Suchergebnisse

Der Artikel enthält Zusammenfassungen nur in Englisch und Französisch. ; Éric Chevillard, associated mainly with ludic literature, which plays with the word and deconstructs novelistic conventions, in his own way inscribes himself in the tradition of engaged literature. By means of atypical narration and singular style he fights against not so much social, political or economic injustice as stereotypical literature in all its triviality and formulaicity. Relying on selected theories of narrative strategies characteristic of novels and militant texts, the present paper analyses Démolir Nisard, one of Chevillard's most confrontational texts, and thus discusses modalities and assumptions of the work inspired by the overtly political genre – the pamphlet. ; Associé à une littérature ludique qui exploite les potentialités du langage et déconstruit les mécanismes du roman classique, Éric Chevillard s'inscrit à sa propre façon dans le cadre de la littérature militante. Par une narration atypique et une écriture singulière, il engage une lutte non contre des injustices sociales, politiques ou économiques, mais contre la littérature stéréotypée, plate et triviale dans ses formes. S'appuyant sur les théories relatives aux stratégies narratives des textes romanesques et militants, le présent article s'attachera à analyser Démolir Nisard, un de ses textes les plus violents, pour montrer les modalités et les enjeux du récit inspiré par le genre à visée typiquement politique : le pamphlet.

In a perspective prompted by Piaget 's theory, we try to investigate in what extent children from 4 to 9 consider a narrative discourse and its summary (more or less brief) as « telling the same story ». We find three stages in the evolution pro- cess. First, subjects accept or deny the identity in considering the presence or the absence of the main characters. In a second period of time, children deny anyfeasi- bility of summarizing. Finally, in the third stage, the notion of summary is accepted
in its relativity.

International audience ; This article explores the relationships between storytelling and contemporary capitalism. It claims that we have to put in perspective the rights of ownership that literature is considered to have over narrative fiction: The oral tradition and the cultural industries started competing with literature in this field long before the players of the economic and political world, inspired by the principles of storytelling management, began using their codes. Knowing how to tell stories and how to talk about oneself is a key skill, especially when you want to move and take new positions in our career-driven societies. Based on the analysis of novels by Tom Wolfe and Éric Reinhardt, this article tries to understand the types of self-narratives that narrative capitalism invites us to produce, for ourselves or for others, and in what ways literature stages the production and circulation of these stories. There are, on the one hand, those who do not manage to talk about themselves anymore, who have lost this storytelling skill, and experience failure; and, on the other hand, the capable narrators, but whose uses of narrative vary from opportunism to radical opposition, from a pragmatic honesty to the choice of a form of piracy. ; Il faut relativiser les droits de propriété de la littérature sur la fiction narrative : la tradition orale, les industries culturelles l'ont concurrencée dans ce domaine bien avant que les acteurs du monde économique et politique inspirés par les principes du storytelling management ne s'y attellent à leur tour. Savoir raconter et se raconter est une compétence primordiale, en particulier quand on aspire à changer de place au sein de nos sociétés de carrières. En s'appuyant entre autres sur les romans de Tom Wolfe et d'Éric Reinhardt, il s'agit de voir quels types de récits de soi le capitalisme narratif nous incite à produire, pour nous-mêmes ou pour les autres, et de quelles manières la littérature met en scène la fabrication et la circulation de ces récits. À ceux qui n'arrivent plus à se raconter, et que cette perte de la compétence narrative pousse vers la chute, s'opposent des narrateurs compétents, mais dont les usages du récit varient de l'opportunisme à l'opposition radicale, en passant par l'honnêteté pragmatique et le choix d'une forme de piraterie.

International audience ; This article explores the relationships between storytelling and contemporary capitalism. It claims that we have to put in perspective the rights of ownership that literature is considered to have over narrative fiction: The oral tradition and the cultural industries started competing with literature in this field long before the players of the economic and political world, inspired by the principles of storytelling management, began using their codes. Knowing how to tell stories and how to talk about oneself is a key skill, especially when you want to move and take new positions in our career-driven societies. Based on the analysis of novels by Tom Wolfe and Éric Reinhardt, this article tries to understand the types of self-narratives that narrative capitalism invites us to produce, for ourselves or for others, and in what ways literature stages the production and circulation of these stories. There are, on the one hand, those who do not manage to talk about themselves anymore, who have lost this storytelling skill, and experience failure; and, on the other hand, the capable narrators, but whose uses of narrative vary from opportunism to radical opposition, from a pragmatic honesty to the choice of a form of piracy. ; Il faut relativiser les droits de propriété de la littérature sur la fiction narrative : la tradition orale, les industries culturelles l'ont concurrencée dans ce domaine bien avant que les acteurs du monde économique et politique inspirés par les principes du storytelling management ne s'y attellent à leur tour. Savoir raconter et se raconter est une compétence primordiale, en particulier quand on aspire à changer de place au sein de nos sociétés de carrières. En s'appuyant entre autres sur les romans de Tom Wolfe et d'Éric Reinhardt, il s'agit de voir quels types de récits de soi le capitalisme narratif nous incite à produire, pour nous-mêmes ou pour les autres, et de quelles manières la littérature met en scène la fabrication et la circulation de ces récits. À ceux qui ...

International audience ; This article explores the relationships between storytelling and contemporary capitalism. It claims that we have to put in perspective the rights of ownership that literature is considered to have over narrative fiction: The oral tradition and the cultural industries started competing with literature in this field long before the players of the economic and political world, inspired by the principles of storytelling management, began using their codes. Knowing how to tell stories and how to talk about oneself is a key skill, especially when you want to move and take new positions in our career-driven societies. Based on the analysis of novels by Tom Wolfe and Éric Reinhardt, this article tries to understand the types of self-narratives that narrative capitalism invites us to produce, for ourselves or for others, and in what ways literature stages the production and circulation of these stories. There are, on the one hand, those who do not manage to talk about themselves anymore, who have lost this storytelling skill, and experience failure; and, on the other hand, the capable narrators, but whose uses of narrative vary from opportunism to radical opposition, from a pragmatic honesty to the choice of a form of piracy. ; Il faut relativiser les droits de propriété de la littérature sur la fiction narrative : la tradition orale, les industries culturelles l'ont concurrencée dans ce domaine bien avant que les acteurs du monde économique et politique inspirés par les principes du storytelling management ne s'y attellent à leur tour. Savoir raconter et se raconter est une compétence primordiale, en particulier quand on aspire à changer de place au sein de nos sociétés de carrières. En s'appuyant entre autres sur les romans de Tom Wolfe et d'Éric Reinhardt, il s'agit de voir quels types de récits de soi le capitalisme narratif nous incite à produire, pour nous-mêmes ou pour les autres, et de quelles manières la littérature met en scène la fabrication et la circulation de ces récits. À ceux qui ...

Kaksikielinen kokoomateos Narratives of fear and safety tarkastelee pelon ja turvallisuuden dynamiikkaa ja kulttuurisia merkityksiä kirjallisuudessa ja muissa medioissa. Englannin- ja ranskankieliset artikkelit tarjoavat tuoreita, kulttuurien rajat ylittäviä tulkintoja pelon ja turvallisuuden teemoista sekä tuottavat uutta tietoa kertomuksen eri lajeille ominaisista tavoista luoda kuvitteellisia maailmoja. Teos osoittaa, kuinka tärkeää pelon ja turvallisuuden esitysten tutkiminen on, jotta voisimme ymmärtää ilmastokriisien kaltaisia globaaleja uhkia ja niiden vaikutuksia tulevaisuuteen. Teoksen pääteemoja lähestytään kirjallisuuden- ja kulttuurintutkimuksen menetelmin uusimpien tutkimussuuntien, muun muassa affekti- ja riskiteorian, lähtökohdista. Useat artikkelit ammentavat sukupuolen ja trauman tutkimuksesta kartoittaessaan kollektiivisia pelkoja ja aggressioita, jotka uhkaavat yksilöiden elämää ja heidän mahdollisuuksiaan löytää keinoja selviytyä pelon tunteiden kanssa. Pelon ja turvallisuuden tematiikkaan keskittyvät myös artikkelit, joissa analysoidaan menneisyyden uudelleen kertomista vanhojen myyttien adaptaatioiden näkökulmasta. Monet teoksen artikkeleista käsittelevät tällä hetkellä suosittuja apokalyptisia ja dystooppisia kertomuksia. Dystopiat eivät keskity pelkästään totalitarismin, teknokratian tai ekologisten katastrofien kaltaisiin tulevaisuudenuhkiin, vaan tutkivat myös vaihtoehtoisia olemisen tapoja, jotka syntyvät poliittisen vastarinnan seurauksena. Teos on saatavilla painettuna mm. Booky.fi ja Adlibris -verkkokirjakaupoista. ; The essays in this edited volume, written in English and French, tackle the intriguing problems of fear and safety by analysing their various meanings and manifestations in literature and other narrative media. The articles bring forth new, cross-cultural interpretations on fear and safety through examining what kinds of genre-specific means of world-making narratives use to express these two affectivities. The articles also show how important it is to study these themes in order to understand challenges in times of global threats, such as the climate crisis. The main themes of the book are approached from various theoretical perspectives as related to their literary and cultural representations. Recent trends in research, such as affect and risk theory, serve as the basis for the discussion. Many of the articles in the volume discuss apocalyptic and dystopian narratives that currently permeate the entire cultural landscape. Dystopian narratives do not only deal with future threats, such as totalitarianism, technocracy, or environmental disasters, but also suggest alternative ways of being and new hopes in the form of political resistance. The articles in the volume also draw from disciplines such as gender studies and trauma studies to examine the threats posed by collective fears and aggression on individuals' lives and propose ways of coping with fear. These themes are addressed also in articles analysing new adaptations of old myths that retell stories of the past. Available in print from online bookstores e.g. Booky.fi and Adlibris. Contents: Introduction: Affective spaces in European literature and other narrative media / Elise Nykänen & Hanna Samola I CULTURAL POLITICS OF FEAR AND SAFETY L'oeuvre, la peur et le temps : Pour une saisie du risque par la littérature / Anne Duprat Knocking on Europe's door: How narratives of fear, insecurity and nostalgia shape collective perceptions of immigration / Anna Notaro Pro loco et tempore : La littérature portugaise a l'épicentre de la crise économique / Serafina Martins II FEAR AND SAFETY ACROSS GENRES "We have to fix this world now": Hope, utopianism, and new modes of political agency in two contemporary Finnish young adult dystopias / Maria Laakso La sécurité ou l'exacerbation des peurs au profit d'une liberté provisoire / Orlane Glises De La Riviere Mind the gap: Fear on the London Underground / Cristiana Pugliese Peur du chaos et retour a l'humain : Le mythe du yéti selon Hergé et Castelli-Manara / Brigitte Le Juez III CULTURAL AND TRANSCULTURAL PERSPECTIVES ON FEAR AND SAFETY Fear of unjust memory or desire for secure identity? Remembering the era of 1989 transition in contemporary Polish novel / Olga Szmidt Fear of the Other: Representations of Otherness in Irish and Ukrainian famine fictions / Tatiana Krol The fear of cultural belonging: Sharon Dodua Otoo's transnational writing / Nora Moll Fear and safety in contemporary Russian cinema: A transcultural perspective / Beata Waligórska-Olejniczak Divakaruni's Before We Visit the Goddess: Overcoming fears and instabilities / Metka Zupančič IV COPING WITH FEAR Post-traumatic stress disorder (PTSD) as posthumanity in graphic narratives / Lisa DeTora Of murdered babies and silenced histories: Gendering memory in two francophone trauma narratives / Nathalie Ségeral Peur et humour : Le cas de l'humour noir / Jean-Marc Moura L'Autre dans la fiction post-apocalyptique du XXI siecle / Jasmin Hammon V THE END OF THE WORLD? FROM CULTURAL ECOLOGIES TO ECOLOGICAL DISASTERS Michel Deguy's l'etre-comme and the poetics of ecological comparativism / Sam La Védrine Sans dessus dessous (1889) de Jules Verne : Dernier avertissement avant l'Apocalypse / Laure Léveque Le Japon de Fukushima comme lieu de discours pour des auteurs francophones / Sabine Kraenker L'invention de la catastrophe au XVIII siecle : Une invention renouvelée a la croisée de la littérature, de l'histoire des sociétés et de l'histoire environnementale / Sandra Contamina