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The Modern French Eccentric
In a world of increasing conformity, the modern eccentric can be seen as a contemporary hero and guardian of individualism. This study defines the modern eccentric intwentieth-century French literature and compares the notions of the eccentric in nineteenthand twentieth-century French literature by tracing the eccentric's relationship to time, space, and society. While previous studies have focused on the notion of eccentricity in purely formal terms, The Sunday of Fiction delineates the eccentric as a fully fictional character. This work also completes prior criticism by exploring twentieth-century fictional eccentrics in works by authors such as Raymond Queneau, Jean-Echenoz, Jean-Philippe Toussaint, and Georges Perec, and by filmmakers such as Jacques Tati and Pierre Etaix.
Vol. 1 (1985) through current issue
TENSO: Bulletin of the SociÃ©tÃ© Guilhem IX publishes articles on any aspect of Occitan studies, including literature, language, linguistics, and music, and prints scholarly essays, critical editions, translations, original verse in Occitan, book reviews, announcements, and bibliographical information. While English is the primary language, it also accepts items in French, Occitan, Catalan, Spanish, Italian, and German.
The journal is sent to members of the SociÃ©tÃ© Guilhem IX and to institutions holding subscriptions. It is indexed in the Modern Language Association Bibliography, The Year's Work in Modern Language Studies, the International Medieval Bibliography, and the bibliographies of Cahiers de Civilisation MÃ©diÃ©vale and Revue d'Histoire LittÃ©raire de la France.
TENSO is a member of the Council of Editors of Learned Journals.
Photography, Film, and Comic Art in French Autobiography
From Prehistory to the End of Mankind
To the short list that includes Jules Verne and H.G. Wells as founding fathers of science fiction, the name of the Belgian writer J.-H. Rosny Aine must be added. He was the first writer to conceive, and attempt to narrate, the workings of aliens and alternate life forms. His fascination with evolutionary scenarios, and long historical vistas, from first man to last man, are important precursors to the myriad cosmic epics of modern science fiction. Until now, his work has been virtually unknown and unavailable in the English-speaking world, but it is crucial for our understanding of the genre. Three wonderfully imaginative novellas are included in this volume. "The Xipehuz" is a prehistoric tale in which the human species battles strange geometric alien life forms. "Another World" is the story of a mysterious being who does not live in the same acoustic and temporal world as humans. "The Death of the Earth" is a scientifically uncompromising Last Man story. The book includes an insightful critical introduction that places Rosny's work within the context of evolutionary biology.
Fictional Foreigners in Old Regime France
In the eighteenth century, a type of novel flourished showing naive outsiders who come to Europe and are amazed at what they see. Foreign travelers first set foot in Europe in the sixteenth century and are memorably present in Montaigne's essay Des Cannibales. The genre was made popular in France by Montesquieu's novel Lettres persanes. Considering the "stranger" as a figure of ambiguity, Sylvie Romanowski explains why the genre was so useful to the Enlightenment. The question of why showing ambiguous stranger is important in that period is addressed in the book's introduction by setting the Enlightenment in the historical context of the seventeenth century. Romanowski then examines Montaigne's Des Cannibales, showing how these first "outsiders" relate to their eighteenth-century successors. She next considers Montesquieu's Lettres persanes in its entirety, studying the voices of the men, the women, and the eunuchs. She also studies other examples of the genre. The author closes with a discussion of the philosophical tension, ongoing in Western thought, between skeptics and those who, refusing skepticism, seek firm foundations for knowledge, this draws connections between the sixteenth century, and our "postmodern" era.
Michel Tournier, member of the Acadimie Goncourt and one of the most influential French writers of the post-Nouveau roman period, stresses the crucial interrelationship that exists between myth and literature. It is the writer's duty, he states, to keep myths alive by continually renewing and transforming them, re-releasing them in an ever changing social context. Written in French, this study considers the Tournier novel as the story of a voyage in a literal and figurative sense. Jonathan Krell uses the term "elementary" to characterize this voyage through the universe of Tournier's imagination, which is dominated by the four primordial element&--earth, water, air, and fire. Building on a foundation of Western culture's rudimentary myths, such as the ogre, twinship, and the Biblical stories of creation and the magi, Tournier performs a radical and disturbing transformation. Professor Krell shows how the transformation is made.
Understanding Marcel Proust includes an overview of Marcel Proust’s development as a writer, addressing both works published and unpublished in his lifetime, and then offers an in-depth interpretation of Proust’s major novel, In Search of Lost Time, relating it to the Western literary tradition while also demonstrating its radical newness as a narrative. In his introduction Allen Thiher outlines Proust's development in the context of the political and artistic life of the Third Republic, arguing that everything Proust wrote before In Search of Lost Time was an experiment in sorting out whether he wanted to be a writer of critical theory or of fiction. Ultimately, Thiher observes, all these experiments had a role in the elaboration of the novel. Proust became both theorist and fiction writer by creating a bildungsroman narrating a writer's education. What is perhaps most original about Thiher’s interpretation, however, is his demonstration that Proust removed his aged narrator from the novel’s temporal flow to achieve a kind of fictional transcendence. Proust never situates his narrator in historical time, which allows him to demonstrate concretely what he sees as the function of art: the truth of the absolute particular removed from time’s determinations. The artist that the narrator hopes to become at the end of the novel must pursue his own individual truths—those in fact that the novel has narrated, for him and the reader, up to the novel’s conclusion. Written in a language accessible to upper-level undergraduates as well as literate general readers, Understanding Marcel Proust simultaneously addresses a scholarly public aware of the critical arguments that Proust's work has generated. Thiher's study should make Proust's In Search of Lost Time more widely accessible by explicating its structure and themes.