| 1. |
- Gobyn, Saartje, et al.
(författare)
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Metalepsis Out of Bounds
- 2013
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Ingår i: Enthymema. - 2037-2426. ; :9, s. 157-162
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Tidskriftsartikel (refereegranskat)abstract
- This is a review of the panel “Metalepsis out of Bounds” presented at the 2013 ENN conference. The three convenors proposed complementary remarks to the extent that they either questioned the conceptualization, examined the functioning of metalepsis or applied theoretical models to textual material. Beside an in depth reflection upon the concept, broader questions concerning narrative and popular assumptions of narratology arose.
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| 2. |
- Lutas, Liviu, 1969-
(författare)
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Metalepsis and the Past in Fiction : A Study Based on Francophone Literature
- 2015
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Ingår i: Metacritic journal for comparative studies and theory. - : Universitatea Babes-Bolyai. - 2457-8827. ; 1:1, s. 13-35
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this study is to challenge the view that narrative metalepsis is incompatible with the writing about the past and history. I study three works by francophone writers in which metalepsis and another similar narrative device, syllepsis, are used in interesting ways in stories dealing in different ways with the past. In C F Ramuz’s short story Scène dans la forêt, both devices are used in order to give the reader the impression of being in physical contact with past events and with the fictional events represented in the story. The past here is of an individual type. In Marie NDiaye’s first story of her novel Three Strong Women, the individual past can be read as an allegory of France’s postcolonial relation to the former African colonies. Metalepsis is used in order to suggest that the character accepts her past. In Patrick Chamoiseau’s novel Biblique des derniers gestes, metalepses are used in order to suggest a physical contact with the forgotten history of slavery.
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| 3. |
- Chinita, Fátima, et al.
(författare)
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Foreword
- 2019
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Ingår i: Ekphrasis. - Cluj, Romania : Babeș-Bolyai University. - 2067-631X. ; 22:2, s. 5-5
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built upon the impetus of this storytelling. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations stimulating an ever-growing dissemination. Technical and technological developments have helped in this enterprise across a vast array of long-lasting and canonical art forms as well as more popular and recent ones. Film sits precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading. But how does this dialogue between cinema and other media and/or art forms operate? How are stories conveyed from the former to the latter, and vice versa? What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? Urged by these questions, the current issue of Ekphrasis aims at examining the narrative phenomenon across media borders, in the confluence of other media and art forms.
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| 4. |
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| 5. |
- Lutas, Liviu, 1969-
(författare)
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Teaching French Literature Online: Challenges Caused by the Move from Face-to-Face to Remote Learning
- 2023
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Ingår i: EDULEARN23 Proceedings 15th International Conference on Education and New Learning Technologies, Palma, Spain. - : International Academy of Technology, Education and Development (IATED). - 9788409521517 ; , s. 438-445
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Konferensbidrag (refereegranskat)abstract
- As a result of the COVID19 crisis in 2020, the courses of French at Linnaeus University in Sweden have moved from face-to-face context to Remote Learning online. The move has since then become permanent and the syllabus has changed accordingly, as it appears when comparing the syllabus of 2015 with the syllabus of 2022 (see references below). The challenges have been numerous, and the two years that have passed since the move can allow me to make a preliminary study of these challenges. The study will be mainly based on the gathered experience, concentrating on the module of fiction (7.5 credits, see references below), since I am currently, and was in 2015, the teacher of that module. The study will consist of detailed analyses of how the objectives, the content, the type of instruction, the examination and the course evaluation have been affected by the move from face-to-face to remote learning. The specific context of the course will be described in the introductory part, since it has a major importance for the study and its results. Indeed, an important premise has changed in these two years, namely that the number of students has increased significantly. While this is a positive outcome for the situation of French as a subject at Linnaeus University, it has a major impact on the comparison between the two situations, since it affects especially the type of instruction, beyond the simple change of context from face-to-face to remote learning. However, some preliminary conclusions can be drawn, and the investigation in itself is important in order to make improvements and to disseminate my experience.
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| 6. |
- Bruhn, Jørgen, Professor, 1968-, et al.
(författare)
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Media Representation : Film, Music and Painting in Literature
- 2022
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Ingår i: Intermedial Studies. - London : Routledge. - 9781032004549 - 9781032004662 - 9781003174288 ; , s. 162-193
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Bokkapitel (refereegranskat)abstract
- In Nick Hornby’s novel High Fidelity (1995), the life of the protagonist Rob revolves around records and popular music. Throughout Virginia Woolf’s novel To the Lighthouse (1927), the painter Lily Briscoe works on a portrait of her friend Mrs Ramsay. In James Joyce’s Ulysses (1922), Leopold Bloom’s thoughts, memories and associations are informed by newspaper headlines, snatches of songs, advertising slogans and poster headlines as he walks through the streets of Dublin.In media types such as novels, paintings, films, computer games and news articles, we encounter characters, avatars or persons that interact with pictures, musical instruments, photos, computers, record players, newspapers or television sets or go to football games. Still, how do we know that the representation of media products or mediatypes means something? Or that references to familiar media types have a symbolic value? In this chapter, we will demonstrate how the representation of media can be analysed. We will focus on narrative literature, but the analytical method is applicable to film, computer games, photography and visual art as well. In the first part of the chapter, we will explore media that are represented inside the diegetic universe. In the second part of the chapter, we will turn to novels whose narrative structure and style remind readers of other medial experiences, such as watching a movie, looking at an image or listening to music. The effect of structural media representation is to give the impression that the literary text imitates film, music or images. It changes the experience ofreading and draws attention to aspects of literature and language that we usuallypay less attention to.
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| 7. |
- Lutas, Liviu, 1969-
(författare)
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Literary Theory in Swedish Upper Secondary School : Classroom Examples
- 2011
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Ingår i: Proceedings from the 4th International Conference of Education, Research and Innovation. - Madrid : The International Academy of Technology, Education and Development. - 9788461533244 ; , s. 5533-5542
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Konferensbidrag (refereegranskat)abstract
- In this paper I challenge the opinion that literary theory should not be taught at upper secondary level. According to French literary theorist Tzvetan Todorov, the teacher at this level should aim at teaching literary works, not theory. Theory should only be used as an invisible instrument. My hypothesis is that literary theory can be used successfully at upper secondary level. A certain insight in theory can help the pupils become better readers. A possible way to do this is by using an inductive approach, that is starting with examples from literary works and get to the theory instead of the other way.
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| 8. |
- Lutas, Liviu, 1969-
(författare)
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Biblique des derniers gestes de Patrick Chamoiseau : Fantastique et Histoire
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Patrick Chamoiseau is arguably the most prominent cultural personality from the French island of Martinique. His reputation is due to the worldwide success of his novels, especially Texaco, winner of the Prix Goncourt-award in 1992, but also to the fact that he is the leading theorist of the Créolité, an ideological movement whose aim is to preserve the character of Creole identity and culture against the threat of assimilation. Chamoiseau’s importance in an ideological context tends to overshadow his literary qualities, his novels being often seen as illustrations of his political ideas.Although Chamoiseau’s ideological views aren’t totally absent from his literary work, his novels strike the reader as extremely complex constructions, containing far more than a subversive aspect. An aspect that has been neglected by the critics is for example the supernatural. Probably because of the geographic vicinity to South America, Chamoiseau’s use of the supernatural has been, rather hastily, considered as typical of magical realism or marvellous realism. This dissertation aims at showing that the fantastic, as defined by Tzvetan Todorov (1970), is better suited to describe this aspect of Chamoiseau’s novels, especially Biblique des derniers gestes (2002).Our main objective is, however, not to decide whether the novel belongs to the fantastic as a genre, but to examine the reasons why it is used. A close analysis shows that it is often in relation to the past of Martinique that the supernatural appears. Thanks to the theory of the fantastic, we find three possible explanations of this fact. Firstly, the supernatural is juxtaposed to the real in order to reveal its limits and its “constructedness”. Martinican past thus appears as a French construction. Secondly, the fantastic can be used to reveal the absence of genuine Martinican history. Finally, the fantastic can be a reminder of a terrible event from the past. In conclusion it can be said that Chamoiseau uses the fantastic in order to write the history of an event that he sees as the origin of Martinique: slavery. By doing this he contributes to the fantastic as well, by showing that it is not necessarily gratuitous and by providing a good example of original and innovative use.
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| 9. |
- Lutas, Liviu, 1969-
(författare)
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Sur la syllepse narrative : Un concept théorique négligé
- 2012
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Ingår i: Poétique - Revue de Theorie et d'Analyse Litteraires. - Paris : Éditions du Seuil. - 0032-2024 .- 1245-1274. ; 168, s. 445-466
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Tidskriftsartikel (refereegranskat)abstract
- In this article I discuss a narrative device, the narrative syllepsis, which has not received much attention in literary theory until now. The narrative syllepsis was first defined by French literary theorist Gérard Genette as a narrative device where different temporalities merge. The concept has however not been used att a larger scale after Genette, something I find surprising taking into consideration the frequency of the phenomenon. In the article I use exemples from both literature and film in order to show the applicability of the concept, at the same time as I discuss it at a theoretical level.
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| 10. |
- Lutas, Liviu, 1969-, et al.
(författare)
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Teori i litteraturundervisning på gymnasiet – tre klassrumsexempel
- 2014
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Ingår i: Vetenskapliga perspektiv på lärande, undervisning och utbildning i olika institutionella sammanhang<em> </em>. - Lund : Lund University Open Access. - 9789174738629 - 9789174738636 ; , s. 127-143
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Bokkapitel (refereegranskat)
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