Ellen Munley - Academia.edu (original) (raw)
Papers by Ellen Munley
Nouvelles Études Francophones, 2018
Ce principe indique l'absence d'ordre, d'articulations prédéfi nies et de hiérarchies entre les é... more Ce principe indique l'absence d'ordre, d'articulations prédéfi nies et de hiérarchies entre les éléments par contraste avec les systèmes "arborescents." 2 Ces principes opposent la carte (qui présente des entrées multiples dans un espace représentable par un grand nombre de cartes) au calque (qui reproduit un état de choses bien identifi é). 3 En plus, Glissant applique le concept de rhizome à une catégorisation des cultures qu'il divise en "ataviques" (les cultures européennes qui se relient par fi liation à une source) et "composites" (les cultures rhizomiques nées de l'histoire, des contacts et des migrations). 4 Voir la note 3.
The Modern Language Journal, 1984
The Modern Language Journal, 1988
Contemporary Literature, 1983
In L'Usage de la parole, one of Nathalie Sarraute's most recent works, the author too app... more In L'Usage de la parole, one of Nathalie Sarraute's most recent works, the author too appropriately uses, playfully abuses, and constructively reuses words in changing contexts to avoid telling a story. It is no one's nonstory, yet it belongs to everyone and every one. It is a series of tales begun which are as old or as young as the writer and the reader, beginnings which reveal how the self and the story of each individual are continually created and re-created through social relationships. This fractured fairy tale, which opens at Tchekhov's deathbed in Germany and ends somewhere deep inside the reader, bears the unmistakable mark of Nathalie Sarraute in particular and of a woman writer in general. Although Sarraute would be the first to deny that any piece of writing could be characterized as having been written by a woman, it is nevertheless true that the territory she has charted out for her fictional explorations is a "no-man's land" that corresponds to Nancy Chodorow's later psychoanalytic insights as described in The Reproduction of Mothering and that corroborates the critical theory on women's writing elaborated by Judith Kegan Gardiner. The poles of Sarraute's fictioncontact and fusion versus the separation and individuation of the self in relation to others coincide with the processes
Callaloo, 1992
... The Ramsaran and Pelagie marriages were arranged, and neither Rosa nor Dodose ever overcame t... more ... The Ramsaran and Pelagie marriages were arranged, and neither Rosa nor Dodose ever overcame their initial repugnance at being married to men they would never have chosen. ... Northvale, NJ: Jason Aronson, 1989. 166
The French Review, 1983
... II faut ouvrir une ruche, oui. I1 faut faire un planning d'abord; ensuite, vous ouvrez l... more ... II faut ouvrir une ruche, oui. I1 faut faire un planning d'abord; ensuite, vous ouvrez la ruche et il faut traiter ca en cinq minutes. I1 faut ... Si vous avez loupe, tant pis pour vous. ... Jean-Louis Bertrand, coursier, vingt-et-un ans. -Pour vivre, je me suis demerde, je vis chez une nana. ...
Nouvelles Études Francophones, 2018
Ce principe indique l'absence d'ordre, d'articulations prédéfi nies et de hiérarchies entre les é... more Ce principe indique l'absence d'ordre, d'articulations prédéfi nies et de hiérarchies entre les éléments par contraste avec les systèmes "arborescents." 2 Ces principes opposent la carte (qui présente des entrées multiples dans un espace représentable par un grand nombre de cartes) au calque (qui reproduit un état de choses bien identifi é). 3 En plus, Glissant applique le concept de rhizome à une catégorisation des cultures qu'il divise en "ataviques" (les cultures européennes qui se relient par fi liation à une source) et "composites" (les cultures rhizomiques nées de l'histoire, des contacts et des migrations). 4 Voir la note 3.
The Modern Language Journal, 1984
The Modern Language Journal, 1988
Contemporary Literature, 1983
In L'Usage de la parole, one of Nathalie Sarraute's most recent works, the author too app... more In L'Usage de la parole, one of Nathalie Sarraute's most recent works, the author too appropriately uses, playfully abuses, and constructively reuses words in changing contexts to avoid telling a story. It is no one's nonstory, yet it belongs to everyone and every one. It is a series of tales begun which are as old or as young as the writer and the reader, beginnings which reveal how the self and the story of each individual are continually created and re-created through social relationships. This fractured fairy tale, which opens at Tchekhov's deathbed in Germany and ends somewhere deep inside the reader, bears the unmistakable mark of Nathalie Sarraute in particular and of a woman writer in general. Although Sarraute would be the first to deny that any piece of writing could be characterized as having been written by a woman, it is nevertheless true that the territory she has charted out for her fictional explorations is a "no-man's land" that corresponds to Nancy Chodorow's later psychoanalytic insights as described in The Reproduction of Mothering and that corroborates the critical theory on women's writing elaborated by Judith Kegan Gardiner. The poles of Sarraute's fictioncontact and fusion versus the separation and individuation of the self in relation to others coincide with the processes
Callaloo, 1992
... The Ramsaran and Pelagie marriages were arranged, and neither Rosa nor Dodose ever overcame t... more ... The Ramsaran and Pelagie marriages were arranged, and neither Rosa nor Dodose ever overcame their initial repugnance at being married to men they would never have chosen. ... Northvale, NJ: Jason Aronson, 1989. 166
The French Review, 1983
... II faut ouvrir une ruche, oui. I1 faut faire un planning d'abord; ensuite, vous ouvrez l... more ... II faut ouvrir une ruche, oui. I1 faut faire un planning d'abord; ensuite, vous ouvrez la ruche et il faut traiter ca en cinq minutes. I1 faut ... Si vous avez loupe, tant pis pour vous. ... Jean-Louis Bertrand, coursier, vingt-et-un ans. -Pour vivre, je me suis demerde, je vis chez une nana. ...