Vol. 03 No. 1, December 2003
Permanent URI for this collectionhttps://hdl.handle.net/10222/31203
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Item Open Access Cui prodest ? Réflexions sur l'utilité et l'utilisation de la théorie des genres dans la culture de masse(Dalhousie University. Electronic Text Centre,, 2003-12) Frigerio, VittorioItem Open Access Introduction(Dalhousie University. Electronic Text Centre, 2003-12) Frigerio, VittorioItem Open Access DEBAT PREPARATOIRE AU COLLOQUE SUR LE GENRE TENU PAR LA LPCM A LIMOGES LES 3 ET 4 AVRIL 2003(Dalhousie University. Electronic Text Centre, 2003-12) Frigerio, VittorioItem Open Access Contents - Belphégor Vol 3 No 1(2003-12) Frigerio, VittorioItem Open Access Dumas, une lecture de l'histoire. Sous la direction de Michel Arrous. Paris, Maisonneuve & Larose, 2003, 617p. ISBN 2- 7068-1648-1 Prix : 25 euros.(Dalhousie University. Electronic Text Centre, 2003-12) Scheele, ElizabethItem Open Access Rapport conclusif de Jacques Migozzi, U. de Limoges, animateur de la table ronde finale:(Dalhousie University. Electronic Text Centre, 2003-12) Migozzi, JacquesItem Open Access LEIVA, Antonio Domínguez. El labirinto imaginario de Jan Potocki. Manuscrito encontrado en Zaragoza (Estudio crítico). Madrid, UNED, 2000, 468 pp.(Dalhousie University. Electronic Text Centre, 2003-12)Item Open Access Parutions à signaler(Dalhousie University. Electronic Text Centre, 2003-12)Item Open Access Carlo Lucarelli, Massimo Picozzi, Serial killer Storie di ossessione omicida, Mondatori, Milano, 2003, pag. 338, € 15.00(Dalhousie University. Electronic Text Centre, 2003-12) Fattori, AdolfoItem Open Access Le Fantastique contemporain(Dalhousie University. Electronic Text Centre, 2003-12) Besson, AnneItem Open Access Les Masses de Mars: Le Récit de guerre en France, 1951-1981(Dalhousie University. Electronic Text Centre, 2003) Bleton, PaulThis article deals with war fiction in France in serialized popular publications from the end of the "boulangiste" movement to the end of compulsory military service (1889-2001). During and immediately after the First World War, this genre is represented by Charles Guyon's series, the Patrie collection, published by Rouff, and non-fiction works. The period in between the wars is not favourable to innovation, with the exception of the success of a Payot collection of documents and memoirs. One also finds a specialized collection published by Baudinière, the "future wars" series of Albert de Pouvourville, and a reprint of Patrie by Rouff. From the end of the Second World War to 1952 we see the development of soft-cover magazine-format publications, which are eventually replaced by the first, low-grade attempts at paraliterary production (1951-1956). Then, from the end of the Algerian war to the first socialist government, the market is divided among three major paraliterary war collections: Baroud (published by Arabesque), Feu (published by Fleuve Noir) and the most important, Gerfaut. There are also at the same time some reprints of older collections and some works of historical vulgarization. During that time we observe the emergence of the three tendencies that will eventually replace these paraliterary collections : the J. Balland formula (input by veterans, creation of a team of authors, strong and consistent National Front influence, explicit presentation, large-format publications), magazines of historical vulgarization based on photographic imagery; the switch towards games and virtual reality.Item Open Access La Notion d'aventures dans les productions populaires: Roman, cinéma et jeu d'aventures(Dalhousie University. Electronic Text Centre, 2003) Letourneux, MatthieuDuring the 20th century, as adventure novels were progressively losing favour, two couples appeared that would give a surprising new twist to the notion of "adventure": the couple adventure movie/action movie and the couple (electronic) adventure game/action game. Both define some fundamental characteristics of the classification system of the notion they describe. To understand these genres, belonging to different media, it is necessary to examine them at the same time in light of the concept of adventure, and of the concept of adventure novel. A comparison of the narrative forms and of the classification systems they propose, shows the fundamental unity of the notion of adventure, and its central importance for understanding popular productions in general. It also makes it possible to reflect on the description, and on the birth, of generic classification systems for fictional works, highlighting the variations between different media and their reciprocal influences. Thus, in the movies, adventure seems to be a sub-category of action, while in video games it is opposed to it. These new definitions, influenced by the adventure novel, have caused in turn an evolution in the notion of adventure novel during the course of the 20th century. This has been possible because in all three cases, adventure corresponds to the archaic form of story-telling closest to pure romance. It focuses on the action rather than on the characters or on the setting, favours displacement, combines game (or in some cases youthful/childish fantasies) and story-telling, uses stereotypes systematically rather than refer to reality. This is how an analysis of the concept of adventure in the field of media studies, makes it possible to understand how fictional genres are born and transformed, in the 20th century, within a complex media system.Item Open Access De l'importance du genre en culture médiatique(Dalhousie University. Electronic Text Centre, 2003) Lits, MarcIn the field of mass fiction, the question of genre is as fundamental as that of the medium being used, as the logic of a series often depends upon genre-based classifications. Popular literature, therefore, could be considered intrinsically a "bad genre", precisely because it is based on the repetition of the same elements. This is why it is so often used as a negative example by genre theorists. Starting with Plato and Aristotle, genre theorists have always attempted to classify literary texts, even if, as Gérard Genette demonstrated, these fundamental works dealt mostly with different enunciation strategies. Following Genette, literary theorists have put into question the basic tripartite division between lyric, dramatic and epic genres. Kate Hamburger has simplified it to an opposition between the lyric and the fictional. More recently, Jean-Marie Schaeffer and Antoine Compagnon have revisited genre theory in the light of reception theory. This article attempts to contextualize this debate as an introduction to a wider discussion of the role of genre theory within the study of popular literature and media culture.Item Open Access Ce genre n'existe pas-pourquoi l'inventer?(Dalhousie University. Electronic Text Centre, 2003) Pillet, ElisabethStand-up comedy is as low-brow as they come: oral, popular/vulgar, and of course not serious. It is also hardly studied by French academic criticism. In its case, even the problem of the devaluation of media genres (genre being the opposite of literary) does not apply, since any value this object has exists exclusively within the commercial sphere. What is, then, the interest in defining this genre, if such a thing is even feasible? This is what this article will explore, by discussing the case of two periods when stand up comedy has been particularly successful in France: the second half of the 19th century and the last thirty years. Study shows that there is no such thing as a form with stable, clearly defined characteristics, but rather an ensemble of texts and performances with common traits, constituting a continuum that progresses up until artistic forms, be they popular/media oriented or culturally legitimized, that are generally considered separate from stand up comedy itself. Being aware of this situation and of the generalized contamination it implies, does not prevent the definition and the study of a corpus of texts. To the contrary, it helps to ask more pertinent questions, while avoiding the dangers of fixed categories and reductive preconceived opinions. It also helps to better understand the processes at work in this case and their inherent contradictions. This is the spirit in which this article presents a certain number of observations on various incarnations of oral text in mass entertainment, and its evolution since the 19th century.Item Open Access Le Genre cinématographique: Une Catégorie de l'interprétation(Dalhousie University. Electronic Text Centre, 2003) Moine, RaphaelleItem Open Access Le Genre comme outil d'interprétation en réception: Le Cas des téléséries chiliennes(Dalhousie University. Electronic Text Centre, 2003) Latorre, Bernardo AmigoMost research on the telenovela views this type of TV production as a genre with relatively stable characteristics. The research conducted for this article, dealing with identification processes in the reception of the Chilean telenovela « El Circo de las Montini », contradicts this view. It would appear that structural textual similarities between « national » (i.e. Chilean) telenovelas and South-American telenovelas are not the defining elements when it comes to the viewer's expectations (horizon d'attente, Jauss, h- R, 1978) for this type of programmes. The « promise of meaning » (Jost, F, 2001) of the Chilean telenovela is not limited to a certain topical or diegetic plot structure, nor to a narrative formula combining melodrama and comedy. Rather, it is strongly affected by the presence of the dual figure of the actor-character. This figure minimizes the opposition between the enunciative strategies of fiction and of reality. The aspects that characterize the enunciative contract (Véron, Et, 1987), and therefore the understanding, of the Chilean telenovela are the specificities of the enunciative strategy, but first and foremost the ontological status (Hamburge, K, 1986) of this double subject in reception theory. In terms of a theory of televisual enunciation, this is what can explain the pragmatic difference that is generally made between the « national telenovela » and the « South-American telenovela ».Item Open Access Crise de genres, genres de la crise dans les années 20(Dalhousie University. Electronic Text Centre, 2003) Boucharenc, MyriamThis article deals with a period of French literary history well-known for having been marked by a major discussion of the literary genre system: the nineteen-twenties. Its goal is to test the actual validity of a partition dating from Mallarmé, between "essential literature" and "universal reportage", by taking the poet at his word and studying the phenomenon of actual reportage in the media and literary scene. Where should one situate this variant of everyday newspaper reportage on the tall ladder of literary value? Some, like Béraud, Kessel or Mac Orlan, consider it one of the most brilliant successes of the modern spirit. Others, even though they may dabble in it at times, see it only as a form of sub-literature in the hands of a gang of "mercenaries of public opinion". By looking at things more closely, it is possible to identify the complex criteria that determine the degree of literary value a work is granted. There are phenomena of generic crossbreeding, but also a mixing of different systems of production, questions of image and auctorial strategies that all contribute to make classifications imprecise. The analysis of a specific period leads one to doubt, indeed quite strongly, of the validity of canonical classifications. These categories are often in contradiction with the actual functioning of literature. In spite of this, they are used to exclude a whole intermediary level of literary production from genre theory, and as a consequence from literary history itself.