Un Québécois à Paris (roman gay) (French Edition)
Contents:
Apprendre sur le tas: Boucar Diouf Format papier: Good boy Antoine Charbonneau-Demers Format papier: Je t'aime beaucoup cependant Simon Boulerice Format papier: Zoologies Laurence Leduc-Primeau Format papier: Les chants du large Emma Hooper Format papier: Francoeur Mathieu Blais Format papier: Pierre Godin Format papier: Noam Chomsky Format papier: Anatomie de l'horreur Stephen King Format papier: Un poignard dans un mouchoir de soie Robert Lalonde Format papier: Le dernier chalet Yvon Rivard Format papier: The French musician Daran moved to Montreal and cited that as the main reason.
I think the many excellent French musicians have had potential careers stunted due to this. You forgot the Acadians… The next sizeable French speakers outside of Quebec. But thanks for your input. Be careful with your size comparisons. France is roughly , sq. I was pleased to find a person of French birth who was less than enamored with Celine Dion. I have always felt that she was a poor singer, to say the least.
I also believe that her smiley personality was forced, not real.
While she is dressing, thedoctor forces her back to the bed and she adds: McGill University founded and Concordia University ; formed by the merger of Sir George Williams University, founded in , and Loyola College, founded in offer mainly English-language instruction, whereas the University of Montreal and the University of Quebec at Montreal serve the French-speaking population. Couture-Lebel, Francine et Michelle Provost. One of the dynamics of that population growth was the annexation of many of those villages and cities, beginning in with the city of Hochelaga. Politics and the Avant-Garde.
As I have never been to either France or Quebec, I cannot comment otherwise on your manuscript. However, if you will indulge my retaliation, why does France send the U. However, as I think I have mentioned, she actually sings when she sings in French, as opposed to yells when she does it in English. In any case, blame Hollywood that called them over.
David, I can tell that M. That was quite popular. But it stopped a good while ago. Some people can remember his jokes mostly. Gilbert Rozon is quite well-known as well. Their values are shit, their daughters are whores, their men are stupid and their politicians are weak. They are for the most part unconscious and schtizoid personality disorder is their mainstay psychiatric condition.
If you want a a bunch of freaks to live in the now with, good sex, great food, lots of top quality drugs.. They are one-dimensional in time. Planning for the future or looking to the past, rarely plays into the conscious awareness. If you hate big city corporate capitalism, this is the place for you. She is seen to be doing her duty according to the ideological values ofher community and thereby ensuring the survival of her people: His long-suffering and badly used wife, Donalda, meanwhile, is the model of Christianvirtue and conjugal obedience starving herself while waiting for the man who uses heras an unpaid servant and as such she is also the consummate Victim.
As Grignon himself explains: Trente arpents, meanwhile, challenges the preeminence of messianism and, byextension the supremacy of the Catholic Church; thanks to a certain subtlety andsophistication, however, it was able to avoid the wrath of the censors. Here, the discourseand philosophy of the roman de la terre are manipulated: Yet the sacrifice of this young, strong woman, well-loved by all but herhusband, to the strictures of a demanding faith and tradition today appears senseless,cruel and, in a context where frugality is of the essence, all the more shockingly wasteful.
As Pierre Maheu comments: In her, Euchariste recognizes the versatility and tirelessness of the idealWoman, as described earlier. Trentearpents plays on the constructs of the ideological text, and is written from a criticaldistance which enables it to depict and explore the more pragmatic and immediateconsequences of the traditional and anachronistic lifestyle, as well as the future of theFrench-Canadian people, still promised by messianism.
Not restricted to literature,this figure served, in part, as a means of controlling women, keeping them in the placeassigned them by a male-dominated society, led by a male-dominated religion. Condemnation often followed for those who failed to meet the stringent demands of sucha system. Quoted in Jean, original emphasis. Quoted in Jean, Finally, J-J Denis stated categorically that: It seems that the only way women could holdJ-J. As Susan Mann Trofimenkoff points out: Que la femme change, et See my chapter 1. The earlier literature, as we have seen, reflects this, as femalecharacters are continually portrayed - either positively or negatively - in terms of thisideal: It is the same process which we have already seen in action in French andEnglish literature, where Woman was set up as a symbol for the political ends of a maledominated society.
Valerie Raoul also discusses the effect of colonisation on genderrelations in her study; see especially her chapter 3, The horrors of the Second WorldWar, in which French Canadians fought as subjects of the British crown, also cast a dimlight on the golden salvation promised by messianism, but which required a return to anow irrevocable past. Meanwhile, saw the publication of the highly controversialand influential manifesto, Refus global, by a group including several women led by theautomatist artist Paul-Emile Borduas.
It was a time of change and ofincreasing discontent: With the rejection of messianism and its accoutrements, the portrayal of theMother also began to change. The representative or symbol of a long period of culturaldarkness, she became an increasingly threatening figure, as the reactionary andrepressive nature of her power was recognised. The Mother became a figurecapable of instilling terror in the hearts of men and boys, who next to her seemed andfelt impotent, and so came to hold her responsible for their own inadequacy. The repercussions of this shift in theperception and representation of the Mother and its effects on all female characters will be considered in more detail in the following chapters.
I shall becommenting on this novel in chapter 5. The sacrifice ofGigi, her role as murder victim, sets up the main interest of the novel and serves as apremise for the wrongful arrest, flight and subsequent sequestration of Momo Boulangerwith Marie-Rose. Again, the text escapes thetightly conclusive structure of the detective novel, where criminal and motive arerevealed in a satisfying denouement. As in much twentieth-century Europeanliterature, experimental narrative strategies appear to be taking place on the bodies ofthe female characters and at their expense The fact that the women in both these novels are prostitutes is significant for tworeasons.
First, the murder of a Maria Chapdelaine or an Aiphonsine, for example, couldnever have been treated so casually or left unresolved - in fact, it is unthinkable thateither of them could meet a violent, unnatural fate of any kind.
L’identité au temps de la postmodernité : de l’usage du concept d’ « hybridité »
In the context of the two novels mentioned here, the female characters63 See chapter 1. Despite the radical subject matter, therefore, the novel seemsultimately to reinforce Catholic sexual mores. As amaverick figure, disrupting the order of the town and rejecting the path paved for heraccording to her sex and rank, it seems Madeleine must either be brought into line bythe community or destroyed.
In rejecting what would normally be her fate, shealso rejects the part her own mother has played in such an exemplary fashion. In either case, there is a certain sexual promiscuity or forwardness about theheroine. Again, the similarities with Mary, the Virgin Mother,are apparent. At this time the social, political and economic dissatisfactions of the francophonepopulation finally came to a head.
On a pragmatic level, for example,Jacques Godbout changed the ending of his novel Le Couteau sur la table, after news ofthe first bombing by the FLQ Selected Readings, Michael D. Toronto, Copp Clark Pitman, However, this act of aggression, which the adoption of joual constituted, was notwithout contradictions and difficulties. While aiming to liberate, the use of joual in writing thereforeserved rather to reflect the frustrations of a situation, from which it apparently offeredno real escape.
Thistext will be considered in detail in the next chapter. The pattern is therefore parallel to the progression apparent in the Europeanliterature considered in the last chapter. Openand deliberate violence directed towards female characters was rare and seems to be amore recent development - the obvious exception being Donalda Poudrier, whose body iscallously mutilated after her death. These two texts are studied inmore detail by Raoul. The following chapters will consider these issues in novels by Victor-LevyBeaulieu and Hubert Aquin, while the final chapter will examine the work of Marie-Claire Blais, whose work is also infused with violence, in order to explore any differencein its representation in the writings of a contemporary female novelist.
As Francois Chaput writes: As a result, Beaulieu sees himself and his people as the dispossessed andpowerless heirs of an inaccessible past and a problematic present4. Thissame present is troubling, with its perplexing origins and consequences. Quoted by Francois Chaput, Revolutionary Violence and Narrative Subversion. All pagereferences given in the text are to this edition. For thepurposes of the present study, this text is particularly interesting for its experimentalform and use of language, its relationship with events current at the time of writing, andboth its portrayal of a female character and its extreme violence, in many ways typical -even exemplary - of a trend which runs through much of the literature of the period.
Elle aurait voulu ajouter mais elle ne pouvait pas dire ces paroles qui nelui appartenaient pas. I will be referring to this conceptintermittently. It appears first, aswe have seen, as the different spheres of language are brought together. As Jacques Pelletier states: Here, history isperceived and presented rather as: The narrator is thus established as witness bothto the act of writing and to the actions of the text. He and he is most definitely a malenarrator is also, to a certain extent, in control of the characters, who are seenincreasingly as actors playing the roles written for them.
Elsewhere, the narrator is clearly identified as a member of the cast, while anothernarrative voice takes over the telling of the story: The effect of this narrative strategy and the theatricality it suggests is multiple: The reader is thus reminded that this is not just a taleof marital infidelity and revenge, but one with a broader context and significance, and assuch the text takes on an almost allegorical dimension. Nostalgic Past vs Nightmare Reality. The quasi-utopic past which these objects evoke has some similarities with that of thetraditional roman de la terre23, and so must be placed at an indeterminate time prior tothe disillusionment and violence of the revolutionary period of the diegetic present.
A number of reasons are given for this change, but no definitive answer orassignation of blame emerges, forcing the reader to become part of the debate.
Lemy attempts to evade this perception of reality, first through a combination ofalcohol and pills, from which he draws an illusory sense of strength and worth and atemporary escape, becoming increasingly confident the more he drinks: As we saw inchapter 1, Girard points out that the crimes of sacrificial victims may well be imaginary,the violence perpetrated against them probably is not. The roles are reversed. The victimisers see themselves as the passivevictims of their own victim, and they see their victim as supremely active,eminently capable of destroying them However, rather than doing the deed, in an illustration of his impotence Lemy needs theconstant motivation of provocation.
Envoye, pane mon ostie! Forcing awoman to speak of what she would rather keep hidden and the selective hearing ofwhich Lemy and the narrator both seem guilty is an abuse of power- a form of mentalrape It also questions the guilt of the selected victim and,by extension, the appropriateness of the choice of victim. Of a similaract, Jacques Pelletier says: As we have seen, this pattern is evident throughout much of theliterature of the period, as the troubles of the male characters are worked out on thebodies of their female counterparts.
Pelletier, Le Roman national, In the cellar, theearth-shattering words she speaks to Baptiste, whom alcohol has made bold, are these: Alors elle se mettraita crier et labourerait de ses ongles le dos nu This act of fantasised? Coloriisation and Gender Inversion. I1 laissa les larmes couler sur ses joues et ferma lesyeux 37, my emphasis. A pitiful figure, Lemy thus takes his place among the likes of P. Also cited byRaoul, See for example, Robert M. Kingdon,Myths about the St. This is typical of many male protagonists of the period. Many of the more outrageous acts of aggression, however, take place only inhis mind.
The Eroticisation of Violence. There is a degree ofanticipation and relish as he gloatingly informs her: The phallus becomes a weapon, a symbol of his power and of her death, in an instanceof overtly Freudian significance. At the same time, the hatred it appears to express towards the woman and her body isextreme, as she is reduced to a pure sexual function. This distancing isalso brought about by the bathos with which much of the violence is related. In this text, the stolen andsomewhat battered mannequin, wearing a wedding dress, is daubed with ink How she died we are not told, we can only assume that it was not at the hands ofher loving husband.
Her role within thetext is to serve as victim for as long as her victimisation is necessary to the developmentof L. Sexual Violence and Counter revolution. The solution is, therefore, more complex, as he finallyrealises: All pagereferences given in the text will be to this edition unless otherwise specified. Yale French Studies 65 , Increasingly,however, this malaise is taken out on the bodies of women: It seemsstrange then, if the subject is so well worn, that so few published articles seem to addressthe issue.
Voix et Images, A Treatise on Women? In her book, Hubert Aguin. While such12 Iqbal, Hubert Aguin. PhD to suicidal whore. Such a strategy couldcertainly explain the apparent undermining of the feminist advances of the time- acalling into question in order to strengthen, an adoption of reactionary attitudes preciselyin order to expose them for what they are.
Given that Christine is, however, a qualified doctor working on adoctoral dissertation, accomplishments of which Renata could only dream and for whichshe would probably have been burned , such an explanation appears perhaps a littleover-simplistic This ambivalence would also, finally, appear tocast doubt on any particularly feminist agenda within the notion of counter-reform.
The same can be said for her comments regarding the status ofwomen and the freedom of modern woman - such as when she writes: My intention, as I have indicated elsewhere, is to examine the criteria in thetext which allow or even produce such ambiguity and prompt the diametrically anddramatically opposed readings suggested by Patricia Smart. The focus, once again, will bethe presentation and reading of violence - textual and physical - which takes placethroughout the novel. The opening section of the text, meanwhile, suggests a different course ofevents, as the unidentified narrator presumably Suzanne, as she is the only remainingninth epileptic seizure suffered by her husband: Christine escapes, narrowly avoiding being hit by the glass ashtray hurled byJean-William, drives off in their rented car and eventually stops at a pharmacy where shehopes to find the wherewithal to dress her wounds and to buy Demarol for Jean-William.
Instead, she is given morphine by the pharmacist, and is raped and imprisoned overnight. Jean-William alsoadmits that he has been suspicious of her for some time, has had her followed, is awareof her affair with a certain Robert Bernatchez and, finally, does not love her Shortly after this conversation, Christine sees Jean-William enter the pharmacy where heshoots the pharmacist.
In fear for her own life, Christine then flees, without reporting herhusband to the police. Isolated while the damage to her face and body heal, Christinebegins to write. On the diegetic level, it precipitates Christine into a number ofdangerous and violent situations, setting the tone for the novel, in which rape, murder,attempted murder, druggings, betrayal and suicide are almost de rigueur.
A pattern begins to emerge at this point. At the beginning of the text, she is already in the process of writing, working onher thesis-cum-medical history, a text which would have gained her access as a Subject tothe masculine, even patriarchal world of academia and of the Symbolic.
Christine may still enter the hallowed halls of academia, butnow only as the Object of voyeuristic literary and psychological study. This is also intimated in Iqbal, Hubert Aquin. In fact, it is not so much the subject of her thesis that Christine has lost, but theability to focus on it and to maintain her objectivity with regard to the subject, as sheadmits: The choice of autobiography would seem to be highly appropriate, with its idealised property of revelation or unveiling, a function which the text exploits overtly,as Christine writes early in her text: This exposure isdescribed in terms of a literal physical disrobing: The writing of this autobiography is seen in effect in terms of a figurative striptease,performed by the narrator-writer, and paralleled by the actual removal of clothing whichtakes place throughout the text, as Christine is seen in various stages of undress: Following the assault byJean-William, a decidedly pessimistic Christine considers her options in a dialogic style: Itseems ironic that the female narratee should be considered so unimportant, consideringthe apparently revolutionary pride of place assigned to a woman within the text but thenIqbal comments: However, the distinction between Christine and her text is so far eroded that the two areinseparable.
The criticisms of her writing are thus equally directed towards her self: Having arguedwith Robert in Drummondville, she writes: However, the dependence which according to her applies onlyto the physical nature of her relations with a partner, in fact applies equally to herdependence on male evaluation of her person. The pharmacist in San Diego assumes that she came to him for31 Aquin exploited the form of the film scenario to a much greater extent in Neigenoire. In terms of herrelationship with Robert, after the argument at Drummondville Robert ignores her,reading through his speech: Her despair increases, however, as Robert does finally turn his attention to her, ready forhis humiliating and sadistic interrogation.
Describing herself as she assumes he must seeher, she writes: Following their conversation, she finally adds: Her acceptance of responsibility intensifies untilshe says: Later, however,she assimilates this view of herse1f labelling herself a whore and commenting that: Depuis- paradoxalement-je semble me conformer a cette image de moi: The existential crisis which Christine experiences throughout the text, although theresult of some fairly obvious factors, is exacerbated by the fundamental contradictionwhich haunts her and all women, namely the dual portrayal of Woman as both evilcorruption and pure beauty.
Jung, Psychology and Alchemy, trans R. Hull London, Routledge andKegan Paul, The passages from these texts serve as a form of yardstick for Christine who,again, measures her self-worth according to external factors: Later she quotes from Thomas Gallo de Verceil: Her response to this text plays on the structures and concepts of the original; itillustrates her despondency as she fails on all points, as, having been made pregnant bythe pharmacist and having lied about the incident to Robert in an attempt to save himgrief Christine takes on the projected image of complicity and corruption of which shenow considers herself guilty: Elsewhere, having quoted at length from a text she attributes to Rupert de Deutz,Christine responds: Edition critique, , note The Poetics of Violence: As we have already seen in part, the concepts of unveiling and performance canequally be applied to the creation of the novel itself.
Robert Richard goes further, stating that: This emphasis, however,evacuates the intense physical violence which both parallels these reading paradigms andof which Christine is a victim. Theintroduction or penetration of the novel by these different discourses has a number ofimplications. See chapter 5 of Les Mots des Autres, Ineither case, the communicative and critical value of language is evacuated, along with thedidactic power of the intertext, as her writing here serves as a refuge and words becomean end in themselves.
On another level, the profusion of names and titles within a text is typical oftreatises of alchemy many of which are cited here. The reflection isnot constant, however, as the characters evolve and interact, their identities shifting fromvictim to victimiser, through the multiple perspectives offered by the text and its reader52 Raoul, However, this binary systemignores the fact that Christine can be linked, at different stages of the text, to everycharacter in the subplot. Lamontagne, Les Mots des autres, Aquin plays on this aspect, challenging his readers, toying with them,certainly, as they fight their way through the text, faced with the desire to understandsome of the more obscure references, or even to verify.
The effect is two-fold: Also quoted in Richard, jCorps logique de la fiction, Thebalance of unpleasant, painful and violent deaths is shared fairly equally between maleand female characters as, one by one, they are raped, brutalised and suffer due tovarious natural and unnatural causes. Christine and Antonella, meanwhile,are by no means free from shortcomings.
In the twentieth-century story, Jean-WilliamForestier shoots and kills the pharmacist who raped Christine and twice attempts tomurder Robert Bernatchez, whom he leaves paralysed; Jean-William later kills himself ina car crash; Dr. At the same time, it would seem that, except in as muchas their suffering affects or reflects the anti- development of Christine, the violenceinflicted on or endured by the minor characters is relatively incidental, with certaincharacters, such as Gordon and Zimara, existing only in their somewhat one-dimensionalcapacities as rapists, in order to commit violence and so change the course of the story,before being eliminated themselves.
The nature of the violence being so extreme - onecould even say sensational ised - while being so profuse, it would seem reasonable tosuggest that the violence operates as a device, a stratagem of excess, itself a quality ofthe postmodern novel. It is in part this aspect which distinguishes the violence against Christine.
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As wehave seen, the writing of the text goes hand-in-hand with the painful and incessantdisintegration and degradation of Christine, which itself serves as an integral part of thestructuring or destructuring of the text. Once again, Woman is used and abused as a device in atextual strategy or as the joker in a game of textual violence.
Once again, the choice offemale protagonist, the selection of abuses suffered and the way in which those abusesare both administered and described are highly significant. Within the textual space, the violence serves no cathartic purpose, but simplyinfects and destroys. On a different level, however, it appears designed to provide eroticsatisfaction. The gradual disintegration Christine experiences throughout the text isaccelerated by a number of contrived incidents and inconsistencies which serve only toincrease her degradation or dig her deeper into her own grave.
The logistics of Christinebeing locked in the pharmacy all night, for example, free to wander around the store, tofind the drugs and make-up she needs and yet apparently incapable of turning a deadboltor calling the police, is questionable: The fact that sheWe could include among those Aquin himself for it is after all he, who, in creatingChristine, determined her gender, the events which would take place, the people whomshe would meet, the violence which would be inflicted on her - and on her sisters - aswell as the ways in which it would come about and be portrayed. Leaving Jean-William she comments: It is, however, verypossible that the trauma both of the rape and of the attack by Jean-Wffliam wouldhave interrupted her cycle somewhat, although neither she nor Robert seem to considerchecking at any point Magnant, althoughOlympe may well be the father.
While she could be forgiven for being confused and disoriented by what hashappened to her, or, of course, for being in denial, the total overlooking of such obviouspossibilities by a victim of rape seems very dubious. Again, however, the text appearsmore concerned with placing Christine in ever more hopeless situations than with itsinternal consistency. The portrayal of the violence of which both Christine and Renata are victimsrequires closer examination.
The rape of Renata by Zimara and that of Christine by thepharmacist are very similar. In each case, the crime is opportunistic and the woman isfirst made totally vulnerable: Renata is at first asleep and then undergoing an epilepticseizure and therefore totally at the mercy of her attacker, while Christine, on arrivingbeaten and bruised at the pharmacy is first drugged and then raped. The style is anecdotal and, at this point, almost humorous, as Christine imaginesthe scene. Chigi reads to her, perhaps in an attempt to exorcise her demons - hischoice of texts, however, is surely unusual for such purposes.
Any physical distress theyoung woman may be experiencing and the fact that Chigi took advantage of her stateare evacuated by the eroticisation of her illness. It is in this physical state,visibly in pain, extremely distressed and highly vulnerable, that she goes to the pharmacyseeking help. The drug given to Christine by thepharmacist serves both to immobilise her and to alter her perception of the incident; it isalso, perhaps, responsible for the enhanced physiological sensations she experiences, asshe writes: Also cited in mychapter 1. The blurring of the two sexual acts is systematic throughout the text.
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The gestures, his words and the passing ofmoney - albeit as payment for the gin and tonics ordered- are all too reminiscent of thedismissal of a whore. While she is dressing, thedoctor forces her back to the bed and she adds: As Patricia Smart comments: The novel clearly revolves around the concept of blaming the victim, who, in this case,becomes one of her own most vindictive accusers and, finally, her own executioner.
It may, however,serve a different ie. The presentation of violence, although frequent, is often almost understated. Again, in Les Manuscrits de Pauline Archange, Pauline describes the various violentincidents concisely or allusively, as if she were trying to explain her often painfulchildhood and, through it herself to a listening friend, with both the distance ofhindsight and the intimacy of personal experience.
Her own suffering, meanwhile, is apparent through the tears and criesthat her mother was too sick to notice. Italso demonstrates a pattern of what appears to be hereditaiy violence and unavoidablevictimisation, at the centre of which is the Mother-figure herself. Ashis mother has already returned to work in the fields, Emmanuel is watched over byGrand-Mere Antoinette, the eldest member of the household, who shares her thoughtsand complaints with the baby. At first sight, the novel sets up a context similar to that of texts such as MariaChapdelaine, La Scouine and Trente arpents, drawing on the textual tradition of theroman de la terre.
However, the picture Marie-Claire Blais paints is far from the rosy,idealised world of the ideological texts which serve as its intertext. Car au printemps, chacun denous bourgeonnait, fleurissait sous la vermine et la rougeole Taken to a logicalextreme, the characters, preoccupations and philosophy of the roman de la terre havebecome caricatures or parodies of the original models. Her attitude to Emmanuel is vague, verging on automation: The very possibility of change, or even of finding happiness in the apparentlyunavoidable institution of marriage, seems unlikely.
Having described the typical courtingscene - similar in many ways to that of Euchariste and Alphonsine9- the narratorcomments: Ringuet, Trente arpents, For, at the top of the pecking order is Grand-Mere Antoinette, the quintessentialmatriarch and in many ways the epitome of the Mother-figure so honoured by the romande la terre. She rules the household, oversees the distribution of food and makes themajority of decisions regarding the upbringing of her grandchildren; she also provides10 He is even responsible for the death of one child, Olive, crushing her head underhis plough In her, Blais highlights the intrinsic mirror-image of the saintly Mother,bringing together an Aiphonsine Moisan with a perhaps somewhat kindlier version ofClaudine Perrault, making of her a possible representative of both the Imaginary andSymbolic realms.
Grand-Mere Antoinette is thus inevitably possessed of a certain duality. She would thereforeappear to be far from the picture painted by Paul Gay, who writes: Her duality extends beyond thishowever, first when as her kind treatment of the dying and putrefying Horace isundermined by her impatience and tacit cruelty? Dieu vous aime pour vous puriir comme ca! During the temporary misrule ofCarnival, a re-structuring of traditional hierarchies took place, the fool becoming king forthe day and so on.
Le discoursambivalent de la culture carnavalesque populaire versus le discours unilateral de! The text is indeed structured around a series of binary opposites, the distinctionsbetween them unsettled, often with comic effect. Madame Octavieaime trop le yin, elle mange trop de fromage. Madame Octavie claims that: Both boys finally look forward to their nightly,reciprocal masturbation, as much for the pleasure of being able to confess, as for thephysical pleasure - the act of confessing serving as a secondary sexual activity.