p. 541: The construction of a cummunity defined by the voice brings with it the maturation of common language. Oraliy (especially in its dialectical and colloquial forms) stops functioning as a fragmentary and disturbing element; it is no longer the trickster in the manuscript or ghost in the margins or beneath its foundations. It becomes instead a shared tool for ordinary communication.
*À partir du moment où l'oralité cesse d'être considérée comme un corps étranger dans le texte littéraire mais est plutôt reconnue comme la forme privilégiée pour représenter la communication ordinaire, quotidienne, elle cesse d'être suspecte ou dérangeante. Ce changement, qui s'est opéré dans les années 1870, aux États-Unis, avec Twain, s'est manifesté au Québec à peu près un siècle plus tard avec L'hiver de force, La vie en prose, etc. Des textes littéraires qui cessaient d'employer l'oralité comme un cheval de Troye ou comme un simple outil politique mais qui semblaient reconnaître davantage sa façon de bien représenter "l'épaisseur de l'existence" (Barthes).
Affichage des articles dont le libellé est USA. Afficher tous les articles
Affichage des articles dont le libellé est USA. Afficher tous les articles
jeudi 17 octobre 2013
LOOBY, Christopher. (1996) Voicing America. Language, Literary Form, and the Origins of the United States. Chicago: University of Chicago Press.
p. 3-4: Precisely because the new nation's self-image was characterized by its difference from traditional (quasi-natural) conception of the nation, indeed by the conscious recognition of its historical contingency that was produced by the abrupt performativity of its inception, vocal utterance has served, in telling instances, as a privileged figure for the making of the United States. This figuration has occasionally taken the odd form of an improbable claim that the United States was actually "spoken into being."
p. 4: To anticipate a bit: since the new United States, by all accounts, manifestly lacked the kind of legitimacy and stability that might be expected of a nation that was grounded in blood loyalty or immemorial facticity -- since its legitimacy was explicitly grounded in an appeal to rational interest, not visceral passion -- voice embodied a certain legitimating charisma that print could not.
p. 4: To anticipate a bit: since the new United States, by all accounts, manifestly lacked the kind of legitimacy and stability that might be expected of a nation that was grounded in blood loyalty or immemorial facticity -- since its legitimacy was explicitly grounded in an appeal to rational interest, not visceral passion -- voice embodied a certain legitimating charisma that print could not.
lundi 23 septembre 2013
PORTELLI, Alessandro. (1994) The Text and the Voice. New York : Columbia University Press.
p. 31: Orality gives voice to democracy but also secretly undermines national institutions by feeding memories, rituals, aggregations, and passions, which escape the controls and certainties of written reason and law.
samedi 14 avril 2012
BELLEAU, André. (1986) Surprendre les voix. Montréal: Éditions du Boréal.
p. 78: En Amérique, lieu de la modernité vécue, la littérature a peut-être moins besoin qu’en Europe de la médiation d’une modernité critique, comme en font foi d’ailleurs les formes actuelles du roman, aussi bien nord qu’au sud. Ceci suggère que le vécu en Amérique, à cause de ses transformations rapides, sa complexité et ses contradictions, exige une prise le conscience sans cesse renouvelée, et favorise une littérature qui non seulement interprète la réalité sociale mais le fait en des contenus toujours nouveaux.
NEPVEU, Pierre
p. 72: Emerson, à cet égard, a une formule qui en dit long au sujet de “l’intelligence paresseuse de ce continent”. Constat capital, dont on pourrait trouver des échos partout dans les Amériques, malgré les grandes différences culturelles et historiques. Il y a là le soupçon que la pensée n’est pas quelque chose qui va de soi en Amérique. Octavio Paz a bien montré rôle joué par l’anti-intellectualisme dans les colonies hispaniques comme aux États-Unis. Et aussi loin qu’au Brésil, un des ouvrages majeurs retraçant, un peu à la manière d’un Fernand Dumont pour la culture québécoise, la genèse de la mentalité et de la culture brésiliennes pose le même diagnostic : l’idée que le talent serait affaire de spontanéité plutôt que de longue étude y serait profondément enracinée, selon Sergio Buarque de Holanda, et l’américanisme prendrait le plus souvent une forme instinctive, à fleur de nerfs, plutôt que l’être véritablement intégré et pensé.
Pierre Nepveu. Intérieurs du Nouveau Monde. Éditions du Boréal, Montréal, 1998, 378 p.
lundi 19 mars 2012
GUTOWSKI, John A.
p. 128: [T]he American tradition does distinguish itself, through its nurturing of mythical animals and their quest, from the nation's beginnings up to the present day. This is especially noticeable in American folk tradition.
"The Protofestival: Local Guide to American Folk Behavior" dansJournal of the Folklore Institute. Vol. 15, no 2 (May-Aug., 1978), p. 113-132.
"The Protofestival: Local Guide to American Folk Behavior" dansJournal of the Folklore Institute. Vol. 15, no 2 (May-Aug., 1978), p. 113-132.
GUTOWSKI, John A.
p. 127: [T]he protofestival concept helps underscore the manner in which a community blends folk behavior with mass media involvement into a distinctly American cultural pattern.
"The Protofestival: Local Guide to American Folk Behavior" dans Journal of the Folklore Institute. Vol. 15, no 2 (May-Aug., 1978), p. 113-132.
"The Protofestival: Local Guide to American Folk Behavior" dans Journal of the Folklore Institute. Vol. 15, no 2 (May-Aug., 1978), p. 113-132.
mardi 3 août 2010
ELLIS, Bret Easton
p. 236
"You had this list, Raymond," you say, causing more trouble. "Who else was on it? It was quite a list: Shakespeare, Sam Shepard, Rob Lowe, Ronald Reagan, his son -"
"Well, his son," Donald says.
"But isn't this the century no one cared?" Harry asks.
"About what?" you all ask back.
"Huh?" Steve asks after the Brazilian leaves.
The Rules of Attraction, 1987.
"You had this list, Raymond," you say, causing more trouble. "Who else was on it? It was quite a list: Shakespeare, Sam Shepard, Rob Lowe, Ronald Reagan, his son -"
"Well, his son," Donald says.
"But isn't this the century no one cared?" Harry asks.
"About what?" you all ask back.
"Huh?" Steve asks after the Brazilian leaves.
The Rules of Attraction, 1987.
FRANZEN, Jonathan
p. 307
And Ted's right on top of that, he thinks our culture attaches too much importance to feelings, he says it's out of control, it's not computers that are making everything virtual, it's mental health. Everyone's trying to correct their thoughts and improve their feelings and work on their relationships and parenting skills instead of just getting married and raising children like they used to, is what Ted says. We've bumped up to the next level of abstraction because we have too much time and money, is what he says, and he refuses to be a part of it. He wants to eat "real" food and go to "real" places and talk about "real" things like business and science. So he and I don't really agree at all anymore on what's important in life.
The Corrections, 2001.
And Ted's right on top of that, he thinks our culture attaches too much importance to feelings, he says it's out of control, it's not computers that are making everything virtual, it's mental health. Everyone's trying to correct their thoughts and improve their feelings and work on their relationships and parenting skills instead of just getting married and raising children like they used to, is what Ted says. We've bumped up to the next level of abstraction because we have too much time and money, is what he says, and he refuses to be a part of it. He wants to eat "real" food and go to "real" places and talk about "real" things like business and science. So he and I don't really agree at all anymore on what's important in life.
The Corrections, 2001.
MOODY, Rick
p. 229
They proceeded by guesswork. Here is how Benjamin Hood reached the Williamses' house. The long way, because of the power lines. Power lines down everywhere.
The Ice Storm, 1994.
They proceeded by guesswork. Here is how Benjamin Hood reached the Williamses' house. The long way, because of the power lines. Power lines down everywhere.
The Ice Storm, 1994.
MOODY, Rick
p. 211
Look, he was not a brilliant kid.
p. 259
Look, Elena knew that apology was the impossible paragraph, its words were like the secret names of God.
The Ice Storm, 1994,
Look, he was not a brilliant kid.
p. 259
Look, Elena knew that apology was the impossible paragraph, its words were like the secret names of God.
The Ice Storm, 1994,
DELILLO, Don
p. 11
He speaks in your voice, American, and there's a shine in his eye that's halfway hopeful.
p. 280
"There's a word in Italian. Dietrologia. It Means the science of what is behind something. A suspicious event. The science of what is behind an event."
"They need this science. I don't need it."
"I don't need it either. I'm just telling you."
"I'm an American. I go to ball games," he said.
"The science of dark forces. Evidently they feel this science is legitimate enough to require a name."
"People who need this science, I would make an effort to tell them we have real sciences, hard sciences, we don't need imaginary ones."
"I'm just telling you the word. I agree with you, Sims. But the word exists."
"There's always a word. [...]"
p. 542
"The tag or aglet."
"The aglet," I said.
"And the little metal ring that reinforces the rim of the eyelet through which the aglet passes. We're doing the physics of language, Shay."
"The little ring."
"You see it?"
"Yes."
"This is the grommet," he said.
"Oh man."
"The grommet. Learn it, know it and love it."
"I'm going out of my mind."
"This is the final arcan knowledge. And when I take my shoe to the shoemaker and he places it on a form to make repairs - a block shaped like a foot. This is called a what?"
"I don't know."
"A last."
"My head is breaking apart."
"Everyday things represent the most overlooked knowledge. These names are vital to your progress. Quotidian things. If they weren't important, we wouldn't use such a gorgeous Latinate word. Say it," he said.
"Quotidian."
"An extraordinary word that suggests the depth and reach of the commonplace."
p. 827
And you can glance out the window for a moment, distracted by the sound of small kids playing a made-up game in a neighbor's yard, some kind of kickball maybe, and they speak in your voice [...].
Underworld, 1997.
He speaks in your voice, American, and there's a shine in his eye that's halfway hopeful.
p. 280
"There's a word in Italian. Dietrologia. It Means the science of what is behind something. A suspicious event. The science of what is behind an event."
"They need this science. I don't need it."
"I don't need it either. I'm just telling you."
"I'm an American. I go to ball games," he said.
"The science of dark forces. Evidently they feel this science is legitimate enough to require a name."
"People who need this science, I would make an effort to tell them we have real sciences, hard sciences, we don't need imaginary ones."
"I'm just telling you the word. I agree with you, Sims. But the word exists."
"There's always a word. [...]"
p. 542
"The tag or aglet."
"The aglet," I said.
"And the little metal ring that reinforces the rim of the eyelet through which the aglet passes. We're doing the physics of language, Shay."
"The little ring."
"You see it?"
"Yes."
"This is the grommet," he said.
"Oh man."
"The grommet. Learn it, know it and love it."
"I'm going out of my mind."
"This is the final arcan knowledge. And when I take my shoe to the shoemaker and he places it on a form to make repairs - a block shaped like a foot. This is called a what?"
"I don't know."
"A last."
"My head is breaking apart."
"Everyday things represent the most overlooked knowledge. These names are vital to your progress. Quotidian things. If they weren't important, we wouldn't use such a gorgeous Latinate word. Say it," he said.
"Quotidian."
"An extraordinary word that suggests the depth and reach of the commonplace."
p. 827
And you can glance out the window for a moment, distracted by the sound of small kids playing a made-up game in a neighbor's yard, some kind of kickball maybe, and they speak in your voice [...].
Underworld, 1997.
CHABON, Michael
p. 119
Every universe, our own included, begins in conversation. Every golem in the history of the world [...] was summoned into existence through language, through murmuring recital, and kabbalistic chitchat - was, literally, talked into life.
The Amazing Adventures of Kavalier & Clay, 2000.
Every universe, our own included, begins in conversation. Every golem in the history of the world [...] was summoned into existence through language, through murmuring recital, and kabbalistic chitchat - was, literally, talked into life.
The Amazing Adventures of Kavalier & Clay, 2000.
PLATH, Sylvia
p. 33
Physics made me sick the whole time I learned it. What I couldn't stand was this shrinking everything into letters and numbers. Instead of leaf shapes and enlarged diagrams of the holes the leaves breathe through and fascinating words like carotene and xanthophyll on the blackboard, there were these hideous, cramped, scorpion-lettered formulas in Mr Manzi's special red chalk.
The Bell Jar, 1963.
Physics made me sick the whole time I learned it. What I couldn't stand was this shrinking everything into letters and numbers. Instead of leaf shapes and enlarged diagrams of the holes the leaves breathe through and fascinating words like carotene and xanthophyll on the blackboard, there were these hideous, cramped, scorpion-lettered formulas in Mr Manzi's special red chalk.
The Bell Jar, 1963.
BAKER, Nicholson
p. 80
I didn't think about the vending machines as I passed them, but I acknowledge their presence in some grateful part of my consciousness, a part equivalent in function to the person in movie credits charged with "continuity", who makes sure that if an actor is wearing a Band-Aid and sitting in front of three pancakes on one day of shooting, the pnacakes and the Band-Aid look exactly the same the next day.
The Mezzanine, 1988.
I didn't think about the vending machines as I passed them, but I acknowledge their presence in some grateful part of my consciousness, a part equivalent in function to the person in movie credits charged with "continuity", who makes sure that if an actor is wearing a Band-Aid and sitting in front of three pancakes on one day of shooting, the pnacakes and the Band-Aid look exactly the same the next day.
The Mezzanine, 1988.
BAKER, Nicholson
p. 41
But other things, like gas pumps, ice cube trays, transit buses, or milk containers, have undergone disorienting changes, and the only way that we can understand the proportion and range and effect of those changes, which constitute the often undocumented daily texture of our lives (a rough gravelly texture, like the shoulder of a road, which normally passes too far for microscopy), is to sample early images of the objects in whatever form they take in kid-memory - and once you invoke those kid-memories, you have to live with their constant tendency to screw up your fragmentary historiography with violas of lost emotion.
The Mezzanine, 1988.
But other things, like gas pumps, ice cube trays, transit buses, or milk containers, have undergone disorienting changes, and the only way that we can understand the proportion and range and effect of those changes, which constitute the often undocumented daily texture of our lives (a rough gravelly texture, like the shoulder of a road, which normally passes too far for microscopy), is to sample early images of the objects in whatever form they take in kid-memory - and once you invoke those kid-memories, you have to live with their constant tendency to screw up your fragmentary historiography with violas of lost emotion.
The Mezzanine, 1988.
HARTE, Bret
p. 18
When night crept up again through the gorges, the reedy notes of the accordion rose and fell in fitful spasms and long-drawn gasps by the flickering campfire. But music failed to fill entirely the aching void left by insufficient food, and a new diversion was proposed by piney — storytelling. [...] Some months before he had chanced upon a stray copy of Mr. Pope's ingenious translation of the Iliad. He now proposed to narrate the principal incidents of that poem — having thoroughly mastered the argument and fairly forgotten the words — in the current vernacular of Sandy Bar. And so for the rest of that night the Homeric demigods again walked the earth. Trojan bully and wily Greek wrestled in the winds, and the great pines in the canyon seemed to bow to the wrath of the son of Peleus. Mr. Oakhurst listened with quiet satisfaction. Most especially was he interested in the fate of "Ash-heels," as the Innocent persisted on denominating the "swift-footed Achilles."
"The Outcasts of Poker Flat" dans The Luck of Roaring Camp & Other Stories, 1968.
When night crept up again through the gorges, the reedy notes of the accordion rose and fell in fitful spasms and long-drawn gasps by the flickering campfire. But music failed to fill entirely the aching void left by insufficient food, and a new diversion was proposed by piney — storytelling. [...] Some months before he had chanced upon a stray copy of Mr. Pope's ingenious translation of the Iliad. He now proposed to narrate the principal incidents of that poem — having thoroughly mastered the argument and fairly forgotten the words — in the current vernacular of Sandy Bar. And so for the rest of that night the Homeric demigods again walked the earth. Trojan bully and wily Greek wrestled in the winds, and the great pines in the canyon seemed to bow to the wrath of the son of Peleus. Mr. Oakhurst listened with quiet satisfaction. Most especially was he interested in the fate of "Ash-heels," as the Innocent persisted on denominating the "swift-footed Achilles."
"The Outcasts of Poker Flat" dans The Luck of Roaring Camp & Other Stories, 1968.
MORRISON, Toni
p. 200
"What did daddy say to you at that AME Zion picnic? The one held for colored soldiers stationed at the base in Tennessee. How could either of you tell what the other was saying? He talking Louisiana, you speaking Tennessee. The music so different, the sound coming from a different part of the body. It must have been like hearing lyrics set to scores by two different composers. But when you made love he must have said I love you and you understood that and it was true, too, because I have seen the desperation in his eyes ever since - no matter what business venture he thinks up."
Paradise, 1997.
"What did daddy say to you at that AME Zion picnic? The one held for colored soldiers stationed at the base in Tennessee. How could either of you tell what the other was saying? He talking Louisiana, you speaking Tennessee. The music so different, the sound coming from a different part of the body. It must have been like hearing lyrics set to scores by two different composers. But when you made love he must have said I love you and you understood that and it was true, too, because I have seen the desperation in his eyes ever since - no matter what business venture he thinks up."
Paradise, 1997.
BAKER, Nicholson
p. 58
"This is a miracle," he said.
"It's just a telephone conversation."
"It's a telephone conversation I want to have. I love the telephone."
"Well I like it too," she said. "There's a power it has. [...]"
Vox, 1993.
"This is a miracle," he said.
"It's just a telephone conversation."
"It's a telephone conversation I want to have. I love the telephone."
"Well I like it too," she said. "There's a power it has. [...]"
Vox, 1993.
dimanche 7 février 2010
WALLACE, David Foster
p. 14
If one can stomach a good dose of simplification, though, there can be seen one deep feature shared by all the cutting-edge fiction that resonates with the post-Hiroshima revolution. That is its fall into time, a loss of innocence about the language that is its breath and bread. Its unblinking recognition of the fact that the relations between literary artist, literary language, and literary artifact are vastly more complex and powerful than has been realized hitherto. And the insight that is courage’s reward—that it is precisely in those tangled relations that a forward-looking, fertile literary value may well reside.
("Futuristic Fiction and the Conspicuously Young" dans Review of Contemporary Fiction, 1988 - theknowe.net)
If one can stomach a good dose of simplification, though, there can be seen one deep feature shared by all the cutting-edge fiction that resonates with the post-Hiroshima revolution. That is its fall into time, a loss of innocence about the language that is its breath and bread. Its unblinking recognition of the fact that the relations between literary artist, literary language, and literary artifact are vastly more complex and powerful than has been realized hitherto. And the insight that is courage’s reward—that it is precisely in those tangled relations that a forward-looking, fertile literary value may well reside.
("Futuristic Fiction and the Conspicuously Young" dans Review of Contemporary Fiction, 1988 - theknowe.net)
Inscription à :
Articles (Atom)