La Fois Research Articles

'Panim': Visages de Proust by André Benhaïm

MLR, I02.2, 2007 521 descriptions of characters' death and of their reactions to the death of other charac ters,and the links the text traces between mourning and writing. A leitmotifhere is thepervasive tension Le Roux-Kieken finds inProust between 'lamort positive' and 'lamort fragmentaire'. The last three chapters are devoted, inBachelardian fashion, to images of death drawn from the three traditional categories of nature (animal, vegetable, mineral). The first,on 'Le monde vegetal et lamort', is the shortest and (tomy mind) the most successful: apparently tangential images (of lace, of redness) are always clearly linked to plant motifs, and the sections on theGuermantes matin&e as ametaphori cal jardin d'hiver and on the botanical figuration of heredity contain many original and pertinent insights.The chapter on animals and death is less tightlyorganized, with much attention given to creatures (the horse, inparticular), which, though not unimportant, perhaps struggle to justify the textual space they are called upon to fill.This impression of thinness disappears, though, in the section on entomology: as critics fromBeckett onwards have remarked, insects play a significantmetapho rical role inA la recherche,and Le Roux-Kieken's analysis benefits here from the richness of thematerial. The finalchapter, 'Aper~us du monde mineral: semiotique du durcissement', is (as the titlehints) less exclusively focused on the thanatological theme, discussing the links between mineral imagery and a range of psychological states-'la souffrancementale', 'la jalousie', 'l'indifference feinte'-before engaging with subjects more obviously linked to death, such as heredity and ageing. In the conclusion, the author attempts to balance two conflicting impulses inher work, towards differentiation and towards synthesis, coming to the unexceptionable but hardly novel conclusion thatA la rechercheis fundamentally 'un roman du retour et surtout du Devenir' (p. 466). The index of themes and notions that follows the text is useful, providing the readerwith thekind of textualorientation not always tobe found in books that started lifeas French theses. There is a sound bibliography of critical work in French but-and this is one of the book's major shortcomings-Le Roux Kieken seems almost completely unaware ofProustian scholarship in languages other thanFrench (only two articles inEnglish are cited in thebibliography). This results in her passing over some very importantwork: one thinksofMalcolm Bowie's chapter on death inProust among theStars (London: HarperCollins, I998), pp. 267-3 I8. Such omissions notwithstanding, Le Roux-Kieken has produced a substantial, in deed exhaustive, study of death in Proust. Her tendency tomultiply examples can lead at times to diminishing critical returns, and certainlyworks against thekind of elegance and readability we find inother works of thematic criticism, such as those byRichard or Rosasco. But this exhaustiveness also has its rewards: thereare enough original insights and connections here toensure that thebook justifies itselfas awork of criticism aswell as scholarship. ST ANDREWS ROBINMAcKENZIE 'Panim': visages de Proust. By ANDRE BENHAYM. Villeneuve: Presses Universitaires du Septentrion. 2006. 322 pp. EI9. ISBN 978-2-85939-929-0. This lively and original book focuses on the significance of the face inA la recherche du temps perdu and other earlier Proustian texts.The ratherunusual title isexplained in the 'Prelude': in classical Hebrew theplural word panim means singular 'face' and also has the sense of 'turning towards' something or someone. It thus points to the multiplicity and mobility of faces inProust as well as to their status as both subject and object or, in Merleau-Ponty's words, both 'voyant et visible' (quoted on p. I7). The study consists of a series of interlinking analyses of the face inProust, 'a la fois insaisissable, invisible [. . .] et [. . .] reconnaissable' (p. 20). Among the large 522 Reviews number of topics discussed are the importance and role of monocles, the 'visages animalises' (p. 70) ofmany of the characters, thenovel's final 'bal de tetes',Odette as bothMiss Sacripant and Botticelli painting, themoving beauty spot of the 'deesse a plusieurs tetes' (p. 3 I3),Albertine, thenarrator's own facelessness, the edible face or 'ciboire' (p. 204) of themother and grandmother, and the ravaged, Jewish prophet's face of the dying Swann. Of particular interest here isAnde Benhaim's discussion of the Jewishness of Proust and Jewishness in Proust (hence also the significance of theHebrew title): Swann at...

Dialogues posthumes sur le quiétisme by Jean de La Bruyère, Louis-Ellies Du Pin, Richard Parish

MLR, I02.2, 2007 5II Descartes: dissimulation et ironie. By FERNANDHALLYN. (Titre Courant, 33) Geneva: Droz. 2oo6. 2I4PP. SwF28. ISBN 978-2-600-00535-7. There aremany references inDescartes's correspondence tohis desire not to expose his philosophy fully to his readers, and to avoid direct confrontation with various institutions by the cautious use of language; these justifyboth Hallyn's supposition that thereare various strategies of occultation inhis published textand the suggestion that theCartesian insistence on clarity is at odds with them.Descartes's famous early unpublished declaration 'larvatus prodeo' shows his intention to dissimulate and his commitment toworldly prudence; Francis Bacon, Baltasar Gracian, and Tommaso Accetto are earlymodern writers on these topicswho are used intertextuallybyHal lyn tostructure his investigations, togetherwith ancient rhetoricians, notably Hermo genes and Quintilian. Three levels ofoccultation-reserve (withholding information), dissimulation (stating thatone isnotwhat one is), and simulation (stating thatone is what one isnot)-are examined invarious ways through the rhetorical figuresof em phasis, equivocation, and hypocrisy; irony,here defined as saying not only something opposite towhat one means but also something other, is a feature of all three. These figures allow Descartes 'a se livrer au lecteur derriere un masque qui voile et decouvre a la fois' (p. 43), liftinghis text beyond the divide between truth and falsehood and turning it into a provocation or incitation for the attentive reader.One of the areas most profitably examined byHallyn is that of the relationship between philosophy and theology. He shows Descartes to be aware of the heresy of duplex veritas, and toclaim not only that the truthof his own physics isconsistent with faith, but also thathismetaphysics demonstrates thenature ofGod and the soul by purely philosophical means. Yet Descartes's comments on the physics of theEucharist and his proof of the existence of God are seen here to be marked by what Hallyn calls an 'ironie logique' (p. 148) ('la copresence devant la pensee de premisses ou de con clusions contraires ou contradictoires, entre lesquelles le choix s'avere quasiment impossible': p. I48). This is perhaps to stretch the rhetorical strategies of irony too far: it leads Hallyn to the conclusion that the 'morale par provision' of theDiscours was put thereby itsauthor toobviate the accusation of atheism, in so faras itnot only justifiespersistence in the religious practice ofone's childhood but also underpins the deistic argument that themetaphysical proof ofGod's existence is specific neither to a sect nor to a religion. Few readers ofDescartes would disagree thatDescartes does not spell out all he would wish to say,or hope that the readermight glean fromhis text,or engage in (sometimes spiteful) suppression of necessary information for its comprehension; what isnot so clear is whether themodes ofoblique expression which Hallyn's patient exposition reveals inCartesian writings are all related to an overrid ing rhetorical strategywhich can be extended as faras their logic. For all that, this is a subtle, lucid, and enjoyable study, ingeniously supported from thewhole range of Descartes's works, which will stimulate and enrich specialist and non-specialist alike. ALL SOULS COLLEGE,OXFORD IAN MACLEAN Dialogues posthumes sur lequietisme. By JEANDE LA BRUYERE and Louis-ELLIEs Du PIN. Ed. by RICHARD PARISH. (Collection Atopia) Grenoble: Millon. 2005. 246 PP. ?22. ISBN 978-2-84I37-I84-6. Previous editors of La Bruyere's works have differed in theirwillingness to attribute these texts to the author of Les Caracteres, Walckenaer (Paris: Didot, I845) voting contre,and Servois (Paris: Hachette, I865-82) votingpour. Richard Parish follows the editor of theYournal des savants, who, in theyear of their firstpublication (I 699), as serted thatLa Bruyere composed the firstseven dialogues and Ellies Du Pin the final 5I2 Reviews two.The present edition provides the reader not only with the textof the dialogues themselves, but also with the copious notes, attributed toEllies Du Pin: these use fullysituate thework within itsoriginal theological context by referringtoother texts which played a key role in the debate over Quietism stirred up byMadame Guyon. The Dialogues, which focus on the theological niceties of the controversy, were, on firstpublication, eclipsed by the greater interest then aroused by the public dispute on this subject which had broken out between Bossuet and Fenelon; subsequently theyhave received onlymodest critical attention...

Echo -ing the Spirit of the Times: A Polish Canadian Youth Experiment in the 1970s

The First National Polish Canadian Youth Convention was held in October, 1969, at York University in Toronto. A major result of this meeting was the creation of Echo as a socio-cultural “Canadian Publication of Polish Youth,” which debuted in February, 1970, and lasted until 1975. This paper argues that the historical context of the 1970s is crucial for understanding the generational differences amongst Polish Canadians at the time, questions of identity for the second generation, and the creation, success, and demise of Echo magazine. The staff and content of Echo were in many ways more Canadian than Polish or Polish Canadian because Canadian society was experiencing youth consciousness and ethnic consciousness simultaneously. This context stimulated Polish Canadian youth to create their own voice that was not necessarily deferential to authority in the Polish Canadian community. These youth were not affected by the society around them in the same way as non-ethnic middle-class Canadian youth. Nonetheless, Echo was a successful forum for young Polish Canadians across Canada to debate the meaning of Polish Canadianness and discover themselves in a 1970s context of greater ethnic activism and changing social attitudes. La première convention nationale de la jeunesse canado-polonaise a eu lieu en octobre 1969 à l’Université de York à Toronto. Une des initiatives les plus importantes de cette réunion fut la création d’ Echo, une «revue canadienne de la jeunesse polonaise» à vocation socio-culturelle, qui parut de 1970 à 1975. Dans cet article, nous considérons que le contexte historique des années 1970 joue un rôle crucial pour comprendre les différences générationnelles chez les Canadiens d’origine polonaise de cette époque-là, les problèmes d’identité de la deuxième génération, ainsi que la création, le succès et la disparition de la revue Echo . Étant donné que la société canadienne faisait l’expérience d’une prise de conscience à la fois de la jeunesse et de l’ethnicité, le personnel d’ Echo fut de bien des manières plus canadien que polonais ou canado-polonais, ce qui orienta le contenu de la revue. Ce contexte historique a stimulé les Canadiens polonais à chercher une voix qui leur serait propre et qui ne se montra pas forcément déférente envers l’autorité au sein de la communauté canado-polonaise. La société dans laquelle ces jeunes vivaient ne les toucha pas de la même façon que leurs contemporains canadiens de classe moyenne non-ethnique. Quoiqu’il en soit, pour eux Echo fut un succès d’un bout à l’autre du Canada en tant que forum où ils purent débattre du sens d’une appartenance canadienne polonaise et se découvrir eux-même dans le contexte de l’activisme accru et des attitudes sociales en mutation des années 1970.

MASS AND HEAT TRANSPORT IN A COKE FUELED SHAFT FURNACE

A mathematical model was developed for a continuous tapping cupola based on both mass and heat balance. This model emphasized interactions occurring between countercurrent flows of ascending gas and descending solids and liquids. Profiles of temperatures and compositions of gas, metal and slag were investigated through the calculation of mass and heat transfer for the reactions occurring at all interfaces. By varying the composition of the charged materials, it was found that the carbon content in the tapped metal was controlled by the reaction of coke/metal in the pool region. The carbon content in metallic scrap charge components could dominate the variation of both silicon and oxygen contents in the tapped metal while it has only a minor influence on the carbon level. The sulfur content in tapped metal was determined mainly by the coke dissolution process.On a développé un modèle mathématique pour un cubilot à coulée continue basé à la fois sur la balance de masse et de chaleur. Ce modèle met en évidence les interactions qui se produisent entre les débits à contre-courant de gaz qui monte et de solides et liquides qui descendent. On a investigué les profils de température et de composition du gas, du métal et de la scorie par calcul de transfert de masse et de chaleur pour les réactions qui se produisent à toutes les interfaces. En variant la composition des matériaux de la charge, on a trouvé que la teneur en carbone dans le métal coulé était contrôlée par la réaction coke/métal dans la région du bain. La teneur en carbone des composantes de la charge de ferraille métallique pouvait dominer la variation de la teneur en silicium et en oxygène du métal coulé alors qu’elle a seulement une influence mineure sur le niveau de carbone. La teneur en soufre dans le métal coulé a été déterminée principalement par le procédé de dissolution de coke.

(Non-)retours à l’Église gréco-catholique roumaine, entre adhésion et transmission religieuse

English The author analyses the individual and collective motives which have pushed some of the Greek-Catholics to join their former Church since 1989. The Romanian Greek-Catholic Church, founded in 1687, was outlawed by the communist party between 1948 and 1989. After it became legal again, the Church tried to reorganize itself. The author analyses such a return, in the light of the notions of conversion, membership and of religious transmission, and proposes to take the factor of the uniqueness of God into account, as it allows to complement the analyses in terms of religious identity and of “religious marketplace”. French L'auteure analyse les motifs à la fois individuels et collectifs qui ont poussé une partie des fidèles gréco-catholiques à rejoindre leur ancienne Église après 1989. L'Église gréco-catholique roumaine, fondée en 1697, a été mise hors-la-loi par le pouvoir communiste entre 1948 et 1989. Après son retour à la légalité, elle a tenté de se réorganiser. L'auteure analyse un tel retour, à la lumière des notions de conversion, d'adhésion et de transmission religieuse, et propose de prendre en compte le facteur de l'unicité de Dieu, qui permet de compléter les analyses en termes d'identité religieuse et de ``supermarché de la foi''.

Community response to intermittent preventive treatment delivered to infants (IPTi) through the EPI system in Manhiça, Mozambique

To describe attitudes to the expanded programme on immunization (EPI) and intermittent preventive treatment in infants (IPTi), and perceptions of the relationship between them. In particular, whether the introduction of IPTi negatively affects community attitudes to, or use of, EPI; or, conversely, whether and if so how, the concurrent delivery of IPTi and immunization influences perceptions of IPTi. Anthropological study carried out in the context of a trial of IPTi with sulphadoxine-pyrimethamine delivered alongside routine EPI vaccinations. We used open in-depth interviews, semi-structured interviews and participant observation, conducted in both community and clinic settings. IPTi was generally acceptable, in spite of initial resistance. Perceived negative aspects of IPTi did not affect perceptions of EPI, and IPTi was not misinterpreted as immunization against malaria, leading to a reduction of other preventive measures or delay in treatment seeking. Initial resistance was related more to the trial than to IPTi per se, but both rejection and acceptance were embedded in a complex constellation of local and wider contextual factors. IPTi delivered together with EPI was generally accepted after initial rejection. The factors that led to this rejection were largely local and trial related, but they did resonate with much wider cultural themes (rumours about research and health interventions, gender inequality and health-related decision making). The prior acceptance and routine administration of EPI played a key role in the acceptance of IPTi in this community. However, more studies, in different social and cultural settings and using different drugs and regimens, are needed before generalizations can be made. Although trial settings are different from actual implementation, it is necessary to study acceptability before implementation in order to anticipate problems and design information campaigns to ensure maximum community acceptance.

Closet and Confessional : Television and Hybridity in Mambo Italiano

Mambo Italiano se trouve à la jonction de trois médias : une adaptation cinématographique d’une pièce de théâtre dont l’un des signifiants principaux est la télévision. Selon André Bazin, le cinéma a des tendances centrifuges alors que le théâtre est essentiellement centripète. Cet article propose que la télévision, se situant entre théâtre et cinéma, est à la fois centripète et centrifuge. Le caractère hybride de la télé est ici associé à l’hybridité identitaire des personnages gais et italiano- canadiens du film. En parallèle à la télévision, cet article analyse aussi le confessionnal qui représente un lieu de communication/non-communication élaborant ainsi l’une des métaphores centrales du film.

L'Ironie proustienne. La vision stereoscopique (review)

Reviewed by: L’Ironie proustienne. La vision stéréoscopique Michael R. Finn Duval, Sophie. L’Ironie proustienne. La vision stéréoscopique. Paris: Honoré Champion, 2004. Pp. 516. ISBN 2-7453-0963-3. This impressive volume, the third in Champion's series Recherches proustiennes, directed by Annick Bouillaguet and Brian Rogers, is a systematic attempt to analyze the various levels on which irony operates in A la recherche du temps perdu and how those levels interact "stereoscopically." Its thoroughness, wide-ranging bibliography (which pays attention to Anglo-Saxon as well as French criticism, both on irony in general and on Proustian irony and humour) and readability will make it a useful reference work for proustiens, upper-level undergraduates and graduate students. [End Page 436] The work is divided into four parts. The first examines the brands of irony, wit and humour employed by certain characters and by various groups in the novel (the dilettante, the "mondain", etc.) to maintain a distance between themselves and lesser beings. The analysis of the part sadism plays in the irony of characters like Charlus, Françoise and the Narrator is important: "le schéma de l'interaction ironique se superpose à celui de la cruauté proustienne et de son alliage de jouissance et de culpabilité" (34). The text also notes neatly that for the "célibataires de l'art" like Swann, it is wit and irony that serve as the simulacra of creativity. Terraced upon the characters' various ironies are the Narrator's ironic perspectives on them, and it is, in part, this superimposition that produces stereoscopic effects. The opening thesis of the second part, which deals with Proustian satire and its targets – doctors, the nobility, snobs, those in love – may be questioned by some. Duval contends that the fit between satire and the novel as genre is problematic because the former is a force for dislocation and anarchy; the adoption of this satirical bent would thus account for the heteroclite nature of Proust's work. Is it really logical, however, to argue that the vocation of the modern novel is to be linear and tailored? Still, her view rightly underlines the oft-repeated observation that the novel in Proust's hands floats between a number of genres. And yet, a chicken-and-egg question remains. Is the Argus-like effect of Proustian perspectivism the consequence of a choice about novelistic form? Cocteau interpreted the pauses and trips to the narrative periphery in A la recherche as an extension of Proust's character and his oral voice. Reading the text, Cocteau heard that voice as "un système d'écluses, de vestibules, de fatigues, de haltes, de politesses, de fous-rires." A point made forcefully in this section (158) is that Proust's attachment to theatre, rites, codes and ceremonies, especially related to the idea of death, allows him to "stage" satire to great effect. The section closes with a very satisfying re-opening of the debate about the various levels of the Proustian "I" in which Duval shows how the novel develops its normative values via the ironic interaction of two personae, the naïve hero and his indispensable complement, the Narrator: "le héros est à la fois la cible du narrateur et son apprenti" (271). If satire is seen as a force for disintegration in part two, irony – somewhat ironically – is presented as a crucial structuring tool in part three. The maieutic nature of A la recherche is embedded in the topos of its structure: the novel is an uninterrupted series of reversals of meaning out of which eventually surfaces the pleasure of recognition and knowledge, and the formation of laws. The irony of constant inversions thus effects a gradual realization of "truth" (237). Part four addresses the irony resident in the self-reflexivity of Proust's novel. Duval reminds us how most Proustian characters are "boîtes à malice," constructed around a gap between exterior appearance and inner meaning, and that the regularity of these "surprises" and the regularity of reversals of meaning in the plot, work against the mimetic effects of fiction (407). She points, in addition, to the implausible, anti-fiction effects of the self-directed irony surrounding the differentiation...

Camille Saint-Saëns's Changing Exoticism and the Interesting Case of La Foi

Saint-Saëns's exoticism—as well as his attitude toward non-Western music—evolved significantly over time. Three stages in its evolution can be identified, Fantasy, Traveloque, and Integration, the last of which can be observed in the music of his Trois Tableaux symphoniques d'après “La Foi,” which is based on the incidental music to a play set in ancient Egypt by Eugene Brieux. Through thematic transformation and the confounding of traditional expectations of exoticism, Saint-Saëns undermines the East-West dichotomy that characterizes his first two stages. At the same time, the music to La Foi reflects the composer's ideas on the role of religion in society.

The Value of the Nation-State

September/October 2005 · Historically Speaking 37 tive studies, it is likely that the reshaping of the social, cultural, and ideological history of Spain that has derived from modern inquisitorial scholarship will continue well into the 21st century. Helen Rowlings is lecturer and director ofstudies in Spanish at the University of Leicester. Her most recent book is The Spanish Inquisition (Blackwell, 2005). 1 Henry Charles Lea, A History ofthe Inquisition ofSpain, 4 vols. (Macmillan, 1922). 2 Jean-Pierre Dedieu, "Les quatres temps de l'Inquisition," in Bartolomé Bennassar, ed., L 'Inquisition Espagnole (Hachette, 1979). 3 William Monter, Frontiers ofHeresy: The Spanish Inquisitionfrom the Basque Lands to Sicily (Cambridge University Press, 1990). 4 William Hickling Prescott, History ofthe Reign ofFerdinand and Isabella the Catholic (R. Bentley, 1854). 5 Jaime Contreras and Gustav Henningsen, "44,000 Cases of the Spanish Inquisition (15401700 ): Analysis of a Historical Data Bank," in Gustav Henningsen and John Tedeschi, eds., in association with Charles Amiel, The Inquisition in Early Modern Europe: Studies in Sources and Methods (Northern Illinois University Press, 1986). 6 Jean-Pierre Dedieu, "The Inquisition and Popular Culture in New Castile," in Stephen Haliczer, ed., Inquisition and Society in Early Modern Europe (Croom Helm, 1987). 7 Gustav Henningsen, The Witches 'Advocate: Basque Witchcraft and the Spanish Inquisition,1609-1614 (University of Nevada Press, 1981). 8 José Martínez-Millán, La Hacienda de la Inquisición, 1478-1 700 (CSIC, 1984). 9 Jean-Pierre Dedieu, L 'Administration de la Foi. L 'Inquisition de Tolède, xvie-viiie siècle (Casa de Velazquez, 1989); Werner Thomas, La represión delprotestantismo en España, 1517-1648 (Leuven University Press, 2001). 10Sara T. Nalle, Madfar God: Bartolomé Sánchez, the Secret Messiah of Cardene (University Press ofVirginia, 2001). 11John Edwards, The Spanish Inquisition (Tempus, 1999). 12Jaime Contreras, Sotos contra Riquelmes (Arco Libros, 1992). 13Henry Kamen, The Spanish Inquisition: An Historical Revision (Yale University Press, 1997). The Value of the Nation-State Diana Muir The nation-state is under assault by academics rightfully appalled by nationalism's tendency to get out of hand in a blut und boden way. Disgust with Germany's behavior in World War II has led Benedict Anderson, Eric Hobsbawn, and other scholars not merely to condemn the excesses of political states organized around ethnicity-based nationality, but to persuade themselves that "nations" do not exist. The prevailing academic fashion is to believe and to teach that the national state is an "imagined community," invented out of whole cloth in the 19th century. Social scientists like Anderson and Hobsbawm claim that an individual's identification with larger groups is so complex, overlapping, fragmented, and changeable that the categorization ofhuman beings by nationality is absurd. They do not deny that selfdescribed nation-states exist; but they contend that this is so only because it is often useful for ambitious politicians to invent nations and to persuade susceptible individuals that they belong to one. It has become stylish to believe that nations, like Frankenstein, could not have come into being except by the deliberate creation of misguided or malevolent actors and that neighboring populations will ultimately bear the burden for that act of hubris. This approach ignores a wealth of evidence from several parts of the world that national consciousness grew from ethnicity by natural progression, and that nation-states existed long before the alleged "invention" of the nation in the 19th century. In his 1996 Wiles Lectures, The Construction of Nationhood: Ethnicity, Religion, and Nationalism (Cambridge University Press, 1997), Adrian Hastings defines a nation as an ethnicity that has become a self-conscious community and "possesses or claims the right to political identity and autonomy as a people , together with control over specific territory ." In practice, Hastings continues, "ethnicities naturally turn into nations ... at the point when their specific vernacular moves from an oral to a written usage . . . being regularly employed for the production of a literature ." Ethnicities that feel themselves to be nations express this feeling by establishing or attempting to establish sovereign national states. Hastings demonstrates that national consciousness was already found in England by the time ofthe Venerable Bede (ca. 730) and that an English national state based on the model of biblical Israel...

The Poet and the Prince: Revising Molière and Tartuffe in the French Revolution

Le paradoxe de Moliere, a l’apogee de sa vie, fut d’etre a la fois homme de pouvoir et de contestation. Personnage officiel en meme temps que marginal, il se trouva sans cesse au centre de luttes, dont les negociations pour obtenir son enterrement chretien ne constituerent pas le dernier episode. Michel Delon An array of contradictory elements surrounded Moliere, but the paradox of his having been both powerful and persecuted acquired special resonance during the French Revolution. Moliere’s legendary association with Louis XIV and the royal patronage long deemed integral to his artistic success came to the fore in the context of revolutionary anxiety about the culture inherited from the Old Regime—culture at once useful and stained by its association with a rejected past. Moliere’s ties to the monarch emerged in published debates that raged early in the Revolution about the proper relationship between government and theater. This literature suggests the construction of a new narrative of the poet’s life story in which he owes little or nothing to his sovereign. Documents also reveal that performance texts of Tartuffe were altered during the revolutionary period to excise the role of the monarch. Together, the reconfiguration of Moliere’s relationship to Louis XIV and the modifications to Tartuffe may be interpreted as complementary processes of revision—one historical, the other literary. They are parallel efforts by revolutionaries to void their cultural inheritance of all

Claude Simon: allées et venues — Actes du colloque international de Perpignan, 14–15 mars 2003

Études réunies par Jean-Yves Laurichesse. Presses universitaires de Perpignan, 2004. 266 pp. Pb €15.00. Like so many conference proceedings, this edited volume offers a very focused collection of angles on the subject in question — Claude Simon's most recent novel Le Tramway (2001) — and as such provides a useful introduction to this work. In the prefatory remarks, Jean-Yves Laurichesse pinpoints the rich resonance of the title of Simon's latest novel as ‘à la fois machine mémorable et riche métaphore […] le fil conducteur du colloque’. Indeed, the three sections of the volume entitled ‘mobiles’, ‘passages’ and ‘histoires’ take up this resonance to cover various aspects of Simon's Le Tramway. Whether literal or figurative ‘transports’, narrative passage or digression, whether movement or circular stasis, familial or universalizing image of death of the generations who have gone before, all these are central preoccupations of the novel and its critics in this volume. Where the collection's focus is a strength, its weakness is uneven critical quality and depth. Although there is some range and effort to connect Le Tramway to Simon's œuvre (for example, in the last essay by Didier Alexandre, ‘Du Tricheur au Tramway, d'un événement l'autre?’, or Alastair Duncan's ‘Allées et venues familiales chez Claude Simon’, the first essay in the section ‘Histoires’), comparison is more commonly to wider issues, theories and fields. Wolfram Nitsch's opening essay explores forms of transport in the modernist novel with Le Tramway then read in the heritage of Huysmans, the Goncourts, Proust, Aragon, Leiris and so on, while Jean Duffy uses Simon's latest work to illustrate a small (and arguably rather arbitrary) selection of anthropological texts on rite and rites of passage. Metka Zupančič's essay, entitled ‘Hermès psychopompe: le “comme” des palimpsestes’, continues her interest in mythocritical approaches to reading text, but is probably the worst offender of the volume for its over-reliance on theory as a grille imposed on Simon's text in ways which many will find highly questionable. Given that most of the contributors here have a track record of publication on Simon, the lack of secondary critical reference to the many previous articles on Simon treating the themes and formal elements covered in this volume may be a particular disappointment to researchers on Simon. In all, then, this is an energetic, but rather superficial, collection of essays in unanimous critical agreement that Le Tramway is indeed representative of the concerns of Simon's œuvre.

Beckett's Molloy: Inscribing Molloy in a Metalanguage Story

Themes pertaining to and language have often been mulled over in the past forty years, yet the quest for the self is seen by many critics as the essential theme in Beckett's Molloy (1951), his first novel written in French. Jean-Jacques Mayoux in his Molloy: evenement litteraire, une oeuvre tells us: La structure de Molloy est d'une admirable clarte. Elle poursuit le theme de la quete de soi qui, des le premier roman, Murphy (1938), s'affirme comme le sujet fondamental, sinon unique, de Beckett (243-44). While I agree that the quest for the self is certainly important, I will argue that, beyond fiction, the main thrust in Molloy is the movement of (a) writing itself. In fact, Molloy can be interpreted as a metalanguage story, that is, a story about language, and more specifically, about the narrator's struggle with its arbitrariness insofar as it is indifferent to his needs. (1) Thus, the text's testing ground of language is indissociable from the narrator's journey. Unquestionably, the field of studies has been and continues to be prolific. Some read his works as being at the foundation of postmodernism. Others highlight its existential nature; still others focus on the social, political and ethical dimensions of his work. In addition, abundant comparative studies connect Beckett's work with that of authors as diverse as Joyce, Flaubert, Miller, Proust, Roth, Mallarme, Genet, Kafka, Celine, and Dante--to name but a few. The last decade has read Beckett's work from a poststructuralist perspective, a perspective which departs from traditional text-centered criticism and reveals how literature, history and philosophy intersect. (2) Most important to our study, however, is the topic of and language, which has been particularly appealing to the structuralists of the 1970s and 80s. The area of expertise of the latter ranges from sentence construction, fragmentation, linguistic jokes, and the use of French and the interplay with English to symbolism, the impossibility to express, and aesthetics. Now, having mentioned the above key aspects of studies, I should note that to write a thorough etat present of criticism could easily require a book-length study. In 2003 alone, no fewer than 75 books that discuss as a main or secondary topic have been published. (3) In this reading, I attempt to depart from a textual criticism that finds negativity permeating Molloy in order to contend that the narrator's quest for the self is in fact traced by his witty attempt to inscribe himself within the language of his text as well as by his endless positive incentive to enhance the performance of the language that is available to him, in the hope that this language will serve him better. (4) The narrator, Molloy, who later becomes Moran, is constantly struggling with language. His many comments about it show his preoccupation with its stubborn, implacable exigencies which he expresses in different roles, such as that of a professor: Il faudrait reecrire tout cela au plus-que-parfait (20); the role of a grammarian: cette phrase assez longue et difficile, ou il ne figurait pas moins de trois imperatifs (160); or the role of a student: Je les connaissais donc, mes imperatifs (116) or Mais j'emploierai surtout les diverses formes du passe (143). Molloy masters his tenses, and yet they do not allow him to express everything as he encounters situations where no grammatical tense can help convey his thoughts: Ma vie, ma vie, tantot j'en parle comme d'une chose finie, tantot comme d'une plaisanterie qui dure encore, et j'ai tort, car elle est finie et elle dure a la fois, mais par quel temps du verbe exprimer cela? (47) On other occasions, Molloy is dissatisfied with the name of existing tenses, such as the future, and he adds a nuance to the term: un simple futur prophetique (148). The narrator is confronted with lexical demands as well as those of grammar. For instance, the limited number of signifiers attributed to the unlimited number of colors leads to the problem of subjective naming--what is blue and what is green? …

Sound, Space and Selfhood: Stereoscopic Apprehension in The Paradise Institute

L'installation cinématographique The Paradise Institute de Janet Cardiff et George Bures Miller, représentant le Canada à la biennale de Venise en 2001, consiste en un tout petit théâtre dans lequel le spectateur regarde un fragment de quatorze minutes d'un film à suspense européen. Par ses écouteurs, te spectateur entend à la fois la bande sonore du film et le son d'autres spectateurs, reproduit par enregistrement binaural, qui suggère leur présence dans le théâtre. La démarcation entre le film et le spectateur disparaît à mesure que ce dernier devient impliqué dans un film noir parallèle. L'installation met en évidence certains aspects importants de l’expérience cinématographique, comme les rapports entre le son et l'espace, l'influence du lieu de projection sur la perception du spectateur et l'interaction entre le phantasme privé et la narration du film dans le processus d'identification.

Room-for-Play: Beniamin's Gamble with Cinema the Martin Walsh Memorial Lecture 2003 Résumé:

Dans la deuxième version de son article « L'œuvre d'art à l'époque de sa reproduction mécanisée » (1936), Walter Benjamin note que l'anéantissement de l'aura ou apparence (Scbein) dans l'art s'accompagne d’une augmentation énorme de « l'espace de jeu » (Spielraum) surtout, et grâce, au cinéma. Cet article examine les nombreuses connotations du terme allemand Spiel chez Benjamin-le jeu d'enfant, le jeu de l'acteur, le jeu de hasard--et étudie sa notion du cinéma comme jeu en relation avec sa théorie anthropologique-matérialiste de la technologie. De là découle l'importance à la fois esthétique et politique du cinéma en tant que forme de jeu de « seconde nature » .

Locating the Artist in Thirty Two Short Films about Glenn Gould

Par une analyse du portrait complexe de l'excentrique pianiste et compositeur, Glenn Gould, que François Girard brosse dans Thirty Two Short Films about Glenn Could, l'auteur étudie cette icône nationale à la lumière des images multiples et contradictoires qui existent à l'intérieur du film et en à parallèle avec l'œuvre. Girard questionne les concepts de biographie, de documentaire et de fiction tout en suggérant que la valeur culturelle de Gould est produite à la fois par des institutions comme le Canadian Broadcasting Corporation et par un réseau de relations entre la culture des médias globaux et la spécificité de l'espace, du lieu, du travail et des notions de valeur.

Authentic classical Haiku and painting studies on the web

The author's Web site devoted to the poet‐painter Yosa Buson (1716–1784) is divided into three sections: articles on Buson, bibliographic resources, and a pictorial catalogue of the haiku and paintings of Buson and his group. The site is mostly in both Japanese and English, for the convenience of overseas learners, and it receives an increasing number of hits from both Japan and abroad. Comments in the guest book and direct e‐mails to the site author attest to its popularity. Access trends were analyzed, and in order to improve the structure and content of the site, a formative evaluation by college students has also been undertaken.Authentiques études sur le Haiku et les peintures classiques sur le Web. Le site Web de l'auteur consacré au poète peintre Buson (116-84) est divisé en 3 sections : articles sur Buson, ressources bibliographiques, catalogue illustré des haiku et peintures de Buson et de son groupe. Le site est principalement à la fois en japonais et en anglais, de façon, à convenir aux étudiants étrangers et il reçoit un nombre croissant de contributions du japon et de l'étranger. Les commentaires sur le livre des visiteurs et les e-mails sur le site attestent de la popularité de l'auteur. Les tendances d'accès ont été analysées et de façon à améliorer la structure et le contenu du site, une évaluationformative par des étudiants de collège a été également entreprise.Authentische klassische Haiku und Bildstudien auf dem Web. Die dem Dichter/Maler Yosa Buson (1716-84) gewidmete Web-Site des Autors ist in drei Abschnitte eingeteilt: Artikel über Buson, bibliographische Ressourcen und ein bebilderter Katalog der Haiku und der Bilder von Buson und seiner Gruppe. Die Site ist hauptsächlich sowohl auf Japanisch als auch Englisch, um den überseeischen Lernern den Zugang zu erleichtern. Die Site erhält eine wachsende Anzahl von Hits sowohl aus Japan als auch aus dem Ausland. Kommentare im Gästebuch und direkte E-Mails an den Site-Autor bestätigen die Wertschätzung dieses Webangebots. Die Zugangsstatistik wurde analysiert und, um die Struktur und den Inhalt der Website weiter zu verbessern, ist auch eine formative Auswertungdurch Collegestudenten durchgeführt worden.

Bridgespotting: Lepage, Hitchcock, and Landmarks in Canadian Film

Se basant sur les théories de Colin McArthur au sujet de la reconnaissance complexe des lieux cinématographiques par le spectateur, cet article examine la représentation du Pont de Québec dans le film Le confessionnal de Robert Lepage. Les images du pont qui marquent le début et la fin du film font allusion au Forth Bridge écossais du film 39 Steps, d'Hitchcock. Ces images sont aussi porteuses d'une symbolique qui évoque des moments précis de l'histoire du Québec et du Canada. Cette utilisation polyvalente du pont illustre les façons par lesquelles le cinéma dépeint le lieu canadien à la fois comme matériau historique et potentialité cinématographique.

Paul Morand: The Paradoxes of "Revision"

For those who ponder the revisionism that took place among French intellectuals and writers in the 1950s regarding the split between Right and Left, Paul Morand's oeuvre offers a fruitful subject of study. This could seem illogical, for we are talking about a writer who does not consider himself an intellectual, and refused any revision on his own account when he was fired from the Ministry of Foreign Affairs in September 1944, based on his choices and actions as a highlyplaced bureaucrat during World War II. The logical challenge (to speak about revisionism from the standpoint of an unrepentant radical) is also a challenge to logic, since Morand's positions -more complex than suggested at first glance, and thus richer-seem linked to paradox. The Dictionnaire Robert defines paradox as Opinion qui va h l'encontre de l'opinion communement admise. In fact, as a recalcitrant Vichyist, Paul Morand places himself against the current of the dominant historical doxa, and sometimes even against the Vichyist minority in which he enclosed himself. The dictionary adds; Etre, chose, fait qui heurt le bon sens. We see Morand in this second meaning, which clarifies itself in a third one on the level of logic: se dit d'une proposition qui est a la fois vraie et fausse. The paradox creates a closed circuit, a link between opposites. The reader is sent back to terms like antinomy, contradiction, sophistry. I will not attempt here to explore the vast domain of political involvement or non-involvement and interpretations thereof. I will also attempt not to follow in the footsteps of readers who have already made great headway in decoding Morand's texts, such as Jeffrey Mehlman. I will take care not to go down the roads of polemic or rehabilitation. My goal is not to take sides, but to detect a coherence in Morand's writing, from post-war novelist to aging diarist. In fact, his Journal inutile (1968-1976) provides a generic and chronologic counterpoint to the earlier writings, allowing one to measure how much Morand substitutes the division Vichy/Other for the Right/Left cleavage. It will gradually become apparent that the writer never stopped rehashing and recomposing directly, via the journal, or implicitly via his fictionthe era 1940-44. He did not revise this past, but looked at it again and revisited it, in order to demonstrate three points: 1) revision characterizes man and the world; 0 Board of Regents, University of Wisconsin System, 2003 SubStance # 102, Vol. 32, no. 3, 2003 43

The Framing of Farmed Fish: Product, Efficiency, and Technology

Abstract This paper examines the ways in which both fish farmers and environmentalists use frames to socially construct the salmon fanning industry in British Columbia. Advertisements and other promotional materials contain movement actors' justifications for promoting or opposing the industry; these rationalizations are good reasons for understanding fish fanning in a particular way. Because salmon farmers and environmentalists must both rely on what people already know, they create frames that direct the viewer's gaze of salmon aquaculture in surprisingly similar ways. We found that frames created by both proponents and opponents of the industry are structured around the inter-related concepts of production, efficiency, and technology. As a result, fanned fish become natural-social hybrids. Fanned salmon are framed in both common-sensical and hyper-real ways as naturally efficient bits of living technology. Resume Cet article examine comment les pisciculteurs et les ecologistes utilisent des cadres pour Ia construction sociale de la pisciculture du saumon en Colombie-Britannique. La publicite resume les justifications. que les divers acteurs utilisent pour promouvoir ou s'opposer a la pisciculture; ces rationalisations sont de bonnes raisons pour comprendre la pisciculture d'une certaine facon. Comme les eleveurs desaumon et les ecologistes doivent chacun compter sur ce que les gens savent deja, ils creent des cadres qui dirigent l'attention de l'observateur de facons tres similaires. Nous avons trouve que les cadres crees a Ia fois par les partisans et par les opposants la pisciculture sont bases surles concepts etroitement lies de production, d' efficacite et de technologie. lien resulte que le poisson d' elevage devient un hybride naturel-social. Les saumons d'elevage sont cadres la fois suivant le sens commun et d'une facon hyper-reelle, comme etant des particules efficaces de technologie vivante. Introduction This paper analyzes the framings of salmon farming as social constructions rather than as objective ways of interpreting the controversy around this industry. Salmon farming in British Columbia has been embroiled in a public relations battle for the past several decades. Environmental and industry groups vie for influence over the social construction of fish fanning by creating and disseminating competing frames. Frames define situations by making them meaningful. They tell us what is going on, by placing an event or issue into a socially understood context. In an effort to communicate meanings to would-be supporters, both salmon farmers and environmentalists engage actively in the framing of the industry through advertisements, brochures, and press releases. Framing, as developed by Goffmann (1974), is a type of social meaning-giving activity that occurs across a wide range of phenomena, from everyday talk to news occurrences, ceremonies, and make-believe events. Benford and Snow (2000) and Snow et al. (1986), developed the framing perspective through their concepts of alignment, in which they argue that certain pre-existing values and beliefs are invigorated for a particular framing purpose. Indeed, there exists a now rich literature on the frame analysis of public discourses that examines how meanings come about and become socially distributed. To name just a few examples, Gamson and Modigliani (1989) examined nuclear power in relation to the culturally available meanings used in constructing frames; Coy and Woehrle (1996) used frames in their discussion of the Persian Gulf War, and Doyle et al. (1997) found the BC Forest Alliance was able to greenwash the practices of forestry companies by framing the industry in terms of environmentalist values. Recently, however, Benford (1997) has critiqued the framing perspective as leading all too often to the treatment of frames as things, rather than as dynamic processes of meaning construction and transformation. …