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Hantise du présent, hantise du passé dans "Les Derniers rois mages" de Maryse Condé
Get PDFSpéro, the hero of Maryse Condé's "Les Derniers rois mages", is a queer, contradictory and complex character. Through the analysis of this novel, Simonetta Valenti in fact shows that the complexity and the opacity of this character, which is reflected in the Condé's style, are provoked by an 'identity quest' which reveals non only impossible, but ridiculous
Le Soulier de satin (versione originale del 1929)
No full textA work characterised by a plurality of significations, in which cohabit, in a reciprocal harmony, references to some episods of the Spanish 'Golden Century', theological issues of the highest value, elements belonging to Claudel's historical and cultural epoch, as well as to moments of his own biography, "Le Soulier de satin", defined by its author as "his testamentary drama", represents the "summa" of the writer's poetic and dramatic conception. The italian translation of Claudel's original text, completed by a vast apparatus of notes and by a critical essay, offers as a valid instrument for the comprehension of a XXth century work that cannot be avoided and that reveals able to conquer the reader, because of its extraordinary actuality
L'héritage symboliste dans 'Tete d'Or' (1889) de Paul Claudel
No full textCritics and specialists of Claudel's theatre generally consider "Tete d'Or" (1889) as the first masterpiece of this author. In the economy of Claudel's production, this piece marks in reality a transformation, from the works of the first period -clearly influenced by Symbolism - and the great dramas of Claudel's maturity, which fully manifest his originality and his definitive conversion to the Catholic faith. From a structural view point, "Tete d'Or" presents several elements which reveal Claudel's debt to Symbolist culture, but, at the same time, the piece contains some aspects which can be seen as the overcoming of Decadent nihilism, and the discovery of a new horizon of hope: the one offered by Grace
Oralité humaine et discours animal dans "Anima" de Wajdi Mouawad
No full textPubblicato nel 2012 presso Leméac/Actes Sud, Anima, il secondo romanzo di Wajdi Mouawad narra la storia di Wahhch Debch e della sua disperata ricerca dell’assassino di sua moglie. Ciò che rende tanto appassionante la vicenda è il fatto che la narrazione è costantemente condotta dal punto di vista, non dei vari individui incontrati via via dal protagonista, bensì dal punto di vista – disforico, o quanto meno spaesante – dei numerosi animali che lo incrociano sul suo cammino. Cedando così la parola alle bestie, lo scrittore libano-chebecchese dà origine nel suo romanzo a un curioso rovesciamento di prospettiva. La nostra analisi del discorso delle diverse specie che seguono l’odissea del personaggio mouawadiano, messo a confronto con quello dei molteplici essere umani con cui entra in contatto, ha lo scopo di mostrare che, all’interno della concezione de Wajdi Mouawad, l’umanità rischia oggi di perdere la propria natura, abbandonandosi a una pericolosa deriva verso la bestialità.Published in 2012, by Leméac/Actes Sud, Wajdi Mouawad’s the second novel Anima tells about the worrying research of his wife’s murder by the hero, Wahhch Debch. Nevertheless, the story appears so interesting and thrilling to the reader, because of the peculiar narrative technique which is employed by the author.
The various characters who appear on the novel’s scene are in fact considered and judged, not from the view-point of their fellows, but from the one of the different animals that meet Debch, in his desperate attempt to discover Léonie’s killer. So, allowing beasts to speak, the Libanian-Canadian writer creates a curious reversal, which gives a prominent value to the ‘animal soul’, in opposition to the human one.
Our analysis of the speech of the several animals that follow the hero’s odyssey, compared to that of the various human beings he meets, is then functional to demonstrate that, in Mouawad’s conception, mankind is risking, at present, to lose its own nature, degrading dangerously towards an authentic state of bestiality.Publié en 2012, chez Leméac/Actes Sud, Anima, le deuxième roman de Wajdi Mouawad raconte l’histoire de Wahhch Debch, un homme lancé à la poursuite de l’assassin de sa femme. Ce qui rend si passionnante l’intrigue du roman, c’est que la narration y est constamment conduite à partir du point de vue, non pas des différents individus qui croisent le protagoniste sur leur chemin, mais au contraire à partir du point de vue – dysphorique, ou tout au moins dépaysant –, des nombreux animaux qui viennent à sa rencontre. En cédant ainsi la parole aux bêtes, l’écrivain Libano-Québecois donne origine dans son roman à un curieux renversement de perspective. Notre analyse du discours des diverses espèces qui suivent l’odyssée du héros mouawadien, comparé à celui des multiples individus qu’il rencontre, a pour but de montrer qu’au sein de la conception de Wajdi Mouawad l’humanité risque à présent de perdre sa propre nature, dérivant dangeureusement vers un état de sauvagerie bestiale
Traduzione, autotraduzione e creazione: il caso de "Le Livre de Christophe Colomb" di Claudel
No full textLa carriera letteraria di Claudel è accompagnata e costellata dalla presenza della traduzione, un’attività che il poeta-drammaturgo attua con grande libertà, ma nel rispetto sostanziale del testo originale, visitato, compreso e fatto proprio, mediante la penetrazione profonda del senso.
Diversa appare invece la funzione dell’auto-traduzione, di cui The Book of Christopher Columbus costituisce un fortunato esempio. Trovandosi nella condizione di dover tradurre se stesso, Claudel è scevro da qualunque preoccupazione legata all’interpretazione del testo e può perciò concentrarsi, da un lato, sui meccanismi dell’azione teatrale, e dall’altro, sulle risorse prosodiche della lingua inglese, elaborando così un’opera vera e propria, in grado di produrre nell’idioma di Chaucer effetti simili a quelli che essa produce nella sua lingua madre.Claudel’s literary career is accampanied and studded with translation, an activity the poet realizes with a great freedom, but respecting the original text, which is interpreted and understood through a deep penetration of its meaning.
The function of auto-translation is different and The Book of Christopher Colombus represents an privileged example. Being in the condition of traslating himself, Claudel is free from any concern about the interpretation of the text, so that he can concentrate, on one side, on the mechanisms of the dramatic action, and on the other, on the prosodic resources of English. He creates therefore a full work, able to produce in Chaucer’s idiom effects that are similar to those it produces in French.La carrière littéraire de Claudel est accompagnée et constellée par la traduction, une activié que le poète-dramaturge réalise avec une grande liberté, mais en respectant le texte original, interprété, compris et réapproprié, à travers l’appréhension du sens.
Différente nous apparaît en revanche la fonction de l’auto-traduction, dont The Book of Christopher Colombus constitue un exemple privilégié. Étant dans la condition de se traduire, Claudel est dégagé de toute préoccupation liée à l’interprétation du texte et peut donc se concentrer, d’un côté, sur les mécanismes de l’action théâtrale, et de l’autre, sur les ressources prosodiques de la langue anglaise. Il donne origine ainsi à une œuvre à plein titre, à même de produire dans l’idiome de Chaucer des effets analogues à ceux qu’elle produit dans sa langue maternelle
NICHOLAS RENNIE, Benjamin and Zola: Narrative, the Individuals and the Crowds in an Age of Mass Production, "Comparative Literature Studies", n. 33 (4), pp. 396-413.
No full textHERVE' SERRY, Naissance de l'intellectuel catholique, Paris, Editions La Découverte, 2004, 371 pp.
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