18 research outputs found
Art and the artist in the literary works of Elsa Triolet
No full textThis thesis takes a representative selection of Triolet's works to study the themes of writing and creativity as they are presented in the novels. These are all portraits of artists and the accounts of the search for a synthesis of aesthetic freedom and ethical responsibility. It considers Triolet's importance as a foreign writer, adopting a new creative language to be adopted by a different cultural
environment, to be essential in understanding her importance to the French literary tradition. By emphasising her formative years in the avant-garde circles of prerevolutionary Russia, my study demonstrates her considerable contribution to the meeting of Russian and French aesthetic theories. I extend this with close textual
readings of certain works to demonstrate her techniques in novelistic construction which reveal many Formalist practices before Formalist works in translation made
their official influence on creative methods.
The introduction considers the reasons for Triolet's neglect as a writer. It then considers various contemporary and recent critical appraisals which indicate
the interest she has received until present and which allow me to define my own critical approach. Part One traces Triolet's literary evolution from her formative
years in Russia, through exile to her first publications in Russian. It then considers her insertion into French literary activity, and her association with the schools of
socialist realism and the "nouveau roman".
Part Two examines two traditional novels which portray the creative and metaphorical roles of the artist and his work, showing the constant conflict between private and public lives. In Part Three, I show how aspects of novelistic
traditionalism are gradually foregrounded so that the work develops a dual-sided character where it both narrates and examines the processes of its own narration. In Part Four, this move to highly self-conscious aesthetics demonstrates an idiosyncratic exploration of new paths for the novel that bring visual, auditive and cinematographic media into the traditional domain of written art. Accompanying
the very post-modernist experimentation, I show how this research within the novel into the novel's own future has an ethical and redemptive purpose whose final conclusion is that creativity and human freedom are inexorably interwoven
The "Incongruous Stranger" as Structural Element in the Novels of Elsa Triolet
No full textIn Language in Literature , Roman Jakobson underlines the presence of a certain device, which he calls he superfluous passerby, in Russian realist literature. This element has traveled into French literature with a Russian-born expatriate novelist. Several works by Eisa Triolet present this type of character, and extend the device structurally. In this device a character can provoke a new development in plot or character relations. Such a character has no direct relationship to the characters or events portrayed. Therefore, as opposed to classic novelistic perspective, this incongruous and unknown character shifts and blurs characterial hierarchy. The superfluous passerby displaces the focus of the narrative, creating a moment of impeded perception and of diversion that makes the following event, a momentous happening in the life of the main character, foregrounded structurally in its decisiveness. This study analyses the traditional and the modernist aspects of this device, places the character within the Triolean repertoire, studies its narrative function, and defends an unjustly ignored French author. The device, which forms part of the modus operandi of Eisa Triolet, a style that her critics called réalisme fantastique , is illustrated using Zascitnyj cvet (1928), Mille regrets (1942), L'Inspecteur des ruines (1948), Luna-Park (1959), and Ecoutez-voir (1968)
Author Retrospective for Semantical Interprocedural Parallelization: An Overview of the PIPS Project
No full textInternational audienceThe PIPS project was started in 1988 to investigate the automatic detection of medium- and large-grain parallelism in scienti c programs thanks to summarization techniques based on convex array regions. By 1992 the PIPS system had reached its original goals, but it has morphed into a comprehensive, open-source platform still in use today. What were the key scienti c and engineering decisions that made this possible in spite of some inevitable shortcomings
La réception des romans d’Elsa Triolet dans l’hebdomadaire Les Lettres françaises (1957–1968)
No full textInternational audienceThe aim of this paper is to analyze the reception of Elsa Triolet’s novels in the French weekly Les Lettres françaises. We analyze and examine the critical texts and interviews of the author regarding her novel Le Monument (1957), followed by the texts referring to her novel cycle L’Âge de nylon: Roses à crédit (1959), Luna-Park (1959), L’Âme (1962). First, we focus on the articles on the novel Les Manigances (1961), published outside this cycle, continuing with the articles on the two novels that belong to the same cycle, Le Grand-Jamais (1965) and Écoutez-voir (1968). Our research shows a keen interest of Les Lettres françaises in Elsa Triolet’s novels. Literary critics of the time saw great potential, diversity and richness of themes in Triolet’s texts. From the analyzed texts, we observed that this writer’s novels were positively received, with critics utilizing a variety of techniques to introduce the author’s oeuvre to a wider audience.Le but de ce travail est d’analyser la réception de certains romans d’Elsa Triolet dans l’hebdomadaire français Les Lettres françaises. Nous présentons et examinons les textes critiques et les entretiens de l’auteur concernant son roman Le Monument (1957), puis les textes qui se réfèrent à son cycle romanesque L’Âge de nylon : Roses à crédit (1959), Luna-Park (1959), L’Âme (1962). Sont visés les articles sur le roman Les Manigances (1961) publié hors de ce cycle, ensuite les articles sur les deux romans faisant partie d’un même cycle, Le Grand-Jamais (1965) et Écoutez-voir (1968). Nous tentons de montrer comment l’écrivaine présente son œuvre et quel est l’intérêt des critiques littéraires de publier des commentaires sur les ouvrages dans ce journal communiste
"Voyage au bout de la nuit" de L.-F. Céline (traduction et réception en Russie)
No full textToute traduction est datée : elle reflète son époque et nous renseigne sur le profil des lecteurs pour lesquels elle est réalisée. Le système de codes esthétiques dans lequel apparaît l œuvre change, la réputation de l auteur est faite, le contexte politique n est plus le même : une retraduction s impose. Le destin réservé au premier roman de Louis-Ferdinand Céline en Union soviétique est révélateur à cet égard. En 60 ans, trois traductions russes de Voyage au bout de la nuit virent le jour : la première fut réalisée par Elsa Triolet (1934), la deuxième est signée Jurij Korneev (1994) et la plus récente est le fruit d une collaboration entre Alexandra Junko et Jurij Gladilin (1995). Parmi ces trois versions russes du Voyage, nous avons accordé une importance particulière à la traduction d Elsa Triolet, contemporaine et compatriote de Céline. C est grâce à elle que le Voyage a pu paraître juste à temps : en 1936, après la sortie de Mea culpa, sa publication en Russie n aurait plus été possible. Remue-ménage du prix Goncourt et ironie des chroniqueurs avaient constitué l arrière-plan de la sortie tapageuse du Voyage. Sa réception risquait d être aussi tumultueuse en U.R.S.S. mais les conditions étaient très différentes et, dans un pays dominé par l idéologie, il n y avait pour la traduction de Triolet qu une seule issue possible : tenter de s inscrire dans la production littéraire de ce nouveau monde soviétique. Korneev, Junko et Gladilin ignorent ce contexte de pesanteur. Venues trop tard pour le lecteur russe, leurs traductions n avaient plus la même portée que le Voyage lors de sa parution 60 ans auparavant.A translation is rooted in its time: it reflects its birth date and gives us insight on its intended readers. When the aesthetic code changes, when the author s reputation is made, when the political context is different, a new translation is needed. The case of Louis-Ferdinand Celine s first novel, making its way into the Soviet Union, is significant. Three translations into Russian of the Journey to the end of the night have been published in the course of 60 years: the first by Elsa Triolet (1934), the second by Jurij Korneev (1994) and the third through the collaboration between Alexandra Junko and Jurij Gladilin (1995). We have laid emphasis on Elsa Triolet s translation as she was Celine s contemporary and compatriot. Thanks to her, the Journey could be published just-in-time: in 1936, after the publication of Mea Culpa, it could not longer have been authorized in Russia. Background to the tumultuous publication in France of the Journey was the Goncourt Prize and the irony displayed by the chroniclers. In the USSR, its reception was likely to be as stormy. But the situation was quite different: in a country where ideology was the key word, Elsa Triolet s translation had to insert itself in the literary production of the new Soviet environment. Korneev, Junko and Gladilin had not to experience the same burden. But as they came too late for the Russian reader, their translations couldn t have the same scope as the Journey when it was first published 60 years before.PARIS4-BU Serpente (751052129) / SudocSudocFranceF
Les voix parallèles de Nancy Huston
No full textLes voix parallèles de Nancy Huston — Cet article s'attache à la problématique des écrivains bilingues ou polyglottes (Eisa Triolet, Vladimir Nabokov, Julien Green), et plus particulièrement à celle de Nancy Huston. Quelles raisons poussent un écrivain ou une écrivaine à utiliser pour la création une langue seconde plutôt que sa langue maternelle ? Quand l'auteur s'auto-traduit, s'agit-il d'une nouvelle création ? Nancy Huston était-elle en droit de recevoir le Prix du gouverneur général dans la catégorie fiction fancophone pour Cantique des plaines, « réécriture » de Plainsong par l'auteure ?Nancy Huston's Parallel Voices — This article examines the case of bilingual and polyglot writers, such as Nancy Huston, Elsa Triolet, Vladimir Nabokov and Julian Green. Why does a writer choose to write in his or her second language ? When an author translates his or her own work, is this a new text ? Was Nancy Huston eligible to receive the Governor-General's Award in the French fiction category for Cantique des plaines, her own rewriting of her novel Plainsong
Tomorrow's living room: poems
No full textTomorrow's Living Room offers a pleasantly disorienting verbal territory. The collection is alternately wry and dark, hopeful and bleak, full of unexpected light and laugh-out-loud incongruities. We begin to see that the shape and the furniture of Jason Whitmarsh's world reflect our own (they may in fact be universal), but we're considering them through completely new terms of engagement. Selected by, and with a foreword by, Billy Collins.Foreword / Billy Collins -- Forecasts -- He Said These Things, Not Even I Could Forgive Him -- Of Arc -- Anniversary -- Department Store Fictions -- Tomorrow's Living Room -- One Art -- Two Parts Water -- The Ever Inconstancy -- Two, Couchbound -- After Archilochos -- Change -- Missing IOU -- Curse -- Japanese Watermelon -- Administration -- Three Days In and Already It's Come to This -- Fasted and Loosed -- Triolet -- Anniversary -- Capitalism as Comeuppance -- Ask Anyone, They'll Tell You -- Regret -- Praise -- There but for the Grace -- There's an Old Man -- Not a Demon -- And Quartered -- Anniversary -- The Thirty-Six Dramatic Situations: 10 -- The Thirty-Six Dramatic Situations: 11 -- The Thirty-Six Dramatic Situations: 31 -- The Thirty-Six Dramatic Situations: 1-36 -- On the Take -- Anniversary -- One on the Heels of the Other -- Things That Still Scare Me -- He Dreams of the Diner of The Damned -- Apology -- Twenty Questions, the Advanced Edition -- Self-Portrait -- Anniversary -- Sonnet -- What We Said Then, That Wasn't Nice -- Anniversary -- Why Poetry? Because -- Dear Morbid in Malaysia -- Three Curses -- Anniversary -- Last Bit -- Nightmare -- The Story You're Telling -- We're a Rerun -- I Thought That -- Faith -- Anniversary -- Ghazal -- Having At It -- Perfect Forecasting, Found on eBay -- Finnish Rabbit -- Anniversary -- Disappearing Act
Genre form of a triolet (in the works of M. Bogdanovich and the poets of Brest region)
No full textВ статье делается первая попытка в белорусском литературоведении представить достижения поэтов Брестчины в плане преемственности традиций М.Богдановича по овладению такой жанровой формой, как триолет. Творчество белорусского классика и наших современников свидетельствует, что в каждой жанровой форме в значительной степени аккумулируется культура человечества, что в свою очередь способствует активному развитию в творчестве поэтов индивидуального начала, углублению философских интонаций, обогащению техники художественного творчества. Материалы исследования могут быть использованы на лекциях и семинарских занятиях по курсам современной белорусской поэзии в вузах и школах.This article is the first attempt in Belarusian loterary studies to represent the achievements of the poets of Brest region as the continuity traditions of M. Bogdanovich’s in mastering such a genre form as triolet.The works of the great Belarusian classical author and our contemporaries show that human culture is accumulated in such genre form which in its turn contributes to the development of individual source, intensification of philosophical intonations and enrichment of literary techniques. The materials of the research can be used at the lectures and seminars on the courses of the contemporary Belarusian poetry at higher educational institutions and shools
The German Occupation in recent French fiction : an analysis of the literary “mode retro”
No full textThis thesis attempts to analyse and characterise the mode rétro, the remarkable renewal of interest in the German Occupation of France, which is coloured by an extensive re-evaluation of the period's significance. An introduction places this fashion in its literary, social and historical context, revealing how, from 1940 to 1969, a collective and predominantly Gaullist 'myth' of the Resistance became established, with the result that the national response to invasion was accepted to be one of wide-spread heroism and revolt. Part I studies the reaction to such résistancialisme, showing how this orthodox interpretation of events was undermined and, for many, discredited, and offering explanations of the timing and direction of the new view. Part II focuses on the fiction, memoirs, autobiographies and biographies of the younger authors, those who have no direct adult experience of the années noires. It is suggested that their obvious obsession with absent parent-figures reflects their awareness that the past has been misrepresented and their heritage rendered problematic. Their sole means of escape from this predicament, their only source of emotional relief is seen to lie in the creation of a personal account of the early 1940s running contrary to the prevalent orthodoxy, the fabrication of a 'counter-myth'. It is thus the notion of myth which links the various sections of the survey, and so gives the thesis its overall unity
The spatiotemporal control of expert tennis players when returning first serves: a perception-action perspective
No full textThis work was supported by the ITF Development Department under Grant ITF RG 2006/08 awarded to the last author. We thankfully acknowledge the support provided by the ITF, Spanish Tennis Federation (Coaching Area), Madrid Tennis Federation and Catalan Tennis Federation. In coordination among them, the federations facilitated the access to professional tennis players and provided the facilities to carry out the data collection.
We thankfully acknowledge the support provided by the ITF, Spanish Tennis Federation (Coaching Area), Madrid Tennis Federation and Catalan Tennis Federation. In coordination among them, the federations facilitated the access to professional tennis players and provided the facilities to carry out the data collection.
© 2021 Informa UK Limited, trading as Taylor & Francis Group
Pages 16-23 | Accepted 31 Aug 2021, Published online: 17 Sep 2021
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• Williams, A. M., & Jackson, R. C. (2019). Anticipation in sport: Fifty years on, what have we learned and what research still needs to be undertaken? Psychology of Sport and Exercise, 42(May), 16–24. https://doi.org/10.1016/j.psychsport.2018.11.014The aim of the current experiment was to examine the spatiotemporal control of expert tennis players while executing first service returns within a representative experimental setting. We recruited and tested 12 male expert tennis players in hard courts. A comprehensive analysis of the timing (eleven temporal variables analysed at 300 Hz) and performance success of the return actions were carried out, while simultaneously considering task constraints such as the accuracy and the speed of the serves. Temporal organisation of return actions were scaled relative to the server’s racket-ball contact (5 ms), an adaptation of fly-time of the split-step, which resulted in consistent landings (133 ms), and initiation of lateral movements towards the ball–with no response errors–after the server’s stroke (around 177 ms). Poorer returns occurred when responding to accurate serves accompanied by late trunk movements towards the ball. Returners scaled the timing of the response to the unfolding action of the serve in order to support both spatial and temporal accuracy. These novel findings highlight the significance of the study of fast-ball sports in representative settings and offer further detail on the spatiotemporal control of skilful perception-action.ITF Development DepartmentMadrid Tennis Federation and Catalan Tennis Federation (Spain)Spanish Tennis FederationInnovation and Technology Fund Hong Kong SAR (China)Depto. de Didáctica de las Lenguas, Artes y Educación FísicaFac. de EducaciónTRUEpu
