DOCSLIB.ORG

Preface Chapter 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Preface Chapter 1 Notes Preface 1. For further discussion and bibliography, see my “Nouveau ouancienromanˇ : Open Structures and Balzac’s ‘Gobseck,’” Texas Studies in Literature and Lan- guage 20 (1978): 15–19. 2. A convenient bibliography of these and other such work accompanies Robert Scholes’ Structuralism in Literature: An Introduction (New Haven: Yale UP,1974) 201–17. 3. E.g., B. E. Perry, The Ancient Romances: A Literary-Historical Account of Their Origins (Berkeley: U of California P, 1967) 30–31. 4. E.g., André Malraux, marginal annotation to Gaïton Picon’s Malraux (Paris: Seuil, 1953) 66; Maurice Z. Shroder, “The Novel as a Genre,” Theory the Novel, ed. P. Stevick (New York: Free P, 1967) 14–17. 5. E.g., Juan Ignacio Ferreras, Teoria y praxis de la novela: La ultima aventura de Don Quijote (Paris: Ediciones Hispanoamericanas, 1970) 5, 16. 6. E.g., Arthur Heiserman, The Novel before the Novel: Essays and Discussions about the Beginnings of Prose Fiction in the West (Chicago: U of Chicago P, 1977) 3–4. 7. E.g., Philip Stevick, ed., “Introduction,” Theory of the Novel 4. Chapter 1 1. David I. Grossvogel, Limits of the Novel: Evolutions of a Form from Chaucer to Robbe-Grillet (Ithaca, NY: Cornell UP, 1968) 278. Indeed, “Formula kills the novel more quickly and more decisively than it kills any other genre, because ...the novel cannot afford in any sense to repeat itself”—John Bayley, “Character and Consciousness,” New Literary History 5 (1974) 232; and Ronald Hayman, “Deprived of Novelty, the Novel Ceases to Be Itself”—The Novel Today: 1967–1975 (London: Longman, 1976) 133. 2. See, Allan H. Pasco, Novel Configurations: A Study of French Fiction, 2nd ed. (Birmingham: Summa, 1994) 99–122. 3. Cloonan, French Review 81 (2007): 61–77. 4. Cf., Frank Kermode, “Novel and Narrative,” Theory of the Novel: New Essays, ed. John Halperin (New York: Oxford UP, 1974) 156. 166 NOTES TO PAGES 2–5 5. Doody demonstrates convincingly that the novel continues from antiquity, though I wish she had added the aesthetic impulsion, however weak, to her concept of the novel as prose fiction of a certain length—True Story of the Novel (New Brunswick: Rutgers UP, 1996) 16. Terry Eagleton’s definition is the same: “A novel is a piece of prose fiction of a reasonable length”—The English Novel (Oxford: Blackwell, 2005) 1. Likewise, E. M. Forster, Aspects of the Novel, Harvest Books (1927; rpt. New York: Harcourt Brace, 1954) 5–6. There are variants, but most definitions hold close to a combination of character and narrative. 6. Percy Lubbock’s definition is somewhat more interesting. For him, the subject is “the novelist’s intention, in a phrase,” and he wants it to be “expressible in ten words that reveal its unity”—The Craft of Fiction (New York: Viking, 1957) 41–42. 7. Maurice Blanchot, “Autour du roman,” L’Arche 9 (September 1945): 109. For considerations of the recent novel, see, Warren Motte, Fables of the Novel: French Fiction Since 1990 (Chicago: Dalkey Archive Press, 2003), Motte, Fiction Now:TheFrenchNovelintheTwenty-FirstCentury(Chicago: Dalkey Archive Press, 2008), and Alain-Philippe Durand and Naomi Mandel, eds., Novels of the Contemporary Extreme (New York: Continuum, 2006). 8. In an interview with Bettina Knapp, Raymond Queneau said, “We consider the Rhétoriqueurs to be our literary ancestors”—French Novelists Speak Out (Troy, NY: Whitston, 1976) 45. 9. Ricardou is, of course, opposing what he considers an oversimplification— Nouveau roman: Hier, aujourd’hui: Communications et interventions du col- loque tenu du 20 au 30 juillet 1971 au Centre culturel international de Cerisy- la-Salle, 2 vols. (Paris: 10/18, 1972) 2.43. 10. For a time, a number of New Novelists were claiming that their readers were free to create their own fictions from the works the authors offered. See, e.g., Jean Ricardou, “Naissance d’une fiction,” Nouveau roman: Hier, aujourd’hui 2.393–417, and Alain Robbe-Grillet, “An Interview with Alain Robbe-Grillet,” by Beverly Livingston, Yale French Studies 57 (1979) 235. The novelists’ insin- cerity was perhaps highlighted by the vociferous rejection of Jean Alter’s interpretation, which was not harmonious with the author’s intention— “Perspectives et modèles,” Nouveau roman: Hier, aujourd’hui 1.35–73. 11. Pavel, “The Novel in Search of Itself: A Historical Morphology,” The Novel, ed. Franco Moretti, vol. 2 (Princeton: Princeton UP, 2006) 3–31. 12. Barzun, “The Novel Turns Tale,” The Novel and Its Changing Form: Essays, ed. R. G. Collins (Winnipeg: U of Manitoba P, 1972) 128–29. 13. Virginia Woolf, “Modern Fiction,” The Common Reader, first series (1925; London: Hogarth P, 1962) 190. 14. W. Tatarkiewicz, “Form in the History of Aesthetics,” Dictionary of the History of Ideas: Studies of Selected Pivotal Ideas, ed. Philip P.Wiener, 5 vols. (New York, Scribner, 1973–74) 2: 216–25. 15. Leonard Orr, Problems and Poetics of the Nonaristotelian Novel (Lewisburg: Bucknell UP, 1991) 14. NOTES TO PAGES 6–9 167 16. Hunter, Before Novels: the Cultural Contexts of Eighteenth-Century English Fic- tion (New York: W.W. Norton, 1990) 7. Although I agree with Franco Moretti that genres are morphological, at least to the point that incorporated sub- sets can vary paradigmatically, I differ in that I do not believe that the novel genre, at least, is chronologically demarcated. Moretti’s best examples justify his belief in temporality, but they are rather limited generic structures or sub- genres, like epistolary novels, gothic novels, and historical novels, and it seems both more interesting and more useful to see the similarity between these and other kinds of novels. Such attempts uncover the structures that transcend time, while components (or subsets) like plot, character, and theme of the definition change. See, Franco Moretti, Graphs, Maps, Trees: Abstract Mod- els for a Literary History (London: Verso, 2005). Michael McKeon recognizes that prior to the eighteenth century there were novels, although they were indiscriminately referred to as romances, histories, or novels. They mediated history and romance as the middle class rose and took form, though he believes that Richardson and Fielding, in particular, introduced something new to the enlightenment culture—McKeon, The Origins of the English Novel: 1600–1740 (Baltimore: Johns Hopkins UP, 1987) 25–26. Doody makes the point that “[s]ets and subsets are not stable entities but fluid variables dependent on the conceptual interests of those who deal with them”—The True Story of the Novel xvii. See, also, Arthur Heiserman, TheNovelBeforetheNovel(Chicago: U of Chicago P, 1977), and Pierre Grimal, ed., “Introduction,” Romans grecs & latins. Bibliothèque de la Pléiade (Paris: Gallimard, 1963) ix–xxiv, who provide numerous examples of ancient novels. 17. Neither Lynn A. Higgins, NewNovel,NewWave,NewPolitics:Fictionandthe Representation of History in Postwar France (Lincoln: U of Nebraska P, 1966) 14, nor Bloom were, of course, the first to make such a point. As Wallace Martin pointed out, Roman Jakobson argued in an essay of 1921 that each new generation of writers “tends to assert that the works of its predecessors are improbable, artificial, stylized, not true to life”—Recent Theories of Narrative (Ithaca, NY: Cornell UP, 1986) 64. 18. Not everyone agrees with this distinction. Jeremy Hawthorn takes his def- inition from the Oxford English Dictionary: “a novel is a ‘fictitious prose narrativeortaleofconsiderablelength...in which characters and actions representative of the real life of past or present times are portrayed in a plot of more or less complexity’ ”—Studying the Novel, 4th ed. (London: Arnold, 2001) 4. 19. Leonard Orr gives an excellent summary of those who have believed that art must be unified (or coherent, complete, or closed)—Problems and Poetics 13–30—though he disagrees and considers novels that are “epistemologi- cal rather than emotional in mode ...non-mimetic ...non-chronological but not achronological ...and non-teleological” to differ in nature, thus are non- aristotelian (31). The concept of resolution, rather than unity, may avoid the problem whether the novel’s predominant design is an image or a sequence. 168 NOTES TO PAGES 9–11 20. Pablo Picasso, “Conversation with Picasso,” by Christian Zervos, in The Cre- ative Process: A Symposium, ed. Brewster Ghiselin (Berkeley: U of California P, 1954) 49. 21. Richter, Fable’s End, Completeness and Closure in Rhetorical Fiction (Chicago: U of Chicago P, 1974) 6–7. For contrary examples, for example, see what Gayatri Spivak has to say about recent literary discourse: “Whereas in other kinds of discourses there is a move toward the final truth of a situation, literature, even within this argument, displays that the truth of a human situation is the itinerary of not being able to find it. In the general discourse of the humani- ties, there is a sort of search for solutions, whereas in literary discourse there is a playing out of the problem as the solution, if you like”—In Other Worlds: Essays in Cultural Politics (New York and London: Methuen, 1987) 77. 22. Robin Wood, “Godard and Weekend,” Weekend/Wind from the East, by Jean- Luc Godard, Modern Film Scripts (New York: Simon and Schuster, 1972) 5. For an illustration, see the conflicting readings author and critic give William Burrough’s The Exterminator—Ihab Hassan, “The Subtracting Machine: The Work of William Burroughs,” Critique 6 (1963) 10. 23. Kermode, The Sense of an Ending: Studies in the Theory of Fiction (Oxford: Oxford UP, 1967) 138. 24. I make more distinctions than Northrop Frye’s drama, epos, fiction, and lyric, only as a matter of usefulness and common practice. I would also agree with Stephen Heath that “the [Aristotelian] lyrical-epical-dramatic triad is ...a matter not of genres but rather of modes of enunciation, ways of present- ing that do not in themselves involve any defined content”—“The Politics of Genre,” Debating World Literature, ed.
Load more

Recommended publications
  • 1 Matt Phillips, 'French Studies: Literature, 2000 to the Present Day
    1 Matt Phillips, ‘French Studies: Literature, 2000 to the Present Day’, Year’s Work in Modern Language Studies, 80 (2020), 209–260 DOI for published version: https://doi.org/10.1163/22224297-08001010 [TT] Literature, 2000 to the Present Day [A] Matt Phillips, Royal Holloway, University of London This survey covers the years 2017 and 2018 [H2]1. General Alexandre Gefen, Réparer le monde: la littérature française face au XXIe siècle, Corti, 2017, 392 pp., argues that contemporary French literature has undergone a therapeutic turn, with both writing and reading now conceived in terms of healing, helping, and doing good. G. defends this thesis with extraordinary thoroughness as he examines the turn’s various guises: as objects of literature’s care here feature the self and its fractures; trauma, both individual and collective; illness, mental and physical; mourning and forgetfulness, personal and historical; and endangered bonds, with humans and beyond, on local and global scales. This amounts to what G. calls a new ‘paradigme clinique’ and, like any paradigm shift, this one appears replete with contradictions, tensions, and opponents, not least owing to the residual influence of preceding paradigms; G.’s analysis is especially impressive when unpicking the ways in which contemporary writers negotiate their sustained attachments to a formal, intransitive conception of literature, and/or more overtly revolutionary political projects. His thesis is supported by an enviable breadth of reference: G. lays out the diverse intellectual, technological, and socioeconomic histories at work in this development, and touches on close to 200 contemporary writers. Given the broad, synthetic nature of the work’s endeavour, individual writers/works are rarely discussed for longer than a page, and though G.’s commentary is always insightful, specialists on particular authors or social/historical trends will surely find much to work with and against here.
    [Show full text]
  • Y 2 0 ANDRE MALRAUX: the ANTICOLONIAL and ANTIFASCIST YEARS DISSERTATION Presented to the Graduate Council of the University Of
    Y20 ANDRE MALRAUX: THE ANTICOLONIAL AND ANTIFASCIST YEARS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Richard A. Cruz, B.A., M.A. Denton, Texas May, 1996 Y20 ANDRE MALRAUX: THE ANTICOLONIAL AND ANTIFASCIST YEARS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Richard A. Cruz, B.A., M.A. Denton, Texas May, 1996 Cruz, Richard A., Andre Malraux: The Anticolonial and Antifascist Years. Doctor of Philosophy (History), May, 1996, 281 pp., 175 titles. This dissertation provides an explanation of how Andr6 Malraux, a man of great influence on twentieth century European culture, developed his political ideology, first as an anticolonial social reformer in the 1920s, then as an antifascist militant in the 1930s. Almost all of the previous studies of Malraux have focused on his literary life, and most of them are rife with errors. This dissertation focuses on the facts of his life, rather than on a fanciful recreation from his fiction. The major sources consulted are government documents, such as police reports and dispatches, the newspapers that Malraux founded with Paul Monin, other Indochinese and Parisian newspapers, and Malraux's speeches and interviews. Other sources include the memoirs of Clara Malraux, as well as other memoirs and reminiscences from people who knew Andre Malraux during the 1920s and the 1930s. The dissertation begins with a survey of Malraux's early years, followed by a detailed account of his experiences in Indochina.
    [Show full text]
  • Librairie Pierre PREVOST
    Librairie Pierre PREVOST Liste n°46-1 – Petite bibliothèque littéraire 75, rue Michel-Ange Tel : 01 40 56 97 98 75016 PARIS Mob : 06 80 20 81 70 e-mail : [email protected] ----------------------------------------------------------------------------------------------------------------------------------- 01-BAINVILLE. Jacques. 180 € 03-BARRES. Maurice. 130 € Jaco et Lori. Dix jours en Italie. Paris. Grasset. 1927. 1 volume in-8 carré, demi- Paris. Crès. 1916. 1 volume in-16, demi-maroquin maroquin à coins bleu nuit, dos lisse, tête dorée. noirs à coins, plats bordés d’un double filet à froid, Couvertures et dos conservés. Reliure signée De dos lisse, tête dorée. Couvertures et dos conservés. Septime. 274 pp., (1) p. Reliure signée Greuzevault. Edition originale. 1 des 56 exemplaires numérotés sur Edition originale. vélin d’Arches. Exemplaire non rogné. 1 des 70 exemplaires numérotés sur japon impérial. Exemplaire à belles marges. Carnet de voyage en Italie pendant la Première Guerre 02-BARBIER. Auguste. 280 € mondiale. Ex-libris de Carlos Mayer, gravé par Stern ; timbre des Iambes. Librerias Martin Fierro. Paris. Urbain Canel et Ad. Guyot. 1832. 1 volume in-8, demi-veau glacé brun à coins, dos lisse orné et passé, couvertures conservées. Reliure signée 04-BENOIST-MECHIN. Jacques. 120 € Yseux Sr. de Simier. La musique et l’immortalité dans l’oeuvre de XXX pp., 144 pp., (1) p., 1 p. bl. Marcel Proust. Paris. Kra. 1926. 1 volume in-8 carré, demi- maroquin rouge, large bande centrale sur les plats, Edition originale des poèmes satiriques. tête dorée. Cette édition contient une préface, attribuée à Philarète Chasles, et deux pièces, Tentation et Couvertures et dos l’Iambe IX, qui ne seront pas reprises ensuite.
    [Show full text]
  • Marcel Proust and the Global History of Asthma
    Marcel Proust and the global history of asthma Professor Mark Jackson Centre for Medical History University of Exeter England Marcel Proust, 1871-1922 z born in Paris z Les Plaisirs et les Jours (1896) z À la recherche du temps perdu (1913-27) z Literary preoccupations with memory and guilt z Died from pneumonia Marcel Proust’s asthma z first attack, aged 9, walking in the Bois de Boulogne z regular, severe attacks of asthma and hay fever throughout his life, shaping his daily rhythms and dictating his creativity – slept during the day and worked at night z described in detail, particularly in letters to his mother Marcel Proust’s asthma `Ma chère petite Maman, An attack of asthma of unbelievable violence and tenacity – such is the depressing balance sheet of my night, which it obliged me to spend on my feet in spite of the early hour at which I got up yesterday.’ (c. 1900) `As soon as I reached Versailles I was seized with a horrifying attack of asthma, so that I didn’t know what to do or where to hide myself. From that moment to this the attack has continued.’ (26-8-1901) Marcel Proust’s asthma `Cher ami, I have been gasping for breath so continuously (incessant attacks of asthma for several days) that it is not very easy for me to write.’ (Letter to Marcel Boulenger, January 1920) Treating Proust’s asthma z Stramonium cigarettes `Ma chère petite maman, z Legras powders Yesterday after I wrote to you I z Espic powders had an asthma attack and incessant running at the nose, z Epinephrine which obliged me to walk all z Caffeine doubled up and light anti-asthma z Carbolic acid fumigations cigarettes at every tobacconist’s z Escouflaire powder as I passed, etc.
    [Show full text]
  • Gallimard [email protected] - WORLD BOOK FAIRS 2021 45 PUBLISHERS' CATALOGS
    WORLD BOOK FAIRS 2021 45 PUBLISHERS' CATALOGS Anna Howell * WORLD BOOK FAIRS 2021 • BEIJING • GUADALAJARA • MOSCOW Translated by: Translated NEW DELHI • PRAGUE • SEOUL • TAIPEI • WARSAW New rights deals are negotiated every day. To keep abreast of these developments, we recommend that you contact the publisher. Bureau International de l’Édition Française 115, bd Saint-Germain - 75006 Paris, France t. +33 (0)1 44 41 13 13 - f. +33 (0)1 46 34 63 83 Gallimard [email protected] - www.bief.org WORLD BOOK FAIRS 2021 45 PUBLISHERS' CATALOGS A Breton Song, Journal of a Crisis The Still Life Revisited followed by The Child Kibogo Has Gone up The Third Age and the War to Heaven The Unseen Sartre Abram Ordinary Life The World Does Not Exist Art Nouveau Paul Morand Turpentine Beneath Putzi the Potala Palace Where I Come from Riding with Luck No Longer Exists Broadway The Admirable Wild Roses Chronos Madeleine Demetrius Women and Fracas on Wall Street The Anomaly Francophone Literature. Free to Obey A Cultural History (Vol. 1) The Country of Others French Farces Women and The Fountain Francophone Literature. French Jihadism of Bitterness A Cultural History (Vol. 2) From Our Shadows The Green Century Girl The Law of Dreams Gospel of the Lost The Martins Gallimard www.gallimard.fr FOREIGN RIGHTS Judith Rosenzweig : [email protected] | EXPORT Laetitia Le Breton : [email protected] WORLD BOOK FAIRS 2021 45 PUBLISHERS' CATALOGS Gallimard Chanson bretonne Abraham Literature & Fiction suivi de L’enfant et la guerre Literature & Fiction A BRETON SONG, ABRAM It is 1916 and the Ottoman Empire is crumbling.
    [Show full text]
  • Bales 1970 1802768.Pdf
    MARCEL PROUST AND REYNALDO HAHN II . \,_,1f' ,( Richard M~ Bales B.A. University of 11 Exeter, 1969 Submitted to the Department of ·French and Italian and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the . requirements for the degree of Master of Arts. Redacted Signature / ---instr.uct~-in_:_c arge V__/~-~ . /_CA .. __ . - /'1 _- -- .,, .' Redacted Signature rr the ./I.apartment 0 • R00105 7190b ] .,; ACKNOWLEDGMENT. I wish to express my sincerest thanks to Professor J. Theodore Johnson, Jr. for his kind help.in the preparation of this thesis, and especially for his having allowed me ready access ·to his vast Proustian bibliography and library. April 30, 1970. TABLE OF CONTENTS. Introduction •..•...............................•. 1 Chapter I: The Historical Picture ••••••••••••••• 6 Chapter II: Hahn in Proust•a Works ••••••••••••• 24 Chapter III: Proust's Correspondence with Hahn. 33 Chapter IV: Music for Proust ••••••••••••••••••• 5o Chapter V: :Music for Hahn.. • • • • • • • • • • • • • • • • • • • 61• Conclusion •••••••••••••••••••••••••••••••••••••• 76 Appendix I: Hahn's Life and Works •••••••••••••• Bo App~ndix II: Index to the more important com- posers (other than Hahn) in the Proust/ Hahn Correspondence •••••••••••••••••••••••• 83 Selective Bibliography••••••••••·••••••••••••••• 84 INTRODUCTION. The question of Proust and music .is a large one, for here, more than with perhaps any other author, the subject is particularly pregnant. Not only is there extended dis- cussion of music in Proust's works, but also the fictional Vinteuil in A la recherche du temps perdu is elevated to the rank .of an artistic "hero," a ."phare" in the Baudelairian sense. It is no accident that Vinteuil 1 s music is more of a revelation for the narrator than the works-of Bergotte the writer or Elstir the painter, for Proust virtually raised music to the highest art-foz,n, or, rather, it is th~ art-form which came closest to his own idea of "essence," the medium by.which souls can communicate.
    [Show full text]
  • Exotisme Étouffé Sous La Vision Impériale Dans Les Quatre Dames D’Angora De Claude Farrère
    Humanitas, 2017; 5(10): 263-281 http://humanitas.nku.edu.tr ISSN: 2147-088X DOI: 10.20304/humanitas.339526 Araştırma-İnceleme EXOTISME ÉTOUFFÉ SOUS LA VISION IMPÉRIALE DANS LES QUATRE DAMES D’ANGORA DE CLAUDE FARRÈRE Zahide GÜNAY1 “Le seul véritable voyage, le seul bain de jouvence, ce ne serait pas d’aller voir de nouveaux paysages, mais d’avoir d’autres yeux” Marcel Proust. Résumé: Claude Farrère l’a dit ouvertement, il était pour le “colonialisme pacifiqueˮ. Il a aussi affirmé qu’il était l’ami des Turcs. Quoi qu’il en soit, les études “exotiquesˮ ont souvent fait preuve de complicité avec le colonialisme. À travers son roman, sous le processus d’occidentalisation, Les quatre dames d’Angora sont embaumées d’un parfum ottoman, cependant le charme est rompu avec l’intrusion de l’image de la femme française. Et le fait que l’auteur connaisse ces autochtones ottomanes, au point de “se préoccuper de leur problèmeˮ fait périr l’exotisme. Par contre, le mystère est maintenu autour des femmes russes. Une fois que le 263 voile de l’exotisme est levé, il ne reste plus que les louanges adressées à l’islam, un thème fort qui domine le roman. Le gouvernement ottoman étant considéré comme un État religieux, Farrère mise sur la foi musulmane. Le fait qu’il soit pour l’intégrité d’un Empire affaibli dû aux Capitulations va de pair avec les intérêts de la France. Malgré tout cela, sa plume fait preuve d’une merveilleuse et douce vision poétique, exotique tout en jouissant de la “différenceˮ et en désirant de se renouveler dans le cadre de la relation à l’Autre à travers des descriptions sur la nature et le passé.
    [Show full text]
  • The Narrative Turn in the French Novel of the 1970S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto The Narrative Turn in the French Novel of the 1970s Hanna Meretoja University of Turku One of the central aspects of the nouveau roman, the most important French literary movement of the 1950s and 1960s, was the way in which it questioned the idea of the novel as storytelling. The nouveaux romanciers, such as Alain Robbe-Grillet, Nathalie Sarraute and Claude Simon, wanted to bring forth the ideological question- ability of narrativity epitomized by what they called “Balzacian realism” – in terms of which, they felt, the novel as a genre was still viewed and assessed. However, after this period of radical problematization, a rehabilitation of storytelling is visible in the French novel of the 1970s – a shift that some scholars have characterized as the “return of the narrative” or as “re-narratization of the novel” (see e.g. Kibedi Varga 1988, 38; Gratton 1997, 248; cf. Davis & Fallaize 2000, 14–15). In my article, I would like to shed some light on this “narrative turn” by arguing that it can be seen as a turn towards a fundamentally hermeneutic view of the narrative mediatedness of our relation to the world. As my primary example I will use Michel Tournier who has been mentioned as a major representative of this turn (Kibedi Varga 1988, 38; Gratton 1997, 248) but whose precise contribution to it has not yet been examined. Problematization of Storytelling in the Nouveau Roman First, I will have a brief look at why the nouveaux romanciers rejected the idea of the novel as storytelling or as “narration of a succession of fictional events” (to use Rimmon-Kenan’s (1988, 2) definition of ‘narrative fiction’).
    [Show full text]
  • The Journal of Specialised Translation. Issue 1 January 2004 Chris
    The Journal of Specialised Translation. Issue 1 January 2004 Chris Durban Demanding clients state their case: Comments on the client round table at La Rochelle (SFT université d'été, July 2002) ABSTRACT Linguists are as vulnerable as the most hapless monolingual buyer of translation when a debate takes place in a language they do not speak or read. The author draws reader’s attention to a discussion of translation quality and priorities by three demanding buyers of financial translation, and highlights issues that might be of interest to students, teachers and practicing translators. The text of the round table can be accessed in French at http://www.sft.fr/dossiers/actesrochelle/8acheteurs.pdf KEYWORDS Translation buyers, clients, specialisation, translator, client interaction, writing skills, advice, financial translation Standard features of contributions to translator egroups and bulletin boards are gloomy references to relentless pressure on prices and killer deadlines. Articles by academics, too, often include a negative reference to the marketplace and its impact on quality. Meanwhile specialised translators are demanding and collecting comfortable fees while interacting with premium clients who insist on top- notch quality and show genuine appreciation for their efforts. Perhaps these translators are too busy working to spread the word; perhaps they simply do not identify with the hand wringing. Otherwise they might speak up to remind newcomers to the profession and some of the ageing nay sayers that the situation is not all that bleak.1 In any event, public discussions of translation priorities by demanding clients in this segment of the market are rare enough to merit greater exposure.
    [Show full text]
  • (Media) Author: Michel Houellebecq, Écrivain Médiatique
    On the Return of the (Media) Author: Michel Houellebecq, écrivain médiatique Harris, A. (2020). On the Return of the (Media) Author: Michel Houellebecq, écrivain médiatique. French Cultural Studies, 31(1), 32-45. https://doi.org/10.1177/0957155819893582 Published in: French Cultural Studies Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2020 The Authors. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 Abstract This article argues that Michel Houellebecq is an écrivain médiatique, a media author, and examines how and why he engages in a type of authorial strategy that relies on more than the text and presents the author as a multimedia, visible and culturally relevant figure.
    [Show full text]
  • Rewriting the Twentieth-Century French Literary Right: Translation, Ideology, and Literary History
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses March 2017 Rewriting the Twentieth-century French Literary Right: Translation, Ideology, and Literary History Marcus Khoury University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the French and Francophone Literature Commons, and the Translation Studies Commons Recommended Citation Khoury, Marcus, "Rewriting the Twentieth-century French Literary Right: Translation, Ideology, and Literary History" (2017). Masters Theses. 469. https://doi.org/10.7275/9468894 https://scholarworks.umass.edu/masters_theses_2/469 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. REWRITING THE TWENTIETH-CENTURY FRENCH LITERARY RIGHT: TRANSLATION, IDEOLOGY, AND LITERARY HISTORY A Thesis Presented by MARCUS KHOURY Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS February 2017 Comparative Literature Translation Studies Track Department of Languages, Literatures, and Cultures © Copyright by Marcus Khoury 2017 All Rights Reserved REWRITING THE TWENTIETH-CENTURY FRENCH LITERARY RIGHT: TRANSLATION, IDEOLOGY, AND LITERARY HISTORY A Thesis
    [Show full text]
  • Smyth, Edmund Joseph (1993) the Nouveau Roman and the Aesthetics of Modernity and Postmodernity. Phd Thesis
    Smyth, Edmund Joseph (1993) The nouveau roman and the aesthetics of modernity and postmodernity. PhD thesis. http://theses.gla.ac.uk/4834/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] THE NOUVEAU ROMAN AND THE AESTHETICS OF MODERNITY AND POSTMODERNITY by Edmund Joseph Smyth, MA (Hons) Submitted for the degree of Doctor of Philosophy, Department of French, University of Glasgow, September, 1993. cJ E. J. Smyth, 1993 ACKNOWLEDGEMENTS Some parts of this thesis originally appeared (in substantially modified form) in Romance Studies, French Studies Bulletin, and Postmodernism and Contemporary Fiction (Batsford, 1991). I would like to thank the respective editors and publishers for their permission to use this material. Above all, I should like to express my gratitude to the following for the invaluable assistance they have extended to me: David H. Walker, my original supervisor, for his unfailing encouragement, guidance and advice; the Scottish Education Department,
    [Show full text]