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Comment écrire à l'ère du doute généralisé quant à la possibilité pour le signe de commercer avec le monde ? Comment faire fi de la mélancolie au relativisme nihiliste entaché de médiocrité dans laquelle nous serions soit disant plongés ? Comment, en un mot, réintroduire de la valeur dans et par le littéraire, à l’heure post-humaniste des vérités incertaines et de l'ébranlement des fondements de nos certitudes ? Les romans de Martin Amis fournissent quelques éléments de réponse à ces questions, par la virulence de leur critique de l’affect mélancolique d'un certain discours ambiant dit postmoderne. Loin d’être victimes du pessimisme fin de siècle (« fin de XXe siècle, bien sûr »), ils forment une œuvre à part entière car l’énergie provocatrice de leur verbe est la marque d’une foi dans le pouvoir qu’ont les mots – dans leur violence même – à prendre langue avec le monde, à investir les sphères éthiques et politiques pour faire du roman un lieu de débat concernant la modernité. London Fields (1989) porte ce débat sur le devant de la scène : l’ironie qui y préside n’épargne aucune des complaisances affectant le versant mélancolique du postmodernisme, qu’elle mime pour mieux les dénoncer. Les maux de notre société y sont hyperbolisés, l’apocalyptisme ambiant radicalisé, l’excès de nos peurs hypertrophié jusqu’à ce que cet excès même, victime de sa propre violence, implose, laissant la place aux valeurs programmées par le joyeux carnaval de la langue qui préside à l’écriture du roman et bouleverse les catégories établies pour instaurer celles de la liberté d'un langage inventeur de ses propres lois.

Literature (General) --- Martin Amis --- postmodernisme

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While it has become commonplace to discount British novelist Kingsley Amis as a "naïve realist," a mere comedic novelist, even a misogynist and failed moralist, Andrew James argues that Amis was seriously concerned with the role of the artist in society and explored this subject in many of his novels. Throughout the first twenty years of his career, Amis used bad artists as whimsical characters, or antimodels, that helped identify his artistic preferences and fictional techniques. He became convinced that the relationship between an artist and his audience was reciprocal and that both the outer audience and the artist's inner circle must be held accountable for the production of bad literature. During the last twenty years of his career, Amis no longer concerned himself with satirizing bad artists, but instead explored ways of ameliorating them. James shows that the development of antimodels as fully drawn characters and Amis's insistence upon reciprocity in the writer-reader relationship demonstrate that he was more than just a comedic writer, and was aware of himself as an artist with social responsibilities. The first study of Amis to analyze manuscript revisions in all of his novel drafts, Kingsley Amis: Antimodels and the Audience shows the more serious side of a complex writer who has yet to receive the critical recognition he deserves.

Artists in literature. --- Amis, Kingsley --- Amis, Kingsley William --- Ėmis, Kingsli --- Markham, Robert --- Tanner, William --- Criticism and interpretation.

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Der Straßburger Jakobinerclub wurde im Januar 1790 gegründet und im September 1795 per Konventsdekret aufgelöst. Trotz seiner Lage an der Peripherie Frankreichs beschritt auch er den tragischen Weg, der Frankreich von der Revolution für Freiheit und Menschenrechte in die blutige Diktatur führte. Unter den spezifischen kulturellen Bedingungen des Elsaß - geprägt durch Grenzlage, Bikonfessionalität und Bilingualismus - hatte der revolutionäre Prozess dort allerdings ein ganz eigenes Gesicht. Während die enthusiastische Anfangszeit von kultureller Toleranz und Kosmopolitismus geprägt war, bildete sich nach und nach eine auf Einheitlichkeit ausgerichtete Ideologie, die mit Xenophobie, Religions- und in Ansätzen auch Sprachterror einherging. François Furet hat die Genese der Terreur durch verhängnisvolle ideologische Kontinuitäten von 1789 bis 1794 erklärt. Das vorliegende Buch greift diese These kritisch auf und zeigt zum einen, dass es neben Kontinuitäten auch nicht zu vernachlässigende Wandlungsprozesse in der revolutionären Ideologie gab, zum anderen, dass die Triebkräfte derselben in lokalen politischen und soziokulturellen Konflikten zu suchen sind.

Jacobins --- History --- Société des amis de la constitution (Strasbourg, France) --- France --- Strasbourg (France) --- Politics and government --- Strassburger Jakobinerclub --- Société des amis de la constitution de Strasbourg --- Strateburgum (France) --- Stratisburgium (France) --- Istrāsbūrg (France) --- Strassburg (Germany) --- Strasbourg (Free imperial city) --- Strossburi (France) --- Strossburig (France)

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"The New Atheist Novel is the first study of a major new genre of contemporary fiction. It examines how Richard Dawkins's so-called 'New Atheism' movement has caught the imagination of four eminent modern novelists: Ian McEwan, Martin Amis, Salman Rushdie and Philip Pullman. For McEwan and his contemporaries, the contemporary novel represents a new front in the ideological war against religion, religious fundamentalism and, after 9/11, religious terror: the novel apparently stands for everything - freedom, individuality, rationality and even a secular experience of the transcendental - that religion seeks to overthrow. In this book, Bradley and Tate offer a genealogy of the New Atheist Novel: where it comes from, what needs it serves and, most importantly, where it may go in the future. What is it? How does it dramatise the war between belief and non-belief? To what extent does it represent a genuine ideological alternative to the religious imaginary or does it merely repeat it in secularised form? This fascinating study offers an incisive critique of this contemporary testament of literary belief and unbelief."--Bloomsbury Publishing The New Atheist Novel is the first study of a major new genre of contemporary fiction. It examines how Richard Dawkins's so-called 'New Atheism' movement has caught the imagination of four eminent modern novelists: Ian McEwan, Martin Amis, Salman Rushdie and Philip Pullman. For McEwan and his contemporaries, the contemporary novel represents a new front in the ideological war against religion, religious fundamentalism and, after 9/11, religious terror: the novel apparently stands for everything - freedom, individuality, rationality and even a secular experience of the transcendental - that religion seeks to overthrow. In this book, Bradley and Tate offer a genealogy of the New Atheist Novel: where it comes from, what needs it serves and, most importantly, where it may go in the future. What is it? How does it dramatise the war between belief and non-belief? To what extent does it represent a genuine ideological alternative to the religious imaginary or does it merely repeat it in secularised form? This fascinating study offers an incisive critique of this contemporary testament of literary belief and unbelief.

Religion and literature. --- Atheism and literature. --- English fiction --- History and criticism --- McEwan, Ian --- Amis, Martin --- Rushdie, Salman --- Pullman, Philip, --- Criticism and interpretation. --- Religion and literature --- History and criticism. --- Literature and atheism --- Literature --- Literature and religion --- Moral and religious aspects --- McEwan, Ian (1948-....) --- Amis, Martin (1949-....) --- Rushdie, Salman (1947-....) --- Pullman, Philip (1946-....) --- Religion et littérature --- Athéisme --- Littérature anglophone --- Critique et interprétation --- Dans la littérature --- 21e siècle --- Religion et littérature --- Athéisme --- Littérature anglophone --- Critique et interprétation --- Dans la littérature --- 21e siècle

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Of Love and War: The Political Voice in the Early Plays of Aphra Behn is a study which situates Behn’s early plays within their historical and political context. Behn (c.1640-1689), the first professional female playwright in England, is a fascinating study, having traveled to Surinam as a young woman, served as a spy for Charles II, and evidently supported her family through her writing, including plays, poetry, fiction, and translation. Her early plays have often been dismissed as romances, largely because they treat such social and/or gender issues as forced marriage and female desire. This study argues that these same social issues frequently serve as tropes for political commentary and propaganda in support of foreign and domestic policies. Behn’s plays clearly demonstrate staunch loyalist support of the Stuart government, yet within the dramatic construction, she—like her contemporary male colleagues, offers fascinating covert political criticism.

820 "16" BEHN, APHRA --- Engelse literatuur--17e eeuw. Periode 1600-1699--BEHN, APHRA --- Authors, English --- Political and social views. --- Early modern. --- Behn, Aphra, --- Behn, Aphra Amis, --- Behn, A. --- A.B. --- Behn, --- Behn, Anne, --- Bhen, A. --- Behn, Ann, --- Behn, Afra, --- Behn, Aphara, --- Behn, Ayfara, --- Johnson, Aphra, --- Person of quality, --- Criticism and interpretation. --- 1500-1700 --- Classical Period --- Early Modern Period --- Women and literature --- History