Si elle ne mange pas, elle va mourir, soupire Gupta qui la tuerait volontiers, histoire de prendre les devants. Allons pour les endroits pensables: Nous mourons tous les bras tendus. Nothomb, dont on va reparler. En vrac, titres du chapitre: Les bornes temporelles sont franchies depuis le matin du monde, la ligne du P. Au contraire de sa fille et de J.
Le roi est mort, vive le roi! Dinner is ready since a long time! Dinner is a roastbeef! Dinner will be cold! The little one is just entering the dinning room! She looks like a bloody clown! Dobbs font cause commune: Dobbs, dans un bafouillis crapoteux: Cordelia, assurant le relais: Nymphette , dans Le Robert: Et un sac Bottega, juste pour le fourrer dedans! Shut up, come home and hurry! Ceci dit et accompli, la naine hilare baisse sa baguette fusante et rentre dans sa royale coquille de noix.
Saskia called before you come back… Mrs.
A son oreille cramoisie, Tatie, didactique: Va pour ce… comment? A elles et que je puisse vite les peindre, puisque le temps presse et que les ombres gagnent. Oui, supprimer les porteuses de robe: Fin du constat, Hadrien. La messe est dite, Hadrien. A terre, le puzzle policier de Hyde Park, et chaque jeune fille, en tenue de nuit: Achour est circoncis, car musulman. Meg devrait aller se coucher illico. Merci pour le Beaujolais. Souhaitons que seuls les seconds influent sur son avenir.
Meg faisant bouffer son bloomer, jouant avec sa ballerine comme avec une marionnette et coiffant mon chapeau-claque: Nous mettre au sec. Chicago Uni- versity Press, Being a text, myth is a device that serves to encode and decode. As it is a text used by writers, it has always relied on social sciences, while its presence within criticism means shifting the emphasis on the dynamics of creation and interpretation. Still, this duality does not contradict the views about myth, its history, and its definition. Most scholars would agree that myth comes from an instinctive need of men to discover the secrets of nature and to understand the world.
This effort to understand the world is in the core of every mythology. No matter where they originate: It is constantly being compared with the Sphinx, whose questions are impossible to answer. Mythology is also compared to the past, which has never become present.
Being older than history, the beginnings of myth are impossible for us to identify. Thus, we are forced to live in the shadow of that rich world which covers the whole universe. Still, we can identify its four relations: Univerzitet Cme Gore, , pp. UR-FD Srbija, , pp. Kirk, myth designates a field to such an extent that it can easily be replaced by the adjective 'mythic'. Literature and criticism are not synonymous entities, as Frye reminds us in his most authoritative works.
They enable the envisaging individual works governing, and encompassing all genres and culture-specific myths of a system or systems. In The Great Code, Frye brings all modern criticism under the aegis of hermeneutics. This dislocation can be temporal as well as spatial. The literary poeticians must re-actualize mythical texts, i.
As myth presents itself to us, the novel may be the paramount genre because it records full criticism's predicament. How much poeticians have re-actualized mythical texts in Canadian literature is the crucial question which should be asked when the role of myth in Canadian literature is to be studied. The general purpose of this research is to give at least a relatively clear picture of the role of myth in Canadian literature. We can begin with studying its role in Aritha Van Herk's works. On the level of ancient mythology, she follows the story of Arachne. She tightly structures her novel around divergent layers of myth, even the myths of North Ameri- can Continent the car as an American success myth.
Cambridge University Press, , p. Harcourt, Brace 6 World, ; N. Frye, Anatomy of Criticism, Princeton: Princeton University Press, The authors put their emphasis on the fact that that in recent years Native novelists combine tribal narratives with Western literary forms p. Myth, Canadian Literature, and Michael Ondaatje's Myth-making 31 Hawkeye , the fifth character, Coyote, and the sixth character the first-person narrator who helps tell everybody's story.
The power of myth in this work can be identified through several tribal elements a cyclic structure, oral tradition, a trickster, Coyote, and Native myths and legends. Myth has much to do with morality, some authors claim. Socken shows in the paper. Mythical dimensions relate the novel to the tradition of world mythol- ogy.
Their human frailty is part of their heroic nature. They are by no means failures but people who attain peace and harmony. While exploring myth in Canadian literature, an outstanding scholar, Patricia Morley asks the basic question: It also touches us through different literary traditions Classical, Canadian, Native, European. Still, its strongest manifestation is expressed through a combination of Canadian and universal. It is the place where myth shows "us to ourselves in a double glass, romantic and ironic".
This author finds out that Munro combines the roles of Orpheus and Eurydice in her character Pauline. Munro devotes her entire story to developing musical allusions, emphasizing the unexpected effect of art on life. She also emphasizes the powerful effect in an ironic intertextualization of the prefigured source. The relation of the Demeter and Persephone mythe to Manawaka women inspired two serious studies.
Stevenson con- cludes that "in Jest of God Laurence's mythic imagination at once undergirds and outstrips the typically Canadian caution of the retrospective analysis". European University Studies, It is Nancy Bailey who claims that myth allows Margaret Atwood's characters to "derive their universal and enduring power over our imaginations from myth in which their creator places them. The result of this study is reflected in the fact that "true animus figures will be found in primitive or pioneer societies more often than in the rich cultural but male-dominated European ones where Jung carried out his research.
Van Spanckeren compares her with her former professor Northrop Frye. Fairy tales and popular fiction's magical plots are powerful, irreducible sources in her early fiction. These works form a magical replica of the real world and shape its experience. Atwood's early use of magic allows her to draw upon resonant symbolic traditions and suggest the important psychological truths they contain, concludes Van Spanckeren.
Magic in Margaret Atwood's works, when explored from another point of view, shows that she is a fabulist. Throughout her works, Atwood has used numerous intertexts or texts within texts, myths, mythological motifs influenced by Grimm's fairy tales. This study concludes that Greek and Roman myth, the Demeter- Persephone myth, North American native folktales or legends, the Bible and other literary works may all incorporate folktale motifs. Exploring the role of vampires, victims, the Great Mother myth, and Gothic allegory in Margaret Atwood's first unpublished novel, Judith McCombs finds out that this role is just a stage "where Atwood's paired, reflecting, poetic and allegoric structures, shaped by pre-novel archetypes from Northrop Frye's criticism, Robert Graves's White Goddess, James Reaney's poetry, andT.
Eliot's The Waste Land. Its adherents hope that the restoration of belief in such truth will lead to a cure of all ills of their time, claims Heinz 16 Nancy Bailey, "Margaret Laurence, Carl Jung and the Manawaka Women", Studies in Canadian Literature, Summer Living Author Series No. University Press of Mississippi, , p. It is the truth connected to an ideology, concludes this author. She also sees her novels as "dyadic relationship between poles of transcendence and limitation in association with earth and world," concluding that "those who exist on the margin of a structure move through transgression of its codes and norms into an apprehension of the sacred".
The role of the artist is shamanistic. Rigney believes that Canadian tradition provides Margaret Atwood with images and archetypes which are poetically and novelistically intristic to her work, believes Rigney. Her heroines share a symbolic identity with Canada, and they affirm selfhood and power within the context of Canadian literary tradition. Rigney concludes that Atwood's heroines move from innocence to confrontation the way Canada as a nation must confront its political identity. She reads the whole novel as a journey into the past from which its author wishes to bring back a society where a woman's authority was acknowledged and her role respected.
Diana and Venus, the white and red goddesses, are trapped inside the black goddess, while the Diana figure is shown as the prisoner of Hecate. In order to find the true self the main heroine has to accept her multiplicity, concludes Sciff-Zamaro. Margaret Atwood herself deals with research on mythology.
Her most crucial text for understanding the role of myth in Canadian literature is certainly the one on Wendigo. Grace and Lorraine Weir, Vancouver: University of British Columbia Press. She finds out that in longer narratives myths function in the way that ghosts function in literature it can be a manifestation of environment, it can have a message, or be a fragment of the protagonist's psyche. Atwood concludes that the creature is "a victim of landscape". This implies a shift from history to the literary tradition. The move beyond history implies that a writer cannot achieve originality but is doomed to offer repetitions.
It comes out that myth is predicated as a form of language. The move also means that "in making use of myth postmodern writers may draw on the original ambiguity of the term, which could mean both 'fiction' and 'true' story. Tschachler explores mythic structures in the Canadian postmodern fiction and finds out that Margaret Atwood's Surfacing reconstructs the "monomyth", but never "through a genuinely postmodernist reinterpretation.
The real concerns of mythology have to do with the subjective autonomy of art and artist. What counts is form, "which becomes the outward sign of radicalized individualism". This enables him to read the Canadian postmodern literature as a bond between myth and ideology. One of his results is his findings that Atwood neither dismisses myth altogether, nor does she replace it by another ideology. Another conclusion by this author is that "Atwood's archetypal approaches to Surfacing do not approve Atwood's ambivalent attitude toward the idea of subjectivity.
While myth looks back to the past, and the ritual, ideology looks to the future. Both ideology and myth are motivated by binary oppositions. Myth, Canadian Literature, and Michael Ondaatje's Myth-making 35 literature, what matters is only the manner in which the tragic sense of crisis is being articulated, not the tragic sense itself. The psychoanalytic approach has been proven when the role of myth in Sheila Watson's short fiction was explored. Irvine arrives at a conclusion to Watson's "mythic cycle. She uses the double framework of postmodernism and postcolonialism in order to characterize what she calls the New World Myth.
This myth is created to suit particular needs, times, and places. Vautier shows that historico-political events thrive on provisionality, doubt, and cognitive instability to reflect continually upon their own making, and to collapse time and again the boundaries between myth, history, and fiction. This author also notices that classical myths play a smaller role than biblical myths. New world myth is mainly interested in reconfiguring historical mythologies.
Vautier also discusses challenges to biblical mythology, patriarchal structures, and official versions of the historico-political past. She also challenges magic realism and postcolonialism to history in some works of the above mentioned writers. Vautier reads the New World Myth as texts that deal with the claims and certainties of traditional cosmogonies and myths. The role of postmodern myth and its relationship to post-European history, and to the figure of the Amerindian is another study by the same author.
Most previous studies structuralism thematized the question of national identity, this author claims. Poststructuralism and deconstruction, and the emergence of postmodernist and postcolonial theories and practices renewed interest in the question of national identities in Canadian literature writ- 36 Dean Irvine, "Oedipus and Anti-Oedipus, Myth and Counter-Myth: Essays on the Canadian Short Story, Ed. The novels of the chosen authors investigate and destabilize the double problem of myth and national identities.
They use their techniques as markers of postmodernist fiction while challenging history and historiography, and investigating self-referentiality, intertextuality, parody, irony and finding them to be "often contradictory retellings of the same event". Vautier concludes that "by overtly displaying themselves and their texts as metafictional and historical constructs, the narrators of both novels foreground the concept that past reality is a construct and ultimately point to the fictional mythologizing of our history.
The myth he recognizes is "biblical, surreal, brief, imagistic". It is achieved by "a very careful use of echoes-or phrases and images. There is also light. Man becomes its pulse " He disappears into historical time and re-emerges in an echo". It was necessary for O'Hagan to establish the myth as a base of the book first to be able to turn to the role of story-tellers, concludes Ondaatje. He also claims that the main character is given a new name in every setting finally leaving "just fragments of myth behind". The number seven plays a special role in this work: What is the same is with the association of Peter with his biblical namesake.
Harding-Russel concludes that Ondaatje achieves a unique meaning because of the specific way of using mythology. His images serve to direct meaning from the literal and allegorical levels to an anagogical level.
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On a literal level Ondaatje "provides us with a psychological drama of the beauty and the beast, on the allegorical level with a paradigm for the alienated artist in his society and, on an anagogical level, with a myth about the artist in his relations with reality at large. These works also characterize the transgeneric nature of myth. In Coming Through Slaughter two myths are combined: This author defines it as a desire for a real contact, the desire to be touched which disguises itself "as a longing to touch, like Isaac or Saint Thomas, in order to make sure that something really exists, but also to make it exist, to make it come to life again.
His works are so alike, Clarke claims, that each is the best reference of the others. They form a canon. They mirror each other in the Old and New Testaments, and in the complete works of this author. Clarke equates myth and drama, concluding that "all literature is a metaphor of the first myth. He employs the tension among different myths, and even from his work The Dainty Monsters to Secular Love, Ondaatje has transposed his perceptions into a canon that descants upon the dra- matic promiscuity of myth. In "Another Fashion" Ondaatje addresses the recurrence and violence of myth: We must build new myths to wind up the world, provoke new christs with our beautiful women, bring plumed this boned birds to claw carpets to betray maj esty in a sway Clarke concludes that "a prototype of the poem stresses the radical violence of mythical re-creation: We must provoke new christs with our beautiful women challenge them to a new mental war a new consideration Ondaatje liberally uses contrast-by-juxtaposition in many of his works in which myths address each in a verbal collage.
Thus, Monsters explores the spontaneous occurrence and re-occurrence of myth, its drama, violence, exorcism, and amorality. This work is a fictional history, "the fatal interplay between the opposing myths represented by Billy the Kid and Pat Garrett. This corpus of myth is resurrected to a "comic book excerpt that depicts a bizarre double: Here the drama is the disjunctive between creation and destruction.
This metaphoric collision creates truth. It also shows the tendency of myth to absorb and transform its subject. Clarke recognizes the finest example of Ondaatje's use of myth in "Spider Blues". This is not the case with his work Coming Through Slaughter, which tries to translate reality into myth, life into art. As the story develops the life of the main hero becomes a collection of myths. Ondaatje closes this novel with an archetypal confession of the origins of story in history and biography. Thus, the fictionalization of truth creates "the truth of fiction".
Ondaatje's myth-making is continuous, reflexive and prophetic, concludes Clarke. It dramatizes the creation and dissolution of myths. His mythology comes out of chaos and mirrors the source of its genesis. The very act of creation issues order. Still, "as a private mythology, Ondaatje's works employ the tenets of contemporary poetics, including the notion that principles are relative, that anarchy is order.
Throughout his poetics, Ondaatje conveys the effects of producing myth, which are obviously dramatic. Then he dismembers the story, by removing and adding parts to it to create an electric and incomplete whole. He also includes the Colin Maclnnes version of the myth of Mrs.
Fraser as a kind of an epilogue which gives us the interpretation of his choice. Ondaatje was inspired by the theme in the work of Mrs. Fraser His deconstruction in the myth with seven toes uses myth material, physical bodies, and affects language as well. One more painting was an inspiration to him. It was entitled Royal Hotel, and was painted by Sidney Nolan.
It is not easy to accept the isolation and chaos Ondaatje makes through myth-manipulation in Canadian the man with seven toes. It is not easy to believe that it speaks about Canadian society either. The truth it offers can only make readers uncomfortable. Left-Handed Poems is explored by Smaro Kamboureli.
His voice is the voice of a dead and living person "capable of not only of self-description but also of re reading a context where he is the object of someone else's verbal act, and his discourse remains at the end of the poem powerful and evocative exactly because he is narratively dead. York discusses its making and destroying and concludes that the "belief that distortion tells a more meaningful truth than the local records office informs the entire conception of Running in the Family as well as Coming Through Slaughter and The Collected Works of Billy the Kid.
Photography in Ondaatje's works can fix the sense of truth and liberate it at the same time, "by leading us not into history but beyond history". She asks a rhetorical question: The problem for the characters is "how to receive the narrative of this 'bogman from history' who tells them he wishes to 'erase his name and the place he had come from". He has three interlocutors who insist upon the responsibility of the writer and his function.
Penner concludes that "one begins to see how Foucault's theory of unconfined discourse might have its harbinger in this text which has swollen to 'almost twice its original thickness' with various additions of the English patient. University of Toronto Press, The focus of Kella's study is on literary narratives "that critically construct styles of community in various degrees of tension with or opposition to national variants. It attests to a deep ambivalence about Western humanism, "displaying profoundly contradictory philosophical and political thrusts.
At the end of this survey of the role of myth in the works of Canadian authors J. Chamberlain's conclusion on Ondaatje's poetry is worth quoting: Ondaatje is a curious position as a poet, but a position that is close to that of other contemporary poets writing out of situations that define essentially colonial predicaments, where language or audience or the identity and role of the poet are indeterminate Canada offers Ondaatje a geography, but no inheritance; Sri Lanka offers him a family history, but no tradition; the English language offers him both an importance and a history, but no time and place.
It is used on all levels. It comes from different traditions. It crossed cultural boundaries between Native culture and Euro-American and acts at a cultural intersection where relations between the two traditions meet. Myth challenges the traditional boundaries separating history, legend, and myth and poetry, fiction and biography. This research also shows that from the beginning of letters in Canada to present times, Canadian literature is densely populated with a host of oracles, diviners, magicians, and seers.
They perform significant functions. We must not undermine the role of cannibalism both as a historical phenomenon and a literary construct, as the material of myth, and the material of fiction. Finally, the effort of all those critics who try to link the literature written in a nation with what are considered distinctive characteristics of that nation - its language, geography, climate, race, history, myth, and folklore - has yielded excellent results. The abundant presence of myth in the works of Canadian authors gives an opportunity for their classification and presentation through an index of mythological motifs which could be a proposal for future development of this topic.
Carington, Ildiko de Papp. Harcourt, Brace and World, Harcourt Brace and Jovanovich, A Creative Myth, Creative Literature , The Novels of Marga- ret Atwood. Language, Text and System, eds. Garce and Lorraine Weir, Vancouver: Sheila Watson's Short Fiction. Essays on the Canadian Short Story, eds. Gerald Lynch and Angela Robbeson, Ottawa: University of Ottawa Press, Its Meanings and its Function in Ancient and other Cultures.
Cambridge University Press, Studies in Canadian Literature 24, 2, Where the Myth Touches Us. Canadian Literature 12, Spring Fokner i mil Podgorica: Univerzitet Crne Gore, University Press of Mississippi, Les Quebecois se rendent compte du lien qui existe entre leur alienation personnelle et le statut colonial du Quebec au sein de la confederation canadienne. Ce desir d'autonomie et d'affirmation, donne naissance a la Revolution tranquille, vaste mouvement de modernisation et de transformation des institutions et des valeurs.
La parole devient 1'instrument privilegie de la repossession du pays. La langue francaise se trouve alors au centre de la question nationale et suscite des debats passionnes. L'ecrivain accepte ainsi 1'engagement politique, esquissant un portrait du Quebecois et dessinant le territoire de ses possibles. Hubert Aquin est lie au Front de Liberation du Quebec. II avait l'ambition de faire l'histoire. Le 18 juin il envoie un communique de presse ou il annonce son choix de combat clandestin et declare la "guerre totale a tous les ennemis de l'independance du Quebec".
La quete d'identite se definit dans un jeu complexe de dedoublements et symbolise la douloureuse identification du peuple quebecois a l'epoque de la Revolution tranquille. Le Journal d'Hubert Aquin nous informe sur la genese de Prochain episode et notamment sur le proj et initial d' ecrire une epopee pour opposer l'homme a l'histoire, l'homme qui est obsede par la quete de ses origines, "ecrire une epopee etm'engendrer"-s'exclamera-t-ildans son Journal pp.
Le premier livre de l'ecrivain quebecois Hubert Aquin a suscite un veritable foisormement d'interpretations du fait qu'il peut difficilement etre situe dans un 46 Rennie Yotova modele generique. Raison de plus de l'apparenter auNouveau Roman1, meme si la critique francaisen'apas dutoutpartage 1'enthousiasme outre-atlantique etl'aqualifie de "roman pseudo policier". Neanmoins la bibliographie de la critique de l'oeuvre d'Hubert Aquin est l'une des plus considerables de toute la litterature quebecoise. Prochain episode retient notre interet en tant que roman qui represente sa propre mise en abyme.
II s'inscrit parfaitement dans la dichotomie de la construction- destruction a l'image d'une identite complexe et effectue un parcours circulaire lors duquel la ville reste un espace privatif dans lequel echoue la quete d'identite du narrateur. La ville inconnue est une metaphore des inconnues de l'equation du roman. En outre, c'est une ville de l'ailleurs que 1'imaginaire du recit entrecroise avec un autre espace pour maintenir une bifurcation spatiale qui est un procede courant chez Aquin.
On la retrouve notamment dans les autres romans ou le Quebec est toujours present en partage avec un autre espace: Sous les apparences d'une desarticulation un peu deroutante, ce roman est en realite d'une construction tres rigoureuse: Autrement dit, il desorganise l'ordre apparent des choses pour en trouver la signification cachee. En vain, car la question demeure toujours presente: Cuba coule en flammes au milieu du lac Leman pendant que je descends au fond des choses.
Encaisse dans mes phrases, je glisse, fantdme, dans les eaux nevrosees du fleuve et je decouvre, dans ma derive, le dessous des surfaces et l'image renversee des Alpes. Entre I'anniversaire de la revolution cubaine et la date de mon proces, j 'ai le temps de divaguer en paix, de deplier avec minutie mon livre inedit et d'etaler sur ce papier les mots cles qui ne me libererontpas.
J'ecris sur une table de jeu, pres d 'une fenetre qui me decouvre un pare cintre par une grille coupante qui marque la frontiere entre I'imprevisible et I'enferme. Je ne sortiraipas d'ici avant echeance. Cela est ecrit en plusieurs copies conformes et decrete selon des lois valides et par un magistrat royal irrefutable. Nulle distraction ne peut done se substituer a I 'horlogerie de mon obsession, ni me faire devier de mon parcours ecrit2. Ainsi s'ouvre le recit qui nous fait tout de suite comprendre que pour le narrateur depressif l'ordre geometrique represente une sorte de rempart, unmoyen de vaincre la detresse et d'apaiser la souffrance.
II s'agit d'un exercice de la pensee lui permettant d'occuper son esprit qui divague. Geomaitriser le recit serait une tentative de reconstituer un moi en miettes qui cherche sa place dans l'histoire. Ouellet , Paris, Gamier Freres, , p.
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Le narrateur ecrivain est dechire dans ses reflexions entre la construction de son roman, il en parle en termes mathematiques, et la deconstruction qu'il definit de nouveau en termes mathematiques. C'est cette tension dichotomique qui va tenir la trame du recit et entrainer le lecteur dans le delire obsessionnel du heros manque.
Au debut, le narrateur considere son recit comme parfaitement maitrisable, il parle de [ Cette demarche pourrait etre parfaitement appropriee a son projet initial d'ecrire un roman d'espionnage: Cependant devant la prise de conscience il est tout aussi decourageant que l'equation du roman ne puisse jamais etre resolue, qu'elle entraine l'instance narrative dans sa perdition au lieu de lui proposer une solution satisfaisante: Nul devergondage scripturaire ne peut plus me masquer le desespoir incisif que je ressens devant le nombre de variables qui peuvent entrer dans la composition d'une oeuvre originale.
Ne serait-il pas mieux alors de choisir des le debut de faire un recit decompose p. Quelque chose me dit qu'un modele anterieur plonge mon improvisation dans une forme atavique et qu'une alluvion ancienne etreint le fleuve instantane qui m'echappe.
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II avait depose un ambitieux projet de thes: Phenomenologie de la creation du personnage dans le roman chez J. Plus il veut ecrire l'histoire plus il est conscient qu'elle travaille a son effacement et a son oubli. De meme le narrateur ne fait que reprendre l'ecriture de l'oeuvre infinie: Ce roman metisse n'est qu'une variante desordonnee d'autres livres ecrits par des ecrivains inconnus. On pourrait agir de force, avec une extreme violence sur la blancheur de la page et le narrateur s' exclamerait: Je suis emprisonne dans ma folie, emmure dans mon impuissance surveillee, accroupi sans elan sur un papier blanc comme le drap avec lequel on se pend.
Je m'ophelise dans le Rhone. Ma longue chevelure manuscrite se mele aux plantes aquatiles. Je cesse d'etre un homme.
- The Unwritten Vol. 7: The Wound.
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- Garfield Worldwide: His 15th Book (Garfield Series).
- Sacred Companions Sacred Community: Reflections with Clare of Assisi.
Ecrire est un grand amour, p. La revolution s'entremele a l'acte sexuel dans une fusion paroxysmale qui est la pulsion de 1' ecriture.
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Le perpetuel mouvement La figure geometrique qui marque Prochain episode est celle du cercle avec tous ses derives spirales, courbes, boucles. Elle y revele une certaine fatalite, revocation d'un destin insurmontable. Le cercle opere en veritable cercle vicieux qui entraine le personnage dans sa chute spiralee. Ses jours, ainsi que les pages ecrites, sont soumis au meme mouvement circulaire de repetition infinie. Ainsi le mot revolution prend sa double signification dans le roman comme l'a tres justement souligne Jean-Francois Hamel4: Repetition du recit et temps de l'histoire dans "Prochain episode" in Voix et Images, v.
Ce qui revient hanter la memoire du narrateur, e'est ce qui n'a pas de memoire et qui pourtant ne cesse de faire retour. Hubert Aquin voyait l'avenir dans la transformation revolutionnaire de la vie qui devait changer le cours de l'histoire du Quebec et l'ecriture devait par consequent etre aussi une revolution. D'ou 1'identification du personnage a Bonnivard et a Ferragus. Comme l'a tres justement signale Sylvie Jeanneret: En d'autres termes, comment concilier revolution et esthetique?
Or, le lecteur apprend que celui-ci a accroche au mur du salon le tableau de Benjamin West la Mort du general Wolfe. Ce detail apparemment anodin est chargee d'une grande signification historique traumatisante. En le general britannique James Wolfe vainquit Montcalm devant Quebec lors de la bataille des plaines d'Abraham qui decida du sort du Canada. Mais, comme son adversaire, il fut mortellement blesse dans le combat et n'a pas pu assister au triomphe de son armee.
L'allusion a cette conquete qui est a l'origine du traumatisme des Canadiens francais situe le roman dans une esthetique de la chute et de la deperdition. Face a cet adversaire qu'il tient a portee de pistolet le personnage echoue ne trouvant pas la force de le tuer et d'accomplir ainsi sa mission.
Le narrateur-arpenteur de l'interiorite s'abstrait de tout topos reel et plonge dans rincertitude d'une folie de la geometrie qui devrait lui servir de remede, mais qui, par essence, ne fait que 1' engouffrer dans le vide du cercle vers un nouvel infini infernal. Que la violence instaure a nouveau dans ma vie l'ordre vital, car il me semble que, depuis trente-quatre ans, je n'ai pas vecu sinon comme l'herbe. Si je faisais le compte, par une computation rapide, des baisers donnes, de mes grandes emotions, de mes nuits d'emerveillement, de mes journees lumineuses, des heures privilegiees et de ce qui me reste des grandes decouvertes; et si j'additionnais, sur une infinite de cartes postales perforees, les villes que j'ai traversees, les hotels ou je me suis arrete pour un bon repas ou pour une nuit d'amour, le nombre de mes amis et des femmes que j 'ai trahies, a quel sombre inventaire toutes ces operations arythmales me conduiraient-elles?
La courbe sinusoide du vecu ne traduit pas l'espoir ancien p. Deux litteratures francophones en dialogue. Du Quebec et de la Suisse romande. Les Presses de l'Universite de Laval, Si on cherche a tracer le chemin parcouru par le personnage on s'apercoit facilement qu'il ne s'apparente pas veritablement aux arpenteurs qui parcourent ou errent inlassablement dans les villes. Le seul heros qui bouge, qui peut reellement se deplacer est le revolutionnaire qui se trouve pour 24 heures a Lausanne avec la mission de tuer H.
II se trouve d'abord dans la chambre de l'hotel d'Angleterre et se lance ensuite dans une poursuite de H. II s'ensuitune breve filature a pied, prolongee parunnouveau trajet en voiture: Echadens - Morge - Geneve avec un demi-tour vers Coppet. Si marche il y a, elle est incitee par la poursuite, par cette quete du double avec qui il finira par fusionner. La poursuite a travers ce paysage etranger, qui profile les Alpes et le lac Leman, deux images doubles de la verticalite: La quete d'identite a travers l'exil Hubert Aquin fait un sejour en Suisse, en de mai a decembre apres son emprisonnement en tant que partisan du RTN Rassemblement pour l'independance nationale.
Plus tard la Police federate des etrangers va l'expulser sous pretexte de sympathie pour la cause jurassienne. Le paysage idyllique de la Suisse est source de bonheur et sert de contrepoids a la depression qui s'empare du personnage. L'exergue du roman est extrait de la correspondance entre Alfred de Musset et George Sand et revele ce sentiment extatique et sublime devant la nature helvetique: N'est-ce pas que e'est beau? II n'y a que cela au monde". Or, cette alterite du decor6 renforce justement le sentiment d'etrangete au monde, de faiblesse existentielle qui prefigurent l'echec du personnage dans ses ambitions de grand revolutionnaire.
La Suisse sera ce miroir qui lui renvoie l'image de son incapacite et qui rend l'identite encore plus problematique et souffrante. L'exil n'est pas un refuge car ilretarde le heros, l'eloigne de sa mission, le remet en question. Le mythe de la Suisse du reve a ete nourri notamment par l'oeuvre de Ramuz dont le Journal est considere comme une des principales sources du roman7. Les motifs du lac et de la montagne ont ete inspires par 1' ecrivain romand qui est mentionne dans Prochain episode a la p. Derborance et la Beaute sur la terre.
Le lien entre le Quebec de la prison et la Suisse du reve que Ton retrouve dans le roman a du etre inspire par Pauteur Suisse chez qui on retrouve egalement les motifs du lac et de la montagne. Hubert Aquin ou la revoke impossible.
1st part - Ideadiez.com
La quete d'identite dans Prochain episode d'Hubert Aquin 51 La quete d'identite a travers l'errance Anthony Soron a nomme Aquin le "Quebecois errant", celui qui se sent desidentifie et va chercher des modeles dans des identites multiples. L'errance est deja posee des le debut du roman comme une option possible dans la construction du recit par l'introduction du personnage d' agent secret qui justement, a l'encontre du vrai espion qui poursuit un but concret, n'agira par aucune logique. Toutes ses demarches seront incoherentes, il sera determine par la divagation.
Le narrateur enferme, condamne a une immobilite interminable p. Quelque chose menace d 'exploser en moi. L'errance peut mener au temps amoureux ou l'histoire personnelle prend sens. Mais prend-elle vraiment sens si elle ne s'inscritpas dans l'Histoire? Une correlation devrait exister entre l'histoire personnelle et l'Histoire. L evocation de differents moments de l'Histoire mis en abyme dans le texte viennent pour le rappeler. L'errance s'etend ainsi a differentes epoques, elle depasse la dimension spatiale, elle prend egalementune valeurtemporelle.
Le veritable arpenteur est l'ecrivain enferme dans la clinique psychiatrique, dechire par son incoherence ontologique p. II va fixer et mesurer 1' espace limite qui lui est devolu en vrai geometre: D 'ici ld,je n 'aipas grand-chose a faire, encore que ma liberie de mouvement se trouve reduite au rez-de-chaussee, plus precisement a I'interieur d'une aire de vigie constitute par le triangle isocele que je trace mentalement en tirant une ligne entre le larmier et la commode a la credence et enfin de la credence au larmier.
Je peux done evoluer tres a I'aise dans cet espace euclidien, sans craindre d'etre pris par surprise puisque de tous les points imaginables situes en dedans du triangle, je peux, en une fraction de seconde, rejoindre monposte de tir, sur le flanc droit de la credence, pp. Mais e'est en meme temps une figure de deconstruction, parce qu'elle entraine et aneantit l'ecrivain dans ses demultiplications sibyllines.
Finalement la quete d'identite prend une dimension litteraire et nous nous accordons avec Anthony Soron qui affirme que: Elk envisage l'arrivee d'un "prochain episode" dans l'tiistoire du peuple quebecois qui sera salutaire pour leur revendication identitaire. Le Cercle du livre de France, Hamel, Jean-Francois, "De revolutions en circonvolutions. Repetition du recit et temps de 1'histoire dans Prochain episode in Voix et Images, v.
Hubert Aquin, agent double: Les Presses de l'Universite de Montreal, Coll. Le je u illocutoire. Forme et contestation dans le nouveau roman quebecois. This cannot be a neutral process; in the broadest sense of the term, all historical writing is ideological. Written in the light of today's concerns, it reflects a selection of what is known from the past that is felt by the historian to be relevant today.
In that sense, history is not about the past, but about the present. National history in particular is primarily about the present. And in a deeper sense, its real focus is the future: National histories are highly normative. For most people, the primary locus for their understanding of national history is what they are taught at school in their history classes: And for many, this is definitive: Hence the central role that these history textbooks play in all educational systems. This article looks at five textbooks dealing with Canadian history used in Ontario high schools over a period of more than a century, the first dating from , the latest from the year Because of the constraints of space, only one very limited topic will be dealt with - the differing ways these textbooks deal with one of the most fascinating, indeed archetypal, moments in Canadian history, the Northwest Rebellion of Its special quality is due to three main factors.
First, the Northwest Rebellion brings together a great many strands of central importance in Canadian history - the French-English relationship, the Catholic-Protestant dichotomy, the 54 Don Sparling role of the Native peoples, the antagonism between Central Canada and the West. Second, it has proved immensely fruitful for the Canadian imagination, the inspiration for many works of art paintings, graphic work, sculptures , an extraordinarily large number of works of fiction and poetry, even an opera. And third, it centres on an individual who is beyond any doubt the most controversial figure in Canadian history - Louis Riel.
So how do the individual Canadian textbooks treat the Northwest Rebellion of ? Let us look at the books in the order of their publication. The first is W. R Clement's History of the Dominion of Canada, dating from Written scarcely more than a decade after the events it describes, it might be expected to deal with them in some depth, given their current implications. In fact, however, the opposite is true.
The "Second Riel Rebellion" as it is called, is dismissed in less than a page - rather surprising for what was, after all, the strongest challenge to the authority of the new Dominion in the course of its then short history. The origin of the unrest in fact lay in protests and quite justified demands that had come from both Metis and settlers from eastern Canada; several petitions had been sent to Ottawa over the course of more than two years, and they had been totally ignored by the government. Here, however, we are told that "The French half- breeds near the forks of the Saskatchewan" - the frustrated non-Metis are neatly absent in this account - "deemed themselves aggrieved" at the Canadian government's "delay" in settling their claims.
They are then said to have invited "the rebel leader, Riel" to come and help them - the same Riel who had in fact received a conditional amnesty from the governor of the Northwest some years previously for having helped defeat an attempt by a group of American Fenians to invade the territory. A space of more than a year, and complicated developments, are condensed in the statement that "the result" of Riel coming back was "an outbreak at Duck Lake, where a small detachment of Mounted Police and a few volunteers from Prince Albert were repulsed by a body of half-breeds".
Then a band of Indians "cruelly murdered several persons"; other Cree Indians "joined in the rebellious movement", volunteers were "at once" dispatched from eastern Canada to the scene and the "half-breed stronghold at Batoche was soon taken". This "stronghold" was in fact no more than a series of trenches, and despite overwhelming odds managed to last out for three days.
The victory of the Canadian forces is said to have been achieved "with the loss, unhappily, of several of our brave volunteers" all quotes thus far from Clements, The loss of Metis goes unnoticed; presumably there was not presumed to be any occasion for "unhappiness" at their deaths. The same confusion of capture and surrender occurs with Poundmaker as well as with Big Bear: The significance of the rebellion is smoothly Versions of History 55 diminished when we learn that "Before the summer was over the volunteers were again at their homes.
No mention that the jury recommended clemency, no mention of the intensely fierce debate that erupted between English and French as to his fate, no mention of the fatal blow this dealt to the Conservative Party, which from then on ceased to count in Quebec. Clearly the events are both played down and viewed from what can only be termed the official point of view of WASP eastern Canada. The Metis viewpoint is absent, as are those of the Natives and the French Canadians.
In fact they must be absent: This is a history textbook for a young country, put together from separate colonies only thirty years previously, and the aim is to show how far it has come in such a short time. Another reason that it is so important to stress the unity of the country is that its ambitions are presented as being, potentially, even "greater". The date here is significant - was the year of Queen Victoria's diamond jubilee, the high point of the imperial dream.
And indeed, the very last section of the textbook deals with "Our place in the British Empire", where we are told that "our growth from weak and divided provinces to one great and united Dominion should encourage us to look forward to the still wider federation of all lands which fly the Union Jack" Clements, Riel and the Northwest Rebellion are a denial of that grand imperial vision; quite logically, their significance must be blotted out.
By , when the next text appeared - W. Grant's History of Canada - this imperial perspective was no longer relevant: Still, largely, white and Anglophone, but the lens through which the events are viewed is certainly more encompassing, revealing a more complex understanding of what had happened.
We learn that it was all the settlers who were suffering under the government's neglect, not just the Metis; we are told of their fruitless appeals to Ottawa; the particularly precarious situation of the Indians, with the disappearance of the buffalo, is sketched in.
Though Riel is clearly at fault - "Riel deserved his fate" - the primary blame is emphatically laid - and more than once - on Ottawa: The frightening French-English divisions the events revealed are pointed out, in graphic terms - Riel's execution "had roused [the French in Quebec] almost to madness," and the violent reaction in Ontario is illustrated by quoting one of Sir John A. Macdonald's chief supporters there, whose "unwise language" included the following passage: This is a British country, and the sooner we take in hand our French Canadian fellow-subjects and make them British in sentiment and teach them the English 56 Don Sparling language, the less trouble we shall have Both quotes from Grant, There is no longer the silence of the earlier textbook - or the attempt to create an illusion of dignified unity.
The author seems to be working in the spirit of his introduction, where he expresses a wish to "avoid However, whether he followed his other dictum - to "avoid Though he does speak sympathetically of Riel - granting him "good service" in stopping the Fenian raid, and commenting that "he was no coward, and met his fate without a tremor" Grant, - his depiction of the Metis is definitely rather paternalistic. He stresses their preference for "a wilder life of adventure" Grant, rather than farming - yet surely he must have been aware that the annual buffalo hunts he is referring to here were in fact meticulously organized and highly disciplined expeditions based on hard-headed financial calculations.
And his depiction of the Metis' reaction to the surveyors from Ontario who began carving up their farming lots is a classic example of the imperial gaze: This about a deeply Catholic people where literacy was the norm. Nor does Grant seem less biased when he speaks about the Natives. For example, he admits that Col. Otter's attack on some Crees under Poundmaker "was repulsed with some loss" Grant, , but omits to mention - or was perhaps unaware?
Most amazingly, Grant names Big Bear among the Indians who were hanged, though in fact he was actually sentenced to a term in jail.