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Percival Everett
Ce volume recueille les communications présentées lors du colloque international « Percival Everett » organisé par l’équipe, à l’initiative d’Agathe Berland et d’Anne-Laure Tissut, en mars 2013 à la Maison de l’Université de Mont-Saint-Aignan.Textes recueillis par Agathe Berland et Anne-Laure Tissut, et mis en forme par Sarah Boulet. This volume gathers the papers given at the international conference “Percival Everett” organised by the ERIAC research center and managed by Agathe Berland and Anne-Laure Tissut, that took place in March 2013 at the Maison de l’Université in Mont-Saint-Aignan.Texts collected by Agathe Berland and Anne-Laure Tissut, and finalized for publication by Sarah Boulet.
- Anne-Laure Tissut Introduction
- Keith B. Mitchell Encountering the Face of the Other: Levinasian Ethics and Its Limits in Percival Everett’s God’s Country
- Marguerite Déon Clichés and cultural icons in Percival Everett’s fiction
- Anthony Stewart Talking About Race, Exposing The Desire for the Post-Racial, and Percival Everett’s Assumption
- Claude Julien Assumption: from reminiscences to surprise, from dream to nightmare
- Isabelle Van Peteghem-Tréard Jouissance in Damnedifido stories by Percival Everett
- Clément-Alexandre Ulff Invisible Fathers: Investigating Percival Everett’s “Lower Fresquencies”
- Michel Feith The Well-Tempered Anachronism, Or The C(o)urse of Empire in Percival Everett’s For Her Dark Skin
- Judith Roof Everett’s Eidolon: The Story of an Eye
- Brigitte Félix “Of weeds and words: Percival Everett’s poetry”
- Claudine Raynaud Naming, Not Naming and Nonsense in I am Not Sidney Poitier
- Françoise Sammarcelli Vision and Revision in Percival Everett’s Erasure
- Marie-Agnès Gay "Wanted: straight words" in Percival Everett’s novel Wounded
- Sylvie Bauer “Private Terbulent Seas”: “painting The Moon” In Cutting Lisa, By Percival Everett
- Gwen Le Cor “At any rake,” angles of “linguistic condensation” and shock in Percival Everett’s The Water Cure: “All this while we play and pain with a language that is private.”
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“At any rake,” angles of “linguistic condensation” and shock in Percival Everett’s The Water Cure: “All this while we play and pain with a language that is private.”
Gwen Le Cor
This paper focuses on the way Percival Everett’s The Water Cure turns language into a “performative utterance” which materializes trauma on the page. It explores how the narrator’s cognitive collapse rips language apart and concomitantly traps the text in a “snowstorm of clarities” which undermines and re-frames the reader’s categories. Under Everett’s playful linguistic ax, letters, words and sentences start “bubbling over” and colliding with one another relinquishing all capacity for meaning making, and ultimately sparking off “wonderful mis-or missed readings.”
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Ce(tte) œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas dUtilisation Commerciale - Partage dans les Mêmes Conditions 4.0 International. Polygraphiques - Collection numérique de l'ERIAC EA 4705
URL : http://publis-shs.univ-rouen.fr/eriac/index.php?id=535.
Quelques mots à propos de : Gwen Le Cor
Université Paris 8 Vincennes-Saint-Denis
Gwen Le Cor is Associate Professor of American Literature and English for Specific Purposes at the University of Paris 8. Her recent research focuses on the nexus of literature and science in contemporary American fiction and poetry. She is currently finishing a monograph on Jonathan Safran Foer’s writing, and published articles on the works of Jen Bervin, Percival Everett, Jonathan Safran Foer, Flannery O’Connor, Art Spiegelman, Stephanie Strickland, Steve Tomasula and Robert Penn Warren.