{"title":"Marcel Bénabou","authors":"Fabienne Cheung","doi":"10.3828/jrs.2022.18","DOIUrl":"https://doi.org/10.3828/jrs.2022.18","url":null,"abstract":"\u0000Marcel Bénabou is one of the longest-serving members of one of France’s most iconic and enduring literary groups, the Oulipo. Despite his dedicated service to the group’s collaborative activity, little scholarly interest has been shown in Bénabou’s solo literary projects. As a Moroccan francophone Jew, living and working in France (and French) since the 1950s, his playful and experimental autobiographical works demonstrate an attitude towards multilingualism that is characterized by conflict and creativity. This article introduces two of Bénabou’s works that explore his relation to multilingualism, using Derrida’s Le Monolinguisme de l’autre [The Monolingualism of the Other] as a point of comparison. I argue that Bénabou’s multilingualism is at times a source of anxiety, a conflicted tension between different poles of his identity. Nonetheless, it has also bestowed him with a creative freedom that has allowed him to explore different subjectivities, and ultimately to find his place within the Oulipo.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46305546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Scatter and resist Ferrier writing Fukushima","authors":"A. Kawakami","doi":"10.3828/jrs.2022.3","DOIUrl":"https://doi.org/10.3828/jrs.2022.3","url":null,"abstract":"\u0000This article explores the many ways in which Michaël Ferrier, novelist, academic, and essayist, writes about the triple disaster, known in the west as ‘Fukushima’, that struck Japan on 11 March 2011. He travelled up to the stricken area from Tokyo and wrote a witness account of his experiences, Fukushima: récit d’un désastre [‘Fukushima, Account of a Disaster’] (2012). During the ten years since Ferrier has continued to write prolifically about the disaster and its aftermath. This article discusses the hybrid genres used in Fukushima: récit d’un désastre to capture the appalling realities Ferrier witnessed and analyses how the generic hybridity arises from what I call an aesthetics of scatteredness, a model that also accurately describes the ensemble of his writings on Fukushima. It will also show how Ferrier’s generic choices indicate his ecological awareness and his desire to decentre the human in the context of disaster writing.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47638237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lesbian existence","authors":"M. Varese","doi":"10.3828/jrs.2022.7","DOIUrl":"https://doi.org/10.3828/jrs.2022.7","url":null,"abstract":"\u0000A close examination of Radclyffe Hall’s The Well of Loneliness (1928) and Olga Moraes Sarmento’s As Minhas Memórias (1948) reveals interesting intersections. Hall’s epic novel is a long, plangent plea for an understanding of ‘the Invert’, whereas Moraes Sarmento’s memoir, dedicated to her female lover, offers thinly disguised clues as to her own sexuality. Moraes Sarmento settled in Paris, for she did not care for the Portuguese mindset of her time. An intriguing aspect of her memoir is when she indulges in a lengthy meditation, similar, though not as maudlin as Hall’s, on her possible ‘missteps’ in life and, like Hall, goes over the head of ecclesiastical authority to address God’s merciful judgment. My article seeks to tease out the subtle implications of the themes ‘nature’, ‘human nature’, and ‘God’ in Sarmento’s memoir and contrast them with Hall’s more heightened arguments.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42758406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Zen as everyday praxis","authors":"C. Dellacasa","doi":"10.3828/jrs.2022.1","DOIUrl":"https://doi.org/10.3828/jrs.2022.1","url":null,"abstract":"\u0000In Italo Calvino’s works, dialectical oppositions engender a creeping sense of nervous tension, which this article retraces in its multifarious narrative forms. Contextually, this study addresses the relevance of Calvino’s encounter with Zen praxis as an alternative to nerve-wracking dichotomous choices, towards a harmonious fusion of opposites. Palomar (1983), Calvino’s last major work of fiction, serves as a prism to restore to the author’s writing the cross-cultural dynamics of East-West dialogues and to illuminate the fruitful potential of the interaction between Zen and psychoanalysis. A Zen reading of Palomar shows that Calvino not only reflects on the outward appearance of the real in order to understand it, but allows his own work to be transformed by the thoughts that sustain this process of understanding, thus making the book, and in particular its end, a mystical fusion of theory and practice and of Western analytic rationality and Eastern meditative experience.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41577478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Defamiliarizing Mediterranean migration in contemporary visual culture and literature","authors":"Cecilia Piantanida","doi":"10.3828/jrs.2022.5","DOIUrl":"https://doi.org/10.3828/jrs.2022.5","url":null,"abstract":"\u0000Mediterranean migration is often spectacularized by contemporary global media, creating a hyper-determined discourse that any art form engaging with the migrant experience must consider. On the premise that the aesthetic qualities of visual arts and literature have the potential to destabilize sensationalist rhetoric and produce a more complex understanding of Mediterranean migration, I focus on representations of migration by sea from Northern Africa toward Europe in works from the exhibition The Restless Earth/La terra inquieta (Milan, 2017) and the Italian short story La via del pepe: finta fiaba africana per europei benpensanti (2014), by Massimo Carlotto. I show how strategies such as the integrated use of documentary and imaginative elements, the multimodal metaphoric dimension developed through word and image, and the use of irony may compel the viewer/reader to take an active role in the creation of meaning, contributing to more inclusive and relational approaches to the experience of migrants.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43303029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Potentialities and limits of fiction","authors":"V. García","doi":"10.3828/jrs.2022.2","DOIUrl":"https://doi.org/10.3828/jrs.2022.2","url":null,"abstract":"\u0000The narratives of the children of political activists and the disappeared in Argentina emerging after the year 2000 employ fiction as a deliberate aesthetic and political narrative strategy to address the recent past and the repression of the dictatorship (1976-1983). This article will focus on Patricio Pron’s novel El espíritu de mis padres sigue subiendo en la lluvia [‘My Fathers’ Ghost is Climbing in the Rain’] (first published in 2011) to explore the potentialities and limits of fiction when approaching painful and controversial aspects of the past. Pron proposes a narrative experiment with autofiction which sparked a debate between him and his father, one of the main characters in the novel, after the novel was published. We argue that the polemic between the Prons reveals a double conflict, centered on the interpretation of the past and on the limits of (auto)fiction when dealing with real, particularly sensitive, events in national history.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48683449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Primary sources for a definition of Cubism in cinema","authors":"Alfonso Puyal","doi":"10.3828/jrs.2022.6","DOIUrl":"https://doi.org/10.3828/jrs.2022.6","url":null,"abstract":"\u0000The article presents four documentary sources in order to elucidate the impact of Cubism and its interpretation in French narrative avant-garde cinema between 1918 and 1923: ‘Cinema and Cubism’, by Louis Delluc; ‘Cubism and Cinema’, by Louis Vauxcelles; ‘Cubist Films’, by Yvan Goll; and ‘Cubism in Cinema’, by Robert Mallet-Stevens. Although filmmaking took certain influences from Cubism after it had been absorbed by other aesthetic movements (Art déco, Purism), the role played by film criticism and theory in the definition of Cubism applied to the cinema is decisive, given that the filmmakers of the French school developed a whole theoretical corpus through which they defended the entry of this new medium into the world of art.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44981928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Malagasy ecopoetics","authors":"Christie Margrave","doi":"10.3828/jrs.2022.4","DOIUrl":"https://doi.org/10.3828/jrs.2022.4","url":null,"abstract":"\u0000Malagasy literary production has long displayed a discourse with Madagascar’s unique environment, often linking this with an exploration of island identity. This article examines and compares poetic writing in Madagascar across 350 years. It studies the anti-colonial prose poems of eighteenth-century white creole poet Évariste Parny alongside early twentieth-century poems of Jean-Joseph Rabearivelo, who brings French Symbolism into contact with traditional Malagasy verse, and lyrical poetry by the musicians in the modern folk-pop band Mahaleo, who bring a mixture of traditions to a unique Malagasy style of music. Parny, Rabearivelo, and Mahaleo all build on and break with generic convention of poetic form, and all do so to draw attention to the island’s specific experience of ecological colonial violence and to their interpretation of eco-regional identity. Their writings help us make sense of the ecological changes in Madagascar during and after colonisation, and of the human response to these changes.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49205299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Two artists and two mélodies","authors":"C. Wilson","doi":"10.3828/jrs.2021.21","DOIUrl":"https://doi.org/10.3828/jrs.2021.21","url":null,"abstract":"\u0000André Caplet (1878-1925) set just two of Baudelaire’s poems: La Cloche fêlée [‘The Cracked Bell’] and La Mort des pauvres [‘The Death of the Poor’]. These mélodies were composed in 1922, just three years before the artist’s death. For a composer with a tendency to shy away from setting poetry of the French giants of literature, the questions of how and why Caplet chose to translate Baudelaire’s poetry into the mélodie are intriguing. This exploration of La Cloche fêlée and La Mort des pauvres considers the ways in which Caplet reflects the poetic imagery of Baudelaire’s texts within musical structures. Caplet’s compositional language is distinctive, and his artistic approach to musically illuminating poetic meaning is perceptive and sensitive. Through viewing the creative intersection of these two artists, this article offers an interpretation that presents a perspective on Caplet’s musical character and reveals insight into his connection to Baudelaire’s poetic language.","PeriodicalId":41740,"journal":{"name":"Journal of Romance Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46656316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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