Marvelous realism

Marcel Aymé (1902-1967) is one of the unwilling founder of the French magical realism. Whereas he himself rejects any tendency towards a “réalisme imaginaire” in a 1938 foreword, his friend Robert Brasillach uses the terms “réalisme magique” in 1943, when reviewing Le Passe-Muraille. What I intend to do in this paper is to describe briefly the modalities of Aymé’s own magical realism, and in particular, its sociological background :
fantasy appears in the petit-bourgeois microcosms of the Third Republic (employees, farmers, etc.), and introduces a satire of this social universe.
The stylistic and enunciative frame of this magical realism fosters irony and
ideological ambiguity. E.g. the characters tend to publicly hold the ideological position of their social class, when in all likelihood the conventions of their class should order them to remain silent about it. The bourgeois characters thus assume their bourgeois cynicism ; the traditional targets of the literary irony turn themselves into ironists.
Finally, I shall articulate this magical-realism based irony with the political function of Aymé’s novels : the uncanny is a mean to disarm every political interpretation of the fiction.
This doesn’t mean that Aymé’s fictions have no political meaning whatsoever. On the contrary, they are strongly committed in favour of political and moral relativism. This relativism is the very strategy Aymé has been implementing to defend his far-right acquaintances after the Libération.
My study will be based on a close reading of novels and short stories such as Derrière chez Martin, Les Contes du chat perché, Le Passe-Muraille, Le Chemin des écoliers and Uranus, but also of some pamphlets (Silhouette du scandale, Le Confort intelectuel). It will thus emphasize an unexpected right-wing use of magical realism.

é um escritor consagrado internacionalmente. Prova disso são seus inúmeros livros traduzidos para vários idiomas. Embora considerado autor modernista da segunda fase, é possível perceber, em sua vasta ficção, outras nuances dentro de sua orientação literária. Assim, propomos para a obra O Sumiço da Santa: uma história de feitiçaria, publicada originalmente em 1988, delinear algumas características do Realismo Maravilhoso na obra, vislumbrando outras perspectivas de classificação literária que ultrapassem o bordão de romance regionalista. A narrativa elaborada por Jorge Amado, na citada obra, compõe-se de várias histórias que se entrelaçam com maestria, como um quebra-cabeças em que se vai juntando as peças até o desenlace final, deixando intrigado o leitor diante das tramas que se desenvolvem paralelamente e, ao mesmo tempo, se entrecruzam com perfeição. O autor nos brinda com um romance permeado de humor leve, envolvente, de uma Bahia híbrida, rica em sincretismo cultural e religioso, onde é possível vislumbrar um Brasil mestiço, de várias facetas e contradições, em que a realidade se mescla à fantasia de maneira lúdica, sem grandes assombros nessa convivência com o sobrenatural. A trama se inicia com o desembarque da imagem de santa Bárbara, proveniente da pequena cidade de Santo Amaro e velada durante seu trajeto por um padre, uma freira e mais um casal: Mestre Manuel e Maria Clara, no cais da cidade de Salvador, ou como denomina Amado (1999, p. 7), da "Cidade do Salvador da Bahia de Todos os Santos". A efígie da santa serviria para abrilhantar uma exposição no Museu de Arte Sacra promovida pelo frade, de origem alemã, dom Maximiliano von Gruden, que recentemente havia desenvolvido um estudo rigoroso e pormenorizado sobre a origem da

Jack Hodgins’s The Invention of the World (1977) explores the extraordinary history of Vancouver Island in a complex story that includes transhistorical and transcultural elements, as well as biblical and mythological allusions. A milestone in the history of Canadian literature, What the Crow Said (1978) is one of Robert Kroetsch’s most cryptic and challenging stories. The novel has been hailed as a postmodern reimagining of prairie life, full of literary references, transgressions, and
ironies. More specifically, both narratives reconstruct two crucial places in the Canadian context—the prairie and the island. Furthermore, The Invention of the World and What the Crow Said are relevant to a better understanding of how fictional texts innovated the art of novel writing in the twentieth century and the different strategies they employed to do so.
Through close-reading of both novels, this article aims to analyse what Brian McHale describes as ontological instability in his seminal Postmodernist Fiction. The paper will also explore the various ways in which the two novels can be seen as complementary in terms of their narrative treatment of space. Both authors reimagine a quintessentially Canadian setting, ultimately reconfiguring our understanding of these spaces and challenging how we make sense of reality through storytelling.

William Faulkner loved the South, and he feared many of the same social currents that southerners have stereotypically feared: eg, women's equality, the mingling of races and classes, and change of most any kind. Unlike most Southerners, however, Faulkner knew change must come ...

This thesis will examine William Faulkner's career-long engagement with popular discourses surrounding collegiate football, and American sports more generally. Although Faulkner is often viewed as a paragon of American high modernism, his development as a fiction writer during the "Gold Age of Sports" which spanned the 1920s fostered an attentiveness to popular sports writing that had a marked influence on several of his novels. More importantly, as much of writing about college football began to center on the South after the Southeastern Conference became the first collegiate organization to offer open athletic subsidies in 1935, Faulkner's concern with the sport becomes increasingly prominent in his fiction. The first chapter of this study, then, focuses on the "Wild Palms" portion of The Wild Palms; If I Forget Thee, Jerusalem (1939) to gain insight into Faulkner's complicated stance on the hotly debated issue of the professionalization of college football. The second chapter examines the curious Labove episode in The Hamlet (1940) to illustrate the way in which Faulkner was informed by popular discourses in pointing to college football, and sport more generally, as an agent of nationalization in the Depression-era South. Finally, the third chapter highlights significant moments in Intruder in the Dust (1948), The Town (1957), and The Mansion (1959) in which Faulkner indicates an affinity with progressive sportswriters in suggesting that the importance of sports in Southern culture might be used as a lever to quell racial tension and bring about the eventual integration of the region. iii DEDICATION To my Mom and Dad. graduate students who were part of Dr. Duck's Faulkner seminar in the spring of 2012. Their excitement, encouragement, and suggestions for the first chapter of this thesis helped convince me that Faulkner's engagement with football was a topic worth exploring further. I am also indebted to the members of my thesis committee, Dr. Jay Watson and Dr. Jaime Harker. Their ability to remain supportive and insightful as they trudged through my shoddy prose and tangled arguments was invaluable to my success. Finally, I'd like to thank Dr. Patricia Schroeder, who showed me how fun the study of Faulkner can be. Without the laughs we shared over Faulkner's characters in her cramped office at Ursinus College, this project would have never been possible.

The purpose of this article is to present new sources of fear in short fantastic stories of Jean‑Pierre Andrevon. First, it is necessary to underscore the anxiogenic role of the Uncanny – the malaise born out of rupture in everyday life which was once reassuring. The paper discusses the discourses of space and body – both origins of the Uncanny penetrate each other, become in the indubitable report, follow the reciprocate, often regressive dynamic. The familiar space metamorphoses into the space of a scary and distended geometry; the healthy, normal body transforms into a strange and alien one; the fragmentation of the body designates the disintegration of the familiar space. In brief, short fantastic stories of Jean-Pierre Andrevon emphasize particularly the isotopic acuity of the fragmentation of the body and the fragmentation of the space. The topic is analyzed using psychoanalysis and, especially, psychoanalytic terms like the Uncanny, the return of the repressed and the mirror ...

Recent theoretical and ideological shifts consonant with the postmodern and the postcolonial perspectives have been just as evident in the study of the literature of the Caribbean and Latin America as in the rest of the hemisphere and beyond. The desire for democratization that has come with subaltern studies or cultural studies has included a move toward what used to be the margins of the canon, even as traditional notions of canonicity have been reevaluated. Women's literature, gay and lesbian literature, and the literature of ethnic minorities are all advancing in their struggle for visibility and recognition. They now form a significant part of an even wider array of texts that have attracted critical attention, even if corresponding changes in undergraduate reading lists or departmental hires have lagged behind. In this context, the three books under review acquire greater relevance because they are all efforts to place the marginal and colonized in focus and describe a world from their viewpoint. Silvio Torres-Saillant's Caribbean Poetics: Toward an Aesthetic of West Indian Literature is the reworked version of his 1991 doctoral dissertation,

In this analysis, I investigate the coexistence of the oral and writing in Texaco of Patrick Chamoiseau. I try first to explain how Chamoiseau arrived to a certain synthesis between the two registers. Then I examine the objective of the author to develop such a synthesis between oral and writing in the universe of a text. In the case of Texaco, it is not only a matter of two ways of expression but also of two languages and two states of civilization. This expressive and linguistic lining does not depend only on the exile of many intellectuals and some other historical factors, but on a certain cultural alienation. Indeed, the Martinican identity oscillates between two spaces and hesitates between two languages. By this coexistence of the creole oral mode and the French writing, Chamoiseau tried to create a new style in the world of literary texts. On the other hand, this meeting of the different languages and registers creates a certain composition of elements that do not stand in a relation of opposition to each other, but of a tangle in order to communicate a world vision and to assert the original identity.

This article presents the question whether it is correct to classify Günter Grass's The Tin Drum as a work of magical realism. A brief scrutiny of the elements of magical realism, particularly Authorial Reticence and concept of Hesitation indicates that contrary to the advertisement of certain sources and publishers, this novel in certain circumstances, contradicts and opposes these two indispensable elements of magical realism. The scrutiny of the text based on the technique of 'close reading', followed by exemplification and providing excerpts from the text, helps one find out that the only distinctive feature of this narrative mode, namely authorial reticence is explicitly neglected and overlooked. Unlike the principles of magical realism, the protagonist of the novel attempts to provide rational explanations and logical justifications for whatever he does. Likewise, due to the lack of a firm and confident voice and lack of matter-of-fact statements of the protagonist, readers begin suspecting the accuracy and validity of his words and actions. This sustained hesitation ultimately harms the total effect of the work as being magical realism. Moreover, based on Franz Roh's famous statement regarding the palpitating nature of magic, hidden behind our represented world, two conclusions are drawn: one is paucity or scarcity of magic, implying that extraordinary events should not occur incessantly and frequently. Secondly, it should happen momentarily and promptly and consequently should not be controllable, intruding our lives from the outside world. Whereas, in this novel, not only Oskar's magic power is used frequently, but also is controlled at any time he wishes.

This article presents the question whether it is correct to classify Gunter Grass’s The Tin Drum as a work of magical realism. A brief scrutiny of the elements of magical realism, particularly Authorial Reticence and concept of Hesitation indicates that contrary to the advertisement of certain sources and publishers, this novel in certain circumstances, contradicts and opposes these two indispensable elements of magical realism. The scrutiny of the text based on the technique of ‘close reading’, followed by exemplification and providing excerpts from the text, helps one find out that the only distinctive feature of this narrative mode, namely authorial reticence is explicitly neglected and overlooked. Unlike the principles of magical realism, the protagonist of the novel attempts to provide rational explanations and logical justifications for whatever he does. Likewise, due to the lack of a firm and confident voice and lack of matter-of-fact statements of the protagonist, readers be...

O artigo oferece uma perspectiva sobre as representações de gênero ligadas à masculinidade, poder e marginalidade dentro do romance Pão de Açúcar, que trata da ficcionalização de um crime de ódio ocorrido em Portugal em 2006. Naquele ano, Gisberta Salce Júnior, mulher trans brasileira, foi assassinada por um grupo de adolescentes infratores nas ruínas de uma grande rede de supermercados. Objetiva-se compreender as representações dos sujeitos ex-cêntricos presentes na obra, principalmente o olhar do narrador acerca da personagem trans Gisberta, através do arcabouço teórico de Stuart Hall (2016), Pierre Bourdieu (2002), Michel Foucault (2013) e Berenice Bento (2015), dentre outros.

The present collection of essays treats magical realism as a narrative strategy that has become a particularly viable medium for representing historical traumata. Each essay contributes to the overall concept of magical realism as a poetics and writing mode transgressing geo-cultural, literary, and even its own historical boundaries. The writers focus their attention on historical traumata, such as the consequences of both World Wars, but also the terrorist attacks of September 11, 2001; the transgenerational trauma of the descendants of Holocaust survivors; the trauma of displacement of the Turkish peasantry; and even a 19th-century work representing a two-hundred-year-old Scottish uprising, all of which have found expression through magical-realist writing techniques. Where factual representation of a violent reality fails because of the crisis of meaning, magical imagery takes over. Résumé Le présent numéro thématique aborde le réalisme magique comme une stratégie narrative qui s'est révélée, au fil du temps, un moyen pérenne et approprié pour traiter des traumatismes historiques. Chaque essai contribue à décrire le réalisme magique comme une poétique et un mode de transgression des frontières littéraires, géoculturelles, et même de ses propres limites historiques. Les auteurs des textes se penchent sur des traumatismes historiques comme les conséquences des deux guerres mondiales ; l'Holocauste, vu sous un angle transgénérationnel par la mémoire des survivants ; mais aussi les attaques terroristes du 11 septembre 2011 ou le déplacement des populations rurales en Turquie. Les techniques d'écriture magico-réalistes ont même inspiré des romans historiques du xix e siècle, traitant de traumatismes collectifs antérieurs. Là où la représentation factuelle d'une réalité violente échoue, la métaphorique magico-réaliste prend le relais pour mieux se déployer.

Le Paysan de Paris (The Peasant from Paris) (1926) written by Louis Aragon as a young writer (1897-1982) is a remarkable combination of many aspects of the Surrealist movement with the unique style of narration and description of the French author. Le Paysan de Paris, consisting of "Preface to the Modern Mythology," "The Passage of the Opera," "Feeling Nature in Buttes Chaumont," and "The Peasant's Dream" is a description of the concrete realism of this city toward its metaphysical image. In his description, there is a coexistence of image and imagination. The author's movement between the concrete and the abstract reflects his understanding of symbolism. The change in his understanding of value judgment caused by the turmoil of World War II is reflected in his novel as an escape from the imposed realism and current system where all kinds of prejudice and dogma exist. In this escape the image of a woman representing love is mixed with the fantasies brought about by the view of the city. In other words, the combination of space and the woman image makes the writer feel in a fantastic realm. In this context, rather than a classical narrative form, Aragon's novel becomes kind of poetic narrative. Demonstrating a surrealistic understanding in the pursuit of the unknown, this narrative form indicates a new reality in every aspect: a reality that embodies the concrete and abstract worlds together in it.

I began The Well-Wrought Urn in the fall of 2009 as a PhD dissertation. Age, health, and faltering ambition combined to prevent its defense. The present draft (the fifth, I think – ambition fades, interest does not!) revises fairly substantially a self-published first draft “edition” (2015) that was well received by the small group of those I call my “intended readers.” That earlier draft is out of print.

The current revision results from continued fascination with the subject matter and with our contemporary history to which, I believe, it speaks. It is offered not in the interest of profit or notoriety, but rather as an aid to the serious student of Faulkner’s work. I do not claim this is the only reading of Faulkner’s work, merely that it is my reading and that it is supported by ample evidence.

Thomas Jefferson placed a number of perplexing ideas into the stream of American thought, and in the thirty-six years of his Mississippi cycle, Faulkner takes up those ideas and comments on American history, particularly the history of the American South, as he perceived it and as his predecessors and contemporaries shaped it. When he named his apocryphal town “Jefferson, Mississippi,” Faulkner placed Jefferson precisely at the center of his discourse, creating a structural metaphor that persisted throughout his writing career. The Well-Wrought Urn examines how Faulkner uses the facts of Southern and American history re-imagined in apocryphal settings to approach the truths of that history as they relate to the classic liberal article of faith—individual freedom, self-reliance, the commonwealth. The result is a synthesis of literary criticism and history that relies on the best works of Faulkner critics in tandem with the best works of American historians to approach, through historical reasoning, a new reading of Faulkner.

Life in the republic, citizenship in the commonwealth, the practice of freedom were timely subjects when Thomas Jefferson recorded his dream of an American republic. They were timely subjects when Faulkner took them up in his Mississippi narratives. And they remain timely subjects now, as Americans face a challenging and uncertain future.

Chapter one is an overview of the project.

Chapter three, The Fathers, reads The Unvanquished. Often dismissed as cheap, pot-boiling stories accreted into a novel unworthy of its author or treated as nothing more than a collection of entertaining tall tales, both critiques miss the point. I take great exception.

Bildungsroman is the fairly standard reading of the novel. Bayard and Ringo are naive participants on the peripheries of the violence and displacements of the Civil War. Escapades begin comically but evolve toward violence, tragedy, and chaos. The war is lost, but the South is “redeemed,” and Bayard takes his place as the Sartoris.

Noel Polk suggested that “at some level Bayard simply wants us to believe that his father was a war hero, a gallant fighter.” Bayard wants to convince himself that his father was a great man, and this attempt to preserve his father’s memory links the novel thematically to two time periods: the Civil War and Reconstruction (story time) and some years after the end of the war as Bayard remembers (narration time). I rely on these two time frames – the complex interaction of time, voice, and point of view. Meaning is derived not from what the old Bayard says, but in what he does not say, causing narrative confusion.

The basis of antebellum southern society was a network of social and economic interdependencies based on chattel slavery and extending to all forms of relationship: race, class, gender, age, thus creating intense internal stress in southern society. War increases internal tension as it attempts to deal with external threats, and in this sense, the war is lost because it is fought. The Unvanquished is the remembered but very nearly unnarrated story of the terrible practice of freedom that dictates the superiority of the white son and dooms the black son to racial subordination.

The present study situates the phenomenon of the flowering of Canadian magic realist prose in the context of Canadian literary tradition and discourses, and employs postcolonial approaches to literature to analyse different “spaces” of memory in selected examples of Canadian magic realist prose in English. Different dimensions of memory (individual and collective) are analysed as interlocking with other, variously conceived, physical, social and representational “spaces” of concern to magic realism. This approach is inspired by ...

C'est aux dernières limites du possible, sur les confins les plus lointains des apparences, à l'extrême pointe vers laquelle convergent toutes les directions confondues, voire même au-delà, dans cette région où ne peut plus se rencontrer que la conjecture audacieuse ou bien plutôt l'étonnement sans mesure, que s'effectue la plus profonde et la plus énigmatique peut-être des démarches que tente l'esprit de l'homme, celle par qui s'élabore secrètement le Merveilleux 1. Le terme merveille (mirabilia) qui vient de la racine mir (mirari, miror) signifie le regard, le visuel. Selon Le Grand Robert la Merveille signifie, « chose, phénomène qui cause une intense admiration, ce qui étonne et séduit par des qualités éminentes, exceptionnelles, et presque surnaturelles (beauté, perfection…) 2. » Ce terme correspond à une série d'images extraordinaires « valorisées par le mystère qu'il introduit dans la réalité 3 ». D'autre part, le mot irrationalité est bien clair : ce qui s'oppose à la raison. André Breton le définit ainsi : « La mise en évidence de l'irrationalité immédiate, confondante, de certains évènements nécessite la stricte authenticité du document humain qui les enregistre 4. » Le sens du terme raison change à chaque période et elle est présente différemment dans chaque domaine. « La raison n'est pas une force déterminante et aveugle, elle est une lumière chargée d'éclairer nos actes dans les limites de notre liberté 5 » et elle est définie comme une faculté humaine par laquelle l'esprit apprend à se confronter à la réalité. Au cours du XVII e siècle, la raison a pris un sens particulier avec Descartes. Le sens général de ce terme est défini par ratio en latin et logos en grec. Mais dans la littérature persane, le sens de la raison est défini par la Sagesse. Ce concept philosophique est présenté sous le nom de xerad. Signifiant la Sagesse, xerad correspond à la raison. Le mot désignant dans l'Avesta la lumière, désigne également la sagesse divine. Le présent article abordera brièvement cette question : est-ce qu'on a vraiment besoin de l'irrationnel dans le merveilleux ? Pour répondre à cette question, j'ai choisi deux écrivains : André Breton et Sadegh Hedayat. Ces deux écrivains nous ramènent vers un mouvement

recently completed her M.A. at Arizona State University and is the author of forthcoming essays on Emily Dickinson and Faulkner. David Evans recently completed his Ph.D. degree at Rutgers University, with a dissertation titled "Communities of Confidence: William Faulkner, William James, and the American Pragmatic Tradition." J. M. Faulkner is an accomplished storyteller whose lectures and pub lications are filled with colorful and deftly related anecdotes about his family and life in Mississippi. His slide lecture program "Knowing William Faulkner," presented at colleges and universities all over the nation, provides unique insight into the personality of his famous uncle.

«Nos monuments demeurent comme des douleurs. Ils témoignent de douleurs Ils conservent des douleurs ». 1 Dans son essai intitulé : Guyane : Traces-Mémoires au bagne l'essayiste martiniquais Patrick Chamoiseau souligne le caractère vivant des vestiges, des traces matérielles dans la société caribéenne. C'est d'ailleurs, cette capacité des monuments comme des cachots coloniaux à transmettre des émotions que Chamoiseau retranscrit dans son oeuvre romanesque Un Dimanche Au Cachot 2. Ce roman publié en 2007 aux éditions Gallimard narre l'histoire de Caroline, une jeune fille recueillie au sein de l'habitation Gaschette au Robert qui reste prostrée sous une voûte de pierre. Etonné par la réaction de l'enfant, l'animateur Sylvestre fait appel à Patrick Chamoiseau en tant qu'éducateur afin de porter secours à celle-ci. Comprenant que la voûte n'est rien d'autre que la ruine d'un ancien cachot, l'écrivain mêle et entremêle l'histoire de cette enfant Caroline et celle d'une esclave rebelle, du nom de L'Oubliée, mise au cachot à cause de son insolence envers le maître d'habitation. Conscient que la trace n'est pas inerte, statique, l'écrivain plonge le lecteur dans la trace du cachot de l'habitation Gaschette et fait revivre sous sa plume l'histoire, la mémoire de son île natale. La trace désigne une marque, une empreinte laissée par un passage, un reste d'évènement, un fragment, une quantité infime. Toutefois, la trace ne représente pas seulement ces différents aspects ; en Martinique, elle fait également allusion à la route sinueuse, parallèle à la route nationale, reliant le centre de l'île au nord. Cette même route du nom de la Trace rappelle les sentiers tortueux et dangereux empruntés par les esclaves qui échappaient aux brutalités de l'habitation. La trace est passage, histoire, mémoire, elle est constamment en mouvement et porteuse de sens. A ce propos, le philosophe français Jacques Derrida observe dans Marges de la philosophie que la trace serait « [non] pas une présence mais le simulacre d'une présence qui se disloque, se déplace, se renvoie n'a proprement pas lieu, l'effacement appartient à sa structure» 3. Si la trace apparaît en premier lieu comme un élément tactile et visible, le philosophe martiniquais Edouard Glissant propose aussi dans Introduction à une poétique du divers, une pensée de la trace.

This article aims to analyse and interpret OV Vijayan’s Khasakkinte Ithihasam through a postmodern lens. This analysis opens up myriad ways of understanding the transformation of a postmodern concept from an unfamiliar concept to acceptance about its Indigenous identity. The study is motivated by the dearth of research emphasising and testing postmodern design in the use of magic realism in fictional writing, parting with the actual mode of fictional writing. By comparing and defining the theme of the journey, this article tracks the demand and transformation of a colonised concept from an unfamiliar beginning to acceptance of its Indigenous identity. We will also examine deep and rich myths and the Khasak stories that give a supernatural aura and delves into the cultural representation of post-independent Malayalam literature.

Danş ce trauail, en s 'arretant particulieremen t sur du trauaux faits concer­ nant Alain-Foumier et son roman intitull le Grand Meaulnes, nous auons pris en main les methodes linguistiques qui aboutissent a la critique thematique. Ensuite, en s 'inspirant des etudes thematiques, nous auons essaye d 'etudier les themes de la purete et de la mort qui se rejoignent dans le roman.Bu yazıda öncelikle Alain-Foumier ve romanı ile Gratıd Meaulnes üzerinde ya­pılmış çalışmalar üzerinde durulmuş ve tematik eleştiriye yol açan dilbilim yöntem­leri ele alınmıştır, Daha sonra tematik incelemeden esinlenilenerek romanda birbirini tamamlayan saflık ve ölüm temalan incelenmiştir

The present collection of essays treats magical realism as a narrative strategy that has become a particularly viable medium for representing historical traumata. Each essay contributes to the overall concept of magical realism as a poetics and writing mode transgressing geo-cultural, literary, and even its own historical boundaries. The writers focus their attention on historical traumata, such as the consequences of both World Wars, but also the terrorist attacks of September 11, 2001; the transgenerational trauma of the descendants of Holocaust survivors; the trauma of displacement of the Turkish peasantry; and even a 19th-century work representing a two-hundred-year-old Scottish uprising, all of which have found expression through magical-realist writing techniques. Where factual representation of a violent reality fails because of the crisis of meaning, magical imagery takes over. Eugene ArvA & Hubert rolAnd L’écriture des traumatismes et le réalisme magique Pour citer cet arti...

In spite of William Faulkner’s attempts to define Go Down, Moses (1942) as a novel, literary critics have struggled to find the coherent, resolutory, and unifying patterns expected from the genre of the novel. The generic label of the text has always been a topic of discussion regarding the text since the first imprint in 1942, which identified the book as a short story collection. A clarification from the author in 1947 would convince his editor Robert Haas and Random House to publish and refer to the work as a novel instead of a collection. However, the clarification was not enough to convince literary critics that the work was “indeed a novel” (Blotner 284-85). The generic confusion regarding the label of the text still seems to be a sore subject when dealing with a text that is seemingly halfway between the novel and the collection. The only strand of criticism capable of coming to terms with the ambivalent nature of Faulkner’s text has considered the latter as part of the neglected tradition of the short story cycle. The project of this thesis is reading William Faulkner’s Go Down, Moses as a short story cycle, aiming at uncovering the structural and textual tensions neglected or misinterpreted because of improper generic labels. Go Down, Moses exhibits most of the formal characteristics ascribable to the genre of the short story cycle, first and foremost the tension between the single units and the integrity of the whole (Ingram 15; Lundén). Moreover, the tension is realized on the textual level under the several thematic patterns that scholars and critics have been tracing since the publication. Such a reading requires a dual perspective on work capable of considering the text as both an aggregation of short stories and a unified text, which is the overall approach to the study of short story cycles.

1 MAGIC REALISM REMAINS a vexed concept for Canadian literature, despite having been adopted to describe a specific group of English-Canadian texts, including Robert Kroetsch's What the Crow Said and Jack Hodgins's The Invention of the World. Traditionally, magic ...

Pour Jan Herman, l’autoréflexivité dans Jacques le fataliste se traduit par trois aventures poétiques intimement liées. Tout d’abord, le récit de Diderot met en évidence le difficile équilibre entre l’arbitraire d’une liberté sans limites que possède le romancier et la nécessité de respecter les contraintes du code légué par la tradition. La figure d’autoréflexivité est ici la métalepse. Ensuite, le discours diderotien réfléchit sur la nécessité de fonder l’autorité du texte sur sa possibilité matérielle moyennant un « récit génétique ». La figure d’autoréflexivité est ici l’ironie. La gourde de Jacques se trouve au centre d’une troisième aventure, qui concerne l’inspiration. À travers la figure de la dive bouteille, le récit évoque une culture de l’ivresse à laquelle il ne peut participer que par une mise en abyme qui la rend irrécupérable.

How do we experience wonder? Have people always felt wonder in the same way? How has the way we write about wonder changed over time? These questions lie at the heart of Jerónimo Arellano's Magical Realism and the History of the Emotions in Latin America, which examines expressions of wonder in Spanish colonial writings and in Latin American magical realism. These two areas of literary studies have received much critical attention, but Arellano rejuvenates the field by interpreting canonical texts through the critical lens of affect studies. He writes against the conventional

Pour Jan Herman, l’autoréflexivité dans Jacques le fataliste se traduit par trois aventures poétiques intimement liées. Tout d’abord, le récit de Diderot met en évidence le difficile équilibre entre l’arbitraire d’une liberté sans limites que possède le romancier et la nécessité de respecter les contraintes du code légué par la tradition. La figure d’autoréflexivité est ici la métalepse. Ensuite, le discours diderotien réfléchit sur la nécessité de fonder l’autorité du texte sur sa possibilité matérielle moyennant un « récit génétique ». La figure d’autoréflexivité est ici l’ironie. La gourde de Jacques se trouve au centre d’une troisième aventure, qui concerne l’inspiration. À travers la figure de la dive bouteille, le récit évoque une culture de l’ivresse à laquelle il ne peut participer que par une mise en abyme qui la rend irrécupérable.

This article attempts to track the evolution of some seminal scenes in genetic material, unpublished and published stories connected with two major Faulkner novels, Absalom, Absalom! and The Hamlet, especially the image of the laughing black face.

Mario Vargas Llosa, Carlos Fuentes, Gabriel Garcia Marquez, all acknowledged the deep influence of Faulkner on the writers of the South-American "boom". This essay explores the relevance of this opinion through a close textual analysis of fragments from these authors, looking for converging stylistic patterns and political outlooks, concluding on the peripheral literary spaces that these Southern writers created.

A comparison of the deliberate designs of Balzac's Comedie Humaine and Faulkner's Yoknapatawpha County. Comparisons between elements of plots, characters, names. The creation of a diegesis through recurring characters. Review of pre-existing scholarship.

General (1950). As a garden itself, this beautiful edition pays attention to the political and poetic lives of different plants. For instance, the tropical American Ceiba (ceiba pentandra)-the "World Tree" of the Maya and also a substitute for the sacred iroko of Afro-Americans-is a towering presence, appearing as a character in works as diverse as Bello's "Silva a la agricultura en la zona tórrida," Alejo Carpentier's El siglo de las luces (1962), and Ana Mendieta's tree installations and siluetas of the 1970s. In stark contrast to the ceiba's objectification as obstacle or commodity in, for example, "Silva a la agricultura," its appearances throughout the book attest to both its historical importance and its poetic power. By placing in proximity the literary archive and the cultural life of plants, The Poetics of Plants proposes animism or perspectivism-as well as other indigenous ways of relating to the more-than-human world-as a critical key to understanding the literary life of the plant-human community. This gesture opens up the canonical corpus, long associated (in the case of Carpentier) with Euro-American or criollo stylistics, to vibrant new readings. Readers finish the book perhaps wanting to know more about these authors' historical relations with Indigenous cultures or the transcultural ways in which Western notions of the separation of nature andculture were debilitated in the Americas via a vegetal history of humans. Besides having plants as protagonists that reappear in different texts, The Poetics of Plants also brings to the fore the act of weaving, both as a natureculture set of interrelations and as a topic appearing in the texts analyzed.