Claire Boyle - Academia.edu (original) (raw)
Papers by Claire Boyle
Journal of Romance Studies
French Studies, 2016
In 2014 the Centre Pompidou mounted the centenary exhibition Duras Song: portrait d’une écriture.... more In 2014 the Centre Pompidou mounted the centenary exhibition Duras Song: portrait d’une écriture. In the library, a Duras space was created. Its outside walls were hung with images and texts about her political commitments and historical positioning. The interior featured her literary, theatrical, and cinematic works, with scenes from her films and from interviews projected at intervals on different wall spaces. The exhibition accompanied a retrospective of her films, which opened with a sell-out screening of La Musica (dir. by Duras and Paul Seban, 1967). This new entry into Duras’s work, and vivid appreciation of her filmmaking as well as her writing, is marked too in this excellent Études cinématographiques volume. The first pieces, an Introduction and a further essay, ‘Métissage cinémato-graphique’, by Jean Cléder, and an essay of contextual discussion, ‘Marguerite Duras de la littérature au cinéma’, by Claude Murcia, think through some of the questions about the relation between writing and filmmaking for Duras. An essay by Michelle Royer marks a lovely departure, illuminating the sensory experience of becoming immersed in a Duras film such as India Song (1975). Comparisons with the work of Philippe Grandrieux are fascinating, as are references outwards to Richard Cytowic and to Deleuze. For Royer, Duras ‘demande aux spectateurs de renoncer au désir de contrôler l’expérience spectatorielle et de préférer l’intensité de l’émotion à la démarche rationnelle’ (p. 49). Royer’s words remind me of the experience of responding to the seemingly unbidden appearance of Duras extracts, followed by intervals of darkness, in Duras Song. Like the exhibition, essays in the volume are interested, in varying ways, in the relation between history, living, and writing. Najet Limam-Tnani’s suggestive piece on autobiography juxtaposes a text from Duras about her love for Gérard Jarlot— their days in a hotel on the banks of the Loire; their sorties at night to find a bar — with the encounters in Hiroshima mon amour (dir. by Alain Resnais, 1959). Intimate and public history inform one another here. In an excellent essay on Les Mains négatives (1978), Césarée (1978), and the Aurélia Steiner films (also discussed by Alice Delmotte-Halter), Didier Coureau reminds us that Duras alluded to the drowning of Algerians in the Seine in October 1961 as she described her own obsessive filming of the river in Aurélia Steiner (Melbourne) (1979). These essays dwell on these historical locations and displacements, as they also explore Duras’s home spaces, where Sophie Charlin writes about the house at Neauphle-le-Château in Nathalie Granger (1972), and further still on the cinematic spaces of Duras’s work. Coureau’s piece ends with a section, ‘Vers le noir’, which looks ahead to two final essays, by Laure Bergala and Sébastian Ronceray respectively, on ‘l’image noire’ and the blank/black screen. The latter aligns Duras beautifully with Stan Brakhage. The volume closes with three interviews conducted by Jean Cléder with filmmakers Benoît Jacquot, Bruno Nuytten, and Michelle Porte. There is scant reference to anglophone scholarship on Duras — citation of Leslie Hill, Martin Crowley, Renate Günther, and Laura McMahon would have been welcome — but, this qualm apart, this is a coruscating volume.
French Studies, Oct 1, 2008
... After tracing back the history of contact between Geography and Literary Studies from both di... more ... After tracing back the history of contact between Geography and Literary Studies from both disciplinary perspectives, it goes on to discuss recent academic work in the field and seeks to forge a new conceptual framework through which contemporary discussions of space and ...
Journal of Romance Studies, Mar 1, 2023
This article takes the autofictional trauma cinema created by Lebanese artists and filmmakers Joa... more This article takes the autofictional trauma cinema created by Lebanese artists and filmmakers Joana Hadjithomas and Khalil Joreige in their Je veux voir (2008) as a case study that demonstrates the potential value of a film-analytical methodology grounded in the concept of cinéma-monde. A Franco-Lebanese co-production starring Catherine Deneuve, Je veux voir occupies a hybrid generic position between documentary and fiction, and may be considered as a rare example of cinematic autofiction. Deneuve's participation, along with the associations conjured up by her cinematic star-image, allows Je veux voir to interrogate the nature of the ongoing relationship between France and Lebanon (Lebanon being France's former protectorate). It also allows for an ethical approach to bearing witness to the war trauma that Lebanese people have suffered in recent decades, whilst avoiding the ethical traps of falsely totalising and distorting narratives embedded in existing audiovisual discourses that might, conversely, generate greater transnational audience appeal.
Edinburgh University Press eBooks, May 21, 2019
Routledge eBooks, Dec 2, 2017
... Reading and Writing the Self in Post-War France ❖ Claire Boyle / LEGENDA Modern Humanities Re... more ... Reading and Writing the Self in Post-War France ❖ Claire Boyle / LEGENDA Modern Humanities Research Association and Maney Publishing 2007 Page 6. Published by the Modern Humanities Research Association and Maney Publishing 1 Carlton House Terrace London ...
Cambridge University Press eBooks, 2011
Modern Language Review, 2006
Cambridge University Press eBooks, Feb 24, 2011
French Studies, Mar 16, 2016
In 2014 the Centre Pompidou mounted the centenary exhibition Duras Song: portrait d’une écriture.... more In 2014 the Centre Pompidou mounted the centenary exhibition Duras Song: portrait d’une écriture. In the library, a Duras space was created. Its outside walls were hung with images and texts about her political commitments and historical positioning. The interior featured her literary, theatrical, and cinematic works, with scenes from her films and from interviews projected at intervals on different wall spaces. The exhibition accompanied a retrospective of her films, which opened with a sell-out screening of La Musica (dir. by Duras and Paul Seban, 1967). This new entry into Duras’s work, and vivid appreciation of her filmmaking as well as her writing, is marked too in this excellent Études cinématographiques volume. The first pieces, an Introduction and a further essay, ‘Métissage cinémato-graphique’, by Jean Cléder, and an essay of contextual discussion, ‘Marguerite Duras de la littérature au cinéma’, by Claude Murcia, think through some of the questions about the relation between writing and filmmaking for Duras. An essay by Michelle Royer marks a lovely departure, illuminating the sensory experience of becoming immersed in a Duras film such as India Song (1975). Comparisons with the work of Philippe Grandrieux are fascinating, as are references outwards to Richard Cytowic and to Deleuze. For Royer, Duras ‘demande aux spectateurs de renoncer au désir de contrôler l’expérience spectatorielle et de préférer l’intensité de l’émotion à la démarche rationnelle’ (p. 49). Royer’s words remind me of the experience of responding to the seemingly unbidden appearance of Duras extracts, followed by intervals of darkness, in Duras Song. Like the exhibition, essays in the volume are interested, in varying ways, in the relation between history, living, and writing. Najet Limam-Tnani’s suggestive piece on autobiography juxtaposes a text from Duras about her love for Gérard Jarlot— their days in a hotel on the banks of the Loire; their sorties at night to find a bar — with the encounters in Hiroshima mon amour (dir. by Alain Resnais, 1959). Intimate and public history inform one another here. In an excellent essay on Les Mains négatives (1978), Césarée (1978), and the Aurélia Steiner films (also discussed by Alice Delmotte-Halter), Didier Coureau reminds us that Duras alluded to the drowning of Algerians in the Seine in October 1961 as she described her own obsessive filming of the river in Aurélia Steiner (Melbourne) (1979). These essays dwell on these historical locations and displacements, as they also explore Duras’s home spaces, where Sophie Charlin writes about the house at Neauphle-le-Château in Nathalie Granger (1972), and further still on the cinematic spaces of Duras’s work. Coureau’s piece ends with a section, ‘Vers le noir’, which looks ahead to two final essays, by Laure Bergala and Sébastian Ronceray respectively, on ‘l’image noire’ and the blank/black screen. The latter aligns Duras beautifully with Stan Brakhage. The volume closes with three interviews conducted by Jean Cléder with filmmakers Benoît Jacquot, Bruno Nuytten, and Michelle Porte. There is scant reference to anglophone scholarship on Duras — citation of Leslie Hill, Martin Crowley, Renate Günther, and Laura McMahon would have been welcome — but, this qualm apart, this is a coruscating volume.
Modern Language Review, Jul 1, 2005
Yam (Dioscorea spp) is a useful plant. It is included among the top five tubers food crops contri... more Yam (Dioscorea spp) is a useful plant. It is included among the top five tubers food crops contributing 99% of world production. These plants grow in a secondary forests in Manokwari Regency, West Papua, but it has not been cultivated yet by farmers or local communities, so it needs to be explored to identify its growing environment, morphological characteristics and its species variety. The Exploration was conducted in 9 districts of Manokwari Regency, West Papua which consisted of West Manokwari, South Manokwari, East Manokwari, North Manokwari, Masni, Prafi, Sidey, Tanah Rubuh, and Warmare, with a total area of 4650.32 km 2. The exploration was carried out by determining randomly sampling points based on where the plants were found. Samples found were taken its photo, and collected its morphological character data and collected its dry specimens. The results found that the plant lives at a range temperature of 25.5-34.8 0 C, 57.7-88.2% humidity range, and light intensity range at 1033-26200 lux. Forty accessions were obtained during the exploration comprising of 5 species i.e Dioscorea alata L., Dioscorea bulbifera L., Dioscorea hispida Dennst, Dioscorea pentaphylla L., and Dioscorea pyrifolia Kunth. The results showed that 2 accessions of Dioscorea alata L had thorny stems and leave position of 2 other accessions were alternate; 2 accessions of Dioscorea bulbifera L. had thorny stems; and Dioscorea pentaphylla L found to have compound leaves with 3, 4, 5 and 7 leaf blade.
Introduction: Neonatal jaundice affects nearly 60% of term and 80% of preterm neonates during the... more Introduction: Neonatal jaundice affects nearly 60% of term and 80% of preterm neonates during the first week of life. Although early discharge of healthy term newborns is a common practice, neonatal hyperbilirubinemia (NH) is the most common cause for readmission during the early neonatal period. Objective: To determine the association of cord serum albumin with serum bilirubin levels and whether it can be used as a risk indicator for the development of NH. Method: In this observational study, cord blood was collected from healthy term newborns for serum albumin level measurements. Total serum bilirubin and direct serum bilirubin were measured during 72 e96 h of life. Newborns were clinically assessed daily for NH or for any other complication during the study period. Result: Among the study cohort of 300 babies, 35 had a total serum bilirubin level of 17 mg/dl after 72 h and were considered to have NH. They were grouped as Group 1, Group 2, and Group 3 according to the cord serum albumin level 2.8 g/dl, 2.9e3.3 g/dl, and 3.4 g/dl, respectively. Statistical analysis was conducted to assess the correlation of cord serum albumin with NH. The results showed that a cord serum albumin level 2.8 g/dl is critical, as it was seen in 95% of term newborns who developed NH. In the group where cord serum albumin was 3.4 g/dl, none of the term newborns developed NH. Conclusion: Term neonates with hyperbilirubinemia with a total serum bilirubin level 17 mg/dl had levels of cord serum albumin of 2.8 g/dl, and this can be used as a risk indicator to predict the development of NH.
Since its first appearance on the back cover of Serge Doubrovsky's 1977 novel Fils, the term ... more Since its first appearance on the back cover of Serge Doubrovsky's 1977 novel Fils, the term autofiction immediately attracted the interest of many French critics and writers. Critics such as Philippe Lejeune, Philippe Gasparini, Gérard Genette, Vincent Colonna, Marie Darrieussecq, and Régine Robin started a vibrant debate about this new literary genre, whose subject was neither entirely autobiographical nor exactly fictional, a debate that even today is far from being concluded. In its early stages, the debate on autofiction was primarily focused on issues such as its position in Lejeune's autobiographical pact, on its generic status as a literary genre, and on its differences with other literary genres such as the autobiographical novel and the memoir. However, thanks to critics and writers such as Arnaud Genon and Chloé Delaume, the debate on autofiction was opened up to other stimulating perspectives, like its relationship with postmodernism and its ability to represent ...
Consuming Autobiographies, 2017
Journal of Romance Studies
French Studies, 2016
In 2014 the Centre Pompidou mounted the centenary exhibition Duras Song: portrait d’une écriture.... more In 2014 the Centre Pompidou mounted the centenary exhibition Duras Song: portrait d’une écriture. In the library, a Duras space was created. Its outside walls were hung with images and texts about her political commitments and historical positioning. The interior featured her literary, theatrical, and cinematic works, with scenes from her films and from interviews projected at intervals on different wall spaces. The exhibition accompanied a retrospective of her films, which opened with a sell-out screening of La Musica (dir. by Duras and Paul Seban, 1967). This new entry into Duras’s work, and vivid appreciation of her filmmaking as well as her writing, is marked too in this excellent Études cinématographiques volume. The first pieces, an Introduction and a further essay, ‘Métissage cinémato-graphique’, by Jean Cléder, and an essay of contextual discussion, ‘Marguerite Duras de la littérature au cinéma’, by Claude Murcia, think through some of the questions about the relation between writing and filmmaking for Duras. An essay by Michelle Royer marks a lovely departure, illuminating the sensory experience of becoming immersed in a Duras film such as India Song (1975). Comparisons with the work of Philippe Grandrieux are fascinating, as are references outwards to Richard Cytowic and to Deleuze. For Royer, Duras ‘demande aux spectateurs de renoncer au désir de contrôler l’expérience spectatorielle et de préférer l’intensité de l’émotion à la démarche rationnelle’ (p. 49). Royer’s words remind me of the experience of responding to the seemingly unbidden appearance of Duras extracts, followed by intervals of darkness, in Duras Song. Like the exhibition, essays in the volume are interested, in varying ways, in the relation between history, living, and writing. Najet Limam-Tnani’s suggestive piece on autobiography juxtaposes a text from Duras about her love for Gérard Jarlot— their days in a hotel on the banks of the Loire; their sorties at night to find a bar — with the encounters in Hiroshima mon amour (dir. by Alain Resnais, 1959). Intimate and public history inform one another here. In an excellent essay on Les Mains négatives (1978), Césarée (1978), and the Aurélia Steiner films (also discussed by Alice Delmotte-Halter), Didier Coureau reminds us that Duras alluded to the drowning of Algerians in the Seine in October 1961 as she described her own obsessive filming of the river in Aurélia Steiner (Melbourne) (1979). These essays dwell on these historical locations and displacements, as they also explore Duras’s home spaces, where Sophie Charlin writes about the house at Neauphle-le-Château in Nathalie Granger (1972), and further still on the cinematic spaces of Duras’s work. Coureau’s piece ends with a section, ‘Vers le noir’, which looks ahead to two final essays, by Laure Bergala and Sébastian Ronceray respectively, on ‘l’image noire’ and the blank/black screen. The latter aligns Duras beautifully with Stan Brakhage. The volume closes with three interviews conducted by Jean Cléder with filmmakers Benoît Jacquot, Bruno Nuytten, and Michelle Porte. There is scant reference to anglophone scholarship on Duras — citation of Leslie Hill, Martin Crowley, Renate Günther, and Laura McMahon would have been welcome — but, this qualm apart, this is a coruscating volume.
French Studies, Oct 1, 2008
... After tracing back the history of contact between Geography and Literary Studies from both di... more ... After tracing back the history of contact between Geography and Literary Studies from both disciplinary perspectives, it goes on to discuss recent academic work in the field and seeks to forge a new conceptual framework through which contemporary discussions of space and ...
Journal of Romance Studies, Mar 1, 2023
This article takes the autofictional trauma cinema created by Lebanese artists and filmmakers Joa... more This article takes the autofictional trauma cinema created by Lebanese artists and filmmakers Joana Hadjithomas and Khalil Joreige in their Je veux voir (2008) as a case study that demonstrates the potential value of a film-analytical methodology grounded in the concept of cinéma-monde. A Franco-Lebanese co-production starring Catherine Deneuve, Je veux voir occupies a hybrid generic position between documentary and fiction, and may be considered as a rare example of cinematic autofiction. Deneuve's participation, along with the associations conjured up by her cinematic star-image, allows Je veux voir to interrogate the nature of the ongoing relationship between France and Lebanon (Lebanon being France's former protectorate). It also allows for an ethical approach to bearing witness to the war trauma that Lebanese people have suffered in recent decades, whilst avoiding the ethical traps of falsely totalising and distorting narratives embedded in existing audiovisual discourses that might, conversely, generate greater transnational audience appeal.
Edinburgh University Press eBooks, May 21, 2019
Routledge eBooks, Dec 2, 2017
... Reading and Writing the Self in Post-War France ❖ Claire Boyle / LEGENDA Modern Humanities Re... more ... Reading and Writing the Self in Post-War France ❖ Claire Boyle / LEGENDA Modern Humanities Research Association and Maney Publishing 2007 Page 6. Published by the Modern Humanities Research Association and Maney Publishing 1 Carlton House Terrace London ...
Cambridge University Press eBooks, 2011
Modern Language Review, 2006
Cambridge University Press eBooks, Feb 24, 2011
French Studies, Mar 16, 2016
In 2014 the Centre Pompidou mounted the centenary exhibition Duras Song: portrait d’une écriture.... more In 2014 the Centre Pompidou mounted the centenary exhibition Duras Song: portrait d’une écriture. In the library, a Duras space was created. Its outside walls were hung with images and texts about her political commitments and historical positioning. The interior featured her literary, theatrical, and cinematic works, with scenes from her films and from interviews projected at intervals on different wall spaces. The exhibition accompanied a retrospective of her films, which opened with a sell-out screening of La Musica (dir. by Duras and Paul Seban, 1967). This new entry into Duras’s work, and vivid appreciation of her filmmaking as well as her writing, is marked too in this excellent Études cinématographiques volume. The first pieces, an Introduction and a further essay, ‘Métissage cinémato-graphique’, by Jean Cléder, and an essay of contextual discussion, ‘Marguerite Duras de la littérature au cinéma’, by Claude Murcia, think through some of the questions about the relation between writing and filmmaking for Duras. An essay by Michelle Royer marks a lovely departure, illuminating the sensory experience of becoming immersed in a Duras film such as India Song (1975). Comparisons with the work of Philippe Grandrieux are fascinating, as are references outwards to Richard Cytowic and to Deleuze. For Royer, Duras ‘demande aux spectateurs de renoncer au désir de contrôler l’expérience spectatorielle et de préférer l’intensité de l’émotion à la démarche rationnelle’ (p. 49). Royer’s words remind me of the experience of responding to the seemingly unbidden appearance of Duras extracts, followed by intervals of darkness, in Duras Song. Like the exhibition, essays in the volume are interested, in varying ways, in the relation between history, living, and writing. Najet Limam-Tnani’s suggestive piece on autobiography juxtaposes a text from Duras about her love for Gérard Jarlot— their days in a hotel on the banks of the Loire; their sorties at night to find a bar — with the encounters in Hiroshima mon amour (dir. by Alain Resnais, 1959). Intimate and public history inform one another here. In an excellent essay on Les Mains négatives (1978), Césarée (1978), and the Aurélia Steiner films (also discussed by Alice Delmotte-Halter), Didier Coureau reminds us that Duras alluded to the drowning of Algerians in the Seine in October 1961 as she described her own obsessive filming of the river in Aurélia Steiner (Melbourne) (1979). These essays dwell on these historical locations and displacements, as they also explore Duras’s home spaces, where Sophie Charlin writes about the house at Neauphle-le-Château in Nathalie Granger (1972), and further still on the cinematic spaces of Duras’s work. Coureau’s piece ends with a section, ‘Vers le noir’, which looks ahead to two final essays, by Laure Bergala and Sébastian Ronceray respectively, on ‘l’image noire’ and the blank/black screen. The latter aligns Duras beautifully with Stan Brakhage. The volume closes with three interviews conducted by Jean Cléder with filmmakers Benoît Jacquot, Bruno Nuytten, and Michelle Porte. There is scant reference to anglophone scholarship on Duras — citation of Leslie Hill, Martin Crowley, Renate Günther, and Laura McMahon would have been welcome — but, this qualm apart, this is a coruscating volume.
Modern Language Review, Jul 1, 2005
Yam (Dioscorea spp) is a useful plant. It is included among the top five tubers food crops contri... more Yam (Dioscorea spp) is a useful plant. It is included among the top five tubers food crops contributing 99% of world production. These plants grow in a secondary forests in Manokwari Regency, West Papua, but it has not been cultivated yet by farmers or local communities, so it needs to be explored to identify its growing environment, morphological characteristics and its species variety. The Exploration was conducted in 9 districts of Manokwari Regency, West Papua which consisted of West Manokwari, South Manokwari, East Manokwari, North Manokwari, Masni, Prafi, Sidey, Tanah Rubuh, and Warmare, with a total area of 4650.32 km 2. The exploration was carried out by determining randomly sampling points based on where the plants were found. Samples found were taken its photo, and collected its morphological character data and collected its dry specimens. The results found that the plant lives at a range temperature of 25.5-34.8 0 C, 57.7-88.2% humidity range, and light intensity range at 1033-26200 lux. Forty accessions were obtained during the exploration comprising of 5 species i.e Dioscorea alata L., Dioscorea bulbifera L., Dioscorea hispida Dennst, Dioscorea pentaphylla L., and Dioscorea pyrifolia Kunth. The results showed that 2 accessions of Dioscorea alata L had thorny stems and leave position of 2 other accessions were alternate; 2 accessions of Dioscorea bulbifera L. had thorny stems; and Dioscorea pentaphylla L found to have compound leaves with 3, 4, 5 and 7 leaf blade.
Introduction: Neonatal jaundice affects nearly 60% of term and 80% of preterm neonates during the... more Introduction: Neonatal jaundice affects nearly 60% of term and 80% of preterm neonates during the first week of life. Although early discharge of healthy term newborns is a common practice, neonatal hyperbilirubinemia (NH) is the most common cause for readmission during the early neonatal period. Objective: To determine the association of cord serum albumin with serum bilirubin levels and whether it can be used as a risk indicator for the development of NH. Method: In this observational study, cord blood was collected from healthy term newborns for serum albumin level measurements. Total serum bilirubin and direct serum bilirubin were measured during 72 e96 h of life. Newborns were clinically assessed daily for NH or for any other complication during the study period. Result: Among the study cohort of 300 babies, 35 had a total serum bilirubin level of 17 mg/dl after 72 h and were considered to have NH. They were grouped as Group 1, Group 2, and Group 3 according to the cord serum albumin level 2.8 g/dl, 2.9e3.3 g/dl, and 3.4 g/dl, respectively. Statistical analysis was conducted to assess the correlation of cord serum albumin with NH. The results showed that a cord serum albumin level 2.8 g/dl is critical, as it was seen in 95% of term newborns who developed NH. In the group where cord serum albumin was 3.4 g/dl, none of the term newborns developed NH. Conclusion: Term neonates with hyperbilirubinemia with a total serum bilirubin level 17 mg/dl had levels of cord serum albumin of 2.8 g/dl, and this can be used as a risk indicator to predict the development of NH.
Since its first appearance on the back cover of Serge Doubrovsky's 1977 novel Fils, the term ... more Since its first appearance on the back cover of Serge Doubrovsky's 1977 novel Fils, the term autofiction immediately attracted the interest of many French critics and writers. Critics such as Philippe Lejeune, Philippe Gasparini, Gérard Genette, Vincent Colonna, Marie Darrieussecq, and Régine Robin started a vibrant debate about this new literary genre, whose subject was neither entirely autobiographical nor exactly fictional, a debate that even today is far from being concluded. In its early stages, the debate on autofiction was primarily focused on issues such as its position in Lejeune's autobiographical pact, on its generic status as a literary genre, and on its differences with other literary genres such as the autobiographical novel and the memoir. However, thanks to critics and writers such as Arnaud Genon and Chloé Delaume, the debate on autofiction was opened up to other stimulating perspectives, like its relationship with postmodernism and its ability to represent ...
Consuming Autobiographies, 2017