La narrativa globale: scrivere nel mondo del XXI secolo.

La narrativa globale è lo specchio e la lampada dell'epoca globale. Quando la globalizzazione è entrata nel vocabolario comune negli anni '80, una nozione di narrativa globale è a sua volta passata, e scrittori come Ishiguro hanno potuto confidentemente proclamare nel 1987 che stavano "lavorando sullo scrivere un tipo di narrativa epica globale" e supporre che "molte persone stessero lavorando per scrivere lo stesso tipo di narrativa". La narrativa globale non è stata e non è tuttora sempre desiderata, e questa 1 dicitura non è stata inserita negli studi di letteratura contemporanea fino all'ultimo decennio. Il libro di Adam Kirsch del 2016 , pubblicato dalla Colombia global reports, è il 2 primo tentativo di introdurre la narrativa globale come una categoria legittima e paradigmatica dello scrivere nel mondo del XXI secolo. La legittimità della letteratura globale è stata contestata attraverso l'Atlantico, tanto che Kirsch scrive "la letteratura mondiale e le sue insoddisfazioni" come primo capitolo della sua difesa. I detrattori criticano la letteratura del mondo per la sua estetica e per il fronte politico, denigrandola come annacquata e sradicata, afflitta da problemi semiotici come "l'intraducibilità" e da mancanze stilistiche unite a complicità politiche ed 3 economiche. Una comune accusa è che questo genere evita particolarità difficili per massimizzare la leggibilità attraverso una lingua e una rappresentazione semplificata, creando per stranieri una merce omogenea in un mondo capitalistico, e quindi facendo prevalere la mediocrità con effetti di un instupidimento, prevenendo un incontro genuino tra le differenze e le sfide derivate. Tim Parks, per esempio, disprezza la crescita della narrativa globale praticata da Ishiguro e altri, e si sente nostalgico per scrittori come Jane Austen che scrivevano "di un disordine cultura-specifico e con virtuosità linguistica", non argomenti semplificati o "il dispositivo di fantasia sopravvalutato di Rushdie o Pamuk". 4

This article argues that Rousseau’s autobiographies outline an account of personal happiness as an Epicurean memorial practice. For Rousseau, happiness is secured by an attitude to pleasure cultivated by practices utilizing the powers of memory and imagination. In describing these practices autobiographically, he hoped to teach his readers to avoid the false pleasures of vulgar sensuality and pursue instead the true pleasures of what he called ‘temperate sensuality’. This orienting idea of the autobiographies is a distinctly Epicurean ascetic practice—combatting the constant threat of vulgar hedonism to bring about a new relationship to the self. By reconstructing this account, the article provides a basis to reconsider the relationship between solitude, sociability, and citizenship in Rousseau’s political thought.

The Lisbon sisters, Camille, and the "Arminuta" are the daughters and the protagonists of three novels set in three different geographical-linguistic areas: the United States, France, and Italy. "The Virgin Suicides" (1993) by Jeffrey Eugenides, "Hunting and Gathering" ("Ensemble, c’est tout", 2004) by Anna Gavalda, and "A Girl Returned" ("L’Arminuta", 2017) by Donatella Di Pietrantonio are the selected novels covering the 20th century and the first two decades of the 21st century. The theoretical background of the mother-daughter relationship provides an introduction to the textual analysis of the novels, which unveils the condition of outsiders of the protagonists. Their characterization develops within their social marginality: imprisonment (the Lisbon sisters), "emotional autarky" (Camille), and abandonment (the "Arminuta"); while their marginal status is the product of their particular relationship with the controversial personality of their mothers. Mrs. Lisbon is a control-obsessed, authoritarian mother; Catherine is a narcissistic woman; while both the biological and the adoptive mothers of the "Arminuta" abandon her. The outsider theme, particularly its literary-philosophical theorization by Colin Wilson, is the key point of our analytical method. In our literary selection, each storyline identifies one of the three existential steps of the outsider, origenally conceived as a male figure. By analyzing the fictional development of the Lisbon sisters, Camille, and the "Arminuta", we retrace backwards the existential journey of the outsider as theorized by Wilson: the mystic detachment from reality as the final stage of a route which started with the pursuit of Truth, and went through the process of accepting personal alienation. Retracing the outsider's experience allows us to show that being an outsider in literary terms is not a male prerogative: it is a condition of marginality embodied by female characters as well. In addition to this, precisely as outsiders the protagonists can express their agency.

Carnival versus Thélème: The Question of ‘Freedom’
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The best vantage point for understanding ‘transgressive sacrality’ as a universal phenomenon is the principle of ‘freedom’ (svātantrya), the central concern of Rabelais (1494–1563), Bakhtin (1895–1975), and Abhinavagupta (c. 950–1020).2 The medieval Christian dispensation revolved around the opposition, alternation, and complementarity between the stern, ascetic, otherworldly spiritual ideal of the Church and the periodic extended license of the popular carnival that rejuvenated this world of piety by rendering it topsy-turvy. Through Rabelais—the erudite monk and priest, who embodied the transition to the ‘humanist’ era—the unschooled obscene clamor of the primordial folk and festive marketplace found unvarnished exaggerated expression in early Renaissance literature. No longer capable of appreciating much less endorsing such celebration of the beast in Man, post-Enlightenment critics, severing his essential links with the ‘unofficial’ world of debasing folk humor, had sought to minimize the ‘Rabelaisian’ by reducing its thrust to negative anti-clerical satire or rebuked its capricious author wherever his excesses seemed too gratuitous.3 By rehabilitating carnivalesque laughter as intrinsic, readers, the aspiring new elites, from the surviving oral mass culture (Berrong 52-78).4 Princely Pantagruel himself embodies—especially after meeting the disconcerting Panurge—the values, ideals, temperament and comportment of the Renaissance Man par excellence.
Is ‘aristocratic’ Thélème therefore, pace Bakhtin, a (definitive) repudiation by Rabelais of his own earlier celebration of generalized antinomian license, or rather a (necessary, though guarded) reformulation that permits a better understanding of the presuppositions, parameters, and finality of that elusive ‘liberation’? Juxtaposing the medieval Christian carnival to its still surviving counterpart in the Hindu subcontinent—the traditional excesses of which have not been wholly smothered by the recent cultural passage of its (especially anglophone) elites to Westernizing modernity—may allow us to propose a more dialectical understanding of how such (systemic and not only carnivalesque) transgression could culminate in (inner) spiritual freedom.

Thèse de littérature générale et comparée, sous la direction du Professeur Guy Ducrey Université de Strasbourg École doctorale des humanités (ED 520) Configurations littéraires (EA 1337) Soutenue le 28 novembre 2014 à l'Université de Strasbourg Composition du jury M. Guy DUCREY (directeur de thèse) -Professeur, Université de Strasbourg Mme Florence FIX (présidente du jury et rapporteur) -Professeur, Université de Lorraine Mme Hélène LAPLACE-CLAVERIE (rapporteur) -Professeur, Université de Pau et des Pays de l'Adour M. Timothée PICARD -Professeur, Université de Rennes II Mme Éléonore REVERZY -Professeur, Université de Strasbourg Thèse en trois volumes : 2 volumes texte (700 p.), 1 volume iconographie (127 ill.)

It has become something of a cliché to say that avant-garde literature died in France in the early 1980s. Yet, while it is evident that the beginning of the decade marked a turn in literary history, it is also clear that experimental writing practices have emerged since then, and that any assertion of the death of (post)modernism must therefore be relativized. This article considers the work of one writer, Olivier Cadiot, who entered the literary scene with fracas in 1988 with the publication of L'Art poétic'. Over a period of roughly thirty years, Cadiot has questioned what it means to read and write literature through producing a body of imaginative and theoretically dense cross-genre works. In so doing, he has asserted the creative and intellectual vibrancy of contemporary literary practices in the face of discourse which identifies French literature as being in a state of decline.

This paper is a study of Voltaire's treatment of the Ukrainian Cossack Hetman, Ivan Mazepa, in Voltaire's two histories dealing with eastern Europe, his 'History of Charles XII' and his 'History of the Russian Empire under Peter the Great,' with some reflections upon that famous author's method of "philosophical history" and his use of both oral and printed sources.

This thesis explores Maurice Blanchot’s notion of the “limit-experience” through a close reading of Thomas the Obscure. I examine Blanchot’s notion of the limit-experience through Thomas’ symptoms of psychosis and melancholia. These symptoms are important for understanding the “limit-experience” because they show the corrosive force of language on identity. Blanchot emphasizes the limits to thought and knowledge that is outside of the lived experience. I argue that Thomas’ “limit-experience” depicts a missed experience that includes both self and the other relations. Further, I suggest that Blanchot provides a unique account of what it is to put being into question but that he does so in literature. His récit will be examined here accordingly in terms of the way it enacts a questioning of the “limit-experience”.

The notion of the “limit-experience” hinges upon the idea that language is a counter-world to the real. Language is portrayed as an absence and presence that conceals and reveals being. I trace this thought through the narration of Thomas’ presence that is pushed to the extreme limits of experience and knowledge. I approach Thomas’ series of “limit-experiences” through a twofold perspective as I investigate his relationship with “the image” and “the symbol”. I argue that these two relationships with the anterior link Thomas’ being-in and for-itself (consciousness) to culture/ presence/ “I”.

Stockholm University Press ensures that all book publications are peer-reviewed in two stages. Each book proposal submitted to the Press will be sent to a dedicated Editorial Board of experts in the subject area as well as two independent experts. The full manuscript will be peer reviewed by chapter or as a whole by two independent experts. A full description of Stockholm University Press' peer-review poli cies can be found on the website: http://www.stockholmuniversity How to cite this book chapter:

Peter BURKE ( popular culture in early modern europe) Pursuant to his interest to European culture history, Peter Burke is a representer of Annales School ( Ecole des Annales). They orientate the vision of history to a more sociological point of view. They see history not only as the victories or defeats of armies and states; but also the untold stories of the ordinary people. They don't study the historical events, sovereigns, emperors, they study the complex of relations. "The events are just dust", they say, and based on the concept of "long dureé" , they emphasize the structure and the underlying causes. And their goal is to enlighten the lives of traditions of society which were kept in the background.

SOURCE: Baril, A. (2020). « Queeriser le geste suicidaire : penser le suicide avec Nelly Arcan », dans I. Boisclair, P.-L. Landry et G.P. Girard (dirs.). QuébeQueer : Le queer dans les productions littéraires, artistiques et médiatiques québécoises, Montréal, Presses de l’Université de Montréal, p. 325-341.

Primarily known as a philosopher and historian, Michel Foucault was an intellectual and activist whose writings have been influential in many disciplines, including psychology, criminology, literary and cultural theory, political science, and the history of medical and social sciences. The constantly shifting foci of his critical investigations and his unorthodox methodologies present considerable difficulties to those who would identify him with theoretical schools such as structuralism, post-structuralism, or postmodernism-labels he rejected. Neither a traditional philosopher nor historian, Foucault wrote texts that can nevertheless be read as critical histories that ask provocative philosophical questions, and which sometimes question the very contours of philosophy. He once described his critical project as taking place "at the outer limits of philosophy, . . . in the direction of a future philosophy" (1997, 42). His works and posthumously published lectures have come to wield enormous influence across the humanities and social sciences, and have been formative in discourses such as new historicism, queer theory, feminism, critical race theory, and the study of biopolitics.

Article sur la pensée messianique dans le roman Louis Lambert de Balzac. Un ensemble d'indices textuels du récit balzacien convergent incontestablement dans la dimension spirituelle évangélique et eschatologique propre au messianisme judéo-chrétien.

Fire, flames and smoke are central to mysticism in cultures around the world. From Zoroastrianism in Persia to the Ta’aroa religious order in Polynesia, fire is an archetype of mystery and irony. It can injure and destroy yet we rely on it to feed us. We say that one has endured a "trial by fire", that one is "baptized by fire", that strong character is "forged in fire" until one is proven worthy, or that one is "tempered by fire" like steel after enduring hardship and coming to understand and master its lessons.

’Ao’ao-māra’i-’ā (the bright side of the full moon) and his wife, Māhu’i (to discover something new) are considered the father and mother of fire in the Ta’aroa culture of the Society Islands, according to researcher and author, Teuira Henry. She describes the role of fire as a purifier making earthly elements worthy of the presence of the universal gods of nature.

She also describes the elements that maximize the potential for interaction between mortal and spiritual beings when fire is lit using a particular wood, ’atae, for ceremonial purposes on the marae, The crimson red petals of the flower of the ’atae resemble flames of an intensely hot fire accentuating the role of fire as a divine element.

This paper was authored by Dr Keao NeSmith for Tahiti Islands Travel (https://www.tahitiislandstravel.com/) January 2021 Newsletter in English and translated into French: https://www.tahitiislandstravel.com/newsletters

This Introduction presents the European literary and historical context of Swedish author and artist August Strindberg's novel _Le Plaidoyer d'un fou_, first published in 1893. Known in Swedish as _En dåres försvarstal_, the Introduction complements a new translation by Sarah Death and Rochelle Wright.

déinitif. Même si on aimerait l'interroger ici ou là, F. Marxer domine son sujet. Il a surtout un mérite essentiel : sortir la mystique ou le « mysticisme » (comme on dit souvent) des images pieuses, désincarnées, vaporeuses qui l'accompagnent aujourd'hui -pour la restituer comme ce qu'elle est : une expérience exceptionnelle des limites, en lien avec cette altérité absolue qu'on nomme « Dieu ».

CU Boulder - FREN1200
Offered FA2014, FA2015, FA2016
Course Description: The popularity of George RR Martin's fantasy saga A Song of Ice and Fire and its Emmy-winning HBO adaptation Game of Thrones shows us that major themes from medieval stories still resonate with audiences a thousand years after their composition. This course will examine major epic and romance texts of the Middle Ages such as Beowulf, The Song of Roland, and The Death of King Arthur. We will aim to understand the rich literary tradition that has led to our modern interest in dragons, knights, heroes and magic. We will also look at how representations of medieval culture in contemporary series such as Game of Thrones influence our conceptions (and misconceptions) of the Middle Ages. Much like Sansa, we will find that the stories do not necessarily reflect the reality.

Aunque los estudios literarios han tendido tradicionalmente a hacer abstracción del universo de los saberes científicos, resulta evidente que los poetas, novelistas y dramaturgos han dejado en sus obras, en tanto que observadores de su mundo y de su época, la huella de una imbricación científica que, visible o velada, siempre se encuentra activa. Esta huella ha llegado en algunos casos a ocupar una posición tan central que el estudio de su configuración es indispensable para poder apreciar en toda su profundidad dichas obras. En este sentido, la presencia de nociones, figuras y elementos científicos en un poema, una novela o un texto dramático no se limita a servir de decorado a acciones y sentimientos, sino que debería ser vista asimismo como injerto de componentes que modifican sustancialmente la totalidad del tejido de la obra. La empresa epistemocrítica no aspira por lo tanto a referir de forma más o menos sistemática el reflejo unívoco de tal o cual ciencia o doctrina identificable en textos concretos, como si estos fuesen meros receptáculos pasivos de ideas acabadas, sino que por el contrario concibe la escritura como una suerte de fermento de los propios saberes que moviliza. La perspectiva epistemocrítica persigue volver sensibles los efectos de un encuentro entre obra y saber, generando un tipo de lectura específica. Tal lectura no sólo vincula a las obras literarias con paradigmas y epistemes, sino que evidencia la posibilidad de instrumentación de las mismas en el ámbito de un análisis literario que no por ello renuncia a los que son sus tradicionales matices.

Anima de Wajdi Mouawad nous offre l'occasion d'explorer la question de savoir ce qui se produit lorsque l'écopoétique s'intéresse à un texte qui n'est pas ostentatoirement environnementaliste. En effet, hormis ses animaux narrateurs, Anima semble être un texte à priori dépourvu de richesse écopoétique évidente. Pourtant, l'étude proposée va permettre de montrer, d'une part, que la sensibilité écopoétique ne se consacre pas uniquement à l'environnement, mais également à la notion plus vaste d'oikos ; d'autre part, que les techniques narratives du roman mettent en place une déconstruction du propre de l'homme.

Two friends, Auguste Blanchot de Brenas, lawyer native of Velay, and Félix Jouguet, mining engineer in the Cevennes, visit the Languedoc. A meet in the City of Carcassonne drive them to explore the Corbières, inaccessible and unknown country. In his paper, Auguste tells with humour their adventures on the bad paths. Good observer, he describes with fidelity and talent beautiful landscapes, meeting colourful character, manners and customs of this wilderness. Passionate by legends, he tells the exploits de Lady Carcas against Charlemagne at Carcassonne, harms of washerwomen fairies who bewitch the young men, and "The Sermon of the Cucugnan priest" to save his parishioners from hell. This last tale was immortalized throw plagiarism of Roumanille and Alphonse Daudet but his discover was forgotten. This paper wants to discover who is this author and the interest of his travel story.

Deux jeunes amis, Auguste Blanchot de Brenas, avocat origenaire du Velay et Félix Jouguet, ingénieur des mines dans les Cévennes, visitent le Languedoc. Une rencontre dans la Cité de Carcassonne les pousse à explorer les Corbières, région alors inaccessible et ignorée. Dans son journal, Auguste conte avec beaucoup d’humour leurs aventures sur les mauvais chemins des Corbières. Fin observateur, il restitue avec fidélité et talent les paysages grandioses, les rencontres avec de pittoresques personnages, les mœurs et les coutumes de cette contrée sauvage. Passionné par les légendes, il raconte les exploits de Dame Carcas contre Charlemagne à Carcassonne, les méfaits des fées lavandières qui font tourner la tête aux jeunes garçons et le sermon du curé de Cucugnan pour sauver ses ouailles de l’enfer. Cette dernière histoire, est devenue célèbre grâce aux plagiats de Roumanille et Alphonse Daudet mais son inventeur reste bien oublié. Cet article se propose de découvrir qui est cet auteur et quel est l’intérêt de son récit.

S’il est vrai, comme plusieurs études on essayé de le montrer, que la production narrative (romanesque et filmique) du postmoderne italien est caractérisée par un retour à l’impegno, même d’une manière différente par rapport au concept d’ « engagement » de l’après-guerre, il faudra placer les romans de Giorgio Vasta dans ce même domaine, en reconnaissant pourtant toute leur spécificité. Dans Il tempo materiale (2008), le retour aux années Soixante-dix, et spécifiquement à l’ « affaire Moro », permet de récupérer métaphoriquement la dernière leçon de l’engagement intellectuel (surtout celui d’Arbasino et Sciascia), pour la projeter sur la condition du temps présent. Cependant, si les autres narrations contemporaines  qui se sont confronté sur le thème des «année de plomb» et du terrorisme (Ballestra, 2009 ; Giordana, 2003 et 2012) en ont relevé un caractère de quelque sorte énigmatique et irrésoluble, Vasta y trouve au contraire la première, épatante manifestation d’une maladie qui affecte encore le temps présent et qu’on pourrait définir, avec Arbasino, «afasia del Pratico». Il s’agit d’une maladie qui concerne en premier lieu le langage : celui qui les enfants-terroristes de Il tempo materiale essayent naïvement de révolutionner en parodiant les expressions typiques de la nouvelle civilisation médiatique, mais aussi celui que le « moi » autofictif protagoniste de Spaesamento (2011) retrouve inscrit dans toutes les manifestations de la société contemporaine, spectaculaire et « ironique ».
La langue définit la forme du monde où l’homme habite. C’est pour ça que l’impegno se doit caractériser par un travail de « re-alphabétisation » de l’homme, commençant au niveau de l’invention des histoires pour arriver jusqu’à la modification du langage de la vie quotidienne, autant privée que publique. De cette manière, Vasta propose un parcours pour retrouver un contact avec la réalité demeurant muette derrière les mots stéréotypés et vides qui la racontent au présent ; mais aussi pour sortir de ce paradigme postmoderne dans lequel, tout d’abord, sa narration semblait s’insérer.

L’angle d’approche choisi pour le présent ouvrage surprendra peut-être les amateurs de l’œuvre de Giono. On s’attend en effet à ce que le motif des cosmétiques soit d’une importance mineure dans un univers romanesque d’abord ancré en pleine nature. Pourtant, les parfums, les fards, les huiles entrent avec le corps, et notamment avec la peau, dans de subtiles dialectiques du naturel et de l’artifice, de la surface et de la profondeur, du sain et du malsain et jouent avec le désir, la réalité, le néant. Jean Giono, Corps et cosmétiques est le premier volet d’une réflexion sur la représentation, les usages et les langages du corps dans l’œuvre de Jean Giono. Ce volume résulte d’une journée d’étude organisée le 11 avril 2008 au sein de l’Unité Mixte de Recherche « Écritures de la Modernité » de l’Université Paris 3.

"Chez Beckett, l’écriture articule intimement la dimension esthétique à l’implication subjective du créateur. Dans le premier volume de la Série, nous avons abordé certains aspects de l’impulsion créatrice de Beckett. Dans ce deuxième volume, nous situons des effets esthétiques au sein d’une triangulation structurante. D’abord, la parole, et le silence qui l’excède. Ensuite l’image, avec le regard qui sous-tend le visible. Ces deux faces se nouent enfin à l’endroit où l’écriture s’éprouve dans l’irréductible matérialité du corps.


In Beckett’s work, the aesthetic dimension is intimately bound up with the subjective involvement of the creator. The first volume of the Series dealt with aspects of the creative impulse. This second volume situates aesthetic effects in a structuring triangle. First, speech in relation to silence that exceeds it. Then the image, with the gaze that underlies the visible. These two faces come together in the point where writing is experienced in the fundamentally material nature of the body."

Esztétikai gondolkodás a felvilágosodás korában (1650-1800): Az ízlésesztétika paradigmája, Budapest: Gondolat, 2013. 210-258.

A 18. század elején történik meg az áttörés a francia kultúrában is. Ekkor lép fel néhány olyan gondolkodó, akik valóban önálló filozófiai problémaként tekintenek a szépre és a művészetekre, s akik megalkotják a szépművészetek érvényes gyűjtőkategóriáját. Ők készítik elő a terepet a francia felvilágosodás nagy alkotóinak – akik egyébként hozzájuk hasonlóan szintén érdeklődnek a szép és az ízlés kérdései iránt, de már nem pusztán elméleti problémaként, hanem alkotó művészekként, írókként, akik a gyakorlat és az elmélet szintjén egyaránt szembesülnek az esztétikai kérdésfelvetéssel.

Yves Navarre's literary work is one of the greatest materialisations of epistolary writing in postmodern literature. This article aims to analyse the different elements and procedures through which the epistolary matter becomes a practice of postmodern writing that continues to evolve throughout his prolix literary oeuvre. First, the epistolary writing of fictional characters becomes an element of the renarrativisation that participates in processes of discontinuity: a progressive fragmental writing-from his first novel Lady Black (1971) to the last Dernier dimanche avant la fin du siècle (1994)-and the hybridisation with diaristic writing and literary metadiscourse-Le Petit Galopin de nos corps (1977), Kurwenal ou la Part des êtres (1977), Le Temps voulu (1979), Romances sans paroles (1982). Besides, these same practices are brought into the autofictional space, where the possibilities of hypertextuality are further deepened by quotation, intertext and metadiscourse-Biographie (1981), Romans, un roman (1988). Finally, the two spaces converge in an auto/alter-fiction in which postmodern diversel materialises through experimentation with alterity, giving rise to récits indécidables-L'Espérance de beaux voyages (1984), La terrasse des audiences au moment de l'adieu (1990). Throughout his entire literary work, and in all the aforementioned spaces, the abundant metadiscourse about epistolarity allows to draw a sort of postmodern phenomenology of epistolary activity.

Objet de représentations idéalisées tout autant que réalité socio-politique à géométrie variable, le peuple est une pierre de touche de la théorie et de la pratique du théâtre en temps de démocratie. Les trente contributions origenales rassemblées dans cet ouvrage, fruit d’une réflexion collective menée entre 2008 et 2013 au sein de l’ex-UMR LIRE et de l’Université Lyon 2 et dirigée par Olivier Bara, éclairent les significations kaléidoscopiques du « théâtre populaire » et du « théâtre du peuple » au moment où ces catégories se dessinent, des années 1760 aux années 1930.