{"id":1144,"date":"1997-10-10T19:03:26","date_gmt":"1997-10-10T17:03:26","guid":{"rendered":"http:\/\/www.lilec.it\/francofonia\/?p=1144"},"modified":"2017-03-29T12:39:55","modified_gmt":"2017-03-29T10:39:55","slug":"33-1997","status":"publish","type":"post","link":"http:\/\/www.lilec.it\/francofonia\/33-1997\/","title":{"rendered":"33 Automne \/ Autunno 1997"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-1\"><h2 style=\"text-align: center;\" data-lineheight=\"47\" data-fontsize=\"34\"><strong><div class=\"fusion-counters-circle counters-circle\" data-animationOffset=\"top-into-view\"><div class=\"counter-circle-wrapper\" style=\"--awb-font-size:34.090909090909px;--awb-size:150px;\" data-originalsize=\"150\"><div class=\"fusion-counter-circle counter-circle counter-circle-content\" data-percent=\"100\" data-countdown=\"\" data-filledcolor=\"rgba(0,165,55,1)\" data-unfilledcolor=\"rgba(246,246,246,1)\" data-scale=\"\" data-size=\"150\" data-speed=\"1500\" data-strokesize=\"7.5\"><div class=\"fusion-counter-circle-content-inner\">33<\/div><\/div><\/div><\/div><\/strong><strong>Automne \/\u00a0<\/strong><strong>Autunno 1997<\/strong><\/h2>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116680\" target=\"_blank\"><img decoding=\"async\" class=\"alignleft wp-image-321\" src=\"http:\/\/www.lilec.it\/francofonia\/wp\/wp-content\/uploads\/2017\/03\/JSTOR_Logo_RGB_60x76-1.gif\" alt=\"\" width=\"46\" height=\"59\" \/><\/a><\/p>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116680\" target=\"_blank\">Lire ce num\u00e9ro sur JSTOR<\/a><br \/>\n<a href=\"http:\/\/www.jstor.org\/stable\/i40116680\" target=\"_blank\">Leggere questo numero su JSTOR<\/a><\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-color:#ff3300;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:30px;--awb-padding-bottom:35px;--awb-background-color:rgba(224,224,224,0.95);--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-2\"><h2 style=\"text-align: center;\"><span style=\"color: #000000;\">Sommaire \/\u00a0<\/span><span style=\"color: #000000;\">Indice<\/span><\/h2>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-right:20px;--awb-padding-left:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-section-separator section-separator triangle fusion-section-separator-1\" style=\"--awb-border-bottom:1px solid rgba(224,224,224,0.95);--awb-spacer-height:1px;--awb-svg-margin-left:0;--awb-svg-margin-right:0;--awb-icon-color:#ffffff;\"><div class=\"fusion-section-separator-svg\"><div class=\"divider-candy-arrow bottom\" style=\"top:0px;border-top-color: rgba(224,224,224,0.95);\"><\/div><div class=\"divider-candy bottom\" style=\"bottom:-21px;border-bottom:1px solid rgba(224,224,224,0.95);border-left:1px solid rgba(224,224,224,0.95);\"><\/div><\/div><div class=\"fusion-section-separator-spacer\"><div class=\"fusion-section-separator-spacer-height\"><\/div><\/div><\/div><div class=\"fusion-text fusion-text-3\"><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-4 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-tabs fusion-tabs-1 classic nav-is-justified horizontal-tabs icon-position-left mobile-mode-accordion\" style=\"--awb-title-border-radius-top-left:0px;--awb-title-border-radius-top-right:0px;--awb-title-border-radius-bottom-right:0px;--awb-title-border-radius-bottom-left:0px;--awb-inactive-color:#ebeaea;--awb-background-color:#ffffff;--awb-border-color:#ebeaea;--awb-active-border-color:#278157;\"><div class=\"nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-9741a80a0aed85b2a55\" aria-selected=\"true\" id=\"fusion-tab-articles\" href=\"#tab-9741a80a0aed85b2a55\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-9b2863d5e23c2ecef4c\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-9b2863d5e23c2ecef4c\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-9741a80a0aed85b2a55\" aria-selected=\"true\" id=\"mobile-fusion-tab-articles\" href=\"#tab-9741a80a0aed85b2a55\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-articles\" id=\"tab-9741a80a0aed85b2a55\">\n<p><strong>Bertrand Westphal<\/strong>,\u00a0La ville des destins crois\u00e9s. Perception litt\u00e9raire de Tunis au XX<sup>e<\/sup>\u00a0si\u00e8cle<\/p>\n<p><strong>Simona Mambrini<\/strong>,\u00a0Samuel Beckett: la traduzione come poetica<\/p>\n<p><strong>Liano Petroni<\/strong>,\u00a0Lezione autunnale su<em> La Peste <\/em>di Albert Camus. Itinerari per una ricerca<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-9b2863d5e23c2ecef4c\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-9b2863d5e23c2ecef4c\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-r\u00e9sum\u00e9s\" id=\"tab-9b2863d5e23c2ecef4c\">\n<p><strong>Bertrand Westphal<\/strong>,\u00a0La ville des destins crois\u00e9s. Perception litt\u00e9raire de Tunis au XX<sup>e<\/sup>\u00a0si\u00e8cle<br \/>\nUn peu en retrait de la mer, \u00e0 l&#8217;abri du sel qui jadis conclut l&#8217;aventure de Carthage, Tunis se d\u00e9ploie dans les d\u00e9dales d&#8217;Halfaouine et de son souk dont elle s&#8217;extrait \u00e0 la verticale de ses minarets. Parfois m\u00eame elle se dissimule derri\u00e8re les portes bleues qui illuminent ses venelles. C&#8217;est dans ce cadre complexe que s&#8217;est peu \u00e0 peu dessin\u00e9e une identit\u00e9 qui continue \u00e0 \u00eatre soumise \u00e0 de perp\u00e9tuelles fluctuations. Priv\u00e9e de mythe contemporain, en proie \u00e0 un mythe de Carthage \u00e9tiol\u00e9, Tunis n&#8217;est pas un haut lieu litt\u00e9raire. Voil\u00e0 peut-\u00eatre pourquoi ses \u00e9crivains sont moins connus que ceux de Tanger ou d&#8217;Alger. Et pourtant&#8230; Memmi, Meddeb et plus d&#8217;une romanci\u00e8re, Gide, Perec, Patricia Highsmith, Tunisois d&#8217;un instant ou d&#8217;une saison, sont parvenus \u00e0 tracer au cordeau une repr\u00e9sentation riche et singuli\u00e8re d&#8217;une ville dont les destins se croisent comme dans le ch\u00e2teau b\u00e2ti par Calvino.<\/p>\n<p><strong>Simona Mambrini<\/strong>,\u00a0Samuel Beckett: la traduzione come poetica<br \/>\nParcours de Samuel Beckett, \u00e9crivain entre deux langues (fran\u00e7ais et anglais) \u00e0 partir de la perception de la langue m\u00e8re comme voile \u00e0 d\u00e9chirer, \u00e0 ouvrir aux enchantements de la r\u00e9alit\u00e9: si tout est langage, le seul soupirail que l\u2019on retrouve se situe entre les langues. L&#8217;\u0153uvre beckettienne est donc un pari bab\u00e9lien: la langue \u00abautre\u00bb (le fran\u00e7ais) est pour lui une langue anonyme, qui lui permet de mettre en sc\u00e8ne la crise du langage. Par cette d\u00e9marche on s&#8217;aper\u00e7oit de ce que le bilinguisme de Beckett est essentiel \u00e0 son \u0153uvre enti\u00e8re. Ses derniers textes, dont il \u00e9crit en anglais la premi\u00e8re version, r\u00e9v\u00e8lent finalement que la langue \u00e9trang\u00e8re est celle que l\u2019on d\u00e9couvre \u00e0 l&#8217;int\u00e9rieur de sa propre langue.<\/p>\n<p><strong>Liano Petroni<\/strong>,\u00a0Lezione autunnale su<em> La Peste <\/em>di Albert Camus. Itinerari per una ricerca<br \/>\nA l&#8217;occasion de son\u00a0<em>ultima lectio<\/em>\u00a0L. P. propose une relecture actuelle de\u00a0<em>La\u00a0Peste<\/em>. Ce roman montre, mieux que les autres \u0153uvres de Camus, la globalit\u00e9 et la complexit\u00e9 de l&#8217;univers camusien. C&#8217;est un texte d\u00e9veloppant les th\u00e8mes fondamentaux de sa pens\u00e9e, dans une structure narrative sym\u00e9trique en cinq parties, \u00e9voquant la forme de la trag\u00e9die grecque, encadr\u00e9e par un prologue et un \u00e9pilogue. C&#8217;est un texte d&#8217;une extr\u00eame tension int\u00e9rieure, synth\u00e8se \u00e9pique de l&#8217;esprit de r\u00e9volte devant la condition de l&#8217;homme, que l&#8217;auteur lui-m\u00eame place au centre de son in\u00e9puisable itin\u00e9raire de recherche.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-4\"><h2>Notes et commentaires\/Note e rassegne<\/h2>\n<p><strong>Andrea Bedeschi<\/strong>,\u00a0<em>Cette derni\u00e8re d\u00e9route de mes ambitions: <\/em>la pubblicazione postuma di<em> Actualit\u00e9s \u00e9ternelles <\/em>e di altre poesie jacobiane<\/p>\n<p><strong>Lilian Pestre De Almeida<\/strong>,\u00a0Une douloureuse \u00e9clipse amoureuse dans le paysage qu\u00e9b\u00e9cois. Analyse du dernier r\u00e9cit d\u2019Anne H\u00e9bert<\/p>\n<p><strong>Francesco Benozzo<\/strong>,\u00a0Tristano e Isotta. Cent\u2019anni di studi sulle origini della leggenda<\/p>\n<h2>Comptes rendus\/Recensioni<\/h2>\n<p><em>Miscellanea in onore di Liano Petroni. Studi e ricerche sulle letterature di lingua francese\u00a0<\/em>(Barbara Giannerini)<\/p>\n<p><em>Le genre de la nouvelle dans le monde francophone au tournant du XXI<sup>e<\/sup>\u00a0si\u00e8cle\u00a0<\/em>(Isabelle Roels)<\/p>\n<p><strong>G<em>.\u00a0<\/em>Mathieu-Castellani<\/strong>,\u00a0<em>La Sc\u00e8ne judiciaire de l\u2019autobiographie\u00a0<\/em>(Andrea Bedeschi)<\/p>\n<p><em>Settecento tedesco ed Europa romanza: incontri e confronti, a\u00a0<\/em>cura di <strong>G. Cantarutti<\/strong> (Enrica Restori)<\/p>\n<p><strong>A. Pieyre De Mandiargues<\/strong>,\u00a0<em>Sparir\u00e0 tutto\u00a0<\/em>(Filippo Martellucci)<\/p>\n<h2>Notes de lecture\/Pubblicazioni ricevute e schede<\/h2>\n<h2>Actualit\u00e9s\/Notiziario<\/h2>\n<p>Pubblicato con\u00a0contributi del Ministero dell\u2019Universit\u00e0 e della Ricerca Scientifica e Tecnologica, e dell\u2019Universit\u00e0 di Bologna. Lavori eseguiti con un contributo del C.N.R.<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<h3 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><em><strong>Num\u00e9ro libre<\/strong><\/em><em><strong><sup><\/sup><\/strong><\/em><\/h3>\n","protected":false},"author":2,"featured_media":1360,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1144","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rivista"],"_links":{"self":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1144","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/comments?post=1144"}],"version-history":[{"count":8,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1144\/revisions"}],"predecessor-version":[{"id":1871,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1144\/revisions\/1871"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media\/1360"}],"wp:attachment":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media?parent=1144"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/categories?post=1144"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/tags?post=1144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}