'Dusky Sally': La femme esclave entre histoire et fiction

Au travers d'une étude parallèle de deux femmes esclaves - l'une figure historique, l'autre personnage de fiction - et de la façon dont elles ont été inscrites dans, et surtout hors du récit historique et littéraire américain, cet essai vise d'une part à interroger les biais et les limitations de l'historiographie traditionnelle américaine dans sa représentation de l'esclave, et d'autre part à évaluer le rôle de la littérature dans la critique et la « re-vision » du discours historique. Le roman de Gloria Naylor Mama Day (1988) offre ainsi un détour intéressant pour mettre en lumière les processus discursifs, épistémologiques et idéologiques qui ont permis et perpétué l'absence de femmes comme Sally Hemings, esclave et maîtresse supposée de Thomas Jefferson, dans l'Histoire américaine.Through a parallel discussion of two slave women - the first a historical figure, the second a fiction character - and of the way they have been inscribed in, and indeed out of, the historical and fictional narrative of America's past, this essay aims both to interrogate the biases and limitations of traditional American historiography in its representation of slaves and to evaluate the role of literature in the critique and "re-vision" of historical discourse. Gloria Naylor's novel Mama Day (1988) thus provides an interesting detour to cast light on the discursive, epistemological and ideological processes that have permitted and perpetuated the absence from American History of women like Sally Hemings, Thomas Jefferson's slave and supposed mistress.

Prevalence of Neural Tube Defects (NTD) in Younger Mothers in Europe 2000-2008: Analysis of the EUROCAT Database - Report to Bayer Schiering Pharma

M.C. Addor is included in the Eurocat Working Group

Sleeping Beauty in Chelmno: Jane Yolen's Briar Rose or Breaking the Spell of Silence

AbstractThis article analyses Jane Yolen's Briar Rose (1992) from the perspective of trauma studies as a novelistic transposition of "Sleeping Beauty" in the context of the Holocaust. It argues that the fairy tale fulfils a psychological and even existential role for the fictional survivor of the extermination camp, but also a pedagogical, moral and political one through the figure of the cowitness central to the economy of the novel. Through Becca's recovery of the biographical elements underlying her grandmother's retelling of the story, Yolen shows how the fairy tale can serve to communicate traumatic personal memories and transmit collective cultural knowledge to counter the disappearance of first-hand witnesses.RésuméCet article analyse le recours au conte de fées dans un roman récent de Jane Yolen, Briar Rose, qui transpose le conte de La Belle au bois dormant dans le contexte de l'Holocauste. A partir des études sur le traumatisme (trauma studies), il montre comment le conte de fées remplit plusieurs rôles: psychologique voire existentiel pour la survivante du camp, mais aussi didactique, politique et moral à travers la figure du co-témoin placée au coeur du dispositif narratif. Yolen fait ainsi appel à deux genres pédagogiques, le conte et la literature de jeunesse sur l'Holocauste comme outils pédagogiques permettant la transmission d'une mémoire individuelle et collective qui problématise la question épineuse de la représentation de l'Holocauste et de la fictionnalisation de l'histoire qui accompagne la disparition des témoins directs.

Narration und Diagrammatik. Eine Vorüberlegung und sieben Thesen

[Narrative and the Diagrammatic. Preliminary Thoughts and Seven Theses.] This article proposes a view of narrative that does not depend on the traditional perspective of temporal sequence but emphasizes the spatial structure of literary narrative. Contrary to the prevalent treatment of space in narrative theory, the notion of spatiality in this context refers not to the space that is represented by the narrative (e.g. the setting and other spatial elements of the fictional world) but to the space that represents it: first, the graphic surface of the text; second, the (quasi-)spatial mental representation of its content that is produced in the process of reception. It is argued that these conditions form the primary ontological mode of narrative, whereas the temporal development of a story is an aesthetic illusion that has been specifically stimulated by the narrative conventions of approximately the past three centuries and must thus be considered a secondary effect. The diagrammatic, as a way of both depicting data and perceiving relations through spatial representation, thus forms a more adequate methodological approach to understanding narrative structure than approaches that are implicitly derived from the 'grammar' of narrative in the structuralist sense and its sequential logic.