Journal articles on the topic 'Journaux – Édition – 2000-'

RÉSUMÉLe principal objectif de cet article est d’encourager une approche plus large, supraconfessionnelle, du mariage et de la famille à l’époque moderne. La conjugalité a été “désacralisée” par les réformateurs protestants du 16e siècle. Martin Luther, parmi d’autres, a refusé le statut de sacrement au mariage, tout en valorisant celui-ci comme une arme contre le péché. En réaction, le concile de Trente a réaffirmé avec force que le mariage est bien un des sept sacrements chrétiens. Mais, promouvant la supériorité du célibat, l’Église catholique n’a jamais beaucoup insisté sur les vertus de la vie et de la piété familiales avant le 19e siècle. En parallèle, les historiens décèlent des signes de “sacralisation” de la famille protestante à partir du 16e siècle. Leurs conclusions doivent être relativisées à la lumière de recherches plus récentes et plus critiques, centrées sur les rapports et les représentations de genre. Elles peuvent néanmoins inspirer une étude élargie et comparative, inexistante dans l’historiographie traditionnelle, des réalités et des perceptions de la famille chrétienne au-delà des frontières confessionnelles.MOTS-CLÉ: Époque Moderne, mariage, famille, protestantisme, Concile de TrenteABSTRACTThe main purpose of this paper is to encourage a broader supra-confessional approach to the history of marriage and the family in the Early Modern era. Wedlock was “desacralized” by the Protestant reformers of the 16th century. Martin Luther, among others, denied the sacramental status of marriage but valued it as a weapon against sin. In reaction, the Council of Trent reinforced marriage as one of the seven sacraments. But the Catholic Church, which promoted the superiority of celibacy, did little to defend the virtues of family life and piety before the 19th century. In parallel, historians have identified signs of a “sacralization” of the Protestant family since the 16th century. 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O artigo se propõe a fazer uma leitura do processo de escrita do primeiro dos cinco cadernos de Marguerite Duras publicados em 1985 sob o título La douleur. O caderno contempla o período em que Marguerite espera notícias de seu marido Robert Antelme, membro da resistência deportado pelos alemães, até seu retorno. Buscamos perceber como a escrita do relato de Duras se constrói, e como se ressignifica como a ancoragem que possibilita a esse corpo que espera não só narrar, mas sobretudo sobreviver ao horror e à dor aos quais é exposto. REFERÊNCIAS ADLER, Laure. Marguerite Duras. Paris: Gallimard, 1998. ALEKSIÉVITCH, Svetlana. A guerra não tem rosto de mulher. São Paulo: Companhia das Letras, 2016. ANTELME, Robert. L’espèce humaine. Paris: Gallimard, 1957. COUTINHO, Ana Paula. Escrever entre ruínas: Marguerite Duras e a dor da memória. Libretos, n. 4, p. 121-136, abr. 2015. DIDI-HUBERMAN, Georges. Essayer Voir. Paris: Minuit, 2014. DURAS, Marguerite. Cahiers de la guerre et autres textes. Édition établie par Sophie Bogaert et Olivier Corpet. Paris: P.O.L., 2006. ______. Escrever. Tradução Rubens Figueiredo. Rio de Janeiro: Rocco, 1994. ______. La douleur. Paris: P.O.L., 1985. ______. Outside – Notas à margem. Tradução Maria Filomena Duarte. São Paulo: DIFEL, 1983. IMBERT, David Conte. La doble espera de Robert Antelme y Marguerite Duras (una ilustración) 1616: Anuario de Literatura Comparada, n. 4, p. 169-199, 2014. JOUVENOT, Christian. La folie de Marguerite: Marguerite Duras et sa mère. Paris: L’Harmattan, 2008. KÈGLE, Christiane. Écrire la douleur de la disparition. Marguerite Duras à propos de Robert Antelme. Frontières, v. 27, n. 1–2, 2015, 2016. Disponível em: https://www.erudit.org/en/journals/fr/2015-v27-n1-2-fr02596/1037078ar/. Acesso em: 13 jul. 2021. NESTROVSKI, Arthur; SELIGMANN-SILVA, Márcio. Apresentação. In: NESTROVSKI, Arthur; SELIGMANN-SILVA, Márcio (orgs.) Catástrofe e representação. São Paulo: Escuta, 2000. SARLO, Beatriz. Tempo passado: cultura da memória e guinada subjetiva. Tradução Rosa Freire d’Aguiar. São Paulo: Companhia das Letras; Belo Horizonte: UFMG, 2007.

Plants for medicinal purposes are considered as the main source of health care for the majority of the world population. In order to promote medicinal plants in Algeria, the present work aimed to assess the physico-chemical characterization, hemolytic, and antioxidant activities of Ammodaucus leucotrichus essential oil of an endemic plant from south-west of Algeria. The plant was harvested from the region of Bechar (south-west of Algeria). The oil was obtained by hydrodistillation method using Clevenger apparatus. The antioxidant activity of the oil was carried out using DPPH scavenging assay, and its effect on erythrocyte cells was evaluated by measuring the hemolytic degree. The obtained results showed that this oil presented a low antioxidant activity compared to positive control (ascorbic acid). The hemolytic activity was very low since the oil diluted to 1/10, while it was low in the pure state. 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In this paper, it is discuss the points raised from a pilot study for qualitative research planning. The argumentation present here is the result of a pilot study that focused the games of mathematical language on teacher training for rural schools. The data production took place in the Federal University of Reconcâvo Baiano, campus of Feira de Santana, state of Bahia, Brazil. The pilot study did not only provide insights for the research, but for any qualitative inquiry. Based on that, it is suggest that pilot study raises questions for reviewing a qualitative research planning in at least six dimensions: ethical, methodological, theoretical, analytical, operational and representational.ResumoNeste artigo, são discutidas as potencialidades do estudo piloto para o desenvolvimento da pesquisa qualitativa. A argumentação ora apresentada é fruto de um estudo piloto que focalizou os jogos de linguagem matemáticos na formação de professores do campo. A produção de dados ocorreu no curso de Licenciatura em Educação do Campo com Habilitações em Ciências da Natureza e Matemática em uma universidade pública no interior da Bahia, Brasil. O estudo piloto dessa pesquisa não gerou insights apenas para o delineamento da referida pesquisa, mas para qualquer investigação qualitativa. Baseado nisso, argumenta-se que o estudo piloto levanta questões para o refinamento do planejamento da pesquisa, pelo menos, em seis dimensões: ética, metodológica, teórica, analítica, operacional e representacional.Keywords: Pilot study, Qualitative research, Research Planning.Palavras-chave: Estudo piloto, Pesquisa qualitativa, Planejamento da pesquisa.ReferencesARAIN, Mubashir et al. What is a pilot or feasibility study? A review of current practice and editorial policy. BMC Medical Research Methodology. UK, jul. 2010. Disponível em: <https://bmcmedresmethodol.biomedcentral.com/track/pdf/10.1186/1471-2288-10-67>. Acesso em: 21 set. 2017.ARNOLD, Donald et al. 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RESUMENUna de las manifestaciones más significativas de cada sociedad es el diseño de su ritual funerario, puesto que refleja las bases religiosas e ideológicas en las que se sustenta su organización. Aunque muchos de los procesos implicados en los funerales son efímeros, los cementerios y las sepulturas contienen información material que es estudiada por la arqueología con métodos cada vez más sofisticados, entre los que destacan los análisis isotópicos y genéticos. No menos importantes son los nuevos planteamientos teóricos. Si en la arqueología de la muerte tradicional los enterramientos eran ordenados por riqueza, sexo y cronología, en la actualidad se añaden otras perspectivas de estudio, como el papel asignado al género o la manipulación ideológica del ceremonial fúnebre. Finalmente, las nuevas ideologías del presente plantean retos y cortapisas que estimulan, pero también dificultan, el trabajo arqueológico. Palabras clave: arqueología funeraria, muerte, ideología, ritual, género, excavación de cementerios ABSTRACTOne of the most significant manifestations of every society is the design of its funeral ritual since it reflects the religious and ideological frames on which its organization is based. Although many of the processes involved in funerals are ephemeral, cemeteries and graves contain material information that is studied by archeology with increasingly sophisticated methods, including isotopic and genetic analyses. No less important are the new theoretical approaches. Within the traditional “Archeology of Death”, burials were ordered by wealth, sex, and chronology. Nowadays, other study perspectives are added, such as the role assigned to gender or the ideological manipulation of the funerals. Finally, the new ideologies of the present pose challenges and obstacles that stimulate, but also hinder, archaeological work. 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RESUMENEste trabajo presenta los resultados de la última documentación y estudio de los grabados existentes en el Pozo de la Cruz, que forman parte de las estructuras visibles en el yacimiento arqueológico de San Marcial de Rubicón (Yaiza, Lanzarote, España). Gracias al uso combinado de la fotografía nocturna y de la fotogrametría 3D, y a partir del análisis detallado de dos de sus grabados más singulares, se propone una nueva hipótesis de trabajo que apoya en gran medida la teoría inicial lanzada por sus descubridores a finales de la década de 1980. El objetivo es arrojar luz sobre uno de los hallazgos más polémicos de la arqueología canaria, sobre el que se han construido y apoyado varias teorías hasta la fecha. Palabras clave: grabados, pozos, fotogrametría, podomorfos, marcas de cantero Topónimos: islas Canarias, Lanzarote Período: Edad Media ABSTRACTThis paper presents the results of the latest documents and studies on the existing engravings in Pozo de la Cruz, which are part of the visible structures in the archaeological site of San Marcial de Rubicón (Yaiza, Lanzarote, Spain). Thanks to the use of 3D photogrammetry and from the detailed analysis of two of its most unique engravings, a new working hypothesis is proposed supporting the initial theory launched by its discoverers in the late 1980s. The aim is to shed light on one of the most fascinating archaeological findings in the Canary Islands, on which several theories have been built and supported to date. Keywords: engravings, wells, photogrammetry, footprints, stonemason marks Place names: Canary Islands, Lanzarote Period: Middle Ages REFERENCIASAlarcón, F. J. 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Cet entretien avec le journaliste sénégalais Ousmane Mangane offre l’occasion de prolonger la réflexion initiée dans ce premier numéro de la Revue d’Histoire Contemporaine de l’Afrique portant sur l’histoire des médias sur le continent entre les années 1945 et 1975. Né en 1985 à Lagbar, un village du Ferlo, une région pastorale et très désertique située dans le nord du Sénégal, Ousmane Mangane s’est très tôt impliqué dans la presse scolaire, puis la presse radiodiffusée et télévisée. À travers son parcours, cet entretien est l’occasion de revenir sur plus de vingt ans de journalisme au Sénégal et de suivre la façon dont s’exerce la profession de journaliste aujourd’hui. Il éclaire les liens entre journalisme et politique au Sénégal, ainsi que les transformations du secteur des médias. Ousmane Mangane publie son autobiographie intitulée « Carnets de voyage d’un reporter », à paraître dans le courant de l’année 2021 aux éditions Feu de brousse dirigées par le poète Amadou Lamine Sall. Cet entretien a été réalisé en octobre 2020 à Dakar, puis relu par Ousmane Mangane.

Giguère, François. Une fausse note. Québec : Éditions Vents d’Ouest, 2014. Imprimé Une fausse note est le premier livre de François Giguère, un jeune retraité qui s’est lancé dans l’écriture après avoir gagné le concours littéraire Cerrdoc en 2000. Ce roman jeunesse qualifié de réaliste se situe entre le drame et la romance et se destine aux ados. Pour écrire cet ouvrage, l’auteur s’est inspiré des histoires vécues par ses quatre enfants lorsqu’ils étaient adolescents. Ainsi, ce livre traite entre autres de l’école et des premiers amours avec toutes les difficultés et les joies que cela peut comporter.Le titre Une fausse note est un jeu de mots faisant référence au thème principal du livre, la musique, et à la relation tendue entre Audrey et Sébastien. Audrey, personnage principal fait partie de l’ensemble musical de son école avec son amie Maude et son pire ennemi Sébastien. L’histoire débute avec la fin des vacances et par conséquent la rentrée. Julie St-Laurent, le professeur de musique prévoit pour cette nouvelle année scolaire un projet original qui consiste à faire jouer en duo ses élèves et ce avec un instrument différent de celui qu’ils utilisent dans l’harmonie. Ironie du sort, Audrey et Sébastien se retrouvent à travailler ensemble. Audrey, jeune adolescente au caractère bien trempée impose des limites très strictes à Sébastien qui l’aime en silence depuis si longtemps. Cependant, au fil de l’année scolaire, les choses évoluent et les deux coéquipiers finissent par s’avouer leurs sentiments. Mais les obligations professionnelles du père d’Audrey viendront chambouler leur relation. Le récit est donc une alternance d’événements dramatiques et romantiques qui tient le lecteur en haleine jusqu’à la toute dernière page.La typographie utilisée, la présence de minces interlignes et le nombre de page, soit 180, sont le signe d’un roman qui vise un lectorat âgé d’au moins 12 ans. Il faudra compter une dizaine d’heures pour qu’un bon lecteur puisse terminer ce roman passionnant. En ce qui concerne l’écriture, le style est plutôt classique, même dans les dialogues qui mettent le plus souvent en scène de jeunes ados.Si dans ce roman tout tourne autour de la musique, l’auteur aborde aussi le thème de la famille tel qu’on la connait aujourd’hui. Étant donné que cette histoire est très proche de ce que vivent les jeunes, le lecteur sera aussi amené à réfléchir sur sa relation à l’autre. Cela le fera sans aucun doute évoluer de manière positive. La véracité de certains éléments permettra également au lecteur de se reconnaître et ainsi vivre en héros le temps d’une lecture. Ce livre est donc parfait pour le lectorat adolescent qui s’intéresse à des textes en phase avec la vie actuelle.Note: quatre étoiles Critique: Leticia GomezLeticia étudie au Campus Saint-Jean depuis trois ans où elle effectue un baccalauréat en éducation secondaire avec une majeure en littérature. Elle écrit également des critiques littéraires pour le Franco, un journal francophone local.

O presente artigo discute textos que retratam a mulher dentro dos valores do mundo patriarcal brasileiro, juntamente, com textos em que as personagens ousam arrostar esse mesmo ideário. Em dois retratos feitos em forma de canções, as duas mulheres apresentadas não têm sequer nomes próprios e suas vidas existem em função do homem. Em outros dois, o conto A fuga, de Clarice Lispector, escrito em 1940 e publicado em 1979 e o cordel A mulher que vendeu o marido por 1,99, de Janduhi Dantas, duas mulheres protagonistas demandam em busca de autodeterminação. Ambas as personagens são casadas e são infelizes no casamento; ambas suportam condições adversas que as inquietam e oprimem e das quais desejam sair. Será utilizado o conceito do dominante de (JAKOBSON, 1983), como ferramenta teórica, assim como ferramentas dos estudos de gêneros (BUTLER, 2003; LOURO, 1997) e da literatura comparada (CARVALHAL, 1986).REFERÊNCIAS:ASSIS, Machado. Dom Casmurro. São Paulo: Editora Ática, 1996 [1899].BADINTER, Elisabeth. Um Amor conquistado: o mito do amor materno. Rio de Janeiro: Nova Fronteira, 1985.BARTHES, Roland. Mitologias. 9. ed. Rio de Janeiro: Bertrand Brasil, 1993.BUTLER, Judith P. Problemas de gênero: feminismo e subversão da identidade. Tradução de Renato Aguiar. Rio de Janeiro: Editora Civilização Brasileira, 2003.CALDEIRA, Teresa Pires do Rio. Cidade de Muros: crime, segregação e cidadania em São Paulo. São Paulo: Edusp/Ed. 34, 2000.CANEVACCI, M. Introdução. In: Dialética da Família: gênese, estrutura e dinâmica de uma instituição repressiva. São Paulo: Brasiliense, 1981.CARNEIRO, Sueli. Racismo, sexismo e desigualdade no Brasil. São Paulo: Selo Negro, 2008.CARVALHAL, Tânia Franco. Literatura comparada. São Paulo: Ática, 1986.COLASSANTI, Marina. Mulher daqui pra a frente. Rio de Janeiro: Nórdica, 1981.DANTAS, Janduhi. A mulher que vendeu o marido por 1,99. Patos: Editora Patos, 2009.DEL PRIORI, Mary (Org.). História das mulheres no Brasil. São Paulo: Contexto, 2000.DELUMEAU, Jean. História do medo no Ocidente: 1300-1800 - uma cidade sitiada. Tradução de Maria Lucia Machado, tradução das notas de Heloisa Jahn. São Paulo: Cia das letras, 1989. FLAUBERT, G. Madame Bovary. Paris: Gallimard, Pléiade, 1951 [1857].FREUD, Sigmund. Obras Completas. São Paulo: Imago, 1974.FRIEDAN, Betty. A Mística Feminina. Petrópolis:Vozes, 1971.FRYE, Northrop. Anatomia da Crítica. Tradução de Péricles Eugênio da Silva Ramos. São Paulo: Cultrix, 1973.GOTLIB, Nádia Batella. Clarice uma vida que se conta. São Paulo: Ática, 1995.GUEDES, O.; DAROS, A. O cuidado como atribuição feminina: contribuições para um debate ético. Serv. Soc. Rev., Londrina, v. 12, n. 1, p. 122-134, jul./dez. 2009.HAHNER, J. E. Emancipating the female sex: The struggle for women’s rights in Brazil, 1850-1940. Durham: Duke University Press, 1990. HIRATA, H. Guimarães (Org.). Cuidado e cuidadoras: as várias facetas do trabalho do care. São Paulo: Atlas; 2012.JAKOBSON, Roman. O dominante. In: LIMA, Luiz Costa (Org.). Teoria da literatura em suas fontes. vol. 1; 2a ed. Rio de Janeiro: Francisco Alves, 1983.KAUFMANN, Jean-Claude. L’Entretien Compréhensif. Paris : Éditions Nathan, 1996.LABOV, Williams. Alguns passos iniciais na análise da narrativa. Trad. Waldemar Ferreira Neto. The Journal of Narrative and Life History, v. 7, p. 1-18, 1997. Disponível em: https://www.academia.edu/4598767/LABOV_William._Alguns_passos_iniciais_na_an%C3%A1lise_da_narrativa . Acesso em: 05 nov. 2018.LISPECTOR, Clarice. A Bela e Fera. Rio de Janeiro: Nova Fronteira, 1992.LISPECTOR, Clarice. A fuga. In: LISPECTOR, Clarice. A bela e a fera. Rio de Janeiro: Rocco, 1999.LISPECTOR, Clarice. Água Viva. Edição bilíngue. Paris: des femmes, 1973.LOURO, Guacira. Gênero, sexualidade e educação: uma perspectiva pós-estruturalista. Petrópolis: Vozes, 1997.MAINGUENEAU, Dominique. Análise de Textos da Comunicação. Tradução de Cecília P. de Souza-e-Silva e Décio Rocha. 6. ed. São Paulo: Cortez, 2011.MEJIA, Blanca Flor Demenjour Munoz; CONCEIÇÃO, Rute Izabel Simões. Qualidade discursiva concretude e projeções metonímicas: um estudo comparativo em narrativas. Revista Arredia, Dourados, Editora UFGD, v. 3, n. 4, p. 82-99, jan./jul. 2014.MOISÉS, Massaud. A Criação Literária. São Paulo: Melhoramentos, 1974.MONEGAL, Emir Rodríguez. Sexo y poesía en el Novecientos. Montevidéu: Alfa, 1969.NASCIMENTO, Evando. Clarice Lispector: uma literatura pensante. Rio de Janeiro, Civilização Brasileira, 2012.NASIO, J. D. A histeria: teoria e clínica psicanalítica. Rio de Janeiro: Zahar, 1991NUNES, A. B. Jr. Êxtase e clausura: sujeito místico, Psicanálise e estética. São Paulo: Annablume, 2005.OLIVEIRA, Valdeci Batista de Melo. Figurações da donzela-guerreira: Luzia-Homem e Dona Guidinha do Poço. São Paulo: Annablume, 2005.PAIVA, Oliveira. Dona Guidinha do Poço. São Paulo: Editora Ática, 2004 [1891].PÊCHEUX, Michel. Análise automática do discurso. Trad. Eni P.Orlandi. In: GADET, Françoise; HAK, Tony (Orgs.) Por uma análise automática do discurso: uma introdução à obra de Michel Pêcheux. Campinas: Unicamp, 1993.PÊCHEUX, Michel. Semântica e discurso: uma crítica à afirmação do óbvio. São Paulo: Unicamp, 1997.PÊCHEUX, Michel. Sob o pseudônimo de Thomas Herbert. Observações para uma teoria geral das ideologias. Trad. Carolina M. R. Zuccolillo; Eni P. Orlandi; José H. Nunes. RUA, nº 1, Campinas, 1995.QUEIRÓS, Eça de. O Primo Basílio. São Paulo: Ática, 1979 [1878].REIS, Carlos; LOPES, Ana Cristina M. Dicionário de narratologia. Coimbra: Almedina, 2007.SANT´ANNA, A. R. de. Paródia, paráfrase cia. 4a ed. Ática: São Paulo, 1991.SANTAELLA, L. Matrizes da linguagem e pensamento: sonora, visual, verbal: aplicações na hipermídia. São Paulo: Iluminuras e FAPESP, 2005.SCOTT, J. (1995). Gênero: uma categoria útil de análise histórica. Educação Realidade, 20, 71-99.TAVARES, Hênio. Teoria literária. 6. ed. Belo Horizonte: Itatiaia, 1978.TRILLAT, E. História da histeria. São Paulo: Escuta, 1991.VIANNA, Cynthia Semíramis Machado. A reforma sufragista: marco inicial da igualdade de direitos entre mulheres e homens no Brasil. Tese de doutorado. Universidade Federal de Minas Gerais: Belo Horizonte, 2017.VIDINHA de balada. Intérpretes: Henrique e Juliano. [S.l.]: Independente, 2017. (3 min.).ZOLIN, Lúcia Osana. Literatura de Autoria Feminina. In: ZOLIN, L. O.; BONNICI, T. (Orgs). Teoria Literária: abordagens históricas e tendências contemporâneas. 2a ed. rev. e amp. Maringá: Eduem, 2005.ENVIADO EM 24-04-19 | ACEITO EM 04-07-19

Introduction When a text is said to be re-appropriated, it is at times unclear to what extent this appropriation is secondary, repeated, new; certainly, the difference between a reiteration and an iteration has more to do with emphasis than any (re)duplication. And at a moment in the development of crime fiction in France when the retranslation of now apparently dated French translations of the works of classic American hardboiled novels (especially those of authors like Dashiell Hammett, whose novels were published in Marcel Duhamel’s Série Noire at Gallimard in the decades following the end of the Second World War) is being undertaken with the ostensible aim of taking the French reader back (closer) to the American original, one may well ask where the emphasis now lies. In what ways, for example, is this new form of re-production, of re-imagining the text, more intimately bound to the original, and thus in itself less ‘original’ than its translated predecessors? Or again, is this more reactionary ‘re-’ in fact really that different from those more radical uses that cleaved the translation from its original text in those early, foundational years of twentieth-century French crime fiction? (Re-)Reading: Critical Theory and Originality My juxtaposition of the terms ‘reactionary’ and ‘radical’, and the attempted play on the auto-antonymy of the verb ‘to cleave’, are designed to prompt a re(-)read of the analysis that so famously took the text away from the author in the late-1960s through to the 1990s, which is to say the critical theory of poststructuralism and deconstruction. Roland Barthes’s work (especially 69–77) appropriated the familiar terms of literary analysis and reversed them, making of them perhaps a re-appropriation in the sense of taking them into new territory: the text, formerly a paper-based platform for the written word, was now a virtual interface between the word and its reader, the new locus of the production of meaning; the work, on the other hand, which had previously pertained to the collective creative imaginings of the author, was now synonymous with the physical writing passed on by the author to the reader. And by ‘passed on’ was meant ‘passed over’, achevé (perfected, terminated, put to death)—completed, then, but only insofar as its finite sequence of words was set; for its meaning was henceforth dependent on its end user. The new textual life that surged from the ‘death of the author’ was therefore always already an afterlife, a ‘living on’, to use Jacques Derrida’s term (Bloom et al. 75–176). It is in this context that the re-reading encouraged by Barthes has always appeared to mark a rupture a teasing of ‘reading’ away from the original series of words and the ‘Meaning’ as intended by the author, if any coherence of intention is possible across the finite sequence of words that constitute the written work. The reader must learn to re-read, Barthes implored, or otherwise be condemned to read the same text everywhere. In this sense, the ‘re-’ prefix marks an active engagement with the text, a reflexivity of the act of reading as an act of transformation. The reader whose consumption of the text is passive, merely digestive, will not transform the words (into meaning); and crucially, that reader will not herself be transformed. For this is the power of reflexive reading—when one reads text as text (and not ‘losing oneself’ in the story) one reconstitutes oneself (or, perhaps, loses control of oneself more fully, more productively); not to do so, is to take an unchanged constant (oneself) into every textual encounter and thus to produce sameness in ostensible difference. One who rereads a text and discovers the same story twice will therefore reread even when reading a text for the first time. The hyphen of the re-read, on the other hand, distances the reader from the text; but it also, of course, conjoins. It marks the virtual space where reading occurs, between the physical text and the reading subject; and at the same time, it links all texts in an intertextual arena, such that the reading experience of any one text is informed by the reading of all texts (whether they be works read by an individual reader or works as yet unencountered). Such a theory of reading appears to shift originality so far from the author’s work as almost to render the term obsolete. But the thing about reflexivity is that it depends on the text itself, to which it always returns. As Barbara Johnson has noted, the critical difference marked by Barthes’s understandings of the text, and his calls to re-read it, is not what differentiates it from other texts—the universality of the intertext and the reading space underlines this; instead, it is what differentiates the text from itself (“Critical Difference” 175). And while Barthes’s work packages this differentiation as a rupture, a wrenching of ownership away from the author to a new owner, the work and text appear less violently opposed in the works of the Yale School deconstructionists. In such works as J. Hillis Miller’s “The Critic as Host” (1977), the hyphenation of the re-read is less marked, with re-reading, as a divergence from the text as something self-founding, self-coinciding, emerging as something inherent in the original text. The cleaving of one from and back into the other takes on, in Miller’s essay, the guise of parasitism: the host, a term that etymologically refers to the owner who invites and the guest who is invited, offers a figure for critical reading that reveals the potential for creative readings of ‘meaning’ (what Miller calls the nihilistic text) inside the transparent ‘Meaning’ of the text, by which we recognise one nonetheless autonomous text from another (the metaphysical text). Framed in such terms, reading is a reaction to text, but also an action of text. I should argue then that any engagement with the original is re-actionary—my caveat being that this hyphenation is a marker of auto-antonymy, a link between the text and otherness. Translation and Originality Questions of a translator’s status and the originality of the translated text remain vexed. For scholars of translation studies like Brian Nelson, the product of literary translation can legitimately be said to have been authored by its translator, its status as literary text being equal to that of the original (3; see also Wilson and Gerber). Such questions are no more or less vexed today, however, than they were in the days when criticism was grappling with translation through the lens of deconstruction. To refer again to the remarkable work of Johnson, Derrida’s theorisation of textual ‘living on’—the way in which text, at its inception, primes itself for re-imagining, by dint of the fundamental différance of the chains of signification that are its DNA—bears all the trappings of self-translation. Johnson uses the term ‘self-différance’ (“Taking Fidelity” 146–47) in this respect and notes how Derrida took on board, and discussed with him, the difficulties that he was causing for his translator even as he was writing the ‘original’ text of his essay. If translation, in this framework, is rendered impossible because of the original’s failure to coincide with itself in a transparently meaningful way, then its practice “releases within each text the subversive forces of its own foreignness” (Johnson, “Taking Fidelity” 148), thereby highlighting the debt owed by Derrida’s notion of textual ‘living on’—in (re-)reading—to Walter Benjamin’s understanding of translation as a mode, its translatability, the way in which it primes itself for translation virtually, irrespective of whether or not it is actually translated (70). In this way, translation is a privileged site of textual auto-differentiation, and translated text can, accordingly, be considered every bit as ‘original’ as its source text—simply more reflexive, more aware of its role as a conduit between the words on the page and the re-imagining that they undergo, by which they come to mean, when they are re-activated by the reader. Emily Apter—albeit in a context that has more specifically to do with the possibilities of comparative literature and the real-world challenges of language in war zones—describes the auto-differentiating nature of translation as “a means of repositioning the subject in the world and in history; a means of rendering self-knowledge foreign to itself; a way of denaturalizing citizens, taking them out of the comfort zone of national space, daily ritual, and pre-given domestic arrangements” (6). In this way, translation is “a significant medium of subject re-formation and political change” (Apter 6). Thus, translation lends itself to crime fiction; for both function as highly reflexive sites of transformation: both provide a reader with a heightened sense of the transformation that she is enacting on the text and that she herself embodies as a reading subject, a subject changed by reading. Crime Fiction, Auto-Differention and Translation As has been noted elsewhere (Rolls), Fredric Jameson made an enigmatic reference to crime fiction’s perceived role as the new Realism as part of his plenary lecture at “Telling Truths: Crime Fiction and National Allegory”, a conference held at the University of Wollongong on 6–8 December 2012. He suggested, notably, that one might imagine an author of Scandi-Noir writing in tandem with her translator. While obvious questions of the massive international marketing machine deployed around this contemporary phenomenon come to mind, and I suspect that this is how Jameson’s comment was generally understood, it is tempting to consider this Scandinavian writing scenario in terms of Derrida’s proleptic considerations of his own translator. In this way, crime fiction’s most telling role, as one of the most widely read contemporary literary forms, is its translatability; its haunting descriptions of place (readers, we tend, perhaps precipitously, to assume, love crime fiction for its national, regional or local situatedness) are thus tensely primed for re-location, for Apter’s ‘subject re-formation’. The idea of ‘the new Realism’ of crime, and especially detective, fiction is predicated on the tightly (self-)policed rules according to which crime fiction operates. The reader appears to enter into an investigation alongside the detective, co-authoring the crime text in real (reading) time, only for authorial power to be asserted in the unveiling scene of the denouement. What masquerades as the ultimately writerly text, in Barthes’s terms, turns out to be the ultimate in transparently meaningful literature when the solution is set in stone by the detective. As such, the crime novel is far more dependent on descriptions of the minutiae of everyday life (in a given place in time) than other forms of fiction, as these provide the clues on which its intricate plot hinges. According to this understanding, crime fiction records history and transcribes national allegories. This is not only a convincing way of understanding crime fiction, but it is also an extremely powerful way of harnessing it for the purposes of cultural history. Claire Gorrara, for example, uses the development of French crime fiction plots over the course of the second half of the twentieth century to map France’s coming to terms with the legacy of the Second World War. This is the national allegory written in real time, as the nation heals and moves on, and this is crime fiction as a reaction to national allegory. My contention here, on the other hand, is that crime fiction, like translation, has at its core an inherent, and reflexive, tendency towards otherness. Indeed, this is because crime fiction, whose origins in transnational (and especially Franco-American) literary exchange have been amply mapped but not, I should argue, extrapolated to their fullest extent, is forged in translation. It is widely considered that when Edgar Allan Poe produced his seminal text “The Murders in the Rue Morgue” (1841) he created modern crime fiction. And yet, this was made possible because the text was translated into French by Charles Baudelaire and met with great success in France, far more so indeed than in its original place of authorship. Its original setting, however, was not America but Paris; its translatability as French text preceded, even summoned, its actualisation in the form of Baudelaire’s translation. Furthermore, the birth of the great armchair detective, the exponent of pure, objective deduction, in the form of C. Auguste Dupin, is itself turned on its head, a priori, because Dupin, in this first Parisian short story, always already off-sets objectivity with subjectivity, ratiocination with a tactile apprehension of the scene of the crime. He even goes as far as to accuse the Parisian Prefect of Police of one-dimensional objectivity. (Dupin undoes himself, debunking the myth of his own characterisation, even as he takes to the stage.) In this way, Poe founded his crime fiction on a fundamental tension; and this tension called out to its translator so powerfully that Baudelaire claimed to be translating his own thoughts, as expressed by Poe, even before he had had a chance to think them (see Rolls and Sitbon). Thus, Poe was Parisian avant la lettre, his crime fiction a model for Baudelaire’s own prose poetry, the new voice of critical modernity in the mid-nineteenth century. If Baudelaire went on to write Paris in the form of Paris Spleen (1869), his famous collection of “little prose poems”, both as it is represented (timelessly, poetically) and as it presents itself (in real time, prosaically) at the same time, it was not only because he was spontaneously creating a new national allegory for France based on its cleaving of itself in the wake of Georges-Eugène Haussmann’s massive programme of urbanisation in Paris in the 1800s; it was also because he was translating Poe’s fictionalisation of Paris in his new crime fiction. Crime fiction was born therefore not only simultaneously in France and America but also in the translation zone between the two, in the self-différance of translation. In this way, while a strong claim can be made that modern French crime fiction is predicated on, and reacts to, the auto-differentiation (of critical modernity, of Paris versus Paris) articulated in Baudelaire’s prose poems and therefore tells the national allegory, it is also the case, and it is this aspect that is all too often overlooked, that crime fiction’s birth in Franco-American translation founded the new French national allegory. Re-imagining America in (French) Crime Fiction Pierre Bayard has done more than any other critic in recent years to debunk the authorial power of the detective in crime fiction, beginning with his re-imagining of the solution to Agatha Christie’s The Murder of Roger Ackroyd and continuing with that of Arthur Conan Doyle’s The Hound of the Baskervilles (1998 and 2008, respectively). And yet, even as he has engaged with poststructuralist re-readings of these texts, he has put in place his own solutions, elevating them away from his own initial premise of writerly engagement towards a new metaphysics of “Meaning”, be it ironically or because he has fallen prey himself to the seduction of detectival truth. This reactionary turn, or sting-lessness in the tail, reaches new heights (of irony) in the essay in which he imagines the consequences of liberating novels from their traditional owners and coupling them with new authors (Bayard, Et si les œuvres changeaient d’auteur?). Throughout this essay Bayard systematically prefers the terms “work” and “author” to “text” and “reader”, liberating the text not only from the shackles of traditional notions of authorship but also from the terminological reshuffling of his and others’ critical theory, while at the same time clinging to the necessity for textual meaning to stem from authorship and repackaging what is, in all but terminology, Barthes et al.’s critical theory. Caught up in the bluff and double-bluff of Bayard’s authorial redeployments is a chapter on what is generally considered the greatest work of parody of twentieth-century French crime fiction—Boris Vian’s pseudo-translation of black American author Vernon Sullivan’s novel J’irai cracher sur vos tombes (1946, I Shall Spit on Your Graves). The novel was a best seller in France in 1946, outstripping by far the novels of the Série Noire, whose fame and marketability were predicated on their status as “Translations from the American” and of which it appeared a brazen parody. Bayard’s decision to give credibility to Sullivan as author is at once perverse, because it is clear that he did not exist, and reactionary, because it marks a return to Vian’s original conceit. And yet, it passes for innovative, not (or at least not only) because of Bayard’s brilliance but because of the literary qualities of the original text, which, Bayard argues, must have been written in “American” in order to produce such a powerful description of American society at the time. Bayard’s analysis overlooks (or highlights, if we couch his entire project in a hermeneutics of inversion, based on the deliberate, and ironic, re-reversal of the terms “work” and “text”) two key elements of post-war French crime fiction: the novels of the Série Noire that preceded J’irai cracher sur vos tombes in late 1945 and early 1946 were all written by authors posing as Americans (Peter Cheyney and James Hadley Chase were in fact English) and the translations were deliberately unfaithful both to the original text, which was drastically domesticated, and to any realistic depiction of America. While Anglo-Saxon French Studies has tended to overlook the latter aspect, Frank Lhomeau has highlighted the fact that the America that held sway in the French imaginary (from Liberation through to the 1960s and beyond) was a myth rather than a reality. To take this reasoning one logical, reflexive step further, or in fact less far, the object of Vian’s (highly reflexive) novel, which may better be considered a satire than a parody, can be considered not to be race relations in the United States but the French crime fiction scene in 1946, of which its pseudo-translation (which is to say, a novel not written by an American and not translated) is metonymic (see Vuaille-Barcan, Sitbon and Rolls). (For Isabelle Collombat, “pseudo-translation functions as a mise en abyme of a particular genre” [146, my translation]; this reinforces the idea of a conjunction of translation and crime fiction under the sign of reflexivity.) Re-imagined beneath this wave of colourful translations of would-be American crime novels is a new national allegory for a France emerging from the ruins of German occupation and Allied liberation. The re-imagining of France in the years immediately following the Second World War is therefore not mapped, or imagined again, by crime fiction; rather, the combination of translation and American crime fiction provide the perfect storm for re-creating a national sense of self through the filter of the Other. For what goes for the translator, goes equally for the reader. Conclusion As Johnson notes, “through the foreign language we renew our love-hate intimacy with our mother tongue”; and as such, “in the process of translation from one language to another, the scene of linguistic castration […] is played on center stage, evoking fear and pity and the illusion that all would perhaps have been well if we could simply have stayed at home” (144). This, of course, is just what had happened one hundred years earlier when Baudelaire created a new prose poetics for a new Paris. In order to re-present (both present and represent) Paris, he focused so close on it as to erase it from objective view. And in the same instance of supreme literary creativity, he masked the origins of his own translation praxis: his Paris was also Poe’s, which is to say, an American vision of Paris translated into French by an author who considered his American alter ego to have had his own thoughts in an act of what Bayard would consider anticipatory plagiarism. In this light, his decision to entitle one of the prose poems “Any where out of the world”—in English in the original—can be considered a Derridean reflection on the translation inherent in any original act of literary re-imagination. Paris, crime fiction and translation can thus all be considered privileged sites of re-imagination, which is to say, embodiments of self-différance and “original” acts of re-reading. References Apter, Emily. The Translation Zone: A New Comparative Literature. Princeton: Princeton UP, 2006. 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