Traces de terre, traces d'encre... La rappresentazione dello spazio nella letteratura caraibica. (Francofona e Anglofona)

This study concerns the representation of space in Caribbean literature, both francophone and Anglophone and, in particular, but not only, in the martinican literature, in the works of the authors born in the island. The analysis focus on the second half of the last century, a period in which the martinican production of novels and romances increased considerably, and where the representation and the rule of space had a relevant place. So, the thesis explores the literary modalities of this representation. The work is constituted of 5 chapters and the critical and methodological approaches are both of an analytical and comparative type. The first chapter “The caribbean space: geography, history and society” presents the geographic context, through an analysis of the historical and political major events occurred in the Caribbean archipelago, in particular of the French Antilles, from the first colonization until the départementalisation. The first paragraph “The colonized space: historical-political excursus” the explores the history of the European colonization that marked forever the theatre of the relationship between Europe, Africa and the New World. This social situation take a long and complex process of “Re-appropriation and renegotiation of the space”, (second paragraph) always the space of the Other, that interest both the Antillean society and the writers’ universe. So, a series of questions take place in the third paragraph “Landscape and identity”: what is the function of space in the process of identity construction? What are the literary forms and representations of space in the Caribbean context? Could the writing be a tool of cultural identity definition, both individual and collective? The second chapter “The literary representation of the Antillean space” is a methodological analysis of the notions of literary space and descriptive gender. The first paragraph “The literary space of and in the novel” is an excursus of the theory of such critics like Blanchot, Bachelard, Genette and Greimas, and in particular the recent innovation of the 20th century; the second one “Space of the Antilles, space of the writing” is an attempt to apply this theory to the Antillean literary space. Finally the last paragraph “Signs on the page: the symbolic places of the antillean novel landscape” presents an inventory of the most recurrent antillean places (mornes, ravines, traces, cachots, En-ville,…), symbols of the history and the past, described in literary works, but according to new modalities of representation. The third chapter, the core of the thesis, “Re-drawing the map of the French Antilles” focused the study of space representation on francophone literature, in particular on a selected works of four martinican writers, like Roland Brival, Édouard Glissant, Patrick Chamoiseau and Raphaël Confiant. Through this section, a spatial evolution comes out step by step, from the first to the second paragraph, whose titles are linked together “The novel space evolution: from the forest of the morne… to the jungle of the ville”. The virgin and uncontaminated space of the Antilles, prior to the colonisation, where the Indios lived in harmony with the nature, find a representation in both works of Brival (Le sang du roucou, Le dernier des Aloukous) and of Glissant (Le Quatrième siècle, Ormerod). The arrival of the European colonizer brings a violent and sudden metamorphosis of the originary space and landscape, together with the traditions and culture of the Caraïbes population. These radical changes are visible in the works of Chamoiseau (Chronique des sept misères, Texaco, L’esclave vieil homme et le molosse, Livret des villes du deuxième monde, Un dimanche au cachot) and Confiant (Le Nègre et l’Amiral, Eau de Café, Ravines du devant-jour, Nègre marron) that explore the urban space of the creole En-ville. The fourth chapter represents the “2nd step: the Anglophone novel space” in the exploration of literary representation of space, through an analytical study of the works of three Anglophone writers, the 19th century Lafcadio Hearn (A Midsummer Trip To the West Indies, Two Years in the French West Indies, Youma) and the contemporary authors Derek Walcott (Omeros, Map of the New World, What the Twilight says) and Edward Kamau Brathwaite (The Arrivants: A New World Trilogy). The Anglophone voice of the Caribbean archipelago brings a very interesting contribution to the critical idea of a spatial evolution in the literary representation of space, started with francophone production: “The spatial evolution goes on: from the Martiniques Sketches of Hearn… to the modern bards of Caribbean archipelago” is the new linked title of the two paragraphs. The fifth chapter “Extended look, space shared: the Caribbean archipelago” is a comparative analysis of the results achieved in the prior sections, through a dialogue between all the texts in the first paragraph “Francophone and Anglophone representation of space compared: differences and analogies”. The last paragraph instead is an attempt of re-negotiate the conventional notions of space and place, from a geographical and physical meaning, to the new concept of “commonplace”, not synonym of prejudice, but “common place” of sharing and dialogue. The question sets in the last paragraph “The “commonplaces” of the physical and mental map of the Caribbean archipelago: toward a non-place?” contains the critical idea of the entire thesis.

Global cities, global literature: New York e Tokyo nella narrativa contemporanea

Scopo del lavoro è quello di tracciare un parallelismo tra la narrativa giapponese e angloamericana contemporanea, viste come parte di un sistema di significati che trascende la dimensione nazionale e si installa invece in una dinamica di tipo globale. Le opere letterarie prese in considerazione sono alcune fra quelle ambientate nelle due vere e proprie capitali culturali dei paesi, rispettivamente New York per gli Stati Uniti e Tōkyō per il Giappone. Spunto di partenza dell’analisi è stato il concetto di “global city”, formulato dalla studiosa e sociologa Saskia Sassen, che permette di mettere in relazione dal punto di vista economico, strutturale ma anche sociale le città di New York e Tōkyō. Tale formulazione consente infatti di ragionare in maniera motivata sull’esistenza di un rapporto di flussi di scambio di tipo culturale e, parallelamente, sull’acquisizione di una dimensione di tipo transnazionale di soggetti e tematiche della letteratura. In questo senso, il rapporto tra economia e globalizzazione evidenziato da Sassen può essere paragonato a quello che intercorre tra la letteratura e la globalizzazione. Punto di snodo metodologico del lavoro è rappresentato dall’analisi dello spazio urbano, esaminato sia in chiave urbanistico-architettonica che più specificamente letteraria.

L’espace urbain indien dans la littérature européenne au XXème siecle. Pour une perspective post-orientaliste.

L'affermarsi della teoria della « imaginative geography » di Edward Saïd (Orientalism, 1978), nell'arco degli ultimi trent'anni, ha imposto un orientamento prettamente sociopolitico, gramsciano e foucaultiano alla critica del testo, proponendo un'unica soluzione interpretativa per un corpus eterogeneo di testi (scientifici e artistici, antichi e moderni) accomunati dal fatto di « rappresentare l'Oriente ». La costruzione europea dello spazio orientale, dice Saïd, non rappresenta solo un misconoscimento dell'Altro, ma una sua rappresentazione tendenziosa e finalizzata a sostenere la macchina dell'imperialismo occidentale. In particolare, la rappresentazione « femminilizzata » della geografia orientale (come luogo dell'exploit del maschio bianco) preparebbe e accompagnerebbe l'impresa di assoggettamento politico e di sfruttamento economico dei paesi ad Est dell'Europa. Se Orientalism ha conosciuto fortune alterne dall'anno della sua apparizione, negli ultimi anni una vera e propria corrente anti-saidiana ha preso forza, soprattutto in ambito francese. Attraverso l'analisi di circa trenta opere francesi, belga, inglesi e italiane del Novecento, questa tesi cerca di visualizzare i limiti teorici della prospettiva saidiana rivolgendosi a un esame della rappresentazione dello spazio urbano indiano nella letteratura europea contemporanea. Nello specifico, uno studio delle nuove strutture e dei nuovi modelli della femminilizzazione dello spazio orientale indiano cercherà di completare – superandolo in direzione di un « post-orientalismo » – il riduzionismo della prospettiva saidiana.

Métamorphoses de l'Image des Tartares dans la littérature européenne du XXème siècle

Ce travail doctoral analyse le changement de l’image des Tartares dans la littérature européenne en langue allemande, anglaise, française et italienne du XXe siècle par l’étude de trois figures : la horde mongole, Gengis-khan et Khoubilaï-khan. Il soutient la thèse que, grâce à quelques facteurs historico-culturels comme la remise en question du concept de barbarie, l’essor des totalitarismes, l’ouverture de la Mongolie vers l’Occident, la redécouverte de l’Histoire secrète des Mongols et la fortune de Le divisament dou monde, au cours du XXe siècle, l’image littéraire des gengiskhanides de négative devient positive. Cette étude se compose d’une introduction, de trois chapitres et d’une conclusion. Dans l’introduction, on analyse la formation de l’image des Tartares et son évolution jusqu’à la fin du XIXe siècle, on retrace les facteurs historico-culturels qui la remettent au goût du jour et en provoquent le changement au XXe siècle et on présente le travail. Dans le premier chapitre, on se penche sur la prosopographie des Tartares dans les textes littéraires du XXe siècle, en la confrontant avec leur représentation dans l’art contemporain. Dans le deuxième chapitre, on étudie la façon des Tartares de se rapporter aux autres au sein de la société dans les textes littéraires du XXe siècle. Dans le troisième chapitre, on examine les lieux des gengiskhanides dans les textes littéraires du XXe siècle. Enfin, dans la conclusion, les données acquises au moyen de l’analyse conduite sont confrontées et interprétées. Le changement de l’image des Tartares va de pair avec une Europe qui, après avoir fait l’expérience de deux guerres mondiales, avoir assisté aux revendications de la décolonisation et avoir introjecté la thèse freudienne du « malaise dans la civilisation », remet en discussion sa façon de concevoir la barbarie et l’Altérité.

Benign neonatal sleep myoclonus: a review of the literature

OBJECTIVE: Neurologically normal term infants sometimes present with repetitive, rhythmic myoclonic jerks that occur during sleep. The condition, which is traditionally resolved by 3 months of age with no sequelae, is termed benign neonatal sleep myoclonus. The goal of this review was to synthesize the published literature on benign neonatal sleep myoclonus. METHODS: The US National Library of Medicine database and the Web-based search engine Google, through June 2009, were used as data sources. All articles published after the seminal description in 1982 as full-length articles or letters were collected. Reports that were published in languages other than English, French, German, Italian, Portuguese, or Spanish were not considered. RESULTS: We included 24 reports in which 164 term-born (96%) or near-term-born (4%) infants were described. Neonatal sleep myoclonus occurred in all sleep stages, disappeared after arousal, and was induced by rocking the infant or repetitive sound stimuli. Furthermore, in affected infants, jerks stopped or even worsened by holding the limbs or on medication with antiepileptic drugs. Finally, benign neonatal sleep myoclonus did not resolve by 3 months of age in one-third of the infants. CONCLUSIONS: This review provides new insights into the clinical features and natural course of benign neonatal sleep myoclonus. The most significant limitation of the review comes from the small number of reported cases.

The Power of Tragedy: An Eighteenth-Century Debate on Theater and its Relevance to Literature Pedagogy Today

This article brings to light a debate on tragic fiction in eighteenth-century France, and more specifically, on whether or not tragedy has the power to transform individuals intellectually and emotionally. Through analysis of abbé Dubos’s Reflexions critiques sur la poésie et sur la peinture and Jean-Jacques Rousseau’s Lettre à d’Alembert sur les spectacles, I contend that Dubos’s overwhelmingly positive conception of fiction—and especially his contention that we learn through the emotions when we engage with tragic fiction—can serve as an admirable pedagogical model for today’s fiction-focused foreign language classrooms.

The Nightmare of Actual Identity": Franco-Algerian Literature after Liberation"

In this thesis I examine the issues of postcolonial Algerian identity expressed in literature, and the difficulty of defining an Algerian identity independent of French influence. I analyze and contextualize three novels (Le Polygone etoile by Kateb Yacine,L'Amour, la fantasia by Assia Djebar, and Le Village de l'allemand ou le journal des freres Schiller) representative of their respective periods. I explore the evolution of expressions of identity through post-liberation Algeria. The years immediately following decolonization are marked by the effort to return to aprecolonial blank slate, an effort that Yacine cautions against. The 1980s and 1990s are most concerned with re-inserting Algeria into the Western historical discourse, and the most recent literature moves beyond decolonization to discuss the current Islamistchallenge and immigration. Among the pertinent issues are language, oral vs. written traditions, the often blatant absence of Algerians and women from the accounts in the French colonial archives, and, of course, the Self/Other binary. I have found that theserepresentative authors and texts use asynchronic time, fragmented narrative, re-written history, and expressions of violence in an attempt to cope with the colonial period and decolonization. I show that these authors provide a commentary on those who have triedto erase their French side, but with little success. Ultimately, though in different ways, each author writes that Algerians much accept their French past and move beyond it,rather than fighting their collective history.

Urogenital manifestations in Wegener granulomatosis: a study of 11 cases and review of the literature

We describe the main characteristics and treatment of urogenital manifestations in patients with Wegener granulomatosis (WG). We conducted a retrospective review of the charts of 11 patients with WG. All patients were men, and their median age at WG diagnosis was 53 years (range, 21-70 yr). Urogenital involvement was present at onset of WG in 9 cases (81%), it was the first clinical evidence of WG in 2 cases (18%), and was a symptom of WG relapse in 6 cases (54%). Symptomatic urogenital involvement included prostatitis (n = 4) (with suspicion of an abscess in 1 case), orchitis (n = 4), epididymitis (n = 1), a renal pseudotumor (n = 2), ureteral stenosis (n = 1), and penile ulceration (n = 1). Urogenital symptoms rapidly resolved after therapy with glucocorticoids and immunosuppressive agents. Several patients underwent a surgical procedure, either at the time of diagnosis (n = 3) (consisting of an open nephrectomy and radical prostatectomy for suspicion of carcinoma, suprapubic cystostomy for acute urinary retention), or during follow-up (n = 3) (consisting of ureteral double J stents for ureteral stenosis, and prostate transurethral resection because of dysuria). After a mean follow-up of 56 months, urogenital relapse occurred in 4 patients (36%). Urogenital involvement can be the first clinical evidence of WG. Some presentations, such as a renal or prostate mass that mimics cancer or an abscess, should be assessed to avoid unnecessary radical surgery. Urogenital symptoms can be promptly resolved with glucocorticoids and immunosuppressive agents. However, surgical procedures, such as prostatic transurethral resection, may be mandatory in patients with persistent symptoms.

The Modernity of la Mode: a History of the French Revolution Through the Lens of Fashion, Culture, and Identity

In my thesis, I explore the cultural history of the French Revolution and its relation to the modern era which ensued. Many historians have studied the French Revolution as it relates to culture, the rise of modernity, and fashion. I combine the unique histories of all three of these aspects to reach an understanding of the history of the French Revolution and fashion’s role in bringing about change. In the majority of literature of costume history, discussion of fashion surrounds its reflective properties. Many historians conclude fashion as a reflection of the broader cultural shifts that occurred during the Revolution. I, on the other hand, propose that fashion is an active force in bringing out cultural change during this time. In exploring fashion as a historical motivator, I examine the aesthetic world of fashion from 1740 to 1815, the modern system of cultural dissemination of fashion through particular historical heroes, and the rise of “taste” and its relation to modern identity. Through aesthetics, culture, and identity, I argue that fashion is a decisive force of culture in that it creates a visual world through which ideas form and communicate.

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

Nationalism and Literature

Zunic investigated the relationship between nationalism and Serbian literature. He first analysed and evaluated the justifications for a number of critical accusations against Serbian literature. These included mythological and epic foundations (traditionalism), an obsession with national history and with the motif of the Serbian people as an eternal victim, the domination of the collective over the individual (populism), an anachronistic romantic conception of the social function of literature. In order to gain an unbiased judgement of the nationalistic role of contemporary Serbian literature, Zunic prepared a list of those books with the greatest number of copies issued in the decade 1985-1995, and constructed an appropriate hermeneutic procedure of understanding the meaning of the content and form of these works. He concluded that contemporary Serbian literature is in fact occupied with national history, and also with the unmasking of communist totalitarianism. The most influential books express and document either nationally-oriented or civil-oriented world views. The former, although mostly not militant works (with their realistic "closed" form), might have had an ideological influence on the Serbian national consciousness, while the civil-oriented works (with their "open" modern or post-modern form) could not neutralise all these extra-literary effects of the nationally-oriented works, since the predominant way of reading is a communication with the literary content (realised as a testimony of historical facts), and not with the literary form (as a carrier of the artistic value and a "moderator" of any content).

[Geneva, France, pharmacist. An outline on a little-known French-Genovoise pharmacopoeia]

In the time of the French occupation of Geneva and the formation of a << Départment du Léman >> from 1798 to 1813, the physician Louis Odier published a Manual of practical medicine destined for the Health officers of the Departement. This work encloses at its end a short pharmacopoeia, till today practically unknown in the pharmaceutical bibliography, which is described here. An analysis shows that this formulary does not belong to the popular literature but is corresponding, with some exceptions, to the other similar pharmacopoeal works of the Enlightenment.

Parkinsonism in Gaucher's disease type 1: ten new cases and a review of the literature

Parkinsonism has been described in patients with Gaucher's disease (GD). We reviewed the 10 cases of patients with both parkinsonism and GD recorded in the French national GD registry, as well as 49 previously published cases. Relative to the general population, parkinsonism in GD patients (1) was more frequent, (2) occurred at an earlier age, (3) responded less well to levodopa, and (4) was more frequently associated with signs of cortical dysfunction. Enzyme replacement therapy (ERT) and substrate reduction therapy (SRT) were ineffective on GD-associated parkinsonism, suggesting that parkinsonism itself is not an indication for ERT or SRT in this setting.

Cosmos and Colonialism. Alexander von Humboldt in Cultural Criticism

Alexander von Humboldt explored the Spanish Empire on the verge of its collapse (1799–1804). He is the most significant German travel writer and the most important mediator between Europe and the Americas of the nineteenth century. His works integrated knowledge from two dozen domains. Today, he is at the center of debates on imperial discourse, postcolonialism, and globalization. This collection of fifty essays brings together a range of responses, many presented here for the first time in English. Authors from Schiller, Chateaubriand, Sarmiento, and Nietzsche, to Robert Musil, Kurt Tucholsky, Ernst Bloch, and Alejo Carpentier paint the historical background. Essays by contemporary travel writers and recent critics outline the current controversies on Humboldt. The source materials collected here will be indispensable to scholars of German, French, and Latin and North American literature as well as cultural and postcolonial studies, history, art history, and the history of science.