Couverture souple. La diaspora des Desrosiers III. Seller Inventory R Book Description Actes Sud. Condition: Brand New. In Stock. Seller Inventory zk Printed Pages: Seller Inventory BD Seller Inventory M Michel Tremblay La Diaspora des Desrosiers. La Diaspora des Desrosiers. Tome 3: La traversee des sentiments French Edition.
Michel Tremblay. Publisher: Actes Sud , This specific ISBN edition is currently not available. View all copies of this ISBN edition:. Buy New View Book. Customers who bought this item also bought. Stock Image. New Paperback May 29, Quantity Available: 1. As Hesse summarizes,. Trois femmes, as scandalized readers recognized at the time, was the story of a band of outlaws; a story of the ethical life of women beyond the laws of propertied men When characters in Three Women make their moral choices, their decisions are generally catalysed by fictions.
The use of fiction as a catalyst for or even agent of change becomes, in the second part of the novel, even more feckless, but remains equally beguiling.
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If, in the first section, Constance devises impromptu fictions to give the appearance of virtue to choices based on an ethics of care, in the second half of the novel, she develops expedient fictions to enable a series of Jacobin experiments in radical social transformation through education. When the son of the servant Josephine and the son of a noblewoman are mistakenly confused at birth, Constance contrives through persuasion to have them both nursed by Josephine and both given the same education by the Baronness of Altendorf.
She pays a handsome sum to have male and female twins each be given, from birth, the names, clothing and education normally reserved for the other gender. Still, as Constance suggests, the dictionary is hardly suited to its audience; she herself resorts to bribing the young people of Altendorf in order to keep them in school.
Nonetheless, the first two, published sections of Trois femmes eschew mystification and sentiment as styles suited to the people. A lengthy authorial footnote embellishes on the theme, arguing against authors who set up characters as models of perfection for readers. Readers, the footnote suggests, will always find a way of excusing themselves for failing to live up to those sentimental moral models and will never find themselves in moral situations that are unequivocal.
The significance of this conclusion to Trois femmes is threefold.
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As female slave in the sphere of colonial authority and as biracial child placed at the ill-defined intersection between domestic intimacy and colonial exploitation, these new characters represent the degree zero of moral autonomy. Finally, against the grain of the style of her memoir, Constance stubbornly refuses to cast herself as a virtuous sentimental subject, an example for readers to emulate, or as the nostalgic victim of a turbulent age. Her sentimental fable of reason, without a happy ending or, indeed any ending at all, is calculated as a lesson about the false moral authority of fiction.
In novels, Constance comments:. Elizabeth C. Goldsmith and Dena Goodman. De la Correspondance au roman epistolaire. Amsterdam: Rodopi, Princeton: Princeton UP, Doris Jakubec, Jean-Daniel Candaux.
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Tome III, and Cited in Cossy, , note 2. Posted in Novel , Political writing. If you ask someone at random walking down the street what comes to mind when one mentions the French Revolution, certain categories invariably come up: violence, blood, public disorder, guillotine, Marie-Antoinette, and— if the person has an interest in history or is over-educated — the Terror, pornographic political propaganda, and the tension of oppositional public discourses of sensibility and reason come up. These impressions of the Revolution today echo those of the late 18 th and early 19 th century when traumatized people tried to make sense of their experiences.
Representations of the French Revolution are today, as they were then, skewed either to the right or to the left. Rarely is discourse on the Revolution a balanced one. It ultimately offers a non-partisan vision of the world; one in which compassion is the ruling ideology. If the novel, as well as its author, are forgotten today, this was not always the case.
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Volume one and two, serving as a sort of trial balloon, were published first. For some reason, they were not subject to censure and the sales were encouraging. The third and forth volume quickly followed. The novel ran to ten editions from to , not including the pirated runs. It was considered politically dangerous enough in to have the ninth edition confiscated by the police.
And although the point of view appealed to one particular political faction, the royalists, it was, at its most basic level, a rousing good read for the growing reading public who eagerly seized up the numerous novels published by a burgeoning publishing industry. As a gothic or frenetic-bildungsroman-sentimental-pseudo historical-adventure novel of persecuted innocence, it had something to please everyone.
In addition, the horror of recent events is rendered manageable by its integration into the familiar literary registers and subgenres. Irma is an outrageous novel, mixing historical facts and fictional events, political analysis with wild speculation set in an exotic atmosphere that combines the engouement for the frenetic esthetic so popular at the end of the XVIII century with the familiarity of longstanding popularity of the oriental narrative. However, drawing on tropes familiar to readers of popular fiction and adding the new tropes of the gothic or frenetic novel, Irma allows readers to vicariously relive traumatic events at a safe remove.
By setting the novel in an oriental frame, a device popular for the preceding two centuries, powerful traumatic events and political figures are at once neutralized when set at a remove from the present. The reader is able to read tale of persecuted innocence on multiple levels, one according to the clef, a fictionalized account of the imprisonment of a young Indian princess, her family and many political intrigues surrounding them, another as the story of the Royal French family and, again, read it simultaneously as an allegorical account of the French nation as a whole.
It allows the reader the distance he or she may need to understand events at a private as well as public level—this proved to be a powerful combination and accounts for the novels enduring popularity. The novel thrills and entertains according to its generic functions, but it informs on another level as it educates the reader with a well thought out political and historical analysis that is presented as such in the text. If you lifted the thin veil of Orientalism, Irma could be called an historical novel. The narrative is split into contemporaneous events told by Irma and the historical perspective leading up to those events explained by her aunt, Selabius.
The historical sequence is respected, giving the reader both sides of events, the private side as well as the public. Although clearly royalist, there is enough even- handling of the other side to satisfy a Jacobin reader; There are good guys and bad guys on both sides. Dark prison scenes and murderous guards alternate with kind ones and moments of generosity and friendship. It is made clear in the text that Irma has received her sentimental education from her father, but it is her aunt that teaches her the historical causes of the Revolution.
Her discourse is an explanatory one, giving justifications for certain decisions, which, in hindsight, were poor ones. He is presented as the incarnation of a roi-philosophe,. Irma receives an education in interpretation, in reading and deciphering ostensible and hidden meanings in a political and private context as her aunt takes her step-by-step through one hundred years of government.
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The narrative alternates from contemporaneous events to the historical synthesis and back again. Irma, like her real life model the Madame Royale, is eventually sent to her maternal relatives the King of Persia in the text in exchange for Revolutionary hostages. Although the narration moves the reader through the emotional as well as social chaos of the Revolution, the author takes great care to explain the origin of events, giving a context for the upheaval. The author fosters a sense of emotional security through intellectual understanding by retelling of events experienced by contemporary readers or at the very least with which they were familiar.
She places personal trauma in a larger national and public tragedy. By the end of the novel first 4 volumes at least the reader comes to an emotional understanding and a certain peace even if the times are still uncertain. An integral part of this education is the short inset narratives of people Irma comes across. Contrary to expectations, the normally rigid monophonic epistolary form bends its singular and aristocratic point of view to include multiple voices from different social and economic backgrounds. Everyone tells their story and they all have one from the highest nobles, to the servants that served them, to peasants in the field.
From monarchists, to revolutionary partisans, to the politically neutral, women especially all tell horrendous stories of betrayal, separation, anxiety, and loss. If the appearance of virtue is not to be trusted, easily counterfeited, and intentions illegible, the signs of pain are transparent. By the end of the novel, the reader like Irma has come to understand that her country is in reality not divided, but united and equal, with pain and loss as the great leveler. A united community has been forged, but it is not a political one. It is located rather in the sentimental register, coming out of pain and loss and built on shared trauma.
It is in this domain that everyone proves equal and one in which her own experiences has taught her to read the suffering heart of her fellow Indians. The particular found in the singular epistolary narrative voice expands to encompass the communal through shared experience.
By the end of the novel, the reader like Irma has come to understand that her country is in reality not divided between revolutionaries and royalists, but united and equal at a deeper and more important level, with pain and loss as the great leveler. Irma, for modern readers, allows the reader, on an emotional level, to experience the paranoia, fear, and confusion rampant at the time of its production and expose him or her to contemporary analysis of recent historical events. If a late XVIII and early XIX century reader looked to Irma for romance, rational explanations and to be moved both in horror and pity , this novel allows the modern reader to plunge into a world of hysteria, paranoia, violence and schizophrenic pairing of reason and sentiment of the French Revolution.
This one novel unites the emotional overload of a people traumatized by violent political events, both public and private, analyses and historicizes the causes of that violence, and, in attempting to come to terms with these events both personal and public, reflects the communal hysteria of in its frenetic aesthetic. If there was ever a novel that communicates at a visceral level its zeitgeist it is certainly Irma. Voici quelques points que nous aimerions discuter au cours de cette table ronde. Elle doit encore relever de la persuasion.
Cette captatio malevolentiae en est la preuve. Autant dire que ces droits resteront lettre morte. Posted in Essay , Political writing.
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Read on for the latest insights into this fascinating field…. Skip to content. James A. Must II. Must III. Courtney, Pierre H. Wood, eds. Geneva: Slatkine,
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