Andrea Oberhuber
Andrea Oberhuber est professeure au Département des littératures de langue française de l’Université de Montréal où elle enseigne les littératures française et québécoise, notamment l’écriture des femmes (XIXe-XXIe siècles), les avant-gardes historiques et la photolittérature. Elle a dirigé, entre autres, le collectif Claude Cahun : contexte, postures, filiation. Pour une esthétique de l’entre-deux (2007) ainsi que les dossiers de revue « Réécrire au féminin : pratiques, modalités, enjeux » (Études françaises, vol. 40, n˚ 1, 2004 ; avec Lise Gauvin), « Voir le texte, lire l’image « (Dalhousie French Studies, n˚ 89, 2009), « À belles mains. Livre surréaliste, livre d’artiste » (Mélusine, n˚ 32, 2012) et « Polygraphies du corps dans le roman de femme contemporain » (Tangence, n˚ 103, 2013). Son essai hybride Corps de papier. Résonances est paru en 2012 chez Nota bene. Avec Catherine Mavrikakis, elle codirige la revue numérique MuseMedusa (<www.musemedusa.com>). Elle prépare actuellement un collectif sur F(r)ictions modernistes du masculin/féminin : 1900-1940, paraître au printemps 2016 aux Presses universitaires de Rennes.
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Article d'Andrea Oberhuber Alexandra Arvisais sur "Noms de plume et de guerre : stratégies auctoriales dans la démarche collaborative de Claude Cahun et (Marcel) Moore", p. 113-128.
Georges Rodenbach’s Bruges-la-Morte, quintessential Symbolist novel, follows Hugues Viane, a devastated widow who is mourning his wife, still and all five years after she has deceased. Published in 1892, the novel was later supplemented by 35 postcards interspersed within the text, revealing the impact of photographic images upon its protagonist’s mood. The reading of the narrative makes apparent the tendency to think the contagion of the scenes of Bruges onto the hero in photographic terms by transforming him into a “sensitive plate”. The photographs become expressions of the protagonist’s “cannibalistic” melancholy and immeasurable grief by framing his perambulations around the city; they taint his gaze and, ultimately, the reader’s.
Article d'Andrea Oberhuber Alexandra Arvisais sur "Noms de plume et de guerre : stratégies auctoriales dans la démarche collaborative de Claude Cahun et (Marcel) Moore", p. 113-128.
Georges Rodenbach’s Bruges-la-Morte, quintessential Symbolist novel, follows Hugues Viane, a devastated widow who is mourning his wife, still and all five years after she has deceased. Published in 1892, the novel was later supplemented by 35 postcards interspersed within the text, revealing the impact of photographic images upon its protagonist’s mood. The reading of the narrative makes apparent the tendency to think the contagion of the scenes of Bruges onto the hero in photographic terms by transforming him into a “sensitive plate”. The photographs become expressions of the protagonist’s “cannibalistic” melancholy and immeasurable grief by framing his perambulations around the city; they taint his gaze and, ultimately, the reader’s.
Abstract
As the first female clown, the figure of Lulu had haunted Félicien Champ-saur's imagination since 1888, inspiring him to write two panto mimes and several prose texts, among which the illustrated novel Lulu, roman clownesque (1901), which proved to be central to the author's idea of the modernist novel he wished to create. One can interpret the protagonist's path to fame as a mise en abyme of the rise of the new narrative genre Champsaur was espousing (one in which text and images are working together). As a child, Lulu would secretly spend time looking at illustrated books and dressing up in her mother's fashionable clothes in order to personify an attractive young woman. Through the poses learnt from illicit books and her appropriation of feminine clothing, she eventually won over the public –both men and women– in a most spectacular way. While Lulu's secrets are indisputably tied to the power of seduction that is particular to an age-old idea of femininity, her character, brilliantly or ...
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