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Copyright of Recherches en Langue et Littérature Françaises is the property of University of Tabriz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Both Virginia Woolf and Annie Ernaux, in their respective works titled The Years, undertake an exploration of the shifting experience of women across two different periods of profound historical change. Reading the texts through the lens of Jacques Rancière's concept of the "distribution of the sensible," allows us ask to what extent works of literature such as these not only trace the shifting elements of a particular distribution of the sensible, but also provoke a change in that distribution by destabilizing and disrupting the smooth, unthought continuance of any such distribution. In doing so, we can attain a greater understanding of the complex historical determiners of individual experience and evaluate the possibility of undermining and overcoming those ingrained modes of experience. [ABSTRACT FROM AUTHOR]

Copyright of XVIIe Siècle is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of XVIIe Siècle is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Simone de Beauvoir's influence, particularly through her Second Sex and Memoirs of a Dutiful Daughter, has been personally and intellectually decisive for Annie Ernaux who just like Beauvoir turned from a both dutiful and disturbed girl into a disturbing author as evidenced by her narrative A Girl's Story. This article precisely aims at studying how the 'disturbed' and 'disturbing' paradigms open the way to a reassessment of A Girl's Story in light of Beauvoir's Second Sex and Memoirs of a Dutiful Daughter, and bring so to the fore the organic bond connecting Ernaux to Beauvoir. [ABSTRACT FROM AUTHOR]

' Annie Ernaux: Politics lived and written' starts by outlining the aim and key terms of this special issue of French Cultural Studies dedicated to 'Annie Ernaux: Writing, Politics'. It then provides an overview of her life, highlighting some of the ways in which the writer, who was born in 1940, experienced or witnessed first-hand the historical events, legal pressures, and socio-political realities of her era. There follows a reminder of the two prevalent concerns that have structured her work, namely 'le mépris social' and 'la domination masculine', both of which pertain to ' le politique'. ' La politique' being also subject to examination in the articles in this issue, the politics of Ernaux – the citizen and the writer – is subsequently surveyed and consideration is given to the author's will to distinguish it from the 'political action of literary writing'. Finally, this introduction examines the processes of representation and self-positioning that shape the political in Ernaux's prose. A concluding section provides an overview of the nine contributions brought together here. [ABSTRACT FROM AUTHOR]

Nobel Prize laureate Annie Ernaux is a celebrated writer, but she is also seen as a representative of the dominated within society, with all the ambiguities that the term 'representative' entails. While reception of her work remains contested in France, it has to be said that the personal and political agenda that has partly guided Ernaux's work - 'to avenge my kind and to avenge my gender' - is part of a political conception of literature that can take on a prescriptive or incitive value for writers who are class migrants and/or feminists. Through their critical comments, these writers influence Ernaux's way the work is read - by the author as well as by lay readers - granting social usefulness to the aesthetic 'transgression' usually attributed to her prose. [ABSTRACT FROM AUTHOR]

This article was written in response to the attacks on Annie Ernaux following the announcement by the Swedish Academy of its decision to award her the Nobel Prize in Literature on 6 October 2022. In particular, it discusses the accusation of anti-Zionism, more or less explicitly conflated with antisemitism. Through the analysis of texts signed by Ernaux, the article demonstrates that this accusation is a baseless attempt to discredit the Nobel Prize laureate in public opinion. The article also calls into question other accusations made against the writer during the programme 'Répliques' by Alain Finkielkraut, on 26 November 2022, on the France Culture radio station. [ABSTRACT FROM AUTHOR]

In Une femme (1987; A Woman's Story), Annie Ernaux declared that she wished to remain "au-dessous de la littérature" ("below literature"). To what extent is this position, which she has maintained over the last decades, compatible with her consecration as a writer? This article considers the publication of Les Années (2008; The Years) as a turning point followed by the publication of several collaborative and dialogic texts that call into question established literary forms and make visible the process of creation, that it to say the poiesis of the œuvre. By revealing the act of writing, Ernaux contributes to establishing a genealogy of her work, even showing it to have a mythical dimension which is nevertheless tied to socio-political concerns. Exploring the resonance between Ernaux's literary pieces and her paratextual interventions highlights the complex network on which Ernaux's conception of writing, and position towards the idea of literature, are built. [ABSTRACT FROM AUTHOR]

Since the second decade of the twenty-first century, French and Québécois literary studies have identified a 'literature of care ', a set of literary works some of whose features converge with the feminist perspective of care. Taking its cue from Larroux (2020), this article examines two of Annie Ernaux's narratives of working-class filiation, La Place (1983) and Une femme (1988), as well as ' Je ne suis pas sortie de ma nuit ' (1997), to assess their affinities with this perspective. First, I analyse Ernaux's attention to ordinary life. I then explore the relations between the acts of caring and writing, arguing that Ernaux's narratives somehow have the ability to take care not only of her deceased parents, but also of the working class in general. Finally, I show that the poetics at work in La Place bears witness to the author's caring attitude. [ABSTRACT FROM AUTHOR]

Annie Ernaux's desire to create literature that is in some way 'political' has constantly been reaffirmed throughout her career as a writer. Drawing primarily on her reflexive writings and statements in interviews, this article constitutes an essay on the 'theoretical positioning' of the author's meta-poetic discourses that deal with this question of the political in order to assess which theorizations of 'engagement' they underpin, or from which they draw, and to identify any possible ambivalences or aporias. Like academic critics, Ernaux has, herself, emphasized the influence on her work of her readings in sociology, and particularly of Bourdieu. This contribution aims to show what Ernaux's conception of literary 'engagement' may also owe to Sartre's theorizations, to which Ernaux does not lay claim, but from which she nonetheless seems to borrow some conceptions and ways of operating. The analysis proposed here thus questions some of the foundations and blind spots of Ernaux's approach to the political. [ABSTRACT FROM AUTHOR]

The documents added to the new edition of Ernaux's Retour à Yvetot (2013, 2022), written during her student years, represent the process and affects of class transition, without the benefits of hindsight, experience, and the readings in sociology, particularly of Bourdieu, that inform her literary texts. I analyse them here both in relation to Ernaux's published works, particularly La Honte and Mémoire de fille and to the letters I wrote at a similar period and phase of my life, as a first-generation student at St Hugh's College, Oxford in the early 70s. At the time, like Annie Duchesne, 1 I had no political or sociological understanding of my experience; reading Ernaux 20 years later in the early 90s was a literary epiphany, illuminating my trajectory from a working-class culture of origin to a middle-class life and career. My engagement with Ernaux over 30 years has also involved a continuous correspondence with the writer, which I draw on here, illustrating the blurred boundaries between intimacy and research discussed by Fraser and Puwar (2008). This mise en scène of my reading self is placed within the context of the wider communities of class migrant readers of Ernaux: the lay readers studied by myself and Isabelle Charpentier, Ernaux specialists in academe, and the younger writers discussed by Aurélie Adler in this special issue. [ABSTRACT FROM AUTHOR]

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The publishing of Annie Ernaux's work in Italy has a patchy history. Six of her novels were published in the 1990s by two different publishers and four different translators, and she then almost disappeared from bookstores. In 2014 the publisher L'orma put her at the centre of their new catalogue. She found "her" Italian voice thanks to Lorenzo Flabbi who, after introducing the public to La place, tirelessly (re) translated all the new releases, the neglected titles and those that had been published by other editors. A voice that would ensure her formidable success in Italy long before the Nobel Prize. To show the uniqueness of this voice, the article discusses some characteristic elements of the editorial and translation strategy by L'orma and Flabbi by comparing it to that of the preceding editorial history of her narrative. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Fabula - LhT is the property of Fabula and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyzes the relationship between Annie Ernaux’s autobiographical writing and the external suburban space of Cergy-Pontoise in two memoirs: Exteriors (1993/2021) and Things Seen (2000/2010). The paper argues that in Exteriors and Things Seen, Ernaux’s individual experience intertwines with the exterior space of the town. The critical exploration of the texts through the prisms of humanistic geography, spatial theory, and feminist spatial theory highlights how the author’s spatial and biographical engagement with the new town operates in a twofold way. On the one hand, it works as a tool contributing to the casting of the identity of place. On the other, it results in an exchange configuring the external suburban dimension as a powerful source of the author’s internal processes of self-investigation, meaning-making, and memory recollection. By shedding light on the points of intersection between life and place, experience and exteriors, the paper ultimately suggests that the place identity of Cergy-Pontoise is crafted by and through Ernaux’s texts and that, concurrently, the suburban space of the new town informs Ernaux’s experience, individuality, and memory. The paper concludes by reflecting on the spatial notion of exteriority as a stylistic device informing Ernaux’s narrative.

Cet article se propose d’étudier la façon dont la lecture fut un élément essentiel dans la naissance à l’écriture d’Annie Ernaux. Deux formes de lectures différentes façonnent le parcours de l’écrivaine : des livres populaires, destinés à un public féminin, qui favorisent l’évasion et le bovarysme, et des œuvres appartenant à la littérature légitime qui poussent à une herméneutique de soi faisant fi du genre des lecteurs. Ces deux types de lectures seront au départ de son envie d’écrire et alimenteront son activité d’écriture. Aussi est-il possible d’observer la manière dont, après s’être identifiée à Emma Bovary, Ernaux se fait progressivement Flaubert, auteur qu’elle apprécie énormément et qu’elle compte parmi ses influences.

Mémoire de fille (2016) est une œuvre entièrement traversée et même structurellement sous-tendue par la présence des livres, éléments clés dans l’enquête menée par Annie Ernaux au moment où elle se fait métaphoriquement lectrice d’elle-même. Tout le récit peut ainsi se (re)lire au prisme des lectures, faites ou à venir, qui jouent avec/de la construction personnelle et interrogent l’(im)permanence de soi. C’est cette dimension qu'investit cet article en analysant la façon dont la lecture est mise en œuvre dans Mémoire de fille pour montrer qu’elle est simultanément voie et voix. Entendons par là une lecture comme voie de l’écriture (dimension scripturale : faire se réaliser l’enquête) et comme voix de soi (dimension identitaire : s’entendre et se (re)trouver).

Literature can be regarded as a cognitive mode that transcends binary and oppositional views of rationality and irrationality, sustaining a dialectical tension between precision and possibility. Through the strategic use of fragmentation, the literary form is not dissolved; instead, it invites a rethinking and reshaping. The essence of this paper goes beyond mere experimentalism; it contends that the use of fragments establishes a profound link between form and content, coupled with a meticulous attention to the moment of text production. Drawing examples from two literary works of the early twentieth century -- Robert Musil's Der Mann ohne Eigenschaften and Annie Ernaux's Les Années -- both shaped as "fragments of fragments", the paper aims to explore the role of literary fragmentation as a gnoseological path. Moreover, the use of the fragment can be intricately tied to the concept of Essayism, understood in its etymological sense of an attempt. The incompleteness of reality becomes constitutive of the literary form, embodying an analysis of alternative possibilities. In contemporary times, the cultural and social landscape resonates with sentiments and reflections reminiscent of the modernist era. [ABSTRACT FROM AUTHOR]

The present study explores the construction of the female identity in The Years, in comparison with the original French text Les Années, which is one of the novels written by the French author; Annie Ernaux, who was awarded the Nobel Prize in 2022. The study also investigates the relationship between identity construction in the selected novel and the occurrences and frequencies of the different types of speech acts used by the protagonist. As a result, it highlights how the structure of the utterances said by the female protagonist and the types of speech acts with an illocutionary force contributes to the comprehensive portrayal of the female character. The qualitative and quantitative textual analysis employs a triangulation of a number of analytical tools and theoretical frameworks, such as feminist stylistics, pragmatics, and social psychology, with a corpus-based approach. The underlying theories used in the present study are the Speech Act Theory (1962,1979), the Positioning Theory (1990) integrating with Mills' (1995) framework of feminist stylistics. Findings demonstrate that two types of speech acts are frequently used and distributed in the selected novel; that is, expressive and directive in order to highlight the fact that the narrator intends to express her directions, compliments, and complaints about events and actions. Different positions are assigned to both the narrator and the protagonist in order to manifest the different identities constructed. [ABSTRACT FROM AUTHOR]

In Une Femme (c. 1987), an autobiographical story by French writer Annie Ernaux, the challenge of writing is to gather from memory what has been scattered over time until it manages to raise the ethical profile of the narrator's mother being and person. Using the flow of everyday life as a resource, the narrator braids for the reader the thread of two lives (mother and daughter), closely interweaving these two lives within the social context. Even though the flow of feelings between two people is as variable as its projection in memory, these are precisely the two sources from which Ernaux extracts the necessary signals to shape her story. A meaning not often considered for the verb "collect" illustrates a different conveyance of "to infer or deduce", which are the focus of its meaning, expressed in transitive uses. Said sense, which may well correspond to the material order as well as to the immaterial one, indicates that when colligating, something that has been disintegrated, or scattered, is recomposed. This idea is inherent to the type of operations carried out by memory, which does not operate chaotically, but in a staggered way, by linking loose pieces. In Une Femme one can appreciate, in a fundamentally ethical register, the process of deducing that the narrator's memory carries out in order not to disfigure, or misinterpret, the role of form and function, of the mother. For critical discourse, it is not easy to judge whether the elements considered carry out the transcription of a woman's life, as offered in this work by Ernaux, are adjusted to reality or are the object of self-fiction, but Ella's profile as a person allows us to ask: Is that kind of reconfiguration that is consigned there an ethical motivation or merely fictional? The exposition in Une Femme is subtly ambiguous: objective and subjective; prosaic and poetic; ethical and social. This article intends to enter this disquisition seeking to identify the motives of the correspondence between "a woman" (the mother of the narrator), who is the subject of the experience, in front of the character built in the narrative under the name "Elle". [ABSTRACT FROM AUTHOR]

This article considers the recent publications of French philosopher Simone de Beauvoir, and offers an overview of contemporary scholarship in Beauvoir Studies. Beauvoir's canonization in Gallimard's La Pléiade collection in 2018 is discussed, specifically Gallimard's choice of Beauvoir's Mémoires for these first two volumes. Exploring the imbrication of Beauvoir's philosophy with her own lived experience, the article traces what Annie Ernaux describes as the 'running threads' connecting us, namely the ways in which Beauvoir's legacy is interwoven in our lives today. Surveying recent scholarship highlights the pertinence of Beauvoir's work to contemporary contexts on issues ranging from sexual violence, subjective agency and female subjugation to emancipatory politics and transnational feminist solidarities. Thereafter, the importance Beauvoir placed on self–Other relations is explored in relation to scholarship on Beauvoir's epistolary exchanges, the publication of her lost novella Les Inséparables, and on Beauvoir's philosophy of alterity and old age in light of the pandemic. [ABSTRACT FROM AUTHOR]

Copyright of Autobiografia is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In October 2022, a few weeks after the announcement of the Nobel Prize, Annie Ernaux premiered in Italy her first film, Les Années Super8, released with her son David Ernaux-Briot. The extract below corresponds to a part of the dialogue between the French author and Francesca Maffioli, which took place in Bologna at Salaborsa Library during the XV edition of Archivio Aperto, the festival of Home Movies - National Family Film Archive. [ABSTRACT FROM AUTHOR]

The Covid-19 pandemic has highlighted both the importance of care and a global crisis in care. Since its beginnings in the US in the 1980s as a feminist theory within virtue ethics, care ethics has emerged from the margins of the domestic sphere in the West to become a species theory and a force for radical societal change. Influenced by Joan Tronto's work, Alexandre Gefen has integrated the approach into literary studies in France as an interventionist reading strategy, offering therapeutic benefits to the reader as well. In a new intersectional approach, I argue that reading literature through a care ethics model can improve lives. I compare literary testimonies on either side of the patient/carer divide, Annie Ernaux's pre-Covid-19 care home narrative and Michael Rosen's Covid-19 patient testimony, which, read together, expand the field of medical humanities to promote a relational reconception of society over individualist neoliberalism. [ABSTRACT FROM AUTHOR]

The article concerns the Polish translation of Les Années by Annie Ernaux, published by Czarne in 2022. Translators, Krzysztof Jarosz and Magdalena Budzińska, who is also the editor of the volume, filled out a questionnaire proposed by the author of the article that aims to find out the strategy regarding cultural elements, but also the presence of footnotes. The article contains the analysis of various types of footnotes and various strategies resulting from translation dominant selected by the translators, visible in the Polish translation. [ABSTRACT FROM AUTHOR]

This essay deals with the problem of the “End of Art” through a critical reading of Annie Ernaux’s The Years (2008). The analysis of two physiognomic aspects of the book — the white space and the list — reveals some critical points of Ernaux’s poetic of distance: the conflict between the material side and the sensitive side of memory; the rejection of rhetorical invention (inventio) as creation and self-expression; and the attempt to overcome the limits of traditional autobiographical writing. Against the dominant attitude in scholarship, which has mainly focus on the authors Ernaux quotes in the book, I explore other possible connections, through a non-continuistic model of temporality. The problem of the “End of Art” is finally reversed in the specular and complementary problem of the crisis of criticism, on which I focus in the final remarks, by advancing a proposal for another relationship between criticism and common sense.

In October 2022, a few weeks after the announcement of the Nobel Prize, Annie Ernaux premiered in Italy her first film, Les Années Super8, released with her son David Ernaux-Briot. The extract below corresponds to a part of the dialogue between the French author and Francesca Maffioli, which took place in Bologna at Salaborsa Library during the XV edition of Archivio Aperto, the festival of Home Movies – National Family Film Archive.

In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has recently been the subject of increased attention, with texts by Annie Ernaux, Didier Eribon, Christian Baron, Richard Hoggart and others frequently being mentioned in this regard. While individual cases, such as the French reception of Richard Hoggart, have been studied before, this essay takes a broader approach and examines English-, French- and German-language texts in order to trace the complex itinerary of autosociobiography and sketch out the history of this emerging form in the second half of the twentieth century. In addition, we explore how the emergence of autosociobiography relates to international and supranational developments such as the expansion of higher education, economic recession and the rise of Neoliberalism after the Trente Glorieuses. Autosociobiography – so runs our thesis – is an attempt to reinstall a logic of the general in a 'society of singularities'. Finally, our essay discusses the methodological problems that will be encountered in the study of autosociobiography as a travelling genre. [ABSTRACT FROM AUTHOR]

Annie Ernaux has been the subject of considerable attention in the Brazilian publishing landscape, especially after her 2022 Nobel Prize in Literature and the recent translations of five of her books published by Fósforo. In this essay, I intend to explore the apparently contradictory place that fiction occupies in her work: in a series of interviews (ERNAUX, 2011), Ernaux argues that her literary production involves, at the same time, the incorporation and the questioning of the fictional. To flesh out my argument, I will examine two long excerpts from The Years (2008), proposing a dialogue with Wolfgang Iser, Ivan Jablonka, Luiz Costa Lima, and Pierre Bourdieu. My goal will be to show that the project of a sentence "full of real things" cannot be detached from a certain fictional elaboration; after all, it is the perspectivation through fiction that allows putting life and facts in parentheses in order to better approach them and better think of them. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Chine is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La nouvelle édition du journal d’écriture d’Annie Ernaux, L’Atelier noir (Paris : Gallimard, 2022), porte une attention inédite à la gestation de près de trente ans qui a précédé la publication du texte Mémoire de fille (Paris : Gallimard, 2016). Tant le contenu que la forme de ce texte dénoncent une longue réflexion sur la mémoire ou, plutôt, sur la qualité intrinsèque d’un souvenir impossible ; pour cette raison, l’article tentera d’analyser le texte de 2016 au moyen des considérations sur l’Erinnerung et le Gedächtnis communes à Paul de Man et à Jacques Derrida. Le texte théorique de référence sera les Mémoires pour Paul de Man (1988) et, à partir des réflexions sur la « mémoire pensante », on tentera d’analyser les résultats narratifs et les stratégies discursives adoptées par Ernaux dans ce texte qui, plus que tout autre, semble constituer l’« événement » le plus radical de son écriture.

This essay deals with the problem of the "End of Art" through a critical reading of Annie Ernaux's The Years (2008). The analysis of two physiognomic aspects of the book -- the white space and the list -- reveals some critical points of Ernaux's poetic of distance: the conflict between the material side and the sensitive side of memory; the rejection of rhetorical invention (inventio) as creation and self-expression; and the attempt to overcome the limits of traditional autobiographical writing. Against the dominant attitude in scholarship, which has mainly focus on the authors Ernaux quotes in the book, I explore other possible connections, through a non-continuistic model of temporality. The problem of the "End of Art" is finally reversed in the specular and complementary problem of the crisis of criticism, on which I focus in the final remarks, by advancing a proposal for another relationship between criticism and common sense. [ABSTRACT FROM AUTHOR]

In Ecrire la vie (2011), an anthology of her major works to date, Annie Ernaux published for the first time about eighty images of herself and her family; these pictures are inserted in an opening 'photojournal', and combined with extracts from the author's private diary, thus giving direct access to her past life and to the idiosyncrasies of her self. Readers/viewers are compelled to confront the texts and images and to construct their own reading of the pictures, which can also be matched with the numerous descriptions of photographs in Ernaux's autobiographical works since La Place (1983). In contrast to Les Années (2008), the writer's narrative attempt to produce a total and impersonal autobiography, this photo-textual assemblage constitutes an alternative material and archival form of life-writing; it constructs a singular temporality and a list-like, serial aesthetic which directly emanate from specific characteristics of the diary and photography. [ABSTRACT FROM AUTHOR]