Present Perfect
La série Present Perfect, dirigée par Jean-Michel Ganteau et Christine Reynier, a pour vocation d’accueillir des travaux portant sur la littérature, la culture et les arts britanniques de l’époque victorienne, édouardienne, moderniste ou contemporaine. Elle publie des recueils d’articles ou des monographies rédigés en français ou en anglais.
Present Perfect, edited by Jean-Michel Ganteau and Christine Reynier, is a series dedicated to works of criticism on the literature, culture and arts of the Victorian, Edwardian, modernist and contemporary periods. It publishes monographs or collections of articles in French or in English.
Responsables de la série : Jean-Michel Ganteau, Christine Reynier
Comité de lecture
Catherine Bernard (Université Denis-Diderot, Paris 7), Annie Escuret (Université Paul-Valéry, Montpellier 3), Christine Froula (Northwestern University, États-Unis), Jean-Michel Ganteau (Université Paul-Valéry, Montpellier 3), Elena Gualtieri (Sussex University, UK), Susana Onega (Zaragoza University, Espagne), Jean Radford (Goldsmith College, London, UK), Christine Reynier (Université Paul-Valéry, Montpellier 3), Ronald Shusterman (Université de Saint-Étienne)
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Woolf as Reader / Woolf as Critic or, The Art of Reading in the Present
Catherine Bernard
Although she is still best known for her work as a novelist and short story writer, Virginia Woolf ranks among the most inventive and thought-provoking essayists of the Modernist canon. Throughout her productive and far-ranging career as an essayist, she worked towards a redefinition of the compass of literature and of the complex economy of reading...
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Modernism and Unreadability
Modernisme et illisibilité 23-25 octobre 2008
Isabelle Alfandary, Axel Nesme
Questioning “Modernism and Unreadability” means exploring Modernism from the perspective of one of its most roblematic effects: unreadability.
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Autonomy and Commitment in Twentieth-Century British Literature
Jean-Michel Ganteau, Christine Reynier
This collection of essays means to explore the interaction between autonomy and commitment in an attempt at revisiting and possibly, revising conventional literary history. Until recently, literary history has indeed tended to present twentiethcentury British literature as either autonomous or committed, but such a position certainly needs qualification.
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La défamiliarisation linguistique dans le roman anglais
Sandrine Sorlin
Lorsque le pouvoir de défamiliarisation que l’on reconnaît à la littérature touche le texte dans sa chair même, alors l’expérience de lecture se fait à la fois inquiétante et intime...
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Virginia Woolf et les écritures du moi : le journal et l'autobiographie
Frédérique Amselle
« Virginia Woolf et les écritures du moi » s’intéresse aux cinq textes qui constituent Moments of Being, au journal de jeunesse, The Early Diaries, au Journal, ainsi qu’à Carlyle’s House and Other Sketches...
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Impersonality and Emotion in Twentieth-Century British Arts
Jean-Michel Ganteau, Christine Reynier
This volume comes as a sequel to a previous publication, Impersonality and Emotion in Twentieth-Century British Literature, which explored the paradoxical connections between impersonality and emotion, two notions central to modernist as well as to later British literature...
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Impersonality and Emotion in Twentieth-Century British Literature
Jean-Michel Ganteau, Christine Reynier
As the readers familiar with Julian Barnes’s Flaubert’s Parrot will know, Gustave Flaubert, who believed in the impersonality of the work of art, is the object of the quest of Barnes’s character...
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