Manual Les mémoires de lépouvantail (FICTION) (French Edition)

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View or edit your browsing history. Roy excelled in her presentation of physical and social space but she was most interested in the psychological development of the individual and her grasp of it was deep and sure. The novel of psychological introspection first appeared during this period. The author of the psychological novel commonly uses every technique at his command to explore the nuances of his characters. A similar balance between technique and depth of comprehension exists in the works of some authors who wrote well but little and enjoyed only brief celebrity in the s.

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Other novelists, more moralizing and deliberately abstract, had begun to write satirical tales that often verged on being essays instead. His Mon fils pourtant heureux was a more introspective work, its satire darker. In Les Sentiers de la nuit , Simard seemed more objective but in fact, under cover of a well-executed caricature of Anglo-Saxon puritanism, he symbolically attacked French Canadian JANSENISM as well, handling the most serious of subjects - God, religion, suffering and death - in a touchingly humorous way.

He led the way in incorporating the universal themes of existentialism made famous in France by Sartre, Camus and others. His trilogy of novels on the theme of man's essential solitude argues that the only possible relationship between human beings leads inevitably to despair: His characters, stripped of all transcendence, grapple with meaningless suffering in a strictly contingent universe.

The randomness of their lives drives them to choose between extremes: In the first of these novels, Langevin failed to integrate his rigid metaphysical doctrine with the flesh-and-blood story of his protagonist.

The other 2 works, however, each drawing in its own way on rich resources of time and space, achieve a high degree of aesthetic success. The novel is only part of this author's infinite variety: Although 6 years elapsed between his highly original stories, Contes pour un homme seul , and his first novel, La Fille laide , his output thereafter was abundant - and, at times, of uneven quality. Among his best works during the period are Le Dompteur d'ours , Aaron and Agaguk ; tr The graphic presentation of man's unbridled instincts has inherent shock value: The acts of sex and violent death in particular are of great value, both for the way they bring out the individuality of each character and for the role they play in the emancipation of the oppressed: Several novelists first appeared in this period but did not come into their own until the s.

Although it did not provide a direct reflection of reality, the novel nevertheless interacted with other current forms of discourse and in this way responded to its social environment. Several writers advocated the use of popular levels of language JOUAL in order to portray more accurately the long-ignored realities of the working class.

The values of childhood and art are often presented as a refuge from the degraded world of adults. In many cases subversion or repudiation is expressed in parody. The novels reinterpret history and ridicule older forms of writing and obsolete values in order both to laugh at them and to advocate their opposites.

Irony also provides an important dimension to Blais's Une Saison These stories not only undermine history and contest it; they also propose a new version of it. In this way the historical novel and the novel of the land are reinterpreted in the light of a new form of awareness: By , 6 titles in the series had been published: In a similar vein to these extended series, a number of other novels were involved in transforming or contesting the novel's basic conventions.

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In the writing of Aquin and Beaulieu the ambiguities of the narration create some uncertainty in the story, since the plot does not evolve in the usual chronological order. For these writers, however, the ambiguities stem from the social and political alienation they are intended to reflect. More than the theme of the writer as hero, the act of writing itself has now become a determining factor in the process of narration.

Even an early novel such as Bessette's Le Libraire contains statements that undermine the story's realism: To Bessette, in this example, and especially to Aquin and Beaulieu, historical references often become a metaphor for the process of writing. At its most extreme, as critic Jean Ricardou has pointed out, the writing of adventure is paralleled by the adventure of writing.

This game of cross-references, even as it destroys the traditional impression of verisimilitude, creates a new effect: Here the traditional narration is replaced by a series of fragmented, often autobiographical texts arranged in symbolic order; both because of their expressive qualities and their layout, such texts tend to resemble poetic discourse more than traditional prose.

This new "textuality," a blend of theory and fiction, was taken up with particular enthusiasm by the feminist writers who used it both as a trademark and as an area in which they could wage war on "patriarchal" language. Several women writers express a desire for a new language that can be reconciled with women's "otherness. Such an undertaking is based on a demanding literary ethic that emphasizes the modernist precept of transforming our relationship to language as a means of thoroughly transforming reality itself.

The main events in the story are almost always told retrospectively, with the remoteness of hindsight, and the distance between past and present seems to condemn the characters to perpetual remembrance. The displacement between the hero's life and his acute awareness of it not only coincides with the narrative process but also confines the character to solitary dreaming. Excluded from direct action, the character is left with no immediate grasp of reality. Rather than acting, he is acted upon; rather than being shown in acting, he is shown dreaming about the things he has done.

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The narrative juxtaposes a series of retrospections representing the discontinuous flow of memory in an alienated individual who has stopped evolving.