Apparitions fantastiques: apparition et disparition dans la fiction brève (littérature et arts de l'image) éd. by Lauric Guillaud, et Gérald Préher
Notice bibliographique
Résumé
Reviewed by: Apparitions fantastiques: apparition et disparition dans la fiction brève (littérature et arts de l'image) éd. by Lauric Guillaud, et Gérald Préher Kate M. Bonin Guillaud, Lauric, et Gérald Préher, éd. Apparitions fantastiques: apparition et disparition dans la fiction brève (littérature et arts de l'image). PU de Rennes, 2018. ISBN 978-2-7535-7429-8. Pp. 342. This multi-author volume brings together twenty-two heterogeneous studies of the fantastic, spanning centuries from the eighteenth through the twenty-first; uniting countries of origin from France to the United States, Argentina, Great Britain, Francophone Canada, and Japan; and crossing genres: literature, film, photography, painting. Some essays focus on a single author or artist; others study widely disparate works (Anglo-Irish, Quebecois, and Belgian, for example) in a comparative-literary approach. The organizing principles that propose to make these hodge-podge elements cohere are the themes of apparition, implying the surgent manifestation of the impossible or the inadmissible into daily life; and disparition, with concomitant feelings of lack or expectations unfulfilled. The editors posit that these twin themes are ineluctably linked to the genre most often associated with the fantastic: the short story, with its tendency to appear briefly in ephemeral magazine publishing, later to disappear or to be re-gathered into anthologies: short stories, in short, do not hold still. Under the rubric of "apparitions," uncanny or unsettling prises de conscience and how they come about are a common motif of several essays. Examples include Arnaud Huftier's investigation of drunken frame narrators whose tales unfold the deeper they empty [End Page 196] their cups; or Catherine Botterel-Michel's focus on the role of mirrors as unwelcome sites of self-discovery throughout Maupassant's oeuvre. Daniel Long suggests that Zola's two fantastic tales experiment with pictorial chiaroscuro effects in order to destabilize, disorient, and leave the protagonist in the characteristic fantastic doubt as to "what really happened." The fantastic's capacity to disrupt norms is differently mobilized by late twentieth- and early twenty-first-century Quebecois authors, argues Simone Grossman, in order to critique an overly profit-driven and mediatized contemporary society. The definition of what precisely constitutes a fantastic tale seems to drift somewhat across the diverse essays, some of which include works of science fiction, horror, and the ghost stories, rather than a narrower focus on tales which dramatize an unresolved tension between the uncanny and the mundane. Moreover, having posited the short story as the fantastic's most characteristic genre, the volume then pivots to painting and photography, going to great lengths to establish connections between narrative and visual arts in the third section of the work, "Le visible et l'invisible." Examples include the short story and "spiritist" photography (Martine Lavaud's investigation of Gautier's 1865 Spirite and fake ghost photos by the con artist Édouart Buguet); the short story and masks (Morgane Leray's analysis of a recurring theme in Jean Lorrain's fin-de-siècle fiction); and Edgar Allen Poe's engagement with Odilon Redon's famously creepy mixed-media drawings (Jean Arrouye). There is a great deal of interest in this section of the volume. One wishes that the imbrications of visual and narrative works were allocated a larger space in the theoretical scaffolding of the introduction and conclusion of the volume, which relegates "littérature et arts de l'image" to a sub-subtitle in parentheses. Notwithstanding, specialists in the genre will find in Apparitions fantastiques many worthwhile (if disparate) contributions to the field. Kate M. Bonin Arcadia University (PA) Copyright © 2019 American Association of Teachers of French
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Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,004 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,000 | 0,002 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,001 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».