; in fact, it embodies a genuine mythopoetic repertoire. For Mallarmé in particular, this hybrid bestiary reflects the illusive “Chimera” of poetry
L’hybridité dans La Steppe rouge de J. Kessel : limite ou complémentarité ?
Get PDFThe Red Steppe of Joseph Kessel is a valuable work, insofar as it is mainly characterized by its generic hybridity. The six novellas oscillate between the biographical and autobiographical, between history and fiction, between the individual and the collective, between the current and the universal. A sort of juxtaposition and/or co-existence can be traced between the novella of Kessel and other literary genres such as the travelogue, the initiation story, the adventure story, the historical narrative and the fictional narrative. This interdiscursive report makes the historical text an open text, "a hybrid text.
Les anthologies surréalistes : l’élaboration collective d’un genre littéraire hybride
Get PDFPublished for the first time in 1940 the André Breton’s Anthology of black humor inaugurates the great season of surrealist anthologies, which will last until late 60s. The use of the traditional form of the modern anthology by the Surrealists, does not involve into a complete acceptance of its rules, already codified since the end of the 19th century, but rather a deformation of its textual structure and of its objectives, producing a literary genre with particular characteristics. The surrealist anthology, such as those realized by André Breton, Paul Éluard, Louis Aragon and Benjamin Péret, represent an hybrid literary object with structural elements in common with the dictionary, the glossary, the anthology and the catalogue. The surrealist literary collections represent both a different approach to the history of literature and an expression of surrealist poetics
Le crime et le châtiment d’un Raskolnikov raté en Afghanistan
Get PDFThe second novel written directly in French by Atiq Rahimi, A Curse On Dostoevsky, calls on the masterpiece Crime and Punishment by Dostoevsky. This novel shows various aspects of the hybridization of the author. The Russian novel is manifest in the French novel in two ways: implicitly by the moral reflections on the divine justice and the human justice, and explicitly by many elements of the text (title, epigraph, paratexts, quotations, paraphrases etc.). Being a lot more than a simple pastiche, the French novel is indeed the rewriting of the famous crime committed by Raskolnikov. It is its intertextuality which makes the novel of Rahimi a kind of dialogue with the novel of Dostoevsky on the mode of the rewriting of the reflections and the reformulation of the questions developed in the work of the latter. What are the similarities and the fundamental differences between the character of Rassoul, main character of Rahimi, and that of Raskolnikov, protagonist of Dostoevsky? How has Rassoul become a failed pasticheur? What punishment are they to be subjected to in a country engulfed in an endless fratricidal war? These are the questions to which the present study will seek to find the answers