479 research outputs found
Performing Authorship: The case of Louis-Ferdinand Céline and Michel Houellebecq
No full textLouis-Ferdinand Céline and Michel Houellebecq both approach the paratextual practice of the literary interview as a performance. Moreover, they both share an openly cynical attitude towards the press and critics, and it is within these power relations that a fictional character is created – the author.
Within this framework, the literary field is a stage in which an agent can only become an author if he hides behind the mask of his ‘posture’. The space of the paratext then becomes a field of forces, the site of a power struggle between several agents of the literary field; the author, the publisher, the literary critics and the media all trying to control the author’s image and the reception of the text. The final aim of this struggle lies in the attribution of value to a work, and who decides on the ‘correct’ interpretation, the ‘true’ meaning of a text.
Based on Jérôme Meizoz’s theory of ‘authorial posture’, it is the contention of this thesis that Louis Destouches and Michel Thomas are performers; and ‘Céline’ and ‘Houellebecq’ their fictional creations, which are, furthermore, not to be confused with ‘Ferdinand’ and ‘Michel’, their first-person narrators. Louis-Ferdinand Céline and Michel Houellebecq both introduce an element of performance between author and text. They become fictional creations by retroactively ‘acting out’ the main characters created in their novels in the public sphere. The performance changes the status of the author and of the text, destabilizes the dynamic between author and text, and puts into question the production of meaning, whereby any attempt at interpretation becomes self-contradictory. This thesis is, therefore, an attempt to answer the following questions: how do Céline and Houellebecq change the way one reads a text? How do they subvert the idea of the ‘author-function’
Louis-Ferdinand Céline playwright: poetics at the service of classical theatre
No full textCette contribution explore la production dramatique de Louis-Ferdinand Céline, constituée de deux pièces écrites en 1927 (L’Église et Progrès). En particulier, l’étude enquête la fonction du théâtre pour l’écrivain, à travers une analyse littéraire des deux pièces. Cette production est une première tentative de dénonciation sociale, une critique que les lecteurs connaissent depuis la parution de Voyage. Dans la première pièce l’auteur condamne les actions de l’administration coloniale dans les territoires africains et il introduit son idéologie antisémite en décrivant les représentants de la Société des Nations. Avec Progrès, Céline déploie une satire de la société bourgeoise qui lui est contemporaine, caractérisée par une morale déchue. L’article explore ensuite les possibles influences qui ont mené Céline à écrire pour le théâtre; la lecture de sa correspondance nous permet de découvrir que Céline était un véritable amateur du théâtre français et notamment celui de Molière. Il en découle une réflexion qui nous permet d’associer sa production à celle du Théâtre classique du XVIIe siècle. Céline aurait sans doute été inspiré par les comédies-ballets du célèbre dramaturge, en rendant jeunesse aux classiques nationaux français sur la scène contemporaine.This contribution focuses on Louis-Ferdinand Céline\u27s dramatic production, consisting of two plays written in 1927 (L\u27Église and Progrès). The aim of this study is to investigate the function of the theatre for the author, through a literary analysis of the two plays.
This production proved to be a first attempt at social denunciation, with which readers have been familiar since Voyage.
Furthermore, the article explores the possible influences that led Céline to write for the theatre.
By reading the correspondence we discover that Céline was an estimator of French comedy, and particularly that of Molière.
The result is an analysis that allows us to associate his production with that of the Théâtre classique of the 17th century. Céline would therefore, quite hypothetically, have been inspired by the famous playwright\u27s comédies-ballets, thus reviving the classics of French literature on the contemporary stage
Adamah: Poeme
No full textAdamah is by prominent French poet and writer Céline Zins; this premiere edition includes the English translation by Peter Schulman, ODU Professor of French and International Studies.https://digitalcommons.odu.edu/worldlanguages_books/1023/thumbnail.jp
Wrestling with a brilliant villain:The Dutch approach to 'the Céline problem'
No full textSummer 2021. The discovery of thousands of handwritten pages by Louis-Ferdinand Céline is causing quite a stir, both in France and beyond. The author of Voyage au bout de la nuit (1932) and Mort à crédit (1936) is, after all, known as a scandalous writer, whose reputation is marked by his anti-Semitic pamphlets from the years 1937-1941. The personal and social backgrounds of Céline’s thought has been the subject of much speculation. This article places not the author in the foreground but the reader. How did Dutch authors and critics respond to ‘the problem Céline’: an important writer who held abject views and hurled them into the world with great verbal bravado?.</p
Author Correction : Parallels between experimental and natural evolution of legume symbionts (vol 9, 2264, 2018)
No full textInternational audienceCorrection to: Nature Communications https://doi.org/10.1038/s41467-018-04778-5, published online 11 June 2018Clémence Genthon and Céline Lopez-Roques, who performed sequencing, were inadvertently omitted from the author list. This has now been corrected in the PDF and HTML versions of the Article
Roman et récits légendaires et populaire chez L.-F. Céline
No full textEn 1936, Walter Benjamin diagnostiqua dans un article le déclin du récit oral dans la société moderne, dont le roman est l'une des expressions privilégiées. La même année, Céline montra de son côté le même phénomène dans son deuxième roman: dans le prologue de Mort à crédit, suivant le conseil de son cousin qu lui dit de changer de genre, Ferdinand essaie de raconter la " Légende du Roi Krogold ", mais en vain. Ce parallélisme nous permet de supposer que Céline était lui-même sensible au phénomène de déclin du récit oral, et que son univers romanesque n'est pas monolithique. Une telle perspective nous permet de lire le corps du roman de Mort à crédit comme récit de formation d'un romancier, c'est-à-dire comme itinéraire d'un enfant obligé de renoncer au récit oral pour arriver au prologue où il apparaît comme un romancier. Cette lecture jettera d'ailleurs une lumière sur la raison pour laquelle Céline a écrit pendant une vingtaine d'années des arguments de ballet et des scénarios: ces textes sont eux aussi ce que Céline devait refouler malgré lui pour écrire ses romans. Mais, en même temps, cette lecture de Mort à crédit nous suggérera qu'au lieu de se résigner au refoulement du récit oral, il a opéré une sorte de synthèse avec le roman; en effet, il est possible de remarquer dans le travail stylistique de Céline des traces de cette synthèse.In an article in 1936, Walter Benjamin predicted the decline of oral tale in modern society, in which novels are a favoured means of expression. That very year, Céline demonstrated the same phenomenon in his second novel: in the prologue to Mort à crédit, advised by his cousin to change his genre, Ferdinand tries in vain to tell the " Légende du Roi Krogold ". This parallel allows us to suppose that Céline was himself sensitive to the decline of oral tale phenomenon, and that his novelistic universe is not monolithic. Such a perspective enables us to read the core of the novel Mort à crédit as an account of the coming of age of an author, in other words, as the path of a child forced to relinquish oral tale to come to the prologue where he appears as a novelist. This reading will in fat cast a light on the reason why Céline wrote ballet arguments and scenarios for twenty odd years: these texts are also what Céline must have been relinquishing in spite of himself to write his novels. But at the same time, this reading of Mort à crédit will suggest that instead of relinquishing to set aside oral tale, he devised a kind of synthesis with the novel. Indeed, it is possible to note traces of the synthesis in the stylistic work of Céline.PARIS4-BU Serpente (751052129) / SudocSudocFranceF
Truth and untruth: Louis-Ferdinand Céline's Voyage au bout de la nuit and the memory of the Great War 1914-1918
No full textThis thesis examines Louis-Ferdinand Celine’s 1932 novel Voyage au bout de la nuit as a rewriting of his memory of the Great War 1914-1918. It seeks to resolve the truth problematic posed by the inversion in Voyage au bout de la nuit of Celine’s experience in the war, primarily the transition from Celine’s heroism in the war to his fictional self-portrait as the coward, Bardamu. It seeks to clarify the role and value of Celine’s fictional witness to war by placing the novel in a broadly developed context of the war and its commemoration. A major premise of this thesis is that Celine was traumatised by the war and that his rewriting of his war experience is informed by his need to break free of traumatised memory through the creation of a new, literary narrative of his personal past. By drawing on the literature of trauma and survival, as well as on studies of the Great War and other wars, this thesis succeeds in establishing that Celine was, indeed, traumatised by his war experience and succeeds in showing the many ways in which this trauma shapes Voyage. It also provides a thorough account of how Voyage as literary artefact engages with the memory of the Great War and how it functions as witness to war and the consequence of war. It brings us ultimately towards the dynamic of accusation which lies at the heart of Celine’s traumatic memory of the Great War and which underlies its keynotes of irony, satire and invective. This thesis is multi-disciplinary in its approach, drawing on historical, biographical, psychological, and literary studies. It provides an important contribution to Celine studies, but also to studies of the Great War, the memory and literature of the Great War and to studies of twentieth-century trauma, memory and identity
Le mal, le destin et l’éthique. Levinas et le Voyage au bout de la nuit de Céline
No full textDans son oeuvre, Lévinas procède à une analyse de la présence ambiguë des autres, dont le sens vacille entre ontologie et éthique. Selon lui, l’être est le mal ; l’altérité de l’autre, le bien au-delà de l’être. Il est possible de voir en Céline une influence sur l’idée que Lévinas se fait de l’être. Aucune lecture lévinassienne de Céline n’est reconstituable. Quelques rares références nous permettent toutefois d’entrevoir, d’une part, une approbation de la perspective cynique de l’univers présenté dans Voyage au bout de la nuit et, d’autre part, un accord sur « l’anti-humanisme » présent dans le même ouvrage. Nous chercherons d’abord à confirmer l’influence de Céline sur Lévinas sur le point indiqué, puis nous analyserons cette influence en comparant des textes choisis ; enfin, nous montrerons brièvement que si cette thèse est correcte, l’utilisation que Lévinas fait de Céline est en accord avec ses pensées sur la littérature en général. L’argument s’achèvera sur une question concernant la possibilité d’un accord partiel entre le romancier et le philosophe sur la nature de l’éthique.In his work, Lévinas sets out to analyse the ambiguity in others’ presence, at times ontological, at times ethical. It is his belief that being is negative and changes others and that good exists only beyond being. Although it is impossible to recreate Lévinas’ take on Céline, select few references do allow us to glimpse at the former’s endorsement of the latter’s cynical outlook on the universe and his “anti-humanism” as depicted in Voyage au bout de la nuit. Firstly, we shall attempt to confirm Céline’s influence on Lévinas in this regard. Then, we shall analyse this influence by comparing selected works. Lastly, should we be proven right, we shall show that Lévinas’ call on Céline is consistent with his general views on literature. We shall conclude with the possibility that both the author and the philosopher may have shared somewhat similar views on the nature of ethics
Endorsement of assimilationism among ethnic minority and majority youth in a multination-multiethnic context: The case of brussels
No full textThis study examined attitudes towards weak and strong assimilation in a sample of 3,121 pupils from 70 secondary schools in Brussels with a multilevel linear analysis. Controlling for socio-demographic variables, members of some ethnic minority groups endorsed weak assimilation to a greater extent than the majority. Within members of the majority, the French-speaking Belgians held similar attitudes towards assimilation to the Dutch-speaking Belgians. Among ethnic minorities, the identification of pupils from some foreign-origin countries with the mainstream society was positively associated with the endorsement of strong assimilation, while their ethnic identification remained non-significant. Intergroup friendship among pupils of foreign origin was positively related to strong assimilation. Moreover, pupils of foreign origin who experienced institutional discrimination against ethnic minorities in favour of the majority endorsed strong assimilationism to a lesser extent. Among the majority, the perception that people of foreign origin are victims of discrimination was positively related to the endorsement of weak assimilation. However, this association was mediated by the experience by the majority of institutional discrimination against the majority and in favour of ethnic minorities. In-group identification among the majority was not associated with the endorsement of assimilation. The results and their implications for future research and policy makers are discussed. © The Author 2010. Published by Oxford University Press. All rights reserved.SCOPUS: ar.jinfo:eu-repo/semantics/publishe
Le corps humain converti en gisement de ressources économiques – À propos de Le Corps-Marché, de Céline Lafontaine
No full textLe livre de Céline Lafontaine propose, à partir du recensement de travaux de
chercheurs francophones et anglo-saxons, une description de la marchandisation de la vie
humaine à l’ère de la bioéconomie, ainsi que le mentionne le sous-titre du livre. Le
texte ci-dessous en présente un résumé ainsi qu’une mise en perspective philosophique du
phénomène que montre l’auteure.Building on a review of the work of French and Anglo-Saxon researchers, Céline
Lafontaine’s book provides a description of the commodification of human life in the era
of the bioeconomy, as mentioned in the subtitle of the book. The text below is a
summary and a philosophical perspective of the phenomenon presented by the author
shows
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