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The Other in Ford's Making: Elsie, Fiction and Collaboration
No full textThis chapter offers a new reading of Ford Madox Ford's early collaboration in fiction with Elsie Martindale, whom he married in 1894. Based on original archival research, it reassesses the importance of their writing together, and the significance of her role as creative 'other' in Ford's development as an author - exceeded early in his career only by that of his grandfather, Ford Madox Brown, I argue here
Book Presentation: May Sinclair in Her Time
No full textInternational audienceMay Sinclair has been typically considered as a liminal author, positioned between two eras: the 19th and the 20th centuries, Victorian culture and modernism, traditional and avant-garde writing and thinking. As a result, traditional criticism has confined her to the margins of 20th-century literature and philosophy. Re-examining Sinclair’s involvement in the literary and philosophical debates of her time, this collaborative volume seeks to challenge this liminal status and to reassert Sinclair’s role as an author, critic and thinker firmly established within her time. Leading experts in philosophy and in criticism on May Sinclair thus investigate her presence on the literary scene, her dialogues with her contemporaries (e.g. Dorothy Richardson, H.D., Ford Madox Ford and James Joyce) and her engagement with topical issues such as heredity, women’s rights and mysticism, as well as with modernist paradigms such as the epiphany. In light of these new analyses, rather than being uncomfortably situated between two eras, Sinclair emerges as fully in and of her time, engaged in a constant conversation with fellow thinkers, writers, and artists. On a larger scale, this reappraisal of Sinclair’s fruitful connections with her peers invites us to go beyond the conventional divide opposing Victorian and modernist writing, and to participate in the current dynamics in criticism that aims to offer a more inclusive and accurate definition of the intellectual scene in early 20th-century Britain
‘A Sudden Corporeal Manifestation: The “Sublimative Epiphany” as Material Aesthetic in the Modernist Novels of May Sinclair and James Joyce’.
No full textRe-examining Sinclair’s involvement in the literary and philosophical debates of her time, this collaborative volume seeks to challenge this liminal status and to reassert Sinclair’s role as an author, critic and thinker firmly ..
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‘Elsie Martindale and Joseph Conrad: Readers, Critics and Co-Writers’
No full textHomo Duplex: Ford Madox Ford’s Experience and Aesthetics of Alterity
No full textInternational audienceDuality has been an abiding paradigm in much of the criticism on Ford Madox Ford. It has been useful to account for the singularity and ambivalence of Ford’s place in time: poised between the nineteenth and the early twentieth century; in geography: between the city and the country, between England, France, and Germany; in aesthetics: between the influence of his grandfather and the Pre-Raphaelites, and the avant-garde movements of the early twentieth century. The aim of this collective volume is to investigate a specific aspect of duality, that is best expressed in the phrase favoured by Ford himself: homo duplex. This phrase encapsulates the productive tension between identity and difference, and foregrounds the question of alterity in Ford’s life and writing. This volume interrogates the role of alterity in Ford’s self-discovery as an author, and subsequently, in his writing. It is thus articulated along two main axes: one is biographical, and explores the major role that contact with others, or with alterity, played in Ford’s self-construction. The second axis is literary, and demonstrates that alterity is a central paradigm in Ford’s aesthetics
Transmitting the War Experience: Pronouns as a Vector for Aesthetic Change in Ford Madox Ford’s War Prose
No full textInternational audienceThe First World War has traditionally been described as a catalyst for modernism, consecrating avant-garde aesthetics. Its role in precipitating the transition towards modernism may appear even more relevant when it comes to the actual transmission of the war experience. The process of transcribing the war, i.e. of translating such an unprecedented physical, sensorial and psychological experience into words, seems to call for the need to go beyond traditional modes of representation. Yet such notions have not been typically approached in close textual and stylistic detail.This talk centres on Ford Madox Ford, an author who was already part of the avant-garde in pre-war literary London, and aims at examining at close range the effect of his experience of active service onto his writing and more particularly his practice of literary impressionism which he was already developing before August 1914. This essay adopts a stylistic approach to delineate the various pragmatic effects inherent in the use and interactions of pronouns in Ford’s war prose. Ford’s singular use of pronouns is shown to be equally instrumental in his transmission of the war experience and in refining his practice of literary impressionism. In particular, the omnipresent second person is granted a variety of referents that coexist along a 'continuum of reference' (Kluge 2016), from a 'you' that is speaker-oriented to one that is addressee-oriented. Sorlin’s intersection of Kluge’s continuum with a gradient from personalisation to generalisation (2022) is illuminating when delineating the manifold significance of Ford’s use of the second person, as it brings to light the intersection of aesthetic choices and ethical intent. The gradient established by Sorlin to account for the pragmatic effect of 'you' also proves surprisingly useful when applied to the pronoun “one”. Scrutinising the interplay between these various pronouns allows us to investigate in close detail an aspect in which Ford updated and refined his practice of literary impressionism, which was made all the more relevant by his ethical urge to share his war experience
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Séminaire de recherche : Présentation de l'ouvrage Writers at War, Routledge, 2023: Séminaire de recherche EMMA, Université de Montpellier 3, 17 octobre 2023.
No full textSéminaire de recherche EMMA, Université de Montpellier 3, 17 octobre 2023 : présentation de l'ouvrage Writers at War, Routledge, 2023.What is left of humanity when men and women writers, who believe in the humanist mission of literature, are themselves confronted with the limits of the human? When ‘all humanity’ is but ‘matter’, to quote Ford Madox Ford? This question is fundamental to my monograph Writers at War, in which I focus on prose representations of the war by four authors who came in direct contact or close proximity with the war on the Western Front. The texts were selected to investigate equally male voices of combatants and officers and female voices of nurses and journalists; and to compare for each author the texts written in close geographical and temporal proximity to the war with texts that they wrote at a later date. My aim is to interrogate the various ways in which these authors attempted to represent their experience of the war from the temporal and spatial immediacy of the Front and to study the multifarious impact of the war on the (re)development of their aesthetic.Since this seminar took place in the context of axis of our research group entitled “Materialiy”, I concentrated on the dimension of the materiality of the experience of war and on the ethical consequences of the choices made in representing this experience, leaving aside the more technical aspects of representation and aesthetics.Quelle humanité reste-t-il lorsque hommes et femmes de lettres, mus par la profonde conviction de la mission de la littérature, sont eux et elles-mêmes confrontés aux limites de l’humain ? Lorsque « toute l’humanité » n’est plus que « matière », pour reprendre une formulation de Ford ? Cette question est centrale à mon ouvrage Writers at War, dans lequel je me suis intéressée aux représentations en prose de la guerre par deux autrices et deux auteurs ayant connu une expérience directe de la Première Guerre mondiale sur le Front occidental. Le corpus fut sélectionné afin de mêler les voix masculines de combattants et officiers et les voix féminines d’infirmières et de chroniqueuses ; et, pour chacun de ces auteurs et autrices, de comparer les textes écrits à proximité géographique et temporelle immédiate de la guerre, avec des textes de ces mêmes auteurs et autrices écrits à une distance de plusieurs années. Il s’est agi à la fois d’interroger les différentes manières dont ces écrivains et écrivaines ont tenté de représenter leur expérience de la guerre à partir de l’immédiateté temporelle et spatiale du Front, et d’étudier l’impact multiforme de la guerre sur le (re)développement de leur esthétique. Dans le cadre de ce séminaire de l’axe 1, je me suis concentrée sur la dimension de la matérialité de l’expérience de la guerre et sur les conséquences éthiques des choix de représentation de cette expérience, en laissant de côté les aspects plus techniques de représentation et d’esthétique
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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