CAHIERS VICTORIENS & EDOUARDIENS最新文献_第6页

Haggard's Questioning of the Heroic 哈格德对英雄的质疑

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-04-20 DOI: 10.4000/CVE.5804

John Coates

引用次数: 1

‘Thou Whole Burnt-Offering!’1 The Mystical Ecstasy in Christina Rossetti’s Poems “你这全燔祭!”1克里斯蒂娜·罗塞蒂诗歌中的神秘狂喜

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-04-20 DOI: 10.4000/CVE.5849

Bertrand Lentsch

引用次数: 0

The Church-Builder et The Chapel-Organist : l'écriture poétique de Thomas Hardy du monologue dramatique au théâtre de la voix 教堂建造者和教堂风琴手:托马斯·哈代从戏剧独白到声音剧场的诗歌写作

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-04-20 DOI: 10.4000/CVE.5876

Laurence Estanove

引用次数: 0

'Exotic eroticism': Gwendolen Harleth and Daniel Deronda “异国情调”:关德林·哈勒斯和丹尼尔·德隆达

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-04-20 DOI: 10.4000/CVE.5837

J. Kuehn

引用次数: 0

Entre poésie et fiction: Tess ou l'écriture syncopée de Thomas Hardy 在诗歌和小说之间:苔丝或托马斯·哈代的切分写作

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-04-20 DOI: 10.4000/CVE.5885

C. Lanone

引用次数: 0

« Moments of Vision » : l'écriture de Thomas Hardy 《视觉瞬间》:托马斯·哈代的文采

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-04-20 DOI: 10.4000/CVE.5862

Stéphanie Bernard

{"title":"« Moments of Vision » : l'écriture de Thomas Hardy","authors":"Stéphanie Bernard","doi":"10.4000/CVE.5862","DOIUrl":"https://doi.org/10.4000/CVE.5862","url":null,"abstract":"At the end of his career as a novelist, Hardy wrote dark stories, tragedies. The equivocal quality of these works can also be found in the poems : dealing with the loss of his wife Emma, the writer hesitates between the hope to find her again and the recognition of the inevitable failure of his quest, between the illusion of a second chance and the harsh acknowledgment of facts. The texts come close to evoking hallucinations. The visual quality of things is put into relief by Hardy's art. At the same time, the one who watches often loses himself or herself in the act of watching, by being absorbed into the object of his or her gaze. This object, often a woman, matters less for what it really is than for its power to attract and fix the gaze of the subject. What takes place in scenes like the beginning of The Return of the Native or the end of Tess of the D'Urbervilles is what Hardy called « moments of vision » in one of his poems. As the observer (usually a man) is seized by the object of his gaze, the visual screen that hides what is beneath the surface dissolves and a new mode of writing emerges. Poetic writing rises when words are unable to express the writer's meaning and when what is to be told is unspeakable, as it is the case with Tess's death or Jude's agony. Approaching the dark core of things with his obscure characters, Hardy eventually abandoned the novel and chose poetry. In his poems, he went on exploring the limbos of life, death and loss while shaping words into lyrical veils shading an unbearable truth.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88085178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

La poétique de la pierre dans l'oeuvre de Thomas Hardy: du livre de pierre au livre de vie 托马斯·哈代作品中的石诗学:从石书到生命之书

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-04-20 DOI: 10.4000/CVE.5871

A. Escuret

{"title":"La poétique de la pierre dans l'oeuvre de Thomas Hardy: du livre de pierre au livre de vie","authors":"A. Escuret","doi":"10.4000/CVE.5871","DOIUrl":"https://doi.org/10.4000/CVE.5871","url":null,"abstract":"Stones are everywhere to be found in Hardy's works. His father worked as a stonemason and Hardy himself trained as an architect. The years that he spent in London moving churchyards for the railway and restoring churches made a painful impression on him. Back in Dorset, he was confronted with the Neolithic monuments of Stonehenge and other pagan monuments such as the tumuli on Egdon Heath and other landmarks. Hardy knew all about archaeology and all about the religious aspects of the past. In other words, through the plight of characters such as Eustacia, Tess or Jude, we are always reminded about past customs such as the bonfires on the hills which recall druidic and Saxon times. Tess's tragedy is summed up by a series of stones (including the pillar of stone \"Cross-in-Hand\" on which is carved a human hand) and the same applies to Jude's fate (with the milestone on which he carves his name). Most characters are alienated by their education and their tragedy comes from the fact that their own time never comes! Tess feels \"at home\" only at the end, on the warm slab at Stonehenge, because the pagan tomb is the only place where she can find rest and sleep. In a word, Hardy uses stones to build up his own distinction between the figurative (which refers to the classical, mimetic aesthetic) and the figural (which refers to writing as play), between the Word made flesh (when the relation of meaning to the world is one of transcendence) and when the idea is never made carnally present at all (because a novel is first of all an event of writing). In La Parole muette (1998), Ranciere insists on the paradoxes of literary representation as novels seem to indicate an embodied world that is forever awaiting embodiment, a liminal world which reminds us of Derrida's concept of the \"spectral\". Ranciere's works are helpful because they help us find a way out of the usual barren oppositions between mimetic aesthetics and the postmodern conceptions of representation as he shows us how literature manages to reorganize the relations between past and future communities and between words and things.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81623248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A peculiar poetical-like murmur : répétition et poéticité dans The Mayoe of Casterbridge 一种奇特的诗意般的杂音:《卡斯特桥的马约》中，有一种叫“雅致雅致”的杂音

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-01-01 DOI: 10.4000/cve.5893

A. Ramel

{"title":"A peculiar poetical-like murmur : répétition et poéticité dans The Mayoe of Casterbridge","authors":"A. Ramel","doi":"10.4000/cve.5893","DOIUrl":"https://doi.org/10.4000/cve.5893","url":null,"abstract":"This paper tries to explore the poetic dimension of Hardy's prose, by showing how the poetic voice proceeds from various voices that are heard in the diegesis. For a prose text to become poetic, the dimension of automaton must be at work, with the repetition of equivalent units, but the dimension of tuche must also come into play―the encounter with an unsymbolizable Real. In The Mayor of Casterbridge, it is the signifier \"ring\" which commemorates the traumatic moment when Henchard sold his wife on a fair (when she flung her wedding-ring in his face), a punctum effect (in the acoustic field) whose recurrence punctuates the text and produces all sorts of reverberations―repeated letters, alliterations, acoustic debris and fragments―whereby something of the \"voice qua object\" is overheard. Once Henchard is fallen, his roaring voice is heard no more, but he lends an ear to the \"voice of desolation\", the inhuman voice of the river which invites him to take his own life, while Lucetta is killed by the destructive voice of the \"skimmity-ride\". The tragic characters are \"riveted to the matter\" (to Das Ding), but the poetic voice is pacifying because it brings about that flicker of meaning which makes it impossible to take language literally. It puts a bar between words and things, and thus prohibits tragic jouissance.","PeriodicalId":41197,"journal":{"name":"CAHIERS VICTORIENS & EDOUARDIENS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78290865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Science behind the blinds : Scientist and society in The Invisible Man 盲人背后的科学:《看不见的人》中的科学家与社会

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-01-01 DOI: 10.1057/9780230236639_4

S. Mclean

引用次数: 0

Petits poèmes en prose : la forme poétique dans Tess of the d'Ubervilles 散文中的小诗:ubervilles的苔丝中的诗歌形式

4区文学

CAHIERS VICTORIENS & EDOUARDIENS Pub Date : 2009-01-01 DOI: 10.4000/cve.5880

Isabelle Gadoin

引用次数: 0