Papers by Catherine Rodgers
Tidskrift för genusvetenskap
Man hittar allt i Det andra könet, analyser av såväl ideologi och litteratur som av samhället, sä... more Man hittar allt i Det andra könet, analyser av såväl ideologi och litteratur som av samhället, säger Christine Delphy i ett samtal om Simone de Beauvoirs betydelse för fransk feminism.
La description chez Marguerite Duras se cristallise dans l'évocation de paysages, ceux de l&#... more La description chez Marguerite Duras se cristallise dans l'évocation de paysages, ceux de l'enfance et des pays lointains, mais aussi ceux qui donnent forme aux personnages qui les habitent. Paysage d'eau ou urbain, l'espace décrit appelle à percevoir pour mieux témoigner d'un manque à voir.
The Modern Language Review, 1994
The Yearbook of English Studies, 1974
French Studies, 2007
Bernard Alazet and Mireille Calle-Gruber are familiar names in the field of Duras criticism, and ... more Bernard Alazet and Mireille Calle-Gruber are familiar names in the field of Duras criticism, and it is therefore no surprise to find them co-editing this composite volume of pieces on her work. Only the first eight of the essays relate to the title of the volume: they are followed by ...
Australian Journal of French Studies, 2005
Aventures et expériences littéraires, 2014
Romance Studies, 2011
En nous la vie des morts is the story of a spiritual transformation. The article analyses the ste... more En nous la vie des morts is the story of a spiritual transformation. The article analyses the steps necessary for the main character, Nortatem, to progress from a state of despondency, depression, and darkness to that of enlightened being. It focuses on the role that the wilderness, silence, and contemplation of Nature play in his metamorphosis, and examines how his progress is both driven and mirrored by his reading of a collection of stories, also entitled En nous la vie des morts, each tale relating to a stage in his spiritual journey. To make sense of the complex imagery and ideas Nobécourt incorporates into the portrayal of this journey, reference is made to a variety of religious texts, in particular Le Livre des secrets and The Tibetan Book of Living and Dying, two works which Nobécourt deemed important for her own spiritual awakening. Although Nature's healing powers are evident throughout the inner tales, Nortatem's final transfiguration comes about only when he understands that he is Metatron, the celestial scribe. References to the Bible and Jewish mysticism help to elucidate his recognition of the power of the Word, and to explain the role that numbers, and reading and writing, play in his spiritual development, a development which may be seen as a reflection not only of Nobécourt's own transformation, but also potentially of ours as readers of her text.
The Modern Language Review, 1997
Page 1. Page 2. Page 3. Page 4. Page 5. The French New Autobiographies o Crosscurrents This One W... more Page 1. Page 2. Page 3. Page 4. Page 5. The French New Autobiographies o Crosscurrents This One WRGN-EBZ-A743 Page 6. Crosscurrents: Comparative Studies in European Literature and Philosophy Edited by SE Gontarski Improvisations on Butor. Transformation of Writing ...
The Language Learning Journal, 2003
... Essays, for example, are notoriously difficult to mark objectively (but see Folz et al., 1999... more ... Essays, for example, are notoriously difficult to mark objectively (but see Folz et al., 1999; McKnight and Walberg, 1998: 26 ... Address for correspondence: Catherine Rodgers, Paul Meara and Gabriel Jacobs School of European Languages University of Wales Swansea Singleton ...
La vengeance dans le roman francophone, 2022
In 2010 Marie Darrieussecq published Rapport de Police, Accusations de plagiat et autres modes de... more In 2010 Marie Darrieussecq published Rapport de Police, Accusations de plagiat et autres modes de surveillance de la fiction as a response to the accusations of plagiarism brought against her by Camille Laurens and Marie NDiaye. In this essay she claims her right to an openly intertextual writing. Il faut beaucoup aimer les hommes belongs to this type of writing: Darrieussecq draws strong images from other texts to renew and extend them. In particular, she reworks certain topoi, such as love at first sight, heterosexual passion, and White-Black relations. Her main intertexts are Passion simple by Annie Ernaux, Heart of Darkness by Joseph Conrad and Apocalypse Now, the film that Francis Ford Coppola made from it. She also uses several texts by Marguerite Duras, as well as songs, proverbs, key sentences, and anecdotes. She thus explores many clichés, including those relating to two legendary places, Hollywood and Africa. This rich intertextuality could have led to the dilution of her ...
Passages, croisements, rencontres Type de publication: Collectif Directeurs d'ouvrage: Ammour-May... more Passages, croisements, rencontres Type de publication: Collectif Directeurs d'ouvrage: Ammour-Mayeur (Olivier), Chalonge (Florence de), Mével (Yann), Rodgers (Catherine) Résumé: Ce volume a pour origine les Rencontres de Cerisy organisées à l'occasion du centenaire de la naissance de l'écrivain et de la publication de ses OEuvres complètes dans la Pléiade (2014). C'est dans son rayonnement que l'une des plus grandes oeuvres du XX siècle est ici mise en lumière. Nombre de pages: 482
De la balade à la bagnole dans l'oeuvre durassienne Type de publication: Article de collectif Col... more De la balade à la bagnole dans l'oeuvre durassienne Type de publication: Article de collectif Collectif: Marguerite Duras. Passages, croisements, rencontres Auteur: Rodgers (Catherine) Résumé: La marche traverse toute l'oeuvre de Duras. Dans les premiers romans plus réalistes, les marches utilitaires côtoient des marches enfiévrées correspondant à des crises existentielles. Au fur et à mesure que la diégèse se déréalise, la marche acquiert une dimension temporelle et mentale. Puis, comme la promenade en voiture prend le relai de la marche, les rapports au corps, au temps, et au monde en sont changés, et ces changements sont reflétés à la fois dans les films, mais aussi dans l'écriture.
L'Esprit Créateur, 2020
An authoritative voice narrates Kristeva's life: Alice Jardine knows her subject extremely well, ... more An authoritative voice narrates Kristeva's life: Alice Jardine knows her subject extremely well, perhaps better than anyone writing in English. She was Kristeva's research assistant as a graduate student at Columbia in 1976 when Kristeva first went to teach there; she has conducted many interviews over a period of years and even visited Bulgaria with her. She calls her subject "an important personal friend." And I call this an important book. Jardine's close access to Kristeva is both a signal strength of this book and a possible caution: one might be inclined to task the work with a loss of objectivity. But from the start, it is perfectly clear that this is not that sort of biography. It is personal, and at times intimate-and this is appropriate for Kristeva, for whom the intimate ranks high among her subjects of inquiry. Where there has been controversy about Kristeva, Jardine is resolutely supportive of the positions she has taken. Examples include the criticisms coming from feminists who think Kristeva is a traitor to the cause and the recent claim she served as a spy named Sabina for the Bulgarian secret police. We read here an intellectual account: always factual and drawing on every available source, Jardine's opinions are formed by her research into her subject. The title is modeled on Kristeva's Au risque de la pensée (2001), and it is a good one because of the co-presence of the two key words: risk and thinking. Kristeva is a thinker-that is the foremost characteristic this biography extolls-but she is a thinker at risk: she takes chances, she pushes ahead and innovates at every turn, tries out the novel idea, studies it, and writes the book about it, at the risk of being badly understood and losing followers. As Jardine writes, "she theorized the problem she found herself living by writing a book about it." At the Risk of Thinking rests on the multifaceted elaboration of this reality about its subject, the "contestatory intellectual." Well organized, the biography is largely chronological, with stages of the life marked by Kristeva's books. There is a continuity in Kristeva's writing rooted in letters, syllables, words, and the sonorities of language, from childhood to the present, with "an increasingly precise and insistent vocabulary and an ever-increasing sense of urgency" (183). Part III, "Becoming Julia Kristeva (1980-Today)," details the Kristeva most known to current readers from the plethora of studies about her work. Skillful, succinct coverage of each of Kristeva's books portrays the fullydeveloped thinker, in 130 pages grouped by decades. Jardine's key point here is how Kristeva has "shifted slowly from analysis to […] advocating for a strategy based in a renewed secular humanism" (187). The end of Part III outlines the Sabina saga, confirming Kristeva's claims that she was never a spy: that was just not her life. Part I provides an affective account of Kristeva's early life in more detail than available elsewhere, the distinct influence of each parent on the smart little girl Kristeva was, her education in a French school, and the culmination of her childhood career in the French fellowship that allowed her to move to Paris in December 1965. Part II, "The Crazy Truth of It (1965-1979)," brilliantly demonstrates how the Kristeva of today was already present in the work of the seventies and the latter half of the sixties. The account of her activity during the heyday of structuralism and Tel Quel completes and corrects the picture drawn by many others of this period of intense intellectual activity. This part also provides insight into Kristeva's relationship with her husband, Philippe Sollers, and their disabled son David Joyaux. Throughout, what I admire most about At the Risk of Thinking is the author's finely nuanced, perfectly clear analyses of Kristeva's theories, concepts, and positions.
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Papers by Catherine Rodgers