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Images of water in Simenon’s “Long cours”

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Horányi L.
Lublin Studies in Modern Languages and Literature
|
2018
|
vol. 42
|
issue 3
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
In this paper we examine the way Simenon uses violent images of water in Long cours (1936). This exotic novel tells the wanderings of Joseph Mittel who leaves France with Germaine, wanted for murder. Through the analysis of the incipit and the passage about the first days of Mittel as a stoker on the boat of a smuggler we show that Simenon creates a network of references in order to elucidate the failure of the exotic experience of the main character. This allows us to reflect on Simenon’s writing process as well.
FR
Dans le présent article, nous étudions la manière dont Simenon enchaîne les images violentes de l’eau dans Long cours (1936). Ce roman « exotique » raconte les pérégrinations de Joseph Mittel quittant la France avec Germaine, recherchée par la police pour meurtre. En analysant l’incipit et la séquence consacrée aux débuts de Mittel en tant que chauffeur sur le cargo d’un contrebandier, nous montrons que Simenon met en place un réseau de références pour traduire l’échec de l’expérience exotique du héros. Ce qui nous permet de nous interroger sur le processus simenonien de l’écriture également.
RU
Том не содержит аннотаций на русском языке.
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La vision dysphorique de Michel Butor: la ville-personnage de L’Emploi du temps en tant que locus terribilis

70%
Kotowska J.
Orbis Linguarum
|
2018
|
issue 52
339-351
EN
The Dysphoric Vision of Michel Butor: the City of L’Emploi du temps as Locus Terribilis From biblical sinful cities of Sodom and Gomorrah to modern ones like the nightmarish Prague of Kafka, the melancholic Bruges of Rodenbach or the cursed Bleston of Butor, the evil urban areas have fascinated novelists of all ages. In L’Emploi du temps, Michel Butor presents a haunting and disturbing vision of an imaginary English town, personified and considered the second main character in Butor’s novel. In order to torture its inhabitants, Bleston controls the four elements of nature and reduces them to their negative aspect of dreadful, devastating forces, which challenges the positive imagery of the air, water, earth and fire created by 20th-century philosopher Gaston Bachelard. A hostile and malicious city inspired by Manchester, Bleston seems to sum up all the fears and misfortunes of the real world metropolises in their hostile and unlivable aspect.
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