The Search for Identity and Creating Parallel Worlds in the House of Sleep by J
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Dr Helena Chadderton, Lecturer in French School of Languages
1 Dr Helena Chadderton, Lecturer in French School of Languages, Linguistics & Cultures University of Hull Cottingham Rd Hull HU6 7RX Tel: 01482 462043 [email protected] Dr Helena Chadderton is Lecturer in French at the University of Hull. Her monograph Marie Darrieussecq’s Textual Worlds: Self, Society, Language, came out with Peter Lang’s Modern French Identities series in 2012. She works on engagement in the contemporary French novel and is currently co-editing with Angela Kimyongür a book entitled Engagement in 21st Century French & Francophone Culture: Countering Crises, to be published with UWP in 2017. Her second current project is on the transnational exchange (France – UK) of contemporary writers. 2 Translating Class in Jonathan Coe Abstract: This article looks at the translation and reception in France of the contemporary British author Jonathan Coe. Coe’s work is four times more popular in France than in the UK and is particularly enjoyed for its treatment of contemporary social and political issues in a largely realist setting. Coe’s self-confessed writing project is to represent the plurality of British society as faithfully as possible. Through an analysis of the transposition of social class in the French translations of his novels, this article will reveal that a particular understanding of Britishness is created, which through use of standardization and domestication of British specificity, in fact dilutes the markers of British social class. The consequences of this are both social, in its impact on French understanding of Britain, and cultural, in its impact on the consumption of the contemporary British novel in France. -
Peake Associates P.O
PEAKE ASSOCIATES P.O. Box 66726, London NW5 9FE Tel: 020 7681 4307 Cell: 07939 128 881 email: [email protected] website: www.tonypeake.com AUTUMN 2018 TRANSLATION RIGHTS FICTION HILARY BONNER WHEEL OF FIRE. A new David Vogel mystery, inspired by the real-life story of Edmond Safra, one of the richest men in the world, who in 1999 choked to death along with a nurse in a fire at his Monaco penthouse. Another nurse in Safra’s employ, American Ted Maher, was subsequently charged with arson and intent to harm. He at first claimed he had been attacked by armed intruders, but later admitted that he had stabbed himself, using his medical skills to produce wounds which looked serious but were not life threatening. In this new novel, it is Sir John Fairbrother, head of one of the world’s most important private banks, who dies, along with his nurse, in a catastrophic fire at his manor house home in Somerset. They are burnt to death in his bedroom, apparently afraid to attempt to escape because they have been informed by Sir John’s chauffeur/gardener, George Grey, that there are armed intruders inside the property. Arson is suspected and DI Vogel finds himself dealing with a complex and mystifying sequence of events. Grey, who suffers unlikely injuries on the night of the fire, is the obvious suspect. But is he guilty? If Grey did set fire to Blackdown Manor, then Vogel feels there must be far more to it than meets the eye. Determined to get to the bottom of the mystery and bring those responsible for the fire, and two further suspicious deaths, to justice, Vogel uncovers a tangled web of intrigue which exceeds anything he at first imagined. -
Merritt Moseley, Understanding Jonathan Coe (Columbia, South Carolina: University of South Carolina Press, 2016)
Postgraduate English Journal, No. 35 (Autumn 2017) Merritt Moseley, Understanding Jonathan Coe (Columbia, South Carolina: University of South Carolina Press, 2016). £30.86 / $39.99 (Hardback). 135pgs. ISBN: 978-1-61117-650-6. Reviewed by Anthony Walker-Cook, University College London Author of eleven novels, the contemporary British writer Jonathan Coe has enjoyed a career that is characterised by its variety and success, yet critical attention has tended to focus explicitly on his 1994 novel What a Carve Up!.1 Merritt Moseley’s Understanding Jonathan Coe (2016), however, offers a full discussion of Coe’s fictional and non-fictional work. Moseley presents ‘one of the most important and most consistently rewarding novelists of his generation’, drawing particular attention to the variety of Coe’s oeuvre: ‘His output includes vertiginously experimental fictions, broad- canvassed depictions of British society, political satire, and careful delineations of lonely or frustrated individuals’.2 On the 17th August 2016 Coe tweeted, ‘So this book came in the post today and it turns out I’m much harder to understand than I thought.’3 With the tweet is a picture of Coe hooked in a literary selfevaluation with an open copy of Understanding Jonathan Coe. Coe’s plots are simultaneously funny, emotive and didactic, but the exaggerated claim that his work is difficult is typical of Coe’s wry 1 This criticism has offered multiple ways of interpreting Coe’s novel. For example, Michael Shallcross’s ‘‘The Parodist’s Game’: Scrutiny of Cultural Play in Jonathan Coe’s What a Carve Up!’. Adaptation 9.2 (2016): pp. -
Mémoire M2 COE 2905
MEMOIRE DE MASTER 2 RECHERCHE ETUDES ANGLOPHONES Imad Zrari Année universitaire 2016-2017 The Blurring of Politics, Postmodernist Aesthetics and Writing in What a Carve Up! and Number 11 , Jonathan Coe Sous la direction de Laurent Mellet Professeur des Universités en Littérature et Cinéma Britanniques REMERCIEMENTS La réalisation de ce mémoire a été possible grâce au concours de plusieurs personnes à qui je voudrais témoigner toute ma reconnaissance. Je voudrais tout d’abord adresser toute ma gratitude au directeur de ce mémoire, Laurent Mellet, pour sa patience, sa disponibilité et ses précieux conseils, qui ont contribué à alimenter ma réflexion. Je voudrais également exprimer ma reconnaissance envers mes amies et collègues, Jacqueline Kempton et Blandine Michel, pour leur soutien moral et intellectuel. Enfin, une grande pensée pour ma mère qui a toujours valorisé l’éducation. 2 Table of contents Introduction ................................................................................................................... 5 I. Satire, Engagement and Humor in Coe’s Novels ................................................ 9 1. Coe as a Political Satirist .............................................................................. 9 a. Coe’s Background and Influence ................................................................................. 9 b. WACU : an Acrid Criticism of Thatcherism ................................................................ 12 c. N11 : A Dark Portrait of Blairism and Cameronism in the Same Vein as WACU -
The Blurring of Politics, Postmodernist Aesthetics and Writing in What a Carve Up! and Number 11, Jonathan Coe Imad Zrari
The blurring of politics, postmodernist aesthetics and writing in What a carve up! and Number 11, Jonathan Coe Imad Zrari To cite this version: Imad Zrari. The blurring of politics, postmodernist aesthetics and writing in What a carve up! and Number 11, Jonathan Coe. Sciences de l’Homme et Société. 2018. dumas-01858669 HAL Id: dumas-01858669 https://dumas.ccsd.cnrs.fr/dumas-01858669 Submitted on 21 Aug 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License MEMOIRE DE MASTER 2 RECHERCHE ETUDES ANGLOPHONES Imad Zrari Année universitaire 2016-2017 The Blurring of Politics, Postmodernist Aesthetics and Writing in What a Carve Up! and Number 11 , Jonathan Coe Sous la direction de Laurent Mellet Professeur des Universités en Littérature et Cinéma Britanniques REMERCIEMENTS La réalisation de ce mémoire a été possible grâce au concours de plusieurs personnes à qui je voudrais témoigner toute ma reconnaissance. Je voudrais tout d’abord adresser toute ma gratitude au directeur de ce mémoire, Laurent Mellet, pour sa patience, sa disponibilité et ses précieux conseils, qui ont contribué à alimenter ma réflexion.