By Jenny Chamarette, Jenny Higgins
As theoretical positions and as affective reports, the dual currents of contrition - guilt and disgrace - permeate literary discourse and determine prominently in discussions of ethics, background, sexuality and social hierarchy. This number of essays, on French and francophone prose, poetry, drama, visible paintings, cinema and proposal, assesses guilt and disgrace on the subject of buildings of social morality, language and self-expression, the taking into account trauma, and the ethics of forgiveness. The authors method their topics through shut readings and comparative examine, drawing on such thinkers as Adorno, Derrida, Jankélévitch and Irigaray. via those they give thought to works starting from the medieval Roman de los angeles rose via to Gustave Moreau’s Symbolist portray, Giacometti’s sculpture, the flicks of Marina de Van and up to date sub-Saharan African writing. the gathering presents an état-présent of considering on guilt and disgrace in French reviews, and is the 1st to gather paintings in this subject starting from the 13th to the twenty-first century. The booklet includes 9 contributions in English and 4 in French
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Additional info for Guilt and shame : essays in French literature, thought and visual culture
Or quand blessé, il héberge chez lui le nain et la demoiselle, il reçoit noblement ses hôtes, il n’ose avouer à sa maisonnée qu’un nain est à l’origine de ses blessures: il préfère désigner son adversaire comme ‘Un chevaliers qu’il ne conaissoit mie. Ne il n’osoit dire de honte que ce li avoit fait li nains’ (W, 1637). La honte se reporte donc du nain à celui qui l’a mal estimé. C’est seulement à la cour d’Arthur, sous la contrainte formelle du serment donné, que Tradelinant révèle la vérité: ‘Et je ne voloie mie jouster a lui de la moie lance, car honte et despit me sambla, si ne le vals pas ferir’ (W, 1639).
20 ‘Alas, what fault of it was hers? My Lady’, he said, ‘should God wish to free me from this prison where I am held, I never would have thought any less of her for what she went through’ (32–5). 21 ‘My Lord’, she answered, ‘that is not what she thought then’ (35). 17 Guilt, Shame and Masculine Insufficiency 27 is brought up by her father in her mother’s absence, married to a Turkish warrior, and eventually gives birth to a daughter who will be the mother of the greatest of Muslim heroes, the conqueror of Jerusalem, the man whom Saddam Hussein compared himself to regularly and who is called in the closing words of the text, the ‘courtois Salehadin’ (44).
Suivant les recommandations de la demoiselle qui l’a maudit, Gauvain poursuit sa quête avec acharnement en dépit de sa transformation physique: ‘Si fist molt de proeces, encore fust il nains si n’avoit il pas perdu le pooir de lui ne le cuer ne la force, ains estoit hardis et entreprendans et maint chevalier conquist’ (W, 1650). L’obstination du chevalier et son effort dans l’accomplissement de sa mission ainsi que ses actions d’éclat ne sont donc pas affectés par sa transformation: la continuité de l’être se lit derrière le changement d’apparence.