Academic literature on the topic 'Marines in fiction'
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Journal articles on the topic "Marines in fiction"
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Gilg, A. "Marine nature reserves: fact or fiction?" Biological Conservation 62, no. 3 (1992): 229. http://dx.doi.org/10.1016/0006-3207(92)91055-w.
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Schut, F., RA Prins, and JC Gottschal. "Oligotrophy and pelagic marine bacteria: facts and fiction." Aquatic Microbial Ecology 12 (1997): 177–202. http://dx.doi.org/10.3354/ame012177.
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Huntsman, Gene R. "Endangered Marine Finfish: Neglected Resources or Beasts of Fiction?" Fisheries 19, no. 7 (July 1994): 8–15. http://dx.doi.org/10.1577/1548-8446(1994)019<0008:emfnro>2.0.co;2.
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Glover, William J., and Donna M. Kocak. "50th Anniversary James Bond: Marine Technologies—Fact or Fiction." Marine Technology Society Journal 49, no. 6 (November 1, 2015): 134–39. http://dx.doi.org/10.4031/mtsj.49.6.7.
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Hutchings, Pat, and Elena Kupriyanova. "Cosmopolitan polychaetes – fact or fiction? Personal and historical perspectives." Invertebrate Systematics 32, no. 1 (2018): 1. http://dx.doi.org/10.1071/is17035.
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In the biogeographical and taxonomical literature before the 1980s there was a wide perception that widespread, often referred to as ‘cosmopolitan’, species were very common among polychaetes. Here we discuss the origins of this perception, how it became challenged, and our current understanding of marine annelid distributions today. We comment on the presence of widely distributed species in the deep sea and on artificially extended ranges of invasive species that have been dispersed by anthropogenic means. We also suggest the measures needed to revolve the status of species with reported cosmopolitan distributions and stress the value of museum collections and vouchers to be associated with DNA sequences in resolving species distributions.
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Kohn, Alan. "Conus Envenomation of Humans: In Fact and Fiction." Toxins 11, no. 1 (December 27, 2018): 10. http://dx.doi.org/10.3390/toxins11010010.
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Prominent hallmarks of the widely distributed, mainly tropical marine snail genus Conus are: (1) its unusually high species diversity; it is the largest genus of animals in the sea, with more than 800 recognized species; and (2) its specialized feeding behavior of overcoming prey by injection with potent neurotoxic, paralytic venoms, and swallowing the victim whole. Including the first report of a human fatality from a Conus sting nearly 350 years ago, at least 141 human envenomations have been recorded, of which 36 were fatal. Most Conus species are quite specialized predators that can be classified in one of three major feeding guilds: they prey exclusively or nearly so on worms, primarily polychaete annelids, other gastropods, sometimes including other Conus species, or fishes. These differences are shown to relate to the severity of human envenomations, with the danger increasing generally in the order listed above and a strong likelihood that all of the known human fatalities may be attributable solely to the single piscivorous species C. geographus.
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Ingólfsson, Agnar. "A marine refugium in Iceland during the last glacial maximum: fact or fiction?" Zoologica Scripta 38, no. 6 (November 2009): 663–65. http://dx.doi.org/10.1111/j.1463-6409.2009.00405.x.
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Gelfant, Blanche H. "Beauty and Nightmare in Vietnam War Fiction." Prospects 30 (October 2005): 751–78. http://dx.doi.org/10.1017/s0361233300002258.
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“Hue is the most beautiful city in the world,” a Vietnamese woman tells Marine Lieutenant Kramer, a central character in Robert Roth's Vietnam War novel,Sand in the Wind. Published in 1973, five years after the sweeping Tet Offensive had reduced Hue to rubble,Sand in the Windset the city within a complex meditation upon beauty and its relation to human desire, history, the vagaries of chance, ephemerality of happiness, and ineluctability of loss. Though ambitious in intent,Sand in the Windhas not been widely acclaimed. Except for John Hellmann's close reading, it has usually been referred to passingly or overlooked. Thomas Myers dismissed it as a “sterile mural,” a static work fixed upon a wall. I prefer to think of it as “walking point” — an action Myers ascribed to Vietnam War fiction he endorsed for “cutting trails” (227). Like the pointman of a patrol who clears a path for others to follow, the Vietnam War novel, Myers argued, opened a way into tangled historic territory — the territory of war now inhabited by literature. I propose to enter this forbidding area throughSand in the Wind, for I believe that like the novels Myers lauded it too secures a way, a unique way, of engaging safely with the Vietnam War and the losses it entailed.The lives of an estimated 5,713 soldiers, American and Vietnamese, were lost in the battle at Hue, as were almost 3,000 civilian lives. That the “longest and bloodiest” battle of the Offensive took place in Hue during the festive days of Tet was particularly shocking, for Hue was commonly considered an open city, and Tet, the lunar New Year, a time of peace and renewal. Traditionally, Tet Nguyen Dan ushered in the new year with three days of festivity, days of respite during which communal bonds were strengthened. Family members and their relatives renewed the bond of blood by gathering together for an exchange of gifts and good wishes; ancestral bonds were renewed by visits to family graves. Rice farmers plowing their paddies renewed the bond between man and nature.
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Shamsi, Shokoofeh. "Seafood-borne parasites in Australia: human health risks, fact or fiction?" Microbiology Australia 41, no. 1 (2020): 33. http://dx.doi.org/10.1071/ma20009.
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Seafood is an increasingly popular source of healthy protein. Since 1961, the average annual increase in global food fish consumption has been twice as high as population growth and exceeds the consumption of meat from all terrestrial animals combined1. The following overview of seafood safety concerns is intended to help readers to understand potential risks associated with parasites in seafood products and the need for a national approach to reduce or minimise them. It is important to note that parasite infections are not limited to seafood: all other types of foods, including vegetables and red meat can also be infected with a broad range of parasites, some of which are more dangerous than parasites in seafood. The main issue is lack of science based contemporaneous safety protocols which focus on seafood-borne parasites. As a result, in Australia regulatory control of parasites in seafood lags far behind other food sectors. Seafood safety is a broad topic. The focus of this article is on an understudied field in Australia, seafood-borne parasitic diseases. The word ‘seafood' in this context encompasses fish and shellfish products from marine and freshwater ecosystems that are, directly or indirectly, meant for human consumption.
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Bussière, Kirsten. "Survival is insufficient: Degenerate utopian nostalgia in popular culture post-apocalyptic fiction." Australasian Journal of Popular Culture 9, no. 2 (September 1, 2020): 261–75. http://dx.doi.org/10.1386/ajpc_00031_1.
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From SARS to H1N1, and most recently COVID-19, global disease outbreaks have defined the past several decades. For many, we are living in what can only be described as a pre-apocalyptic moment. Indeed, we are currently facing a global pandemic outbreak – a situation that had been previously described as imminent and perhaps even long overdue. Consequently, the publication of pandemic narratives has increased exponentially, which exposes a heightened social concern about the risk of viral outbreak. But instead of speaking to these growing anxieties and providing models to interpret our current position, a growing body of popular culture post-apocalyptic fiction remains deeply entrenched in a dangerous nostalgia that undermines the construction of hypothetical models that could appropriately respond to these threats. I argue that these texts can therefore be read as degenerate utopias, Louis Marin’s term for the false utopian myths that circulate within a society. A degenerate utopia is thus not really a utopia at all, but rather an ideology that elevates the past to a false state of perfection. My article examines the construction of degenerate utopian realities through collective memory in Emily St John Mandel’s Station Eleven and Peter Heller’s The Dog Stars.
Dissertations / Theses on the topic "Marines in fiction"
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Devoize, Jeanne. "De la réalité à la fiction la mer et les marins dans le roman anglais de la moitié du XVIIIe siècle /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376045310.
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Devoize, Jeanne. "De la realite a la fiction : la mer et les marins dans le roman anglais de la premiere moitie du xviiie siecle." Paris 3, 1987. http://www.theses.fr/1987PA030204.
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Un premier volume est consacre a l'evaluation de l'espace outre-mer d'apres les recits de voyageurs dans la premiere moitie du xviiie siecle. La notion de vide geographique prend a cette epoque une importance toute particuliere. Les voyageurs les plus aventureux comme dampier souhaitent combler ces vides et prendre la tete dans la course aux implantations commerciales. Nombreux sont les romanciers qui leur emboitent le pas et prechent eux aussi en faveur de l'esprit d'entreprise. Mais pour partir a la conquete de l'espace, encore faut-il vaincre toutes ces peurs heritees du passe. L'ile deserte est pour cela le lieu clos ideal. Tous les heros des robinsonnades ne parviennent pourtant pas a vaincre leurs peurs. A l'image de swift, les auteurs de gulliveriades preferent confronter leur heros aux habitants de pays imaginaires. Car ce qui importe, c'est l'homme et sa reflexion morale sur sa propre nature. Si ces differents romans s'appuient tres largement sur les recits de voyages autour du monde, ou, dans le cas de smollett, sur la realite vecue, il n'en est pas de meme des romans barbaresques stereotypes. Quant aux capitaines, violeurs, pirates, peres ou tyrans, ils ne vivent guere que sous la plume de smollet qui, influence par le theatre autant que par le reel, denonce les abus d'un systeme et prend la defense de jean matelot. De plus en plus, les preoccupations ethiques envahissent le roman. La nature se laisse plus difficilement domestiquer. Le langage simplifie des voyageurs devient plus elabore en meme temps que la symbolique de la mer retourne de plus en plus aux sources grecques. L'aventure qui s'etait momentanement banalisee retrouve des dimensions heroiquesA first volume is dedicated to the evaluation of space overseas according to the travellers' accounts in the first half of the eighteenth century. The notion of empty geographical spaces then acquires a particular importance. The most adventurous travellers, such as dampier, wish to fill in those empty spaces and take the lead in the race to conquer markets. Many novelists adopt the same view and endow their heroes with the spirit of enterprise. But in order to sail and conquer space, one must first get rid of all these crushing fears inherited from the past. For such a purpose, the desert island, enclosed as it is, is the ideal location. Yet all the heroes of the "robinsonnades" do not reach this aim. Following swift, the authors of the "gulliveriades" prefer to bring their heroes face to face with the inhabitants of imaginary countries. What is important is man and his moral reflexion on his own nature. If those different novels borrow much from the accounts of voyages around the world or, in the case of smollett, from reality, the "barbaresque" novels are on the contrary very close to stereotypes. As for the captains, rapists, pirates, fathers or tyrants, they acquire life mostly with smollett who, influenced by the theater as much as by reality, denounces a system and takes up the defense of jack tar. More and more, ethetic preoccupations fill up the novels. Nature refuses to let itself be domesticated. The simplified, down-to-earth language of the travellers becomes more and more elaborate, and the symbolism of the sea returns more and more to its greek sources. Adventure, which had momentarily become somewhat banal, acquires again heroic dimensions
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Wormington, Larry J. "Last Known Tomorrow." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1767.
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Harris-Birtill, Rosemary. "Mitchell's mandalas : mapping David Mitchell's textual universe." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12255.
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This study uses the Tibetan mandala, a Buddhist meditation aid and sacred artform, as a secular critical model by which to analyse the complete fictions of author David Mitchell. Discussing his novels, short stories and libretti, this study maps the author's fictions as an interconnected world-system whose re-evaluation of secular belief in galvanising compassionate ethical action is revealed by a critical comparison with the mandala's methods of world-building. Using the mandala as an interpretive tool to critique the author's Buddhist influences, this thesis reads the mandala as a metaphysical map, a fitting medium for mapping the author's ethical worldview. The introduction evaluates critical structures already suggested to describe the author's worlds, and introduces the mandala as an alternative which more fully addresses Mitchell's fictional terrain. Chapter I investigates the mandala's cartographic properties, mapping Mitchell's short stories as integral islandic narratives within his fictional world which, combined, re-evaluate the role of secular belief in galvanising positive ethical action. Chapter II discusses the Tibetan sand mandala in diaspora as a form of performance when created for unfamiliar audiences, reading its cross-cultural deployment in parallel with the regenerative approaches to tragedy in the author's libretti Wake and Sunken Garden. Chapter III identifies Mitchell's use of reincarnation as a form of non-linear temporality that advocates future-facing ethical action in the face of humanitarian crises, reading the reincarnated Marinus as a form of secular bodhisattva. Chapter IV deconstructs the mandala to address its theoretical limitations, identifying the panopticon as its sinister counterpart, and analysing its effects in number9dream. Chapter V shifts this study's use of the mandala from interpretive tool to emerging category, identifying the transferrable traits that form the emerging category of mandalic literature within other post-secular contemporary fictions, discussing works by Michael Ondaatje, Ali Smith, Yann Martel, Will Self, and Margaret Atwood.
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Gravel, Johannie. "Modulation de l'activité respiratoire par la locomotion chez la lamproie." Thèse, 2005. http://hdl.handle.net/1866/15693.
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Jenkin, Sarah. "The Effect of Temperature on the Chronic Hypoxia-induced Changes to pH/CO2-sensitive Fictive Breathing in the Cane Toad (Bufo marinus)." Thesis, 2011. http://hdl.handle.net/1807/29565.
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This study examined the effects of temperature and chronic hypoxia (CH) on pH/CO2- sensitive fictive breathing, and central pH/CO2 chemosensitivity, in cane toads (Bufo marinus). Toads were exposed to CH (10% or 15% O2) or control conditions (21% O2) for 10 days at either room temperature (controls), 10°C or 30°C following which in vitro brainstem-spinal cord preparations were used to examine central pH/CO2-sensitive fictive breathing (i.e., motor output from respiratory nerves which is the neural correlate of breathing). A reduction in artificial cerebral spinal fluid (aCSF) pH increased fictive breathing frequency (fR) and total fictive ventilation (TFV). Cold temperature reduced and hot temperature increased fR and TFV under control conditions. CH attenuated fictive breathing independently of temperature. Additional experiments in which the aCSF temperature was varied indicate that the effects of temperature acclimation result from neural plastic changes within respiratory control centres in the brain.
Books on the topic "Marines in fiction"
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Copyright Paperback Collection (Library of Congress), ed. The Bombay Marines: An Adam Horne adventure. New York: Berkley Books, 2000.
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Hill, Porter. The Bombay Marines: An Adam Horne adventure. New York: Walker, 1988.
Find full textBook chapters on the topic "Marines in fiction"
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Gilby, Emma. "The Paris Context." In Descartes's Fictions, 47–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831891.003.0002.
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This chapter considers Descartes’s connections with Guez de Balzac and his circle, and looks more closely at the language of contemporary poetic practice and theory. In his 1623 preface to Marino’s Adone, Jean Chapelain develops a critical vocabulary of novelty, generic hybridity, and verisimilitude. Meanwhile, Alexandre Hardy accuses modern dramatists of neglecting dispositio, or the coherent ordering of dramatic subject matter. The state of tragicomedy in France is exemplified in the 1628 tragicomic reworking of Schélandre’s 1608 tragedy Tyr et Sidon, prefaced by Balzac’s apologist François Ogier. At the crux of these debates, we find the question of how to balance the need for variety to dispel boredom with the need for structure to dispel distraction.
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Kohlke, Marie-Luise. "Adaptive/appropriative reuse in neo-Victorian fiction: having one’s cake and eating it too." In Interventions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995102.003.0009.
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Marie-Luise Kohlke’s chapter on ‘Adaptive/Appropriate Reuse in Neo-Victorian Fiction: Having One’s Cake and Eating it Too’ argues that historical fiction writers’ persistent fascination with the long nineteenth century enacts a simultaneous drawing near to and distancing from the period, the lives of its inhabitants, and its cultural icons, aesthetic discourses, and canonical works. Always constituting at least in part as a fantasy construction of ‘the Victorian’ for present-day purposes, the process of re-imagining involves not just a quasi resurrection (of nineteenth-century historical persons, fictional characters, traumas, aesthetics, values, and ideologies) but also a relational transformation – a change in nature, a conversion into something other, namely what we want ‘the Victorian’ to signify rather than what it was. Hence adaptive practice in the neo-Victorian novel, applied both to Victorian literary precursors and the period more generally, may be better described as adaptive reuse (to borrow a term from urban planning’s approach to historic conservation) or, perhaps, appropriative reuse. Drawing on a range of neo-Victorian novels Kohlke explores the prevalent perspectival frames and generic forms employed in neo-Victorian appropriative reuse and their divergent effects on present-day conceptions of Victorian culture.
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Vintenon, Alice. "7 - Fictions sous-marines : comment représenter un monde inaccessible ?" In Mise en forme des savoirs à la Renaissance, 153. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.pant.2013.01.0153.
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Gilby, Emma. "Judging Well." In Descartes's Fictions, 121–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831891.003.0006.
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When Marin Mersenne reflects upon the 1637 Discours de la méthode, he is anxious about what Descartes teaches us on the subject of flexibility and changing our minds. His worry is that Descartes might be arrogantly suggesting that the human will can tend to the good without the assistance of divine grace. Descartes’s response revolves around the example of Medea, a touchstone for poetic theory in general and the subject of Corneille’s 1635 reworking of Seneca. Subsequent critical comparisons of Corneille and Descartes are re-evaluated in this context, and against the background of the explosion of poetic debate in the quarrel surrounding Corneille’s 1637 Le Cid. This quarrel places the major players in earlier debates about tragicomedy on a very public stage.
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James-Raoul, Danièle. "L’écriture de la tempête en mer dans la littérature de fiction, de pèlerinage et de voyage." In Mondes marins du Moyen Âge, 217–29. Presses universitaires de Provence, 2006. http://dx.doi.org/10.4000/books.pup.3841.
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Panaïté, Oana. "Maps of Frenchness." In The Colonial Fortune in Contemporary Fiction in French. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940292.003.0005.
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Stemming from different engagements with the colonial past and its postcolonial avatars, and presenting contrasting views of the colonial fortune, the works of Marie NDiaye and Stéphane Audeguy lay bare the imperfections, frictions and jagged edges of contemporary identity construction.
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Panaïté, Oana. "Distant Empathy." In The Colonial Fortune in Contemporary Fiction in French. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940292.003.0004.
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The chapters looks at how encounters born from crossing boundaries between territories, cultures, languages and memories can either amplify or mitigate relations of antagonism, domination or rivalry in the works of J. M. G. Le Clézio, Laurent Gaudé, Marie Darrieussecq, focusing in particular on a phenomenon termed “writing (as) Africans.”
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Arshavsky, Yuri I., Tatiana G. Deliagina, and Grigory N. Orlovsky. "The Swimming Circuit in the Pteropod Mollusk Clione limacina." In Handbook of Brain Microcircuits, edited by Gordon M. Shepherd and Sten Grillner, 569–74. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190636111.003.0052.
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The pelagic marine mollusk Clione limacina (class Gastropoda, subclass Opisthobranchaea, order Pteropoda), 3–5 cm in length, swims by rhythmically moving (1–2-Hz) two winglike appendages. Each swim cycle consists of two phases—the dorsal (D) and ventral (V) wing flexions. The nervous system of Clione consists of five pairs of ganglia. The wing movements are controlled by the pedal ganglia giving rise to the wing nerves. The neuronal circuit of the swim central pattern generator (CPG) is located in the pedal ganglia, which is able to generate the basic pattern of rhythmic activity after isolation from the organism (fictive swimming). Approximately 120 pedal neurons exhibit rhythmic activity during fictive swimming. According to their morphology, rhythmic neurons are divided into motoneurons (MNs), with axons exiting via the wing nerves to wing muscles, and interneurons (INs), with axons projecting to the contralateral ganglion.
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Allen, Nicholas. "Wavy Rhythms." In Ireland, Literature, and the Coast, 171–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857877.003.0009.
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The idea of other islands on farther shores resides deep in the traditions of Irish literature and goes back to phases of mythology, exploration, and odyssey. In the modern period this dispersal has happened from economic necessity, which has depended in turn on innovations in the technology of travel. The transit overseas was shaped by Ireland’s traumatic historical experiences, and this complex panorama is background to many works of Irish literature, both historical and contemporary. At the same time, an interest in the sea crossings that were the bridge between Ireland and its emigrants’ destinations is a subject in itself, as are the many port cities into which these temporary mariners filtered on disembarkation. This chapter reads versions of the sea-crossing to New York in fictions of Joseph O’Connor, Joseph O’Neill, and Colum McCann, all of whose works suggest the idea of the Atlantic as a place of continual transit.
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Robinson, Benedict S. "The Springs of the Soul." In Passion's Fictions from Shakespeare to Richardson, 118–55. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869177.003.0005.
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This chapter turns to the place of the passions in the “new philosophies” of the mid- to late-seventeenth century, which aimed to bring them into the purview of a true “certaine science.” In the process, they changed the concept of passion, turning it from a motion of the sensitive soul with associated but secondary effects in the body to a more centrally physiological movement: a motion of the spirits, themselves understood in increasingly materialist terms; or even a “spring” of the soul: a physical movement in the body that causes effects in the soul. The chapter demonstrates the impact of this shift in the concept of passion on late-seventeenth-century rhetoric. But it also argues that rhetoric continued to shape new forms of philosophical discourse on the passions, albeit in hidden or even disavowed ways. It traces the influence of rhetoric through major philosophical texts by Bacon, Hobbes, Descartes, Spinoza, Malebranche, and Locke. In its final pages it turns to two novels, Marie-Madeleine de Lafayette’s Princesse de Clèves and Eliza Haywood’s Love in Excess, to show how they fuse concepts of passion shaped by the new physiologies with an updated version of a circumstantial knowledge of the passions that had once belonged to rhetoric but that by the late seventeenth century was also guiding the production of new forms of long prose fiction.
Conference papers on the topic "Marines in fiction"
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D'Aprile, Marianela. "A City Divided: “Fragmented” Urban and Literary Space in 20th-Century Buenos Aires." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.22.
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When analyzing the state of Latin American cities, particularly large ones like Buenos Aires, São Paolo and Riode Janeiro, scholars of urbanism and sociology often lean heavily on the term “fragmentation.” Through the 1980s and 1990s, the term was quickly and widely adopted to describe the widespread state of abutment between seemingly disparate urban conditions that purportedly prevented Latin American cities from developing into cohesive wholes and instead produced cities in pieces, fragments. This term, “fragmentation,” along with the idea of a city composed of mismatching parts, was central to the conception of Buenos Aires by its citizens and immortalized by the fiction of Esteban Echeverría, Julio Cortázar and César Aira. The idea that Buenos Aires is composed of discrete parts has been used throughout its history to either proactively enable or retroactively justify planning decisions by governments on both ends of the political spectrum. The 1950s and 60s saw a series of governments whose priorities lay in controlling the many newcomers to the city via large housing projects. Aided by the perception of the city as fragmented, they were able to build monster-scale developments in the parts of the city that were seen as “apart.” Later, as neoliberal democracy replaced socialist and populist leadership, commercial centers in the center of the city were built as shrines to an idealized Parisian downtown, separate from the rest of the city. The observations by scholars of the city that Buenos Aires is composed of multiple discrete parts, whether they be physical, economic or social, is accurate. However, the issue here lies not in the accuracy of the assessment but in the word chosen to describe it. The word fragmentation implies that there was a “whole” at once point, a complete entity that could be then broken into pieces, fragments. Its current usage also implies that this is a natural process, out of the hands of both planners and inhabitants. Leaning on the work of Adrián Gorelik, Pedro Pírez and Marie-France Prévôt-Schapira, and utilizing popular fiction to supplement an understanding of the urban experience, I argue that fragmentation, more than a naturally occurring phenomenon, is a fabricated concept that has been used throughout the twentieth century and through today to make all kinds of urban planning projects possible.
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David, Sylvain. "La double fonction de l’eau dans La salle de bain de Jean-Philippe Toussaint." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2528.
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Le narrateur de La salle de bain (1985) est obsédé par le passage du temps : il contemple ainsi longuement une fissure dans le mur qui surplombe sa baignoire – causée vraisemblablement par l’humidité, et donc par l’eau –, y voyant le reflet de sa propre décrépitude. Ces ravages potentiels exercés par l’élément liquide s’étendent d’ailleurs à la société en son ensemble : en témoignent les visions du personnage de Paris noyé sous la pluie (comparé dès lors à un « aquarium ») ou de Venise submergée par la mer, si ce n’est son intérêt douteux pour le naufrage du Titanic. Cette métaphore filée trouve son apogée dans une scène marquante du roman, où le narrateur, contemplant les gouttes de pluie qui glissent sur sa fenêtre, en tire des conclusions sur « la finalité du mouvement », laquelle serait inéluctablement l’« immobilité ». Les indications données à cet égard peuvent être considérées comme un commentaire métatextuel, cadrant les modalités de traversée du texte. À ceci s’ajoute l’image de l’encre s’écoulant d’un poulpe – animal marin – mal apprêté par l’un des personnages, autre possible illustration de l’écriture, de la fiction qui se crée en dépit de l’adversité. C’est sur cette double nature de la métaphore aquatique, chez Jean-Philippe Toussaint, que portera ma communication. J’y défendrai l’hypothèse comme quoi, dans La salle de bain, l’évocation de l’eau revêt à la fois une dimension négative, en ce qu’elle reflète une usure générale (tant personnelle que collective), et positive, dans la mesure où elle contribue à définir l’écriture et la lecture, et donc, d’une certaine manière, à préciser les moyens mêmes par lesquels il est possible de s’arracher à la stagnation par ailleurs postulée.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2528
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Connan-Pintado, Christiane. "Métamorphoses d’une histoire d’eau en littérature de jeunesse (1865-2004) Perspectives scientifiques/ littéraires/pédagogiques." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2489.
Full textAbstract:
En lien avec l’axe littéraire du colloque, la présente contribution à la réflexion s’attachera à trois « histoires d’eau » publiées en France pour la jeunesse, en l’espèce trois fictions qui ont en commun de prendre pour protagoniste une goutte d’eau : Métamorphoses d’une goutte d’eau, de Zulma Carraud (Hachette, « Petite Bibliothèque rose illustrée », 1864), Histoire de Perlette goutte d’eau de Marie Colmont (Flammarion, « Père Castor », ill. Béatrice Appia, 1936 et Gerda Muller, 1960) et Histoire courte d’une goutte de Beatrice Alemagna (Autrement jeunesse, 2004). Dans la mesure où la littérature pour la jeunesse se caractérise séculairement par la double visée d’instruire et de plaire, on pourra s’interroger sur la manière dont elle accomplit cette mission en jouant de l’anthropomorphisation de l’inanimé et de la fictionnalisation des phénomènes naturels. La perspective diachronique adoptée invite à observer l’évolution de l’édition et de la création pour la jeunesse sur le long terme. Individualisée, humanisée, féminisée, la goutte d’eau devenue personnage prend la parole pour raconter son histoire avec le soutien d’une iconographie de plus en plus prégnante au cours de l’itinéraire qui conduit du livre illustré à l’album contemporain. Si nombre de ressources littéraires sont convoquées pour rendre le savoir plus aimable et le mettre à la portée des enfants, la leçon scientifique semble peu à peu marquer le pas au profit d’un projet poétique, esthétique et/ou idéologique où l’imaginaire de l’eau prend toute sa place. Cette étude prendra appui sur nombre de travaux qui se penchent sur la production pour la jeunesse, afin de mettre en valeur son intérêt historique, littéraire, artistique et pédagogique.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2489