INTERVIEWS AND RECORDING LINKS by Didier COSTE
Calcutta Comparatists 1919 lectures # 76, 2021
“Heteroglossia” — speaking/writing in ‘anotherʼ language—, here taken at individual scale, is oft... more “Heteroglossia” — speaking/writing in ‘anotherʼ language—, here taken at individual scale, is often seen as a consequence of exile, forced displacement or subalternity under an alien domination. It is often indicted by nativist criticism as treason to oneʼs “natural,” native culture and “mother‐tongue,” as fostering self-exoticization, complicit with die-hard imperialist Orientalism, and repressively interpreted as a multiply deviant metaphoric sexuality involving exhibition, voyeurism and prostitution. This lecture seeks to counter such views from a cosmopolitan standpoint: supported by an esthetic approach of the political unconscious, it considers exos as eros, and the multifarious drive of literature for the language of other persons and communities as a manifestation of always dissenting desire, as an act of love (and unlove) better understood in terms of libidinal economy.
Jhumpa Lahiriʼs relatively late metamorphosis into an Italophone writer is sufficiently unusual to deserve an in-depth study, whether or not we consider her as an Indian writer. After discussing some relevant terminology (heteroglossia, plurilingualism, globalism) and critical/theoretical tools, the present study aims at showing how a cosmopolitan Comparative/World literature perspective can bring to Jhumpa Lahiriʼs work at large new, creative meanings and values that were offset by its naturalization as the production of a second generation Indian-American writer. It undoubtedly is, and the thematic constants as well as the recurrent settings of her short stories and novels in English were there to reinforce a sense of (semi-)autobiographical expression and conformity to what could be expected of someone with her background. There are nevertheless other ways to approach this oeuvre. Concentrating on Dove mi trovo, I plan to investigate how alternative readings —as an Italian, an American and an Indian novel— cannot lead to choose or prefer one of them, or to conclude that a more or less successful hybridity is the name of the game. We must instead, counterintuitively, accept the co-necessity of each of these divergent contextualizations in a global framework.
The singularity of Lahiriʼs move and of its exhibited performance belongs to a “tradition of the new” shared by all contemporary literatures, doubtlessly including those labelled “Indian,” even when their novelty has little to do with a real emergence and is more similar to a cyclical return of obsolete fashions. Lahiriʼs ‘strange caseʼ is therefore an invitation to experimentally de- and recontextualize, de- and refamiliarize as many modern “Indian” literary works as possible. Beyond the touching and slightly enigmatic story of a one-of-a kind linguistic defector, there lies the largely unexplored possibility of using contextually incongruous critical tools on literary works of all supposed provenance, or treating nationally labelled fictions as genres, constraints or modes that present day global writers and readers are free to use and modify as they would with verse forms or the rules of the ghost story or the Bildungsroman.”
Medet-Lat, ENS : entretiens, 2020
https://www.youtube.com/watch?v=zSCjcA662yM&t=2456s
An interview for the University magazine, at the initiative of the CES (Centre for English Studie... more An interview for the University magazine, at the initiative of the CES (Centre for English Studies).
The version first uploaded was the wrong document, sorry about that: the final version is the .pdf document that replaces it.
Réponse à l'enquête « Où en êtes-vous avec l'Asie ? » lundi 6 octobre 2008, par Didier Coste 1. C... more Réponse à l'enquête « Où en êtes-vous avec l'Asie ? » lundi 6 octobre 2008, par Didier Coste 1. Croyez-vous qu'un péril venu d'Asie menace l'Europe ? Quels en seraient les vecteurs ? L'Europe est principalement menacée, et tout d'abord, d'inexistence, par elle-même : par sa soumission à un modèle nord-américain qu'elle ne comprend pas et dont elle refuse de mesurer les dangers ; par son enfermement défensif ; par son sentiment de supériorité ; les dangers qui pourraient venir d'Asie sont les mêmes qu'elle y a disséminés. 2. Pensez-vous que l'Asie soit une entité, une seule civilisation ? Et l'Europe ? Comment les percevez-vous ? Les hiérarchisez-vous ? Selon quels critères ? L'Asie géographique, entité d'ailleurs purement imaginaire, puisqu'il y a continuité des terres habitées et des voies de communication de Gibraltar à Pékin, ne correspond ni à une seule entité ni à une seule civilisation, mais à de nombreuses cultures très hétérogènes. L'Europe (quelle Europe ?), de quelque façon qu'on la prenne, est aussi hétérogène que l'Asie. Europe et Asie ne sont, culturellement parlant, que des constellations, des dessins faits pour tenter de donner sens à des percepts relatifs à des mondes non connexes. La mondialisation défait ces constellations avant même qu'elles ne puissent acquérir la moindre réalité. 3. Que vous évoque le mot « Eurasie » ? Vous évoque-t-il quelque chose comme un rêve d'union entre civilisations complémentaires, à l'instar de ce que les idéalistes du siècle dernier ont espéré ? Le mot Eurasie n'évoque pour moi qu'un continent au sens géologique et géographique, une étendue continue de terres émergées. Si l'on parlait d'Eurasie à tout autre sens, on pourrait aussi bien, et sans doute mieux parler d'Euramérique. Toutes les civilisations sont complémentaires, mais toutes les barbaries aussi. En outre, l'idée d'union eurasiatique est mineure et décalée aujourd'hui, face à la mondialisation 4. Etes-vous d'avis, comme Edmund Husserl, que le monde soit irréversiblement européanisé et que l'Asie, quoi qu'elle fasse, ne peut le faire qu'en se positionnant par rapport à ces valeurs européennes ? Certes pas d'accord avec Husserl, d'abord parce que l'Europe elle-même est beaucoup moins européanisée qu'il n'y paraît, si l'on tient pour européennes des valeurs humanistes, laïques et rationnelles, apparues ou reparues et réélaborées en Europe entre la Renaissance et les Lumières (plus grand chose n'ayant été pensé depuis en termes d'axiologie et d'éthique) ou bien l'Asie a-t-elle encore quelque chose à apporter au monde et plus particulièrement à l'Europe, comme certains entendent le montrer ? Non pas « l'Asie », mythe aussi ou plus malfaisant que l'Orient, mais des sousensembles ou des isolats relatifs qui la composent effectivement ont plus que jamais quelque chose à apporter à un monde auquel elles ont déjà apporté des expériences, des schèmes conceptuels et des modes relationnels très variés. L'Inde, entre autres,
on bilingulalism, possible narratives, modes of realism and the urban novel
These ten sonnets written in June 2012 are the first part of "LE DIT DE HERO ET LEANDRE" (a legend).
This interview about what it means to be a plurilingual writer, a literary translator and a compa... more This interview about what it means to be a plurilingual writer, a literary translator and a comparative literary theorist concludes with a reading of two poems from my latest, yet to be published collection, "The Reading Pavilion" (2015)
ANNOUNCEMENTS by Didier COSTE
Migrating Minds, 2024
CONTENTS
MIGRATING MINDS VOLUME 2, ISSUE 2, FALL 2024
ARTICLES
3 “Whoever Is on Mount Lu Does Not... more CONTENTS
MIGRATING MINDS VOLUME 2, ISSUE 2, FALL 2024
ARTICLES
3 “Whoever Is on Mount Lu Does Not Know Its True Face.” For a Truly Planetary Literary Theory
Bertrand Westphal
20 Transatlantic Identities Through the Return Diaspora Motif: Ana Maria Gonçalves, Goli
Guerreiro, and Bernardine Evaristo
Niyi Afolabi
43 The Monstrous Woman as an Embodiment of the Glocal in 21st-Century Fiction: Reflections
Around Gemma Files’s Experimental Film and V. Castro’s Queen of the Cicadas
Sébastien Doubinsky
64 Inheriting Cosmopolitanism: Intergenerational Memoirs of Jewish Egyptian Communists
Brady Ryan
85 Towards a Non-Western Cosmopolitanism: A View from India
Indranil Chakravarty
BOOK REVIEWS
108 The Cosmos in Cosmopolitanism, by Nikos Papastergiadis
Maria Rovisco
112 World Literature After Empire: Rethinking Universality in the Long Cold War, by Pieter Vanhove
Didier Coste
116 The Museum of Other People: From Colonial Acquisitions to Cosmopolitan Exhibitions,
by Adam Kuper
Magnus Fiskesjö
120 Panama in Black: Afro-Caribbean World Making in the Twentieth Century,
by Kaysha Corinealdi
Christian Uwe
124 Panentheism in Indian and Western Thought: Cosmopolitan Interventions, by Benedikt Paul
Göcke and Swami Medhananda
Ariel Glucklich
128 The Political Thought of Anacharsis Cloots: A Proponent of Cosmopolitan Republicanism in the
French Revolution, by Frank Ejby Poulsen
Rachel Hammersley
ACLA meeting, 2025
This seminar addresses questions about realism’s aesthetic and political implications from a glob... more This seminar addresses questions about realism’s aesthetic and political implications from a global perspective.
What role does realism play in the age of globalization? Why does it persist, and why do authors, readers, and scholars keep returning to this aesthetic mode?
Does globalization entail standardization or an increased diversity of mimetic modes?
Is realist aesthetics apt to give an account of globalization?
Should literary aesthetics be thoroughly rethought in a globalized world?
SÉMINAIRE DE MASTER À l'occasion de son prochain séminaire interuniversitaire, le PIAL recevra, e... more SÉMINAIRE DE MASTER À l'occasion de son prochain séminaire interuniversitaire, le PIAL recevra, en co-organisation avec le MEDET-LAT de Gustavo Guerrero, Didier Coste sur « La traduction poétique comme expérience cosmopolite ».
A conference organized at U. Bordeaux Montaigne by Angel Pino, Tan-Ying Chou, and Ève de Dampierre
Is glocal cosmopolitanism divisive or unifying? The fluctuating balance between the globalization... more Is glocal cosmopolitanism divisive or unifying? The fluctuating balance between the globalization of particulars and the particularization of universals is at stake. Emphasizing singularity within commonality, preserving diversity against the cult of radical difference denounced for instance by Patrick Colm-Hogan, glocal cosmopolitanism might constitute the dynamic condition for the construction of a planetary literature.
Within this framework, seminar contributors are invited to address instances of glocal cosmopolitanism in theory, literature, and culture, engaging with their ideological, aesthetic, and ethical implications.
Accueil des participants : Christina Kkona, organisatrice de la manifestation Première Séance 9h3... more Accueil des participants : Christina Kkona, organisatrice de la manifestation Première Séance 9h30-10h30 Entre lieux et genres : l'errance hijra dans la littérature indienne contemporaine Didier Coste, professeur émérite des universités, Université Bordeaux Montaigne, Plurielles L'errant féminin ou l'asile protecteur de soi dans les romans de
Underground Imaginaries will take place in person in the city center campus of the Universidad de... more Underground Imaginaries will take place in person in the city center campus of the Universidad de Alcalá, located in the city of Alcalá de Henares, a 30-minute drive east of Madrid and a 40-minute train ride from Atocha central station. There are buses from the airport. With one of the oldest universities in Spain, Alcalá de Henares is considered a World Heritage Center by UNESCO. More information on how to get to Alcalá de Henares/ Accommodation/ Where to eat, here.
_Migrating Minds: Journal of Cultural Cosmopolitanism_ (ISSN 2993-1053) is a new peer-reviewed, ... more _Migrating Minds: Journal of Cultural Cosmopolitanism_ (ISSN 2993-1053) is a new peer-reviewed, open-access scholarly journal devoted to interdisciplinary research on cultural cosmopolitanism from a comparative perspective. It provides a unique, international forum for innovative critical approaches to cosmopolitanism emerging from literatures, cultures, media, and the arts in dialogue with other areas of the humanities and social sciences, across temporal, spatial, and linguistic boundaries. By placing creative expressions at the center of a wide range of contemporary and historical intercultural relationships, the journal explores forms of belonging and spaces of difference and dissidence that challenge both universalist and exclusionary paradigms.
_Migrating Minds: Journal of Cultural Cosmopolitanism_ is hosted by Georgetown University, Washington D.C., and co-supported by the “Plurielles” Research Group, Bordeaux Montaigne University, France.
The Inaugural Issue is scheduled to appear in Fall 2023.
The journal invites submissions for its first regular issue, Vol. 1 (1), Spring 2024.
For inquiries about proposals, please contact the editors-in-chief at migratingminds@georgetown.edu by October 13, 2023.
Submission deadlines:
December 15, 2023 for full-text articles;
January 19, 2024 for book reviews and review articles.
Please visit: migratingminds.georgetown.edu
Twitter @MigratingMinds_
Uploads
INTERVIEWS AND RECORDING LINKS by Didier COSTE
Jhumpa Lahiriʼs relatively late metamorphosis into an Italophone writer is sufficiently unusual to deserve an in-depth study, whether or not we consider her as an Indian writer. After discussing some relevant terminology (heteroglossia, plurilingualism, globalism) and critical/theoretical tools, the present study aims at showing how a cosmopolitan Comparative/World literature perspective can bring to Jhumpa Lahiriʼs work at large new, creative meanings and values that were offset by its naturalization as the production of a second generation Indian-American writer. It undoubtedly is, and the thematic constants as well as the recurrent settings of her short stories and novels in English were there to reinforce a sense of (semi-)autobiographical expression and conformity to what could be expected of someone with her background. There are nevertheless other ways to approach this oeuvre. Concentrating on Dove mi trovo, I plan to investigate how alternative readings —as an Italian, an American and an Indian novel— cannot lead to choose or prefer one of them, or to conclude that a more or less successful hybridity is the name of the game. We must instead, counterintuitively, accept the co-necessity of each of these divergent contextualizations in a global framework.
The singularity of Lahiriʼs move and of its exhibited performance belongs to a “tradition of the new” shared by all contemporary literatures, doubtlessly including those labelled “Indian,” even when their novelty has little to do with a real emergence and is more similar to a cyclical return of obsolete fashions. Lahiriʼs ‘strange caseʼ is therefore an invitation to experimentally de- and recontextualize, de- and refamiliarize as many modern “Indian” literary works as possible. Beyond the touching and slightly enigmatic story of a one-of-a kind linguistic defector, there lies the largely unexplored possibility of using contextually incongruous critical tools on literary works of all supposed provenance, or treating nationally labelled fictions as genres, constraints or modes that present day global writers and readers are free to use and modify as they would with verse forms or the rules of the ghost story or the Bildungsroman.”
The version first uploaded was the wrong document, sorry about that: the final version is the .pdf document that replaces it.
ANNOUNCEMENTS by Didier COSTE
MIGRATING MINDS VOLUME 2, ISSUE 2, FALL 2024
ARTICLES
3 “Whoever Is on Mount Lu Does Not Know Its True Face.” For a Truly Planetary Literary Theory
Bertrand Westphal
20 Transatlantic Identities Through the Return Diaspora Motif: Ana Maria Gonçalves, Goli
Guerreiro, and Bernardine Evaristo
Niyi Afolabi
43 The Monstrous Woman as an Embodiment of the Glocal in 21st-Century Fiction: Reflections
Around Gemma Files’s Experimental Film and V. Castro’s Queen of the Cicadas
Sébastien Doubinsky
64 Inheriting Cosmopolitanism: Intergenerational Memoirs of Jewish Egyptian Communists
Brady Ryan
85 Towards a Non-Western Cosmopolitanism: A View from India
Indranil Chakravarty
BOOK REVIEWS
108 The Cosmos in Cosmopolitanism, by Nikos Papastergiadis
Maria Rovisco
112 World Literature After Empire: Rethinking Universality in the Long Cold War, by Pieter Vanhove
Didier Coste
116 The Museum of Other People: From Colonial Acquisitions to Cosmopolitan Exhibitions,
by Adam Kuper
Magnus Fiskesjö
120 Panama in Black: Afro-Caribbean World Making in the Twentieth Century,
by Kaysha Corinealdi
Christian Uwe
124 Panentheism in Indian and Western Thought: Cosmopolitan Interventions, by Benedikt Paul
Göcke and Swami Medhananda
Ariel Glucklich
128 The Political Thought of Anacharsis Cloots: A Proponent of Cosmopolitan Republicanism in the
French Revolution, by Frank Ejby Poulsen
Rachel Hammersley
What role does realism play in the age of globalization? Why does it persist, and why do authors, readers, and scholars keep returning to this aesthetic mode?
Does globalization entail standardization or an increased diversity of mimetic modes?
Is realist aesthetics apt to give an account of globalization?
Should literary aesthetics be thoroughly rethought in a globalized world?
Within this framework, seminar contributors are invited to address instances of glocal cosmopolitanism in theory, literature, and culture, engaging with their ideological, aesthetic, and ethical implications.
_Migrating Minds: Journal of Cultural Cosmopolitanism_ is hosted by Georgetown University, Washington D.C., and co-supported by the “Plurielles” Research Group, Bordeaux Montaigne University, France.
The Inaugural Issue is scheduled to appear in Fall 2023.
The journal invites submissions for its first regular issue, Vol. 1 (1), Spring 2024.
For inquiries about proposals, please contact the editors-in-chief at migratingminds@georgetown.edu by October 13, 2023.
Submission deadlines:
December 15, 2023 for full-text articles;
January 19, 2024 for book reviews and review articles.
Please visit: migratingminds.georgetown.edu
Twitter @MigratingMinds_
Jhumpa Lahiriʼs relatively late metamorphosis into an Italophone writer is sufficiently unusual to deserve an in-depth study, whether or not we consider her as an Indian writer. After discussing some relevant terminology (heteroglossia, plurilingualism, globalism) and critical/theoretical tools, the present study aims at showing how a cosmopolitan Comparative/World literature perspective can bring to Jhumpa Lahiriʼs work at large new, creative meanings and values that were offset by its naturalization as the production of a second generation Indian-American writer. It undoubtedly is, and the thematic constants as well as the recurrent settings of her short stories and novels in English were there to reinforce a sense of (semi-)autobiographical expression and conformity to what could be expected of someone with her background. There are nevertheless other ways to approach this oeuvre. Concentrating on Dove mi trovo, I plan to investigate how alternative readings —as an Italian, an American and an Indian novel— cannot lead to choose or prefer one of them, or to conclude that a more or less successful hybridity is the name of the game. We must instead, counterintuitively, accept the co-necessity of each of these divergent contextualizations in a global framework.
The singularity of Lahiriʼs move and of its exhibited performance belongs to a “tradition of the new” shared by all contemporary literatures, doubtlessly including those labelled “Indian,” even when their novelty has little to do with a real emergence and is more similar to a cyclical return of obsolete fashions. Lahiriʼs ‘strange caseʼ is therefore an invitation to experimentally de- and recontextualize, de- and refamiliarize as many modern “Indian” literary works as possible. Beyond the touching and slightly enigmatic story of a one-of-a kind linguistic defector, there lies the largely unexplored possibility of using contextually incongruous critical tools on literary works of all supposed provenance, or treating nationally labelled fictions as genres, constraints or modes that present day global writers and readers are free to use and modify as they would with verse forms or the rules of the ghost story or the Bildungsroman.”
The version first uploaded was the wrong document, sorry about that: the final version is the .pdf document that replaces it.
MIGRATING MINDS VOLUME 2, ISSUE 2, FALL 2024
ARTICLES
3 “Whoever Is on Mount Lu Does Not Know Its True Face.” For a Truly Planetary Literary Theory
Bertrand Westphal
20 Transatlantic Identities Through the Return Diaspora Motif: Ana Maria Gonçalves, Goli
Guerreiro, and Bernardine Evaristo
Niyi Afolabi
43 The Monstrous Woman as an Embodiment of the Glocal in 21st-Century Fiction: Reflections
Around Gemma Files’s Experimental Film and V. Castro’s Queen of the Cicadas
Sébastien Doubinsky
64 Inheriting Cosmopolitanism: Intergenerational Memoirs of Jewish Egyptian Communists
Brady Ryan
85 Towards a Non-Western Cosmopolitanism: A View from India
Indranil Chakravarty
BOOK REVIEWS
108 The Cosmos in Cosmopolitanism, by Nikos Papastergiadis
Maria Rovisco
112 World Literature After Empire: Rethinking Universality in the Long Cold War, by Pieter Vanhove
Didier Coste
116 The Museum of Other People: From Colonial Acquisitions to Cosmopolitan Exhibitions,
by Adam Kuper
Magnus Fiskesjö
120 Panama in Black: Afro-Caribbean World Making in the Twentieth Century,
by Kaysha Corinealdi
Christian Uwe
124 Panentheism in Indian and Western Thought: Cosmopolitan Interventions, by Benedikt Paul
Göcke and Swami Medhananda
Ariel Glucklich
128 The Political Thought of Anacharsis Cloots: A Proponent of Cosmopolitan Republicanism in the
French Revolution, by Frank Ejby Poulsen
Rachel Hammersley
What role does realism play in the age of globalization? Why does it persist, and why do authors, readers, and scholars keep returning to this aesthetic mode?
Does globalization entail standardization or an increased diversity of mimetic modes?
Is realist aesthetics apt to give an account of globalization?
Should literary aesthetics be thoroughly rethought in a globalized world?
Within this framework, seminar contributors are invited to address instances of glocal cosmopolitanism in theory, literature, and culture, engaging with their ideological, aesthetic, and ethical implications.
_Migrating Minds: Journal of Cultural Cosmopolitanism_ is hosted by Georgetown University, Washington D.C., and co-supported by the “Plurielles” Research Group, Bordeaux Montaigne University, France.
The Inaugural Issue is scheduled to appear in Fall 2023.
The journal invites submissions for its first regular issue, Vol. 1 (1), Spring 2024.
For inquiries about proposals, please contact the editors-in-chief at migratingminds@georgetown.edu by October 13, 2023.
Submission deadlines:
December 15, 2023 for full-text articles;
January 19, 2024 for book reviews and review articles.
Please visit: migratingminds.georgetown.edu
Twitter @MigratingMinds_
Migrating Minds contributes to the prominent interdisciplinary domain of Cosmopolitan Studies with twenty innovative essays by
humanities scholars from all over the world that re-examine theories and practices of cosmopolitanism from a variety of
perspectives. The volume satisfies the need for a stronger involvement of Comparative and World Literatures and Cultures,
Translation, and Education Theories in this crucial debate, and also proposes an experimental way to explore in depth the
necessity of a cosmopolitan method as well as the riches of cosmopolitan representations.
The essays follow a logical progression from the situated philosophical and political foundations of the debate to interdisciplinary
propositions for a pedagogy of cosmopolitanism through studies of modern and contemporary cosmopolitan cultural practices
in literature and the arts and the concurrent analysis of prototypes of cosmopolitan identities. This trajectory allows readers to
appreciate new historical, theoretical, aesthetic, and practical implications of cosmopolitanism that pertain to multiple genres
and media, under different modes of production and reception.
In the de-territorialized landscape of Migrating Minds, mental and sentimental mobility, rather than the legacy of place, is the key
to an efficient, humanist response to deadening globalization.
understandings of the world, such as racist ideologies, as well as 2) practices of minor cultures, threatened by
the homogenizing politics of globalization. However, “native” (indigenous, autochthon, aboriginal, “first
nations”, traditional, regional, etc.) cultural products may constitute a powerful translation of the universal into
experiential truth. Neither national nor international, this “remedial” nativism often seeks its values in the
vernacular, the folklore or a fantasy of a return to primitive or sacred sources addressing at the same time a
claim to cosmopolitanism.
The same can be said of “cosmopolitanism”, which can be both seen as a positive and open form of
multiculturalism, or, in a nationalistic and closed perspective, as the loss of a national identity and its socalled
“values”.
Nativism and cosmopolitanism therefore appear to be, albeit paradoxically, closely linked, either as
complementary expressions of a cultural, social and historical complex identity, or on the contrary, as radical
opposites, used by both sides to define their respective territories.
However, these terms evoke also a wide range of connected notions (borders, local, global, national and
transnational, etc.), which must be taken into account when analyzing the narrations and representations
produced within these frames.
Analyzing both terms in their multiple nuances, this seminar seeks to explore their possible intersections,
conflicting or complicit, through the comparative study of specific literary works of different eras and
locations. Is the notion of nativism in its double meaning relevant to literary studies? Is it possible to talk about
a universalizing nativism? In that case, what connects it with or differentiates it from romantic nationalisms?
Our aim is not to exclusively focus on questions of postcolonial, nonEuropean
or minor literatures; we also
encourage papers that address the ambiguities of European and NorthAmerican
literatures with a strong local
or regional claim.
The seminar will seek to explore the following questions:
1) How can literature reach transhistoric or planetary levels through local/ethic rootedness?
25/07/2018 Intersections between Nativism and Cosmopolitanism | American Comparative Literature Association
https://www.acla.org/intersections-between-nativism-and-cosmopolitanism 2/2
2) How do literary works depict or promote world citizenship without falling into abstractions or turning the
cosmopolitan experience into mere heritage?
3) What kinds of narratives revolve around the idea of the « native », either as a locally specific beingintheworld
or as confinement within or exclusion from a specific community?
4) Do modern rewritings or parodies of foundational texts make a plea for the universal or for distinctive
local/regional values?
5) Is the notion of the “glocal” just another name for hybridity or a complacent oxymoron that aims to hide the
fundamental incompatibility between nativism and cosmopolitanism, or can it still be unravelled in a
productive fashion?
comparative perspective inclusive of literature in English from India and
the diaspora, in native languages, and works by non‑Indians. It shows
how, since the mid‑19th century, Indian literary modernity pursued the
conjunction of the sensuous and ethical/spiritual that characterized its
three traditions (Sanskritik, Persian, and folk culture) while the encounter,
both receptive and oppositional, with “the West” vastly expanded the
Indian literary sphere. Aesthetics and ethics are not antithetical in the
Indian cultural space, but the quest for an exclusive Indian identity
versus universalist approaches offsets concerns for social justice as well as
enjoyable embodied communication. The literary constellation, in many
languages, now formed in and around India can be better apprehended as a
virtual Cosmopolis, a commonwealth of elaborate emotions. The versatile
figure of Hanuman metaphorically flies across this Ocean of Stories to
make us discover new worlds of experience.
http://www.jstor.org/stable/1772657
Twenty-odd years after T. Todorov coined the term "narratology," the area denoted by this term reveals a most heterogeneous reality: of conflicting traditions,
incompatible specialized terms, and intractable bibliographies. It is the aim of Narrative as Communicationb oth to provide a coherent picture of the field of narratology and, at the same time, to recover a plausible principle of organization for it. Coste draws up an inventory of analytic tools and concepts,
from the transformational model to literariness, fictionality, and subjects of narrative utterances, showing that these can constitute a workable apparatus for the study of narrative, although not in the terms in which they were originally
conceived. The new grounds on which one should conceive these tools and concepts are those of a theory of social communication. Coste's working hypothesis is that narrative formulates a special type of communicative act in which a transitive view of the world is the effect imparted by the message produced. A message is narrative, not because of the mode of conveying it, but because it carries narrative meaning. A communication is narrative regardless
of the form it takes (verbal or otherwise); narrative makes an object of knowledge of a narrative type for its recipients. But, for Coste, portraying a narratology in the alternative terms of a theory of communication does not suffice. His aim is to alert users of narratology to the ideological, political, and ethical implications of interpretive schemata on which they rely; it is, in other words, the history of narratology that has to be taken into account when constructing a communication-based narratology. When existing narratologies are treated as works in progress and as indispensable bases for working toward a new stage in the history of the field, this requires close scrutiny of the various controversies that have developed within narratology over the years.
In the same way that the text produced in narrative communication is always a present, living object of knowledge, so is the field of narratology not to be
discarded or treated as an obsolete document buried in history.
Successive chapters in Coste's book are dedicated to examining the relations between individual narrative utterances and macronarrative significance through textual communication; to coming to grips with the literariness of literary communication; to placing the rhetoric of reference within a theory of narrative; to studying narrative agents and the problem of agential functions as narrative types; to the operations (of reading and inscribing) pertinent to
the representation of enunciation in narrative; to the possibility of constructing a narrative syntax (in Coste's conception this cannot be a syntax of deep structures of actions, but a model of operations that takes into account the
surface of textual communication); to genres as a sociohistorical constraint in narrative discourse; and to the differences between narrative and didactic worlds and messages.
The creativity of error, of translational licence, of tortuous negotiations between the raw or constructed sensoriality of the signifier and the need for semantic concretisation and referential designation have often been evoked along the strategies developed to confront the “untranslatable” in its different embodied modalities (conceptual, cultural or poetic).
I will try to go one step further and propose that, in literary translation, where, on different and sometimes conflictive planes, thought, emotions and aesthetic judgment are the order of the day, the key added value of translation resides in its negativity, whether it is manifested as lack or want, defect, impossibility, dishonesty or excess.
Whether by Eco’s standard description (“to say almost the same thing”) that still synchronically superposes original and translated textualities, or by my tentative narrative description (“to continue the conversation in another language”), we can agree that the two spatially opposite but concurrent gestures of the act of translation —metamorphosis or conversion, on the one hand, translatio or re-contextualised transfer, on the other— are equally deconstructive and generate both debris and spares, of which I propose a first typology.
But, more strikingly, the act of translation is the one that produces the “original” at the same time as it jeopardises its uniqueness, its very originality.
The productive challenge of translation has thus a lot to do with the radical ambiguity of romantic originality as innovation and singularity, in that its effort is directed toward severance at least as much as to reverence, but, at the same time, the critical or fantastic severance it can sometimes achieve reads (itself) as an origin. [Pinpointing and delivering untranslatables might therefore become, for good or for worse, more foundational than the initial notion formation.]
Abstract
There are occasional studies of interlingual translation of verse into verse and into prose renderings, but versification of a prose “original” within the same natural language is very seldom, if ever, considered as translation although it fulfils the criteria of conversion, paraphrase, interpretation and communicative mediation for a different readership that are characteristic of the translational process. Prosification began at least in the Middle Ages and it has taken an irrepressible momentum in Western literatures since the 18th century with the emergence of the modern notion of Literature and the ever increasing share of narrative fiction in the corpus. Nevertheless it is largely ignored by literary historians and theorists, except in the case of the “prose poem”. After establishing essential working definitions of the notions involved and evoking some historical examples of interlingual prosification and versification (particularly French translations of Paradise Lost), the present paper proposes to develop a systematic approach to intralingual versification and prosification as translational phenomena that show a similar productivity and betray the same aporetic limits as interlingual translation. They often reveal deep trends in the concepts of language, form and representation that prevail in a particular literary culture.
According to Umberto Eco, we expect a translation to say in the best possible fashion what the original writes. A translation would thus be a pretence of reading the original aloud. Jules Verne writes in French what his Chinese characters are supposed to say in Chinese. Is it deliberate cheating? Are all translations lies? Or only those that pretend to be originals? Or the originals that pretend to be translations? Are all these lies equally sinful? What truth can they teach? The answer is: we are lying, or we live in delusion every time we believe we are not translating a translation when reading an ‘original’.
moins depuis les années 90. Il s’agit aussi bien de récits de fiction que
d’autobiographies, en collaboration ou non, en traduction ou non, à la limite du Bildungsroman, de l’allégorie, de l’auto-analyse, du témoignage, du document politique et sociologique et du manifeste. Si les structures collectives des hijras étaient relativement figées jusqu’il y a peu, elles peuvent maintenant s’infléchir ou être mises à mal par de nombreux facteurs. D’autre part, tant leur parcours individuel que leur
parcours collectif sont souvent marqués par l’errance : errance géographique, errance de genre et errance de l’expression en termes de systèmes narratifs, de modes de fictionalité et de langues employées. Vu la richesse du corpus, je me limiterai à deux romans d’auteurs célèbres non hijras et aux écrits de quatre personnalités hijras.
In the first part, it takes as a historical example various aspects of the cosmopolitanism of European Jews: was it real or imagined by antisemitic, xenophobic and nationalist citizens of Europe to justify exclusion and persecution? Was it forced upon these people by the oppression they suffered in the diaspora, or was it deliberate (and idealistic/utopian)?
The second and third parts study several manners of constructing cosmopolitan characters and collective cosmopolitan identities in literary fiction, first with the figure of Casanova, then through a detailed analysis of Salman Rushdie’s novel The Enchantress of Florence.
Some close readings lead us back to European Jews from the Middle Ages to the 18th century, with the legend of the Jewess of Toledo and its many rewritings.
Amitav Ghosh’s oeuvre and particularly his Ibis Trilogy introduce us to the represented fullness of a cosmopolitan world in the guise of a historical fiction situated grossly in the mid-19th century. But can this elaborate geographical, linguistic and symbolic construction, full of extraordinary personalities and unusual encounters, constitute a paradigm for a viable cosmopolitanism today?
The answer partly depends on what we mean by “narrative identity,” self-othering and the relational nature of selves in formation. But, in any case, literature and art can help because of their anaphoric character and the open-endedness of time in the aesthetic experience.
KEYWORDS
Cosmopolitanism - Diaspora - Jews - Multilingualism - Narrative Identity - Nomadism - Casanova - Salman Rushdie - Amitav Ghosh
The narrative mode of world-representation and world-building is omnipresent and far exceeds the domain of literature. Since literature is not necessarily narrative and narrative not necessarily literary, the study of narrative in a literary context must confront narrative and literature in a dual way: How does the presence of narrative affect literature? And how does literariness affect narrative? The basic terminology needs to be clarified by comparing English with the vocabulary of other natural languages. No consensus has been reached, even in the West, on the nature of narrative discourse.
The entire history of poetics shows that, before the middle of the 20th century, little attention was paid to the narrative components of literary texts qua narrative—that is, insofar as the same narrative elements could equally be found in non-aestheticized uses of verbal and non-verbal languages. Aristotelian poetics, based on the mimesis of human action, keeps its grip on narrative theory. The post-Aristotelian triad separated more sharply the lyric from the epic and dramatic genres, but modern narrative theories, mostly based on the study of folk tales and the novel, have still failed to unify the field of literary narrative, or have done it artificially, dissolving narrative discourse into the undifferentiated experience of human life in linear time.
The Western “rise of the novel,” in Ian Watt’s sense, and its worldwide expansion, turned the question of fiction, not that of narrativity, into the main focus of narrative studies. Later, the emergence of formalism and semiotics and the “linguistic turn” of the social sciences pushed the narrative analysis of literary texts in the opposite direction, with all of its efforts bearing on minimal, supposedly deeper units and simple concatenations. The permanent, unresolved conflict between an analytical and constructivist view grounded in individual events and a holistic view concerned with story-worlds and storytelling leaves mostly unattended such fundamental questions as how narrative is used by literature and literature by narrative for their own ends.
Literary narrativity must be thoroughly reconsidered. A critical, transdisciplinary theory should submit to both logical and empirical trial—on a large number of varied samples—and narrative analyses that would take into account the following concepts used to forge methodological tools: discrimination (between the functions of discourse genres and between pragmatic roles in literary communication); combination rules (whether linear or not); levels (as spatial placing, as interdependence and hierarchical authority); scale and spatiotemporal framing and backgrounding, especially the (dominant) time concepts in a particular cultural context. The preconditions for analysis begin by investigating the relation between aesthetic emotions and narrative in other cultural domains than the West and the English-speaking world.
Literary narrativity and social values concur to link the rhetorical manipulation of narrative with its aestheticization. The pleasure and fear of cognition combine with strategies of delusion to either acquiesce to the effects of time and violence or resist them; routine and rupture are alternatively foregrounded, according to needs.
Keywords: agency, event, fiction, literary aesthetics, mimesis, narrativity, plot, reader response, spatiotemporal framing, story
edited by Calin-Andrei Mihailescu and Walid Hamarneh.
Toronto ; Buffalo : University of Toronto Press, 1996.
"Didier Coste offers a fascinating account of Casanova's Icosameron, an eighteenth-century tale that can teach us much about "the contradictions and limits of utopia
(including dystopias) as a premodern genre of fictionality"
David Herman
manière, avec plus de détachement critique, s’il ne l’était pas à chaud, quelques semaines à peine après
avoir (toujours provisoirement) achevé une version française des cinquante-deux « anti-sonnets » réunis
sous le titre énigmatique Mascarilla y trébol 1. Au moment d’écrire ces lignes, ma version n’a pas même été
présentée à un éditeur, et seuls quelques proches, dont, tout particulièrement, le poète et théoricien
franco-argentin Bernardo Schiavetta, ont pu faire des remarques au sujet du texte français et des
rapports qu’il semble entretenir avec le texte espagnol. D’autre part, ma fréquentation de cette oeuvre
est relativement ancienne, et mon désir de la traduire l’est également. Plus de détachement équivaudrait
peut-être à une perte de mémoire et d’intérêt, alors que l’activité métatraductive doit se prolonger avec
le même engagement et avec le même sentiment d’inachevable qu’avant et durant l’acte de traduire.
C’est d’expérience et de relation qu’il s’agit ici d’abord, et de modélisation seulement ensuite —
une fois n’est pas coutume. Je commencerai donc mon intervention par un bref historique personnel de
mon approche de la poésie d’Alfonsina Storni avant d’expliciter les contraintes esthétiques reconnues,
assumées ou choisies, qui ont présidé au travail de traduction. Dans un troisième mouvement, il
conviendra de dresser un début de répertoire des enseignements du traduire, de la pluralité textuelle qui
en résulte et de celle qui s’en trouve resserrée. On se demandera enfin sous quelle figure du traduire
pourrait mieux se ranger celui-ci et dans quelle mesure il nous aide à théoriser la lyrique formelle ellemême,
dans ses dimensions aussi bien moderne que transhistorique. Il sera bien entendu nécessaire, au
fil de l’exposé, d’analyser quelques échantillons textuels concrets illustrant les principales
problématiques ici affrontées et définies.
après a permis et exigé la rédaction d’innombrables « arts poétiques »,
dont les fonctions, les contenus et la place dans l’oeuvre poétique n’ont
cessé de varier. La perte d’autorité sociale du discours littéraire et la
relégation du lyrique loin derrière la fiction narrative ont à la fois
entraîné un développement potentiellement illimité du métapoétique
au détriment de toute référence au monde et sauvé, parfois, le poème,
de sa dissolution dans la prose. De la hantise et de la fascination du
silence, chez Rilke, au retour d’un sujet souverain de ses incertitudes
chez Guillevic, on constate le manque de la voix de l’autre, d’une voix
autre que celle du sujet esseulé. Dire le manque ne suffit pas. La tâche
du poème aujourd’hui serait de bâtir un espace pour cette voix et de
faire en sorte qu’art poétique et poème du monde jouissent, eux aussi,
chacun de son tour de parole.
MÁSTER EN INTERCULTURALIDAD, COMUNICACIÓN Y ESTUDIOS EUROPEOS
(2o curso)
Jean-René Ladmiral, Sourcier ou cibliste. Paris : Les Belles Lettres, Coll. « Traductologiques », 2014, 303 p. EAN 978-2-251-70003-8.
Lieven D’hulst, dir. Essais d’histoire de la traduction: Avatars de Janus. Paris: Classiques Garnier, coll. « Perspectives comparatistes, série « Littérature et mondialisation», 2014, 321 p. EAN 978-2-8124-2100-6.
Eduard Stoklosinski, Another View : Tracing the Foreign in Literary Translation. Champaign / London / Dublin : Dalkey Archive Press, 2014, 213 p. EAN 978-1-62897-060-9.
Michaël Oustinoff, dir., Traduction et mondialisation. Paris : CNRS Éditions, coll. « Les Essentiels d’Hermès », 2011, 165 p. EAN 978-2-271-07127-9
Emily Apter, Against World Literature : On the Politics of Untranslatability. Londres / New York : Verso, 2013, 358 p. EAN 978-1-84467-970-6.
Martine Hennard Dutheil de la Rochère, Reading, Translating, Rewriting : Angela Carter’s Translational Poetics. Detroit : Wayne State University Press, 2013, 374 p. EAN 978-0-8143-3634-2.
I copy the introduction in lieu of an abstract:
Cet ensemble de lectures choisies n’est certes pas hétéroclite, dans la mesure où chaque titre évoque, invoque ou revendique une affiliation thématique aux études de traduction (comme dirait Lieven D’Hulst en traduisant mot à mot les « Translation Studies » anglophones) ou à la traductologie théorique, sur plusieurs de ses versants : philosophique, anthropologique, éthique, politique, historique, humaniste, psychologique et psychanalytique… Cette diversité d’intérêts et d’angles d’approches, et même de définitions et de champs opératoires sous-jacents de « la traduction », pourrait cependant faire passer un tel corpus pour disparate (mal assorti, voire contradictoire, incompatible), au sens d’une douloureuse absence de parité ou de comparabilité ; or la confrontation de ces très récents ouvrages, qui s’ignorent presque entièrement les uns les autres (à de ponctuelles exceptions près) et s’enracinent dans différentes disciplines, est fortement motivée parce que chacun à sa façon n’est concevable que dans ou sur fond d’une pensée de la comparaison et de l’incomparable, entre textes, méthodes critiques, espaces culturels, positions de pouvoir, conduites d’autorité, de soumission, de résilience ou de résistance. C’est ainsi, devant ou sous l’horizon des mondialisations et de la globalisation, que les problématiques traductologiques engagent inévitablement les pratiques de lecture et de production des textes, dans leur universalité anthropologique et dans les différentiels qui leur donnent, éventuellement, sens : autrement dit, l’objet ou les objets de la Littérature Comparée, au point que, d’un rôle d’adjuvant, ancillaire ou casuistique, certains prétendent hisser la traductologie à la place du comparatisme littéraire lui-même, en faire l’avatar le moins virtuel de la « Nouvelle Littérature Comparée » —oserais-je dire « Comparative Literature Mark II »— pour faire face, par une déterritorialisation interne supposée, à ce même marché global sur lequel on ne peut entrer que masqué.
Partant de l’essai le plus conservateur d’une tradition traductologique normative fondée il y a deux générations, et qui n’a guère cure de créativité, la présente étude aboutira au réinvestissement le plus caractérisé de la traduction dans une poïétique de la novation, et débouchera sur la conceptualisation en cours de la « translecture », en passant notamment par des politiques de la trace et l’exaltation de l’Intraduisible.
Frédérique Toudoire-Surlapierre, Notre besoin de comparaison. Paris : coll. « Universités/Comparaisons », Orizons, 2013, 187 p. EAN 978-2-296-08850-4.
César Domínguez, dir. Literatura europea comparada. coll. « Bibliotheca Philologica ». Madrid : Arco Libros, 2013, 433 p. EAN 978-84-7635-860-3.
Rita Felski, Susan Stanford Friedman, ed. Comparison : Theories, Approaches, Uses. Baltimore : The Johns Hopkins University Press, 2013. 346 p. EAN 978-1-4214-0912-2.
Voici le début de l'introduction, en guise d'abstract:
Le questionnement théorique comparatiste, de France ou d’Espagne en Chine et de l’Inde aux Etats-Unis, a été si exceptionnellement intensif ces quatre ou cinq dernières années, comme on l’a vu notamment au congrès de l’AILC (Paris 2013) —dont les actes, partiels— sont encore à paraître, qu’il faudrait quasiment un ouvrage entier pour en rendre compte. Cette effervescence, aussi salutaire que symptomatique, s’inscrit sans doute dans ce qui est souvent présenté comme une nouvelle crise, et des plus graves, de la Littérature Comparée, confrontée aux Études Postcoloniales à partir des années 90, et aux diverses résurrections et réinterprétations de la Littérature Mondiale dans les années 2000, une Littérature Mondiale qui mimique la mondialisation en même temps qu’elle la combat dans ses aspects uniformisants, dominateurs et stérilisants. Mais la prolifération des recherches théorisantes témoigne aussi d’autre chose qu’un simple aggiornamento de circonstance dans la mesure où elle correspond, au moins dans certains cas, à une maturation et à une historisation, intégrant une anthropologie culturelle, de la transdisciplinarité engagée par le structuralisme, le linguistic turn et le néo-formalisme des années 60 et 70.
"A brave book, not only for its sensitive explorations of love, loss and death, but for the cultural legacy it offers us through its mingling of language and its willingness to accept that "there is no end to interpretation." " Emily Finlay in SOUTHERLY.
"Coste’s novel Days in Sydney is a work demanding certain critical acclaim. Bilingual, with all this implies of very rich intercultural and international understanding, in direct touch with Australian creative writing, it brings to the latter a contribution of the highest distinction." Robert Pickering
D.C. 18 June 2017
the poems in isolettric verse comprise of 7 stanzas of 7 lines each
they are an interpretation of some actual scenes of everyday life in New Delhi.
The present cycle in progress will consist of 15 pairs. The whole poem means to mirror the musical location of a philosophical voice established in the concrete, contemporary diaspora of everyday life.
where the Trojan horse and the Gundagai dog finally meet!
The prologue can be read and downloaded here.
Échantillon:
(du trafic)
Les bords là-bas alignés, les maisons au pied des collines,
L’eau les voit aveuglément, prise à leur domesticité
Sans espoir ni tendresse, à notre contemplation encline ;
Un soleil blanc s’étale sur les méplats de la cité
Gommant par milliers les éclats de leurs petites histoires
Tassées sous les pylônes qui portent l’électricité.
Rien de ce qui est muet n’a d’existence aléatoire
Mais le parti qu’un homme prend et la couleur qui domine
N’attendent pas la saison pour épuiser son répertoire :
Ainsi le paysage, qui était naguère anonyme
Et plein de l’être des choses, sous les enseignes s’incline,
Laissant chacun d’entre nous se bercer de ce qui l’anime.
grandes figures de la poésie argentine moderne, venue avant
Alejandra Pizarnik et Olga Orozco.
Présentation et traduction DIDIER COSTE
Née dans une famille modeste d’immigrants d’origine suisse italienne,
elle a été serveuse dans le café de son père dépressif et alcoolique tout
en aidant sa mère, couturière en chambre, puis une fois partie de la
maison familiale, elle fut employée comme actrice dans une petite
troupe itinérante, comme institutrice rurale, comme caissière de
magasin et comme rédactrice publicitaire avant de devenir directrice
d’école et journaliste, entre autres métiers après la publication de son
premier recueil. Tandis que ses articles sont résolument féministes, ce
qui lui valut beaucoup de désagréments, d’autant qu’elle était mère
célibataire et soucieuse de son indépendance, sa poésie a évolué
considérablement d’un post-romantisme et d’un modernismo tardifs à
une recherche esthétique, formelle et philosophique extrêmement
originale dont sa dernière oeuvre, Mascarilla y trébol, publiée juste avant sa mort, représente le chef d’oeuvre. Rien d’étonnant, vu sa vie difficile et sa position de victime face au machisme et au paternalisme ambiants, à ce qu’elle ait souffert de troubles qu’on appelait à l’époque
neurasthéniques, mais la force avec laquelle elle a résisté à tant de vicissitudes, au mépris d’auteurs masculins célèbres comme Leopoldo Lugones ou Borges, et aux atteintes du cancer jusqu’au moment où elle sut ses jours comptés, est, elle, extraordinaire. Il est ironique que ce soit le suicide d’Alfonsina, noyée dans la mer à Mar del Plata, qui ait fait
d’elle, mondialement, une figure mythique par le biais de la chanson « Alfonsina y el mar » d’Ariel Ramírez et Félix Luna, chantée d’abord par Mercedes Sosa en 1969 avant d’être reprise par une
myriade d’autres voix. Il est donc grand temps que l’on connaisse dans des traductions non prosaïques les « anti-sonnets » non rimés —mais d’une diction précise qui porte leur puissante et délicate dialectique— de Mascarilla y trébol. Et il importait de débarrasser ces textes du halo
sentimental de leur circonstance tout en préservant leur extraordinaire, énigmatique et savante intensité, en adaptant leur pensée à une instrumentation nouvelle, leur chorégraphie aux faisceaux d’énergie d’une autre langue avec d’autres résonances. Quelque part entre symbolisme, surréalisme et néo-baroque, mais nourris aussi de réalisme du quotidien et de paysages urbains ou non, les 52 + 1 sonnets de Mascarilla y trébol ne se laissent réduire à aucune école ni influence, ils forment une année plus qu’entière quoique si courte, un monde complet et son excès dans une
fin sans fin
Pandavapuram (1979) est un "classique moderne" du roman indien qui a marqué un moment de modernité tout à fait révolutionnaire avant même les avant-gardes indiennes anglophones. Traduit en anglais en 1997 et dans plusieurs langues indiennes, publié aussi plus récemment en allemand et en turc, une édition française manquait à l'appel. C'est aussi une lecture fascinante et inépuisable, douloureusement belle et épurée, de la condition féminine dans l'Inde d'aujourd'hui et d'hier, et bien au-delà, à travers la pensée schizophrène d'une institutrice de village abandonnée par son mari, inventant un monde réel de substitution, plus vrai que le vrai, sans parvenir à combler son désir, ni à construire définitivement son objet, ni à le détruire.
Ces extraits sont offerts ici dans une première version.
La traduction intégrale du livre devrait être achevée avant le 15 juin. Les commentaires et critiques sont bienvenus par message personnel. Merci.
J'ai renoncé aux dodécasyllabes par lesquels il est souvent commode de rendre les hendécasyllabes espagnols. Laurence Breysse m'a convaincu d'éviter un excès de chevilles qui embarrassaient la diction d'Alfonsina, qu'elle en soit remerciée, même si l'impair me reste un peu douloureux, néo-classique impénitent que je suis! Et Alfonsina déclamait avec une certaine emphase —contraste marqué avec des contenus surréalistes, imagistes, souvent énigmatiques et/ou ironiques et grinçants. Bernardo Schiavetta dialogue avec moi sur des détails, toujours importants, je l'en remercie! Comme le disait Alfonsina elle-même dans son Avertissement: certains de ses textes "considèrent le détail comme un organisme indépendant."
J'ai renoncé aux dodécasyllabes par lesquels il est souvent commode de rendre les hendécasyllabes espagnols. Laurence Breysse m'a convaincu d'éviter un excès de chevilles qui embarrassaient la diction d'Alfonsina, qu'elle en soit remerciée, même si l'impair me reste un peu douloureux, néo-classique impénitent que je suis! Et Alfonsina déclamait avec une certaine emphase —contraste marqué avec des contenus surréalistes, imagistes, souvent énigmatiques et/ou ironiques et grinçants. Bernardo Schiavetta dialogue avec moi sur des détails, toujours importants, je l'en remercie!
Je n'ouvre pas de session pour l'instant, mais les lecteurs critiques peuvent m'adresser leur commentaire par message personnel sur academia.edu, ou sur ma page pro FB. La pluralité des interprétations et des sensibilités fait partie du jeu quand il s'agit de transposer un recueil aussi riche, à la fois étrange et familier.
Voir postface.
when, this year, it has been awarded the prestigious René Wellek Prize, conferred by
the American Comparative Literature Association (ACLA). A paperback May 2023 edition has
just come out after the 2022 hardcover one; 2023 has also seen the launch of Migrating Minds:
Journal of Cultural Cosmopolitanism, hosted by Georgetown University as a continuation and
expansion of the project. The twenty essays in this exciting collection engage the controversial
category of cosmopolitanism, rethinking it in depth and eventually broadening its scope and
range for the present time. I see the volume as a brilliant effort at engaging totality,
Colloque "Raymond Queneau et les spectacles"
sous la direction de Daniel Delbreil et Astrid Bouygues
- Avant-propos, Daniel Delbreil
- Le Corps en spectacle
- « Petit traité de voyeurisme », Jacques Birnberg
- « Attractions, exhibitions et manèges de cochons », Marie-Noëlle Campana
- « Spectacles acouatiques », Muriel Girard
- « La Crise d'ontalgie comme pantomime dans Loin de Rueil », Hela Ouardi
- « Vitrines sanguinaires ou la mort mise en scène dans les poèmes de Raymond Queneau », Astrid Bouygues
- « Deuil et fête dans les romans de Raymond Queneau », Anne Clancier
- Spectacles à déchiffrer
- « Spectacles à décrypter », Anna-Maria Tango
- « Spectacle de l'écriture et écriture du spectacle », Bouchta-es-Sette
- « Noms d'artistes dans Pierrot mon ami » Christine Méry
- « Raymond Queneau spectateur et monteur dans Chêne et chien », Lisa Mamakouka- Koukouvinou
- « Les Techniques romanesques de Raymond Queneau et le cinéma dans Le Chiendent », Adèle Zhu-Hong
- « Terre coquette, Queneau captif (la Petite cosmogonie portative) », Huguette de Brocqueville
- « Les Spectacles du savoir. Raymond Queneau et ses monstres », Jérôme Roger
- Le théâtre et ses représentations
- « A propos de certaines représentations des Exercices de style en Italie », Gianni Poli
- « Viens voir l'autobus S devant la gare de Francfort (...) », Gerhard Dörr
- « Eléments tragiques, dramatiques et comiques dans Un rude hiver », Michel Dyé
- « Rêves de théâtre et théâtre de rêve », Jean-Pierre Longre
- « Le théâtre en trompe-l'oeil des Temps mêlés », Patrick Brunel
- Cinémagies
- « Queneau fait son cinéma dans Loin de Rueil », Frank Wilhelm
- « Le Cinéma de Pierrot », Gérard-Denis Farcy
- « Le spectacle est dans la salle », Jean-Pierre Martin
- « Mon associé M. Davis (...) », Danièle Gasiglia-Laster
- « Comment partager Le Trésor ? », Arnaud Laster
- Spectacles mêlés
- « Les Cent mille milliards de poèmes en spectacle », Robert Kayser
- « Peter Ibbetson ou le spectacle du rêve dans Loin de Rueil », Madeleine Velguth
- « Raymond Queneau et le spectacle du futur », Daniel Compère
- « Queneau, un spectacle », Jean-Michel Pochet
- « Situ, t'imagines... Raymond Queneau, la Saint-Glinglin et le spectaculaire », Pierre Vilar
Dossier Texte / Image: Théorie
Ziya Aydin De la Règle à la Contrainte
Jan Baetens Brassaï, Ecrivain-Photographe
Alain Chevrier Les Dessins de Robert Desnos
Christelle Reggiani Perec Photographe
Astrid Poier-Bernhard Les sonnets de FJ Czernin
Alain Chevrier Les échiquiers poétiques
Francis Edeline La traduction de la poésie visuelle
Marcel Benabou Textes, Images et Manipulations
Regine Detambel La contrainte du passe-partout
Étienne Lecroart Interview
Pierre Fresnault-Deruelle Sur les dessins d’humour
Alain Chevrier Genèse du sonnet monolettrique
Dossier Texte / Image: CRËATIONS
Jérôme Peignot De la Typoésie
Bernardo Schiavetta Les Métamorphoses de Zagghi
Patrice Hamel Une fois de plus (la Réplique n°29)
Olivier Deprez Sur Le Chateau, de Kafka
M. Kasper Prose-brève
Ian Monk Twin Tower
Gilles Esposito-Farèse Deux poèmes
Gilles Esposito-Farèse Ambibliographie
Jacques Perry-Salkow Tristan / Isolde
Joël Guenoun Les mots ont des visages
Jean Wirtz La tératologie sous contrainte verbale
Ilse Kilic Anagrammes-images
Ilse Kilic écrire un mot
Antoine de Baif Grife d’un chiffre
Dr Jean-François Sacombe Une image filée et expliquée
Alain Zalmanski La cloche de La Roquebrussanne
Hors-Dossier : « Créations à contraintes »
Eric Clemens La fable inachevable
Jacques Perry-Salkow La nuit syntone
Jacques Jouet Dos, pensée (poème), revenant
Franz J Czernin Le diviseur de soi comme rabaisseur de soi
fin du Dossier Texte / Image / hors dossier:
Observatoire des Littératures à Contraintes
Jan Baetens Du bon usage des livres anciens
Christelle Reggiani Sur Le grand incendie
Chantal Robillard Littérature jeunesse à contraintes
Cécile de Bary Les contraintes au bac
Observatoire des littératures à contraintes
Echo des Colloques Jeux
Une contribution de Jean-François Jeandillou était attendue, elle n'est
hélas jamais parvenue à la rédaction. Certains esprits facétieux ne
manqueront pas d'en déceler quelque trace improbable dans le présent numéro,
où plus d'une signature sent son pseudonyme. Mais nous nous garderons bien de
cautionner pareille spéculation.
As the title implies, the volume discusses cosmopolitanism as an attitude and a thought process, but also as an object of fictional, documentary, and social representations, trying to move away from the divisive premise of radical difference, and implying, instead, that all communities are traversed by differentiations, oppositions and contradictions. Authors propose a solidarity of reason, able to craft interpretive norms and teaching methods that transcend exclusive localisms.