Résumé Comparer la représentation du « Sauvage » dans la pièce de Du Hamel avec sa source, le roman de Du Périer, permet d’étudier les transformations génériques entraînant des transformations sur le plan des mises en scène de l’altérité dans une terre en cours de colonisation, devenue le Québec actuel. L’étude de la relation Des Sauvages, ou Voyage de Samuel Champlain (publiée la même année que la pièce de Du Hamel en 1603), par rapport à celle du roman de Du Périer et de la pièce de Du Hamel, permet de poser la question des représentations de l’altérité dite « sauvage » que la fiction a souvent tendance, en ce début de dix-septième siècle, à réduire au même. Ce sont ces stratégies d’évitement et d’effacement, propres à la littérature fictionnelle précieuse, par rapport à l’écriture des récits des voyages authentiques, que cet article explore, pour montrer que la représentation de l’altérité coloniale, notion qui regroupe à la fois l’altérité colonisée—les dits « Sauvages » canadiens—et l’altérité colonisatrice représentée par le voyageur pour le lecteur immobile—que celui-ci soit un voyageur réel (Champlain) ou virtuel (Du Périer)—passe par une instrumentalisation des « Sauvages » toujours soumis à une sujétion qui ne dit pas son nom.

Résumé Publié en 1826, Bug-Jargal a pour cadre l’insurrection des esclaves à Saint-Domingue en 1791. Ce roman historique de Victor Hugo offre une vision documentée du système esclavagiste et de l’idéologie raciste qui le sous-tend. La Révolution française vient bouleverser une situation politique déjà complexe, et joue un rôle dans le déclenchement de la rébellion. La critique oscille entre interprétation négrophile et négrophobe de cette œuvre : certes, Bug-Jargal, chef noir, est une figure héroïque idéale, mais les autres Noirs, dirigés par le féroce Biassou, sont constamment discrédités, « amas de moyens sans but ». Le roman problématise toutefois sa propre réception à travers la mise en scène de l’auditoire, souvent sarcastique, du capitaine d’Auverney. Représentatif d’une vision paternaliste de la colonisation, ce narrateur ne remet jamais en cause les fondements de l’esclavage. Toutefois, son aveuglement persistant sur l’identité de Bug-Jargal décrédibilise son positionnement politique, tandis que le renversement carnavalesque opéré par Biassou, exhibe les signes du pouvoir blanc, leur faisant perdre toute évidence. Les insurgés contestent aussi le « style blanc », qu’il s’agisse de la terminologie raciste des Blancs, de la rhétorique révolutionnaire ou de tous les discours issus des Lumières. Plurilingue, l’éloquence des Noirs introduit l’altérité dans le langage des Blancs, autre instrument de sape de son autorité. Vigoureuse satire de la société domingoise, toutes couleurs confondues, l’œuvre ménage un espace de vigilance critique, politique et linguistique pour ses lecteurs.

Abstract This essay places the narrative of the Spanish writer José A. Cano (b. 1954 in Madrid) within the context of contemporary Spanish ecofiction. Concerned with the state of global humanity, Cano reflects a growing postnational perspective among Spanish writers whose works critically address the challenges of the Anthropocene—in particular, the destructive effects the tenets of Western modernity (Kantian ethics, utilitarian values, human-Nature divide, logic of exploitation, dualistic and anthropocentric thought, etc.) have had on the more-than-human world. Heavily influenced by the Romanian philosopher E. M. Cioran, Cano’s novel La felicidad del Malvado (2023) offers a pessimistic outlook regarding the future of humankind. Miguel de Cervantes’s Don Quixote provides another backdrop for this transatlantic novel, situated between the United States and Madrid, allowing Cervantine humor to balance out Cioran’s omnipresent voice of doom.

Abstract Why does it matter that we try to think through, together, as entrammeled with one another, the act and work of reading and “the political”? What is at stake in the question of textuality in the current context of crises and turns-away (from theorization, from critique) that have come to characterize the humanities as the forms and institutions of higher education find themselves increasingly subsumed by the logics and imperatives of neoliberalism? The present article proposes to think through and tarry with this problem by taking as a case study of sorts the reaction of a certain number of literary and cultural studies scholars in the field of nineteenth-century French and Francophone studies to a recent (or perhaps an ongoing) event in the United States and its relation to the mise-en-scène of a revolutionary event in Flaubert’s L’Éducation sentimentale, arguing ultimately that, in dark and disorienting times, literature—which perhaps does nothing so well as help us to grapple with the ways in which the past and the present, and thus any possible futurity, are mutually entrammeled with one another—may help us get certain ideas, if not infallibly right, a little less wrong where possible, where they may matter most.

Abstract This article explores the poetry and essays of Peruvian surrealist poet César Moro (1903–56) in relation to the French surrealist aesthetic of convulsive beauty as defined by André Breton (1896–1966). By examining Moro’s textual construction of a speaker who privileges nature as a poetic agent, the author argues that his historical role as an agent of cultural transfer emerges. Using the aesthetic of convulsive beauty as a case study, the author shows how Moro’s poetic mythification of Peru’s colonial legacy creates a hybrid surrealist canon through metonymic techniques that reflect Amerindian notions of animism. In particular, Moro’s renditions of diamonds, precious stones, animals, plants, and other natural forms challenge the subject-object divide that limits the European modernist aesthetic. What emerges in this global process of cultural transfer is a translational poetics that avoids the binaries of source and target audiences, thereby allowing the emergence of nonlinear and dynamic modes of contact.

Research Article| December 01 2023 Radical Hope for Global French Studies Laurence Denié-Higney; Laurence Denié-Higney University of California, Los Angeles Search for other works by this author on: This Site Google Vera Klekovkina Vera Klekovkina University of Wisconsin–Stevens Point Search for other works by this author on: This Site Google Romanic Review (2023) 114 (3): 509–516. https://doi.org/10.1215/00358118-10806992 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Laurence Denié-Higney, Vera Klekovkina; Radical Hope for Global French Studies. Romanic Review 1 December 2023; 114 (3): 509–516. doi: https://doi.org/10.1215/00358118-10806992 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsRomanic Review Search Advanced Search community engagement, French studies, global competencies, social justice, sustainability Copyright © 2023 by the Trustees of Columbia University in the City of New York2023 You do not currently have access to this content.

Research Article| December 01 2023 What Does It Mean to Decolonize Francophone Africa? Imane Terhmina Imane Terhmina Cornell University Search for other works by this author on: This Site Google Romanic Review (2023) 114 (3): 632–639. https://doi.org/10.1215/00358118-10807153 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Imane Terhmina; What Does It Mean to Decolonize Francophone Africa?. Romanic Review 1 December 2023; 114 (3): 632–639. doi: https://doi.org/10.1215/00358118-10807153 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsRomanic Review Search Advanced Search Francophone Africa, Maghreb, decoloniality, repair, relational ontology Copyright © 2023 by the Trustees of Columbia University in the City of New York2023 You do not currently have access to this content.

Research Article| December 01 2023 One Is Not Born, but Rather Becomes, a Worker Annabel L. Kim Annabel L. Kim Harvard University Search for other works by this author on: This Site Google Romanic Review (2023) 114 (3): 567–574. https://doi.org/10.1215/00358118-10807072 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Annabel L. Kim; One Is Not Born, but Rather Becomes, a Worker. Romanic Review 1 December 2023; 114 (3): 567–574. doi: https://doi.org/10.1215/00358118-10807072 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsRomanic Review Search Advanced Search humanities, higher education, liberal arts, marginality, capitalism Copyright © 2023 by the Trustees of Columbia University in the City of New York2023 You do not currently have access to this content.

Abstract This article examines the relationships that developed in exile between women writers and artists and things following the Spanish Civil War. Our analysis is based on self-writing and visual art. Using a New Materialist theoretical framework, the article shows how, for these women in exile, things had agency, producing entanglements, ruptures (desgarros), or moorings necessary for a new orientation. Disorientation, arising from the new social and geographical context of exile, also affects the uses and function of things. This produces a subjectivity saturated by material phenomena, the relationship with which is heightened by the experience of fleeing one’s country. The writers and artists discussed include Victorina Durán, Mada Carreño, María Luisa Elío, Silvia Mistral, María Teresa de León, Concha Méndez, and Maruja Mallo. All of them went into exile in Spanish-speaking countries in Latin America, specifically Mexico, Argentina, and Chile.

Abstract Early modern culture was most fully expressed in events where materiality and textuality are inextricably intertwined: theatrical spectacles, royal parades, triumphal arches, processions, poetic tournaments, and jousts. At the other end of the spectrum, mainstream trends of nineteenth- and twentieth-century Hispanic philology—a prism through which early modern texts have been used and read for years—are part of a genealogy of thought that privileges form over matter. As a result, the radical importance of materials is frequently overlooked in the study of early modern culture. However, if we pay attention to early modern poetic and philosophical treatises, we can clearly notice the anxiety to justify the medium in which texts themselves were produced and transmitted. This article stresses the importance of materiality in two types of treatises from early modern Iberia: three sensory treatises by Oliva Sabuco (1587), Lorenzo Ortiz (1687), and Diego Calleja (1700); and three manuals of textual production by Juan del Encina (1496), Francisco Lucas (1580), and Alonso Víctor de Paredes (1680). The article sets out an argument for a materialist practice of literary criticism, a way to read early modern texts in terms of their own material theory.