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La nuit est tombée quand Hagos et Saba, frère et sœur, arrivent dans un camp de réfugiés au Soudan avec leur mère. Ils n’ont plus rien et ont fui leur pays en guerre, mais leur cœur bat toujours : Hagos, muet et fragile, et Saba, au caractère farouche, vont trouver l’amour au milieu des ruines. C’est dans ce monde à part, lieu condensé d’humanité, que frère et sœur vont briser les tabous, renverser les genres et illustrer un conte d’amour sensuel au milieu du chaos. Par ce roman élégiaque à contre-courant des préjugés, Sulaiman Addonia redéfinit la littérature de l’exil et célèbre avec modernité l’amour sous toutes ses formes. Dans la lignée de Floraison sauvage d’Aharon Appelfeld, Le silence est ma langue natale bouscule nos repères et nos codes, et par le pouvoir de sa langue, illumine l’insupportable réalité.
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English fiction. --- English fiction --- History and criticism. --- English literature
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The Anglia Book Series (ANGB) offers a selection of high quality work on all areas and aspects of English philology. It publishes book-length studies and essay collections on English language and linguistics, on English and American literature and culture from the Middle Ages to the present, on the new English literatures, as well as on general and comparative literary studies, including aspects of cultural and literary theory.
English fiction. --- English fiction --- Ethics in literature. --- History and criticism.
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Building on the notion of fiction as communicative act, this collection brings together an interdisciplinary range of scholars to examine the evolving relationship between authors and readers in fictional works from 18th century English novels through to contemporary digital fiction. The book showcases a diverse range of contributions from scholars in stylistics, rhetoric, pragmatics, and literary studies to offer new ways of looking at the "author-reader channel," drawing on work from Roger Sell, Jean-Jacques Lecercle and James Phelan. The volume traces the evolution of its form across historical periods, genres, and media, from its origins in the conversational mode of direct address in 18th century English novels to the use of second-person narratives in the 20th century through to 21st century digital fiction with its implicit requirement for reader participation. The book engages in questions of how the author-reader channel is shaped by different forms and how this continues to evolve in emerging contemporary genres, and of shifting ethics of author and reader involvement. This book will be of particular interest to students and scholars interested in the intersection of pragmatics, stylistics, and literary studies.
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This book examines illustrations created to accompany fictions written by several of the most popular authors published in Britain and America between 1885 and 1920.By studying the lavish illustrations that complemented not only initial serializations, but also subsequent publications of fictions by H. Rider Haggard, Rudyard Kipling, James De Mille, Robert Louis Stevenson, and H. G. Wells, the book demonstrates the significance of images to the fin de siècle romance form. In order to make fantastic plots seem possible, graphic artists worked hand in hand with authors to not only fill gaps in audience understanding, but also expand and deepen the meaning of these marvels.The book will be of interest to scholars working in art history, visual culture, illustration studies, British and American history, and British and American literature.
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Innovative literary form examined from the point of view of the reader's experience.
English fiction --- Modernism (Literature) --- History and cricitism.
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Even though the literary trope of the flâneur has been proclaimed 'dead' on several occasions, it still proves particularly lively in contemporary Anglophone fiction. This study investigates how flânerie takes a belated 'ethical turn' in its more recent manifestations by negotiating models of ethical subjectivity. Drawing on Michel Foucault's writings on the 'aesthetics of existence' as well as Judith Butler's notion of precariousness as conditio humana, it establishes a link between post-sovereign models of subject formation and a paradoxical constellation of flânerie, which surfaces most prominently in the work of Walter Benjamin. By means of detailed readings of Ian McEwan's Saturday, Siri Hustvedt's The Blindfold, Teju Cole's Open City, Dionne Brand's What We All Long For and Robin Robertson's The Long Take, Or a Way to Lose More Slowly, this book traces how the ambivalence of flânerie and its textual representation produces ethical norms while at the same time propagating the value of difference by means of disrupting societal norms of sameness. Precarious Flânerie and the Ethics of the Self in Contemporary Anglophone Fiction thus shows that the flânerie text becomes a medium of ethical critique in post-postmodern times.
English fiction --- English fiction --- Subjectivity in literature --- Flaneurs in literature --- Ethics in literature
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The conventional literary history of the eighteenth century holds that upstart novelists and other intensely serious writers worked against the conservative and ironic sensibility of an earlier generation of satirists. However, many of these ostensibly earnest writers were exceptional satirists in their own right, employing the same ruses, tricks, and deceptions throughout their work. The novels of such canonical figures as Behn and Defoe, for example, passed themselves off as real documents, just as an earlier generation of hack writers combined the serious and the absurd. Re-examining this nexus between the ludicrous and the solemn, Shane Herron argues that intense earnestness was itself a central component of the ironic sensibility of the great age of literary satire and of Swift's work in particular. The sensationalism and confessionalism of earnestness were frequently employed tendentiously, while ironic and satirical literature often incorporated genuine moments of earnestness to advance writerly aims.
English fiction --- Irony in literature. --- Satire, English --- History and criticism.
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This Element examines the eighteenth-century novel's contributions to empirical knowledge. Realism has been the conventional framework for treating this subject within literary studies. This Element identifies the limitations of the realism framework for addressing the question of knowledge in the eighteenth-century novel. Moving beyond the familiar focus in the study of novelistic realism on problems of perception and representation, this Element focuses instead on how the eighteenth-century novel staged problems of inductive reasoning. It argues that we should understand the novel's contributions to empirical knowledge primarily in terms of what the novel offered as training ground for methods of reasoning, rather than what it offered in terms of formal innovations for representing knowledge. We learn from such a shift that the eighteenth-century novel was not a failed experiment in realism, or in representing things as they are, but a valuable system for reasoning and thought experiment.
Empiricism in literature. --- English fiction --- History and criticism.
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This series has been designed to offer students and researchers a compact means of orientation in their study of Anglophone literary texts. Each volume will introduce readers to current concepts and methodologies, as well as academic debates, by combining theory with text analysis and contextual anchoring.
English fiction --- History and criticism. --- Enlightenment. --- Literature. --- Prose fiction. --- Romanticism.
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