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Vol. 02 No. 1, November 2002

Permanent URI for this collectionhttps://hdl.handle.net/10222/31200

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    Ressources en ligne sur les auteurs de ce numéro
    (2002-11) Frigerio, Vittorio
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    Contents - Belphégor Vol 2 No 1
    (2002-11) Frigerio, Vittorio
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    La Fiction cyclique, au-delà  des frontières du roman: Asimov, King, Tolkien
    (Dalhousie University. Electronic Text Centre, 2002) Besson, Anne
    Cyclical fictional universes go beyond the limits of the novel. This first transgression, which is integral to the definition of the cycle itself, provokes what we could call a "will to completeness" in cyclical fiction. Indeed, this type of fiction has a tendency to colonize forever new textual spaces, both within the author's work and beyond through continuations by other writers and posthumous publications. Asimov's Foundation novels, Tolkien's Lord of the Rings trilogy and Stephen King's Dark Tower are ideal examples to illustrate this phenomenon.
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    Cognitive Mapping im Cyberpunk: Wie Jugendliche Wissen über die Welt erwerben
    (Dalhousie University. Electronic Text Centre, 2002) Lohmann, Ingrid
    The first part of the article follows Fredric Jameson's analysis of cultural practices in Late Capitalism or Postmodernism. The second part discusses Cyberpunk - already proclaimed dead by some media and literary pundits - as a major means of 'cognitive mapping' as adolescents discover the postmodern world. What happens in role playing games inspired by Cyberpunk? Are some of our smarter kids instrumentalizing Cyberpunk-motifs to find their way as active players within the mazes of the transnational world of global corporations?
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    Medicine in Alexandre Dumas père's The Count of Monte Cristo
    (Dalhousie University. Electronic Text Centre, 2002) Murray, Jock
    Alexandre Dumas, père, was one of the most prolific writers of all time, with more than 600 books and other writings (no one is sure how many) ranging from romantic historical novels to travel and cook books. Some of his writings, especially The Count of Monte Cristo show a remarkable knowledge of diseases, as well as anatomy, pharmacology and toxicology. Some of his descriptions of medical conditions, notable the locked -in syndrome, were not described in the medical literature until a century later. I will suggest that the Count of Monte Cristo acts as an idealized physician of the era, and displays medical knowledge, concocts his own medicines, displays a facility with poisons and antidotes, and treats many with advice and his personal medicines. Dumas learned medicine when he was a young writer and befriended Dr. Thibeau, a young graduate of the University of Paris, who taught him during evenings in his rooms, and took him on rounds in the hospitals. In his diary Dumas mentioned that he used the information he gleaned from Dr. Thibeau in his writings for the next thirty years. This article will explore Dumas' interest in medicine and clinical questions and his visit to a mental institution where he viewed innovative approaches to mental illness by the use of theater, art and agriculture.
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    Révolte et révolution: Des tigres de Salgari à  ceux de Paco Ignacio Taibo II
    (Dalhousie University. Electronic Text Centre, 2002) Letourneux, Matthieu
    Mexican author Paco Ignacio Taibo II brings back to life in his novels the character of Sandokan, the Malaysian pirate created by Italian novelist Emilio Salgari in the last decade of the nineteenth century. His appropriation of this hero has the paradoxical effect of offering an innovative interpretation of the original novels within a work that attempts to position itself, anachronistically, as close as possible to the Italian authorÕs aesthetics. His tales are an homage to Salgari's work and to its prolongations within modern culture, an exploration of the imaginary power of characters who incarnate pure adventure, and an inquiry into the revolutionary potential of the Italian authorÕs novels. The rewriting of Salgari by Paco Ignacio Taibo II is representative of the tendency of contemporary literature to use the popular narratives of the nineteenth century as a pretext for a playful game with the rules of fiction writing. However, the exploration of Salgari by Taibo is not simply the rather pointless postmodern manipulation it could be. On the contrary, it serves as a revealing commentary on the Italian author, and also provides a useful key to the reading of his modern Mexican counterpart.
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    Geronimo as Translator
    (Dalhousie University. Electronic Text Centre, 2002) Bleton, Paul
    Using French thrillers as a pedagogical tool in an advanced French culture class may prove pertinent on three levels. 1/ The reader benefits from the genre's specific effect -- he wants to know what comes next. And in order to do so, he has to acquire the language, which he partially does through the process of reading itself. 2/ The novels elicit a spontaneous theory of literature-as-a-mirror-of-culture in the reader's mind. The novels become documents. 3/ But can the reader learn anything more than what lies in conventional documentation? or does he learn it differently through the novels? This is the point this paper will try to make with three Amila thrillers of the '70s.
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    Gustave Aimard traverse l'océan, ou de l'utilité des mythes
    (Dalhousie University. Electronic Text Centre, 2002) Villerbu, Tangi
    Gustave Aimard published several dozen Western novels in France, in the second half of the nineteenth century. Their success in France was replicated in the United States. It may seem paradoxical that a French author can achieve success in North America with novels that are often critical of the ways that have been used to conquer the West, but this paradox is only illusory. A myth has been created around Aimard: that of the adventurer. This myth justifies his literary production as the work of a witness of the times, and creates the conditions for the integration of the French author into American culture. The myth of the West is so powerful, that the experience of the West is enough to authenticate Aimard's production, as if all writings originating in this space contributed to create its legend..
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    Il Corsaro Nero e Il Capitano Blood: Una lettura comparata di alcuni lavori di Emilio Salgari e di Rafael Sabatini
    (Dalhousie University. Electronic Text Centre, 2002) Torri, Michelguglielmo
    This article compares Emilio Salgari's novel Il Corsaro Nero and Rafael Sabatini's novel Captain Blood. Both stories share the same time-frame (the mid seventeenth-century) and the same geographical location (the Caribbean Sea). In fact, their heroes - the knight Emilio di Roccanera and the former doctor Peter Blood, both become pirates - look quite alike: elegant, athletic and black-clad. In spite of their superficial resemblance, however, important differences separate the two novels. These differences can be traced back to the writers' distinct culture, personality and world-view. The analysis of these elements shows Rafael Sabatini to be a more cultivated and more intellectually refined writer than Emilio Salgari. However, Salgari also shows certain undeniable qualities (the descriptions of nature and the battle scenes in his novels are remarkable for their evocative power). The most important difference, however, is that Salgari, who wrote between the end of the nineteenth century and the beginning of the twentieth, at the peak of European imperialism, appears as the representative of a world-view notable for its exceptional universality, its humanism, and its absolute lack of racism.
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    Moretti, Franco (éd.). Il romanzo. Volume secondo. Le forme. Einaudi. Torino, 2002.
    (Dalhousie University. Electronic Text Centre., 2002-11) Frigerio, Vittorio