FRENCH REVIEW最新文献_第10页

Brouillarta par Ève Jauréguiberry

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0138

Roxane Petit-Rasselle

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Les liaisons dangereuses réal. par Rachel Suissa 危险的联系是真实的。作者：Rachel Suissa

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0103

K. Khalifé

引用次数: 0

Histoire de la description de la parole: de l'introspection à l'instrumentation éd. par Christelle Dodane, et Claudia Schweitzer 语音描述的历史：从内省到仪器编辑。Christelle Dodane和Claudia Schweitzer

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0091

W. Cichocki

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Une vie à réparer par Yvon Richart Yvon Richart的《修复生活》

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0146

K. Khalifé

引用次数: 0

Saharienne indigo par Tierno Monénembo

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0144

E. Ousselin

引用次数: 0

Taxi-Thérapie par Philippe Brenot Philippe Brenot的计程车治疗

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0127

K. Khalifé, Walter S. Temple

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Le jeu des si par Isabelle Carré 伊莎贝尔·卡雷的《IS游戏》

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0129

M. Bacholle

引用次数: 0

Labyrinthes par Franck Thilliez Franck Thilliez的迷宫

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0149

Nathalie G. Cornelius

{"title":"Labyrinthes par Franck Thilliez","authors":"Nathalie G. Cornelius","doi":"10.1353/tfr.2023.0149","DOIUrl":"https://doi.org/10.1353/tfr.2023.0149","url":null,"abstract":"For those seeking to challenge their minds, this page-turning thriller offers multiple reading options. A free-standing detective mystery, the novel opens with police officer Camille Najinksi, who is tasked with solving the case of a brutal murder whose only suspect is an amnesiac found clutching a black bishop chess piece. Fortunately, hospital psychiatrist Fibonacci can shed some light on the situation. With a warning about the dangers of paramnesia and its capacity to create false memories, he relates the tale the unidentified woman shared with him before losing her memory. The subsequent account alternates between five women: Lysine, a journalist who discovers a disturbing film left in a post office box in her name; Véra, a psychiatrist whose electromagnetic hypersensitivity has forced her to seek refuge in an isolated region of the Vosges; Sophie, a novelist whose premonitions seem to become a tragic reality; Julie, a kidnapping victim sequestered and psychologically tortured by renowned author Caleb Traskman; and Ariane, a young woman of unknown origins who compulsively draws murals of mazes. It is up to the reader and Nijinski to find out why these women find themselves trapped in labyrinthine spaces struggling with memory loss and an inexplicable sense of imminent danger. For the appreciation of astute sleuths, peppered throughout the novel’s tightly constructed structure, are clues in the form of mythological, scientific, and artistic allusions, symbolic objects, and word plays. Those familiar with Thilliez will also find that his latest work sheds new light on the secondary characters of Julie Moscato and Caleb Traskman, who, although of core importance to Thilliez’s Il était deux fois (2020) and Le manuscrit inachevé (2018), never physically appeared in them (see my earlier reviews in FR 95:1 and FR 92:4 respectively). Without contradicting the detectives’ investi gations in these earlier novels, Labyrinthes, when taken as the third installment of a trilogy, elucidates further truths. Finally, as has come to be expected of Thilliez, the author invites the reader to go beyond the entertainment value of his fiction and bridge his literary world with the reader’s own reality. The novel’s references to authentic visual and literary shock artists spark reflection on the interplay of art and violence. Thilliez’s exploration of the power of the mind, well-engrained in the riveting storyline, is encapsulated at the end of the book by seemingly random letters scattered about a labyrinth for the reader to solve. The word revealed by finding a passage through the maze, itself another nod to the earlier installments of the trilogy, unlocks an additional online chapter in which the author shares his metacognition for the novel’s inner workings. Although at times gory and violent, this is one of Thilliez’s best. For those who enjoy being engaged not just viscerally but also intellectually, Labyrinthes is great fun for both Thilliez’s avid fans and n","PeriodicalId":44297,"journal":{"name":"FRENCH REVIEW","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48182309","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

Voices from Beyond: Physiology, Sentience, and the Uncanny in Eighteenth-Century French Literature by Scott M. Sanders 《来自外部的声音：18世纪法国文学中的生理学、情感与神秘》，斯科特·M·桑德斯著

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0111

Logan J. Connors

{"title":"Voices from Beyond: Physiology, Sentience, and the Uncanny in Eighteenth-Century French Literature by Scott M. Sanders","authors":"Logan J. Connors","doi":"10.1353/tfr.2023.0111","DOIUrl":"https://doi.org/10.1353/tfr.2023.0111","url":null,"abstract":"In this book, Scott Sanders shows that the material, embodied voice (vocal folds, fibers, tissue, etc.) played an important role in eighteenth-century theories of human sound and its emotional qualities. At first glance, this goal seems modest, but Sanders’ book is also a study of how the voice and its mechanisms informed core Enlightenment debates on sensibility, sentience, identity, Car tesianism, vitalism, and more. At the crux of Sanders’ study is the tripartite notion of the “sentimental voice,” the “vitalist voice,” and the “uncanny voice”—all three of which show in different ways that eighteenth-century authors “represented the voice as both a physiological organ and a sound” (180). Sentimental voices (chapters 1 and 2) were windows into a person’s character or, as Sanders writes in an analysis of Rousseau’s novels and polemics, “organs through which it was possible to modify and improve a person’s mental and emotional well-being” (169). Vitalist voices, which were also linked to the body of the speaker or singer, developed “out of a physiological model” where organs, connective tissue, and other material sources interact with each other to produce sound (107). Sanders describes vitalist voices (mostly in chapters 3 and 4) in Diderot’s scientific trans lations, novels, and philosophical dialogues. Sanders situates Diderot’s Le neveu de Rameau at the heart of eighteenth-century physiological debates. Sanders shows that understanding the “diaphragmatic” voice—an internal organ in a constellation of physical systems and intellectual faculties—is key to comprehend ing Enlightenment models of mind-body interaction. Lastly, the uncanny voice, discussed in chapter five, differs from the sentimental and the vitalist voices in that it “does not serve as a guarantor of the speaker’s physiological temperament.” Instead, uncanniness separates voice from the “physiological truth” of the speaker or singer (139). Sanders’ discussion of the uncanny voice is contextualized by a clever reading of Jacques Cazotte’s Le diable amoureux—a supernatural novel and attack against philosophe positions on sensibility, rationality, and identifica tion. Sanders tackles challenging primary source materials, including eighteenthcentury scientific discoveries about which, perhaps, most students of the period’s literature and music know little. A less elegant writer would lose readers in discussions about vocal fold anatomy or the differences between “iatromechanical and vitalist approaches to sentience” (90). But Sanders’ prose is jargon-free, light, and fluid. Like the encyclopédistes in his study, Sanders uses literature, music, and art to describe difficult physiological and epistemological concepts to a more general readership. Voices from Beyond is a breathtakingly thorough but readable account of voice in eighteenth-century French literature and thought. More than that, it proves that adopting new perspectives and approaches, notably voice studies, can revive semina","PeriodicalId":44297,"journal":{"name":"FRENCH REVIEW","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49364879","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

Necrofiction and the Politics of Literary Memory by Oana Panaïté Oana Panaïté的死亡小说与文学记忆政治

IF 0.1 4区文学

FRENCH REVIEW Pub Date : 2023-05-01 DOI: 10.1353/tfr.2023.0108

Kaliane Ung

{"title":"Necrofiction and the Politics of Literary Memory by Oana Panaïté","authors":"Kaliane Ung","doi":"10.1353/tfr.2023.0108","DOIUrl":"https://doi.org/10.1353/tfr.2023.0108","url":null,"abstract":"This rich comparative analysis of literary works on death delves into the performative act of writing death, first as an act of remembering turned to the past, then as an intimate trajectory turned to the future, by installing a post-mortem textual monument, à la Mallarmé. When writing is rendered visible as a process rooted in the present, the text is revealed as an “act of mourning, not a fiction of mourning” (3). The French and Francophone writers chosen by Panaïté as case studies—Linda Lê, Patrick Modiano, Assia Djebar, Patrick Chamoiseau, and Maylis de Kerangal—form a literary canon investigating death as an event to be reactualised by the literary text, creating “narratives of the aftermath” (2) as they convey the chaos of our current world. These authors also favor an experimental approach against the hegemony of linear storytelling. For each instance of necro fiction, Panaïté relies on precise close reading to analyze the textual installation and its effects on time, space, memory, and narrative, thus resisting reading as a monolithic gesture. Drawing its interdisciplinary approach from narratology, trauma studies, postcolonial studies, and contemporary French thought, the author defines necrofiction as an ensemble of narratives emphasizing memorialization as the search for an ethical account of the past that weaves together the personal and the political (29-30). Through a “thematized, ritualized, enunciative, and meta narrative engagement with the event of death,” (30) necrofiction reassesses the meaning of finitude and memory, going beyond the dichotomy of life and death. Inhabiting this “duality” (178) and focusing on the metanarrative level of her corpus, Panaïté challenges the notion that literature’s representational power is its center of gravity, and addresses the failures of literature by exploring what lies at the threshold, at the intersection of genres, and embracing hybridity. Embracing the diversity of francophone cultures and territories, the author analyzes spectres, ghosts, zombies, and other forms of haunting in the craft of literature: the plastic nature of “the dead as a collective entity” in Linda Lê (36), the “literary cenotaph” (54) that unfolds “literal duplications and mirror images” in Patrick Modiano (74), the polyphonic artificial crypt favoring hesitation over blind faith in Assia Djebar (106), the narrative zombification endowed with negative poetics in Patrick Chamoiseau (130), and the aesthetics of local and global crisis in Maylis de Kerangal’s migration-inspired text, which calls for a form of “attentional activism” (172). The conclusion of each chapter replaces the examined novel in the overall corpus, thereby advancing the author’s reflection on the genre of necrofiction. This book could be a valuable addition to a survey course on genres of storytelling in twentieth-century and contemporary literature, and could be included in seminars on narration and trauma.","PeriodicalId":44297,"journal":{"name":"FRENCH REVIEW","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45522513","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