10,158 research outputs found
Compte rendu : « Anne-Florence Quaireau, Le Féminin en partage. Le voyage d’Anna Jameson au Canada (1836-1837), Paris, Sorbonne Université Presses, 2022, 403 pages »
No full textTexte publié dans Anne Duprat, Gilles Louÿs, Emmanuelle Peraldo et Anne Rouhette (dir.), Patrick Leigh Fermor, un temps pour écrire n° HS 6 de la revue Viatica, Clermont-Ferrand, POLEN, juin 2023.International audienc
Bristol and Bath in Frances Burney’s Evelina
No full textInternational audienceThis chapter pays special attention to the third and last volume of Evelina, in which Frances Burney has her heroine go to Bristol Hotwells ‘for the recovery of [her] health’ and visit briefly ‘[t]he charming city of Bath’. Yet, in a novel where short vignettes of fashionable places or touristic spots abound, Rouhette observes that neither the Hotwells nor the city of Bristol receive any kind of description, and Evelina never actually leaves what was supposed to be a temporary place of residence. After examining the significance of the ‘permanent transience’ of Evelina’s stay at Bristol, Rouhette focuses on the vagueness of the setting to bring out its literary dimension, highlighting parallels with and differences from Smollett’s Humphry Clinker and Anstey’s New Bath Guid
Mary Shelley, Les Aventures de Perkin Warbeck: Édition et traduction de l’anglais par Anne Rouhette-Berton. Paris, Classiques Garnier, 2016,
No full textCompte-rendu d'ouvrage (roman traduit de l'anglais)International audienceCompte-rendu de l'ouvrage Les Aventures de Perkin Warbeck, roman de Mary Shelley, traduit et annoté par Anne Rouhette-Berton
Les Aventures de Perkin Warbeck, de Mary Shelley. Introduction, traduction et édition critique de Anne Rouhette.
No full textInternational audienceCe roman historique de Mary Shelley situé pendant la guerre des Deux-Roses est traduit ici pour la première fois en français. L'appareil critique comporte notamment un dictionnaire des personnages historiques mentionnés dans l'oeuvre
Anne as Pagan, Anne as Queer
No full text‘Anne as Pagan, Anne as Queer’ is a critical and creative answer to the question: How do we construct Anne Shirley, and what does she mean to us? This creative research submission is a work of fanfiction, specifically a mash up based on Anne of the Island, L.M.M. Montgomery’s sequel to Anne of Green Gables. In this short work of fiction (under 4 thousand words) Anne is revealed as a changeling, one of the Faerie Folk, and also a being not strictly male or female; sometimes neither, sometimes both. The mash up is based on the last two chapters of Anne of the Island, the scenes in which Gilbert Blythe is seriously ill and Anne realises she loves him. This realisation causes Anne, in this version, to reveal to Gilbert that she is both non-human and not a girl, and to use Faerie magic to save Gilbert’s life. Anne’s revelation causes Gilbert a great relief, as he has been keeping a secret also - that he too is queer. The piece has an accompanying research statement and reflection, that reflects on the ways the contributor/author interprets Anne, as a being troubled by gender, and not strictly gender conforming. The much-loved scene from Anne of Green Gables in which Anne realises she is not wanted by the Cuthberts because she is not a boy is inserted into the mash up (as a memory) as this scene is the principal cause for the contributor’s identification with Anne as a gender non-conforming figure who resists gender expectations. Overall, this creative and critical work and reflection queers both Anne as a character and the Anne of the Island novel.Book chapter - work of fiction with a critical reflective essa
Tristram Shandy’s comic modes: humour, satire, and learned wit
No full textThis essay examines the comic mechanisms in Laurence Sterne's Tristram Shandy, focusing on humour, satire, and learned wit. By tracing the evolution of humour from classical roots to its psychological and narrative roles in the eighteenth century, the study highlights how Sterne adapts traditional comic forms. Tristram Shandy is shown to synthesise various comic traditions into a rich, adaptive comic vision, adapting ancient humoral theories, Shaftesburian moral philosophy, Cervantic characterisation, and Scriblerian satire. The characters of Walter Shandy, Uncle Toby, Yorick and others exemplify different comic types—satirical and sentimental—whose fixations serve both as sources of humour and targets of critique. Sterne's humorous techniques are thus understood through an "amiable humorist" interpretation, serving as a form of Romantic "inverted sublime." The essay also discusses satirical interpretations of the work, notably Melvyn New’s anti-sentimentalist and anti-existential reading that stresses Sterne's fideistic scepticism. Ultimately, Sterne’s comic art is seen to represent a revision of literary and philosophical traditions into a complex form that balances critique with empathy. Humour in Tristram Shandy is not merely a rhetorical device but a worldview that embraces multiplicity, fostering a shared, redemptive laughter. Sterne’s work thus adapts historical comic forms into a narrative strategy that is at once critical, therapeutic, and profoundly humane
« La Roche de Saint Julien et autres problèmes de traduction dans History of a Six Weeks’ Tour (Histoire d’un voyage de six semaines), de Mary Shelley et Percy Bysshe Shelley »
No full textInternational audienc
Histoire d’un voyage de six semaines, de Mary Shelley et Percy Bysshe Shelley, introduction, traduction et édition critique d'Anne Rouhette,
No full textInternational audienc
Interview with Anne Russell
No full textInterview with Anne Russell, playwright and author of several books on local history, including Wilmington: A Pictoral History
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