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Robinson
"Un jour, cependant, je lui ai lancé, comme un défi : "Prends Omgohod !" Et il a saisi son nounours au fond de son lit. Soudain, l’espace d’un court échange entre lui et moi, "Omgohod" est devenu un mot. Son seul mot – ni "papa" ni "nounours", ni "boire" ni "manger", ni "tiens" ni "je veux", seulement "Omgohod"." Robinson est un enfant autiste. Son père évoque avec délicatesse et humour son expérience de la paternité hors norme, où le quotidien (faire les courses, prendre le bain, se promener) devient une poésie épique, et le narrateur, un héros postmoderne.
Chalet 1
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Tout le reste est littérature
Dans ce recueil d’entretiens, Jacques Dubois évoque d’abord son milieu familial et social. Dubois a été professeur en Belgique, aux États-Unis, en Suisse, au Québec, à Paris ou à Madagascar. Il a par ailleurs participé à l’aventure du Groupe μ, puis a publié de nombreux ouvrages sur la littérature. Il a dirigé le quotidien La Wallonie, contribué à la naissance de collections dont Espace Nord chez Labor et Points Lettres au Seuil, et a été un des rédacteurs du Manifeste pour la culture wallonne de 1982. Ces activités donnent lieu à des anecdotes succulentes, il est question des hommes et des femmes rencontrés par Dubois au fil du temps : Pierre Bourdieu, Hubert Nyss...
Savitzkaya ou la nouba originelle
Savitzkaya ou la nouba originelle, de Laurent Demoulin. En 1991, soit il y a trente ans, paraissait La Folie originelle, texte inclassable d’un écrivain belge tout à fait singulier: Eugène Savitzkaya (1952). Il ne s’agit certes pas du livre le plus célèbre de l’auteur de Marin mon coeur (1992), mais le titre de l’ouvrage en question pourrait surplomber toute son oeuvre. Celle-ci est composée de romans, de poèmes, de pièces de théâtre, d’écrits inspirés par des images (tableaux ou photographie) qui sont à la fois sauvage et apaisés, sages et fous. L’ensemble peut se lire comme un hymne à la liberté, à l’enfance éternelle, au désir, à la rencontre de l’Autre, au mariage des contraires, à l’abolition des frontières. Savitzkaya, un auteur belge qui fait de la culture une fête!
Camera
"In this improbable love story, we meet a man who is obsessed with himself: how he does things and all the ways he might have done them, how he thinks, why he thinks the way that he thinks, how he might do or think otherwise. What happens? He takes driving lessons, goes grocery shopping, slowly yet methodically battles an olive on a plate. It is all simple and amusing until life intercedes: there is love, suddenly, and change, a flurry of emotion, and an unexpected incident with a camera on a ship. Only Jean-Philippe Toussaint - master of poignant deadpan - could write a novel at once so aloof and so touching, where we come to know our narrator intimately while knowing almost nothing about him."--BOOK JACKET.
The Imaginary: Word and Image
The imaginary as a critical concept originated in the twentieth century and has been theorized in diverse ways. It can be understood as a register of thought; the way we interpret the world; the universe of images, signs, texts, and objects of thought. In this volume, it is explored as it manifests itself in encounters between the verbal and the visual. A number of the essays brought together here explore the transposition of the imaginary in illustrations of texts and verbal renditions of images, as well as in comic books based on paintings or on verbal narratives. Others analyze ways in which books deal with film or television and investigate the imaginary in digital media. Special attention is paid to the imaginary of places and the relationship of the imaginary with memory. Written in English and French, these contributions by European and American scholars demonstrate the various concerns and approaches characteristic of contemporary scholarship in word and image studies.
French XX Bibliography
This annual French XX Bibliography provides the most complete listing available of books, articles, and book reviews concerned with French literature since 1885. Unique in its scope, thoroughness, and reliability of information, it has become an essential reference source in the study of modern French literature and culture. The bibliography is divided into three major divisions: general studies, author subjects (arranged alphabetically), and cinema. Number 59 in the series contains 12,703 entries. William J. Thompson is Associate Professor of French and Undergraduate and Interdisciplinary Programs in the College of Arts and Sciences at the University of Memphis.
Typewriter Century
As a vehicle for outstanding creativity, the typewriter has been taken for granted and was, until now, a blind spot in the history of writing practices.
Transgression(s) in Twenty-First-Century Women's Writing in French
Transgression(s) in Twenty-First-Century Women's Writing in French analyses the literary transgressions of women’s writing in French since the turn of the twenty-first century in the works of both established figures and the most exciting and innovative authors from across the francosphère. Transgression(s) in Twenty-First-Century Women's Writing in French étudie les transgressions littéraires dans l’écriture des femmes en français depuis le début du XXIe siècle dans les œuvres de figures bien établies aussi bien que chez les auteures les plus innovantes de la francosphère.
Postcolonial Comics
This collection examines new comic-book cultures, graphic writing, and bande dessinée texts as they relate to postcolonialism in contemporary Anglophone and Francophone settings. The individual chapters are framed within a larger enquiry that considers definitive aspects of the postcolonial condition in twenty-first-century (con)texts. The authors demonstrate that the fields of comic-book production and circulation in various regional histories introduce new postcolonial vocabularies, reconstitute conventional "image-functions" in established social texts and political systems, and present competing narratives of resistance and rights. In this sense, postcolonial comic cultures are of particular significance in the context of a newly global and politically recomposed landscape. This volume introduces a timely intervention within current comic-book-area studies that remain firmly situated within the "U.S.-European and Japanese manga paradigms" and their reading publics. It will be of great interest to a wide variety of disciplines including postcolonial studies, comics-area studies, cultural studies, and gender studies.
