Literature and the Sacred

The present article seeks to analyze the way in which the blasphemous figure of God in Dolce agonia by Nancy Huston allows the author to describe the sacred element in human life, seen as deprived of transcendental character. This is possible thanks to the three aspects of the text dependent on the type of God’s figure, which are: the contrast between passages marked by the cynical God’s voice and passages focused on man’s life filled with suffering; the tone and the appropriation of time var-iations and, finally, the double character of God who, at the same time, is indifferent to man’s lot while touched by his capacity of love.

Version de travail d'un article publié avec la référence suivante : Halen (Pierre), « Littérature et sacré : quelques enjeux », dans Art de lire, art de vivre. Hommage au Professeur Georges Jacques. Ouvrage coordonné par Myriam Watthee-Delmotte. Paris : L'Harmattan, coll. Structures et pouvoirs des imaginaires, 2008, 454 p. ; p. 155-164.

Since "Iconoclash" (see the review above), iconoclasm and related terms have been taken as fundamental, general categories for the interpretation of pictures. This essay is part of a project to historicize that interest, which I think goes to a late twentieth- and early twenty-first-century assumption about what pictures are.

[Revised March 2013]

The essay argues that the sublime, and especially the postmodern sublime, is an intricate and unresolved concept, and that it is not often coherent or necessary to import it into discourse on contemporary art.

This was also published as “Gegen das Erhabene," in Das Erhabene in Wissenschaft und Kunst: Über Vernunft und Einbildungskraft, edited by Roald Hoffmann and Iain Boyd Whyte (Berlin: Surhkamp: 2010): 97–113.

Le cinéma (ce qu'on appelle cinéma), qui n'est pas encore qu'au principe, deviendra au terme de son évolution la plus formidable trouvaille du monde, en ce sens qu'il dressera devant l'humanité une surhumanité ainsi qu'en face de la création une surcréation. Ce cinéma futur multipliera de ses natures la Nature » Saint-Pol-Roux (1925-1930), Cinéma Vivant, Rougerie, 1972, p. 15. ! Our analysis will be based on the Freudian theories applied to the narration of the three first movies which chronologically form the "second trilogy" of the Star Wars 1)Saga: Star Wars (1977, re-baptized Episode IV, A New Hope in 1999), 2) The Empire Strikes Back (1980, Episode V), 3) Return of the Jedi (1983, Episode VI), and the first edition of the biography of Georges Lucas written in 1983, Skywalking: The Life and Films of George Lucas by Dale Pollock.

Constatando l’attuale rigoglio degli studi su Bibbia e sacro in letteratura, la
rassegna affronta le ultime opere collettive (2009-2012) dedicate a tale ambito di
studi: i primi tre volumi di "La Bibbia e la letteratura italiana", diretta da Pietro
Gibellini; "Gli scrittori italiani e la Bibbia", a cura di Tiziana Piras; "La ricerca del
fondamento", a cura di Giuseppe Langella; "La poesia scala a Dio", a cura di
Francesca D’Alessandro e Gianni Festa; i primi tre volumi di "La letteratura e il
sacro", a cura di Francesco Diego Tosto; "Sotto il cielo delle scritture", a cura di
Carlo Delcorno e Giovanni Baffetti. Alcuni di questi studi sono orientati verso
l’aspetto letterario delle riscritture e citazioni bibliche, altri invece si concentrano
sul tema del sacro e della religione nella vita e nell’opera di poeti e scrittori;
l’arco cronologico comprende la storia della letteratura italiana dalle origini fino
all’età presente, privilegiando spesso il Novecento e la contemporaneità.

Théâtre complet, Paris, Gallimard, Bibliothèque de la Pléiade, 2005, p.993 (abréviation : 1 Séquestrés). Geneviève Idt, « Sartre mythologue », Autour de Jean-Paul Sartre. Littérature et philosophie, Paris, Gallimard, 1981, p. 122. 2 Jean-Paul Sartre, Mallarmé. La lucidité et sa face d'ombre, Paris, Gallimard, 1986, p. 89 (abréviation utilisée ; Mallarmé). 3 1

Questo saggio guarda da una prospettiva originale e provocatoria il rapporto tra la filosofia di Heidegger e il Nazismo, prendendo in esame il celebre incontro che il pensatore tedesco ebbe con il poeta ebraico Paul Celan tra i sentieri della Foresta Nera nel luglio del 1967. I due per anni si erano cercati e scritti, ma quando finalmente si incontrano e camminano lungamente insieme rimangono in totale silenzio. Qual è il significato di quel reciproco tacere? Fu (come si è soliti credere) il passato nazionalsocialista di Heidegger a impedire la comunicazione con quello scrittore che aveva vissuto tragicamente su di sé l'orrore della Shoah? O, piuttosto, si posero di fronte due concezioni abissalmente distanti del pensare e del poetare, sulle quali siamo chiamati a riflettere? L'Autore esplora quest'ultima opzione ermeneutica e individua infine in quella "passeggiata impossibile" un momento cruciale della storia culturale dell'Europa, nel quale viene alla luce il nichilismo essenziale della Modernità.

This paper demonstrates that Genesis 14 conforms to V. Propp's definition of a wondertale in his seminal work, Morphology of the Folktale.  The paper further explores parallels in traditional Jewish exegesis, Russian Formalism, and M.M. Bakhtin.  This paper is on the Sacred Literature panel at the AAR Midwest Regional Conference at Ball State March 3, 2018.

At the beginning of The man and the sacred (1939) Roger Caillois affirmed that "every religious conception of the universe implies that there is a distinction between the sacred and the prophane". Caillois discussed the theme of the sacred throughout his life, through several essays, articles, and lectures. In 1961, Caillois wrote Pontius Pilate, a brief novel in which the author explored the dilemma of the governor of the Judea. The purpose of this paper is to show how theme of the sacred leads to a comparison between the thought of Caillois, the theories of the College of Sociology, and the theme of "the scapegoat" by René Girard.

Segundo Eliade, o mundo da poesia tem uma sacralidade que decorreria do pietismo – o sentimento de piedade pelos humilhados, e da idéia de nulidade do ser humano, de descoberta e dignidade só no ser mais baixo. – A isto se dá o nome de mysterium fascinans e corresponde à transformação de níveis, levando à transformação do mais baixo no mais alto. Esta passagem de nível corresponderia à manifestação do ser pleno – diferenciado-fundadora ontológica do mundo. Para chegar à plenitude é preciso passar por uma ascese, uma purificação transformadora, que redimensiona inclusive o amor, expressão da " ruptura de nível ontológico e passagem da existência condicionada a um modo de ser não condicionado " 1 , isto é, à perfeita liberdade. Esta perfeita liberdade é condição sine qua non da trajetória de purificação e ascese, que independe de dogma e que é facultada a todos os seres humanos, não apenas aos especiais, sejam eles santos, profetas, eleitos. Ela leva à vivência da plenitude e à transfiguração da vida quotidiana pela experiência através das pequenas coisas, passando pelos três momentos do mesmo mistério: geração, regeneração e revelação (o que, segundo Eliade, corresponderia a Pai, Filho e Espírito Santo). A experiência por excelência é radical, avassaladora, significando a abolição de qualquer situação confortável, ou mesmo do mundo condicionado. Teriam todos os poemas que apresentam a temática da piedade diante dos humilhados ou a nulidade dos seres humanos um caráter sagrado? Será esta temática inerente à poesia? Definiria ela aquilo que os formalistas russos chamaram de literariedade? Aí, por brincadeira, poderíamos chegar a formular que o pietismo e a idéia da nulidade do ser humano seriam fatores de poesia. O belo é bom, como dizia a paideia grega, que prezava o Kalos-kagathos 2. Poderia o texto literário ser literário devido à relação com o sagrado? 1 Eliade, Mircea. Le sacré et le profane. Paris: Gallimard, 1965: 148. 2 Do gr. kállos = belo; kágathos = bom
In. Edilene Matos; Maria Neuma Cavalcante; Telê Ancona Lopes, Yêdda Dias Lima. Orgs. A presença de Castello. São Paulo: Humanitas, 2003, pp 887-898.

This is a research study paper with relevance to Arnaud Fournet´s “Proto Indo European Conjugation Analysis” in “PIE sets of personal pronominal forms (draft) Arnaud Fournet (September 2017). Arnaud´s draft paper abstract reads: A survey of PIE and some Nostratic pronominal morphemes.

Este esquema es harto esquemático, poco riguroso, poco actualizado, y, en general, grosero. Sin embargo, nos sirve para notar que ninguna de las ciencias allí inscritas forma hoy en día parte de la filosofía. ¿A qué puede dedicarse entonces la filosofía, cuando el problema del conocimiento, el de la realidad y el del hombre quiere ser asumido por ciencias especializadas? Aceptemos, de entrada, que en lo que concierne a lo que Aristóteles llamaría la "Phisica" de nuestro tiempo, ya ha dado suficientes muestras de autonomía como para, por lo menos, darse el lujo de mirar con displicencia las descripciones de la realidad de un Aristóteles, un Tomás de Aquino, un Hegel. En cuanto a los

El Coloquio XVI del bosque de divino de Fernán González de Eslava muestra el complejo aparato simbólico que se aplicó en América para la evangelización. El discurso alegórico y el uso narrativo de la iconografía emblemática lo confirman. En dicha obra, la alegoría emblemática advierte cómo se evangelizaba a la población indígena y, al mismo tiempo, cómo se organizaba la elite novohispana en función de la cosmovisión teopolítica del imperio de Felipe II.

The Coloquio XVI del bosque divino by Fernán González de Eslava shows the complex symbolic apparatus that was applied in America for evangelization. The allegorical speech and the narrative use of emblematic iconography confirm it. In this work, the emblematic allegory warns how the indigenous population was evangelized and, at the same time, how the New Spain elite was organized in function of the theopolitical worldview of the empire of Felipe II.

On analyse comment, dans le roman Fou de Vincent (1989) d'Hervé Guibert, se développe une poétique de l'antagonique, dont le syntagme “du piètre rendu précieux”, formulé à la cinquantième page de l’œuvre, constitue la clé de voûte. Il s'agit dès lors de mettre en lumière la façon dont Guibert, au sein des différents fragments qui composent le texte, sublime l'immonde, l'obscène, en conjoignant le consternant à l'éclatant, le vulgaire à l'apothéotique. Aussi, nous montrons comment, au moyen de l'instance figurale que constitue Vincent, magnifiée et surdéterminée par le membre viril, l’auteur relie le sexuel au sacré.

// Plan de l'article :
> L'enfance articulée à la sexualité
> Du piètre rendu précieux
> Un ensemble de tableaux
> Le membre viril
> Fulgurance des extrêmes

Notre recherche de master a eu pour objectif d'analyser les modalités suivant lesquelles l'acte sexuel, présent au centre de trois oeuvres majeures de la littérature contemporaine que sont Le Ravissement de Lol V. Stein de Marguerite Duras (1964), Fou de Vincent d'Hervé Guibert (1989 et le cycle Marie Madeleine Marguerite de Montalte de Jean-Philippe Toussaint (2002-2013), s'apparente à une expérience de l'absolu et revêt une fonction-sacré [1]. Notre étude avait comme visée de comprendre, à travers le rapprochement et l'analyse de ces oeuvres, la manière dont les trois écrivains, dans la seconde moitié du XX e siècle et le début du XXI e , alors que le rejet du religieux institutionnalisé se fait de plus en plus fort en Europe occidentale [2], se saisissent de la question du sexuel pour l'articuler à celle du sacré, permettant d'en faire un sommet alternatif de la vie humaine, de le considérer comme lieu et moment transcendants. À travers des récits d'amours magnifiées, chacun des textes, en tant que modes particuliers de langage et de pensée, a permis d'éclairer un aspect spécifique de la représentation du sexuel dans l'imaginaire contemporain. Il s'est donc agi de voir comment, dans la seconde partie du vingtième siècle, se profile dans l'Europe francophone de tradition judéo-chrétienne un paradigme neuf qui allie sexualité et sacralité en contexte athéologique, ralliant Jean-Claude Kaufmann qui déclare que « l'amour est la religion de notre époque ». Au départ de l'outillage sémiotique développé par Bertrand Gervais [3] -étant donné que la force d'une figure d'attraction amoureuse qui porte à un au-delà constitue le point commun majeur qui relie les oeuvres -, nous avons abordé et interrogé les trois récits à partir de la notion d'absolu qui s'inscrit dans ce que Jean-Claude Bologne a pu appeler un « mysticisme athée » [4]. Nous avons donc envisagé l'hypothèse d'un renouvellement du sacré à l'époque contemporaine qui passerait par l'intime, le subjectif et, en particulier, le sexuel, où ce dernier permet l'émergence dans le contemporain d'un « sacré à visage humain » [5] -et non plus divin. Le caractère transcendant de l'acte sexuel (son absoluité) a pu dès lors être relié à l'instauration figurale de l'Autre, à travers la sacralité qui est conférée à l'être aimé. ---[1] DEBRAY Régis, Le feu sacré. Fonctions du religieux, Paris, Fayard, 2003. [2] INGLEHART Ronald et NORRIS Pippa, Sacré versus sécularisation. Religion et politique dans le monde, trad. de l'anglais par Pascal Delwit, Bruxelles, Éditions de l'université de Bruxelles, 2014 (UBlire).

Norman Habel and his colleagues include in their ecological hermeneutics, a hermeneutic of retrieval of an Earth voice (in biblical texts). This hermeneutic relies on a practice of creative imagination to " retrieve " and " perform " an Earth voice (or multiple more-than-human voices) in human language. The practice of retrieval requires an attentiveness not only to the " cry " of Earth but also to the materiality of things (including the text itself as a material thing). With reference to four poems— " Parchment " by Michelle Boisseau, " O Taste and See " by Denise Levertov, " Book Sculptor " by Jennifer Harrison, and " A Sort of a Song " by William Carlos Williams—this article critically considers ways in which a relationship between the matter of a text and an Earth voice might touch on the sacred through reading.

Throughout the centuries French and Francophone writers were relatively rarely inspired by the figure of Moses and the story of Exodus. However, since the second half of 20th c. the interest of the writers in this Old Testament story has been on the rise: by rewriting it they examine the question of identity dilemmas of contemporary men. One of the examples of this trend is Moïse Fiction, the 2001 novel by the French writer of Jewish origin, Gilles Rozier, analysed in the present article. The hypertextual techniques, which result in the proximisation of the figure of Moses to the reality of the contemporary reader, constitute literary profanation, but at the same time help place Rozier’s text in the Jewish tradition, in the spirit of talmudism understood as an exchange of views, commentaries, versions and additions related to the Torah. It is how the novel, a new “midrash”, avoids the simple antinomy of the concepts of the sacred and the profane. Rozier’s Moses, conscious of his complex identity, is simultaneously a Jew and an Egyptian, and faces, like many contemporary Jewish writers, language dilemmas, which constitute one of the major motifs analysed in the present article. Another key question is the ethics of the prophetism of the novelistic Moses, who seems to speak for contemporary people, doomed to in the world perceived as chaos unsupervised by an absolute being. Rozier’s agnostic Moses is a prophet not of God (who does not appear in the novel), but of humanism understood as the confrontation of a human being with the absurdity of his or her own finiteness, which produces compassion for the other, with whom the fate of a mortal is shared.

Since the middle of the 1980s French Canadian novelist Sylvain Trudel has constantly put his characters in contentious situations from which they try to escape by way of creating alternative worlds at the same time real and fantastical. This device takes the characters away from their trite everyday life and into a symbolic and mystical universe. The synthème seems to be fit into that symbolic frame. Through the child’s point of view – which seems then to become some sort of secret language – each object belonging to the realm of the profane becomes tinted with a sacred meaning. Synthème and symbol would then be considered as vehicles for the sacred, that which shows through Sylvain Trudel’s novels.

The lyric production of the Friulian writer Lucia Colao (b. 1578), which survives in two manuscripts, represents a rare female contribution to the tradition of religious rewritings of Petrarch, which began in the 1530s with Girolamo Malipiero's Petrarca spirituale. Colao recasts in a spiritual form 121 Petrarchan lyrics, all from the first part of the RVF. This chapter analyzes the complexities of the relationship between hypotext and hypertext in Colao's reworkings, and the dialectic between conservation, substitution and resemantization of the lexis and content of the originals. It also considers how Colao's texts construct a feminine subject within lyric discourse, in a manner that reflects the lessons of Vittoria Colonna's earlier creative appropriation of Petrarch in her spiritual lyrics.

The literature of the Romantics, in the first part of the 19th century, is steeped in religious doubt. Moreover, the sacred was a taboo yet unavoidable subject especially in novels and short stories that were considered at the time profane genres. Romantic writers exploited certain covert strategies in order to speak of the unspeak-able and touch the untouchable. They resort, for instance, to their artistic culture with its centuries of pictorial tradition that render religious figures and events more familiar and accessible. Musset’s Le Tableau d’église, Vigny’s Daphné, and Gauthier’s La Toison d’or, all bear witness to a striking (meeting) harmony between iconoclastic and/or cavalier characters and sacred works of art that focus on the Passion. All three writers interweave aesthetic contemplation with mystical communion, thus revealing a new sense of the sacred that is often ambiguous, nay, subversive. And since sacred art is not in itself sacred, it allows writers to come very close to sacrilege in order to examine the fine line between the profane and the sacred.

Translating the 9th  century girl mystic Andal's songs from Classical Tamil took me almost a decade, from 2006-2015.  In this early paper I explore my growing fascination with ancient Tamil Sangam poetics which allows for three levels of interpretation of each verse, of which only the literal is given, the other two levels require to be uncovered and intuited by the translator. My translations of Andal's  intense, scared and erotic songs are experimental in approach yet deeply researched. She continues to have me in her thrall. The book was published by the feminist press, Zubaan , with collaborator Ravi Shankar , in 2015 and won the Muse India Translation Prize in 2016.

At the beginning of The Man and the Sacred (1939) Roger Caillois affirmed that “every religious conception of the universe implies that there is a distinction between the sacred and the profane”. Caillois discussed the theme of the sacred throughout his life, in several essays, articles and lectures. In 1961, Caillois wrote Pontius Pilate, a brief novel in which he explored the dilemma of the governor of Judea. For the first time, Caillois changed genre. The author escaped the theme of the sacred by way of the novel. The purpose of this paper is to show how the theme of the sacred leads to a comparison between the thought of Caillois, the theories of the College of Sociology, and the theme of The Scapegoat by René Girard.

This paper is a philosophical analysis ofHeidegger and Nietzsche's approach tometaphysics and the associated problem ofnihilism. Heidegger sums up the history ofWestern metaphysics in a way which challengescommon sense approaches to values education.Through close attention to language, Heideggerargues that Nietzsche inverts thePlatonic-Christian tradition but retains theanthropocentric imposition of ‘values’. Ihave used Nietzsche's theory to suggest aslightly different definition of metaphysicsand nihilism which draws attention to theontological parameters of human truths as astruggle between competing sets of conflictingor contradictory values (perspectives) thatopens space for rethinking and re-educatinghuman possibilities. How this openness willshow up in educational theory and practice isonly beginning to be evoked. The twophilosophers indicate an approach to issues ofmorality, decision making and knowledgeproduction which may surprise and disconcerttraditional views. As the forefathers ofpost-structuralist thinking, Nietzsche andHeidegger offer a critique of Humanism whileretaining the Renaissance tradition ofpositioning education as the well spring ofvalues in society. It is through the generationof new knowledges, the development of critiqueand the nurturing of character that societyreformulates itself in relation to the earth.The ethical evaluation of these new forms ofknowledge is crucial to the creative and caringregeneration of the human environment, asopposed to the corrosive adoption ofconsumerism and usury.

nvoking Kali draws on the Sanskrit genre of sacred stotra (स्तोत्र) literature, which is comprised of odes, eulogies or hymns of praise within codified poetic structures. This poem refers to the namavalli and sahasranamam, which translate as ‘garland of names and praises’ and ‘1000 names’ respectively wherein each name, attribute or epithet lauds an aspect of the god or goddess to whom the hymn is dedicated.  The subject of this poem is the goddess Kali, whose name means Black or Death, symbolising the dread and darkness of Time that she commands. She is regarded as ferocious, untameable, and victorious as a warrior, but also tender, compassionate and protective as a mother. Kali embodies shakti— feminine energy, sanctity, profound wisdom, creativity and fertility – and is an incarnation of Parvati/ Durga Devi, wife of the great Hindu god Shiva.

The goddess is often invoked as a figurehead in movements of resistance, especially those of violence against women (which, alas, have not cut down India’s appalling crime rate against women). However, some of these well–intended invocations interpret Kali in a narrow sense: primarily as an avenging goddess. This locates her in a mundane power equation of wielding greater destruction than the violence at hand.  Crucially, such readings relinquish her agency of vast love and spirituality and, with it, our urgent need to reimagine the world and its peoples as aligned with cosmic harmonies and capable of infinite potential and possibilities that the goddess grants. Further, it denies the fact that underlying emotions of love and compassion often galvanise movements of outrage and protest.

Invoking Kali was written during Durga Puja, a community festival to the Great Goddess, of whom Kali Devi is an emanation. In 2020, Puja was low-key and conducted within homes due to the lockdown, a fact that highlights the numerous mistakes we, as a species, have made and continue to make.  In the face of suffering on a global scale, this poem is a lava-tongued supplication to the untameable, non-hierarchical auspiciousness of Kali Devi for courage and grace, so that we create a wise vision for all life on our pale blue dot.  Beginning with the individual ‘I’, the poem ripples outward. In this, it is also overlaid by the impassioned personal mode of medieval bhakti /devotional poetry which was written in the mother tongue, and called for breaking social boundaries in the path of spiritual inclusiveness.  I translate bhakti poetry from Classical Tamil, which, in multiple ways, has transformed my approach to life and language.

Caroline Sauter (Ludwig-Maximilians-Universität München) Theopoetologie.∗ Absenz und Präsenz Gottes in Benjamins Baudelaire ... Benjamins schöpfungstheologische Übersetzungskonzeption weist auf Absenzen und Mangelphänomene in der gefallenen Welt ...

Being agnostic and believing in science only, Emile Zola perceived churches as simple buildings, monuments to a dead religion that would certainly lose the battle against nature and science. The paper gives some examples of this vision in four novels, parts of the Rougon-Macquart cycle.

Desde a década de 80 algumas obras da Literatura Brasileira têm apresentado uma característica semelhante: as personagens caminham desmemoriadas, como que soltas no espaço, sem rumo geográfico, profissional, ideológico. Em Hotel Atlântico, de João Gilberto Noll, um homem solitário anda por aí, perdido; parte do Rio de Janeiro e chega ao Rio Grande do Sul, que percorre às tontas, ao acaso. Angustia e quase irrita o leitor (pelo menos a mim, leitora) esta tão completa falta de referências, a circularidade absurda em que se move a personagem, em busca de algo que se perdeu a ponto de perder até o seu nome. Obras do passado que apontam para este caminho são as de cunho fantástico, como as de Murilo Rubião e de J.J. Veiga. Murilo Rubião cuidadosamente apaga referências relativas às suas personagens nas refacções de seus contos, borrando qualquer relação entre o leitor e as personagens. J.J. Veiga constrói uma aura de mistério, que corresponde à falta de informações sobre as ações num mundo inóspito, agressivo. Até o poema "José", de Carlos Drummond de Andrade já apresenta o homem sem referências. Eis que surge o livro de Chico Buarque de Hollanda, Estorvo, em que a personagem é um homem feito, capaz de olhar pelo olho mágico da porta de seu apartamento e não reconhecer alguém que insistentemente toca a campainha de sua porta, sentindo-se ameaçado. Daí em diante ele foge.

Suffering, the sacred, and the sublime are concepts that often surface in humanities research in an attempt to come to terms with what is challenging, troubling or impossible to represent. These intersecting concepts are used to mediate the gap between the spoken and the unspeakable, between experience and language, between body and spirit, between the immanent and the transcendent, and between the human and the divine. The twenty-five essays in Through a Glass Darkly: Suffering, the Sacred, and the Sublime in Literature and Theory, written by international scholars working in the fields of literary criticism, philosophy, and history, address the ways in which literature and theory have engaged with these three concepts and related concerns. The contributors analyze literary and theoretical texts from the medieval period to the postmodern age, from the works of Chaucer, Shakespeare, Donne, and Herbert to those of Endô Shûsaku, Alice Munro, Annie Dillard, Emmanuel Levinas, and Slavoj Žižek. This book will be of particular interest to scholars of religion and literature, philosophy and literature, aesthetic theory, and trauma studies.

In this essay I want to argue that Roger McDonald’s debut novel, 1915, develops a form of literary modernism which represents the postcolonial turn through a rejection of the aesthetic comforts of ‘late colonial transcendentalism’ (17). The novel entertains and then rejects any sense of revelation which is not both embodied and at the same time cognisant of the subject’s socialisation by a disciplined society. McDonald presents us with an intricate—we might even say ritualised—pattern of subversive counterpoint to ‘reveal and dramatise the failure of the subject to escape its own limits, and hence its own history’ (McCann 155). The result is a highly self-conscious literary novel that seeks to reconcile the art of high modernism with a postcolonial practice interested in the historical and political consequences of public memory.

L'article de Jean-Michel Sourd traite de l'image de la France et des Français chez les Hongkongais dans un ensemble limité de films distribués à Hong Kong durant les dix dernières années. Le cinéma, la télévision et les publicités véhiculent une image de la francité qui se veut authentique mais qui par bien des aspects apparaît caricaturale.
http://glottopol.univ-rouen.fr/telecharger/numero_12/gpl12_12sourd.pdf