La narration autothanatographique dans « Tropique de la violence » de Nathacha Appanah

Tarik Abou Soughaire

doi:10.46522/s.2021.01.17

La narration autothanatographique dans « Tropique de la violence » de Nathacha Appanah

Symbolon ◽

10.46522/s.2021.01.17 ◽

2021 ◽

Vol 22 (1) ◽

pp. 195-216

Author(s):

Tarik Abou Soughaire

Keyword(s):

The Other ◽

Dead Man ◽

Narrative Voices

"Treating the theme of death in such and such a fiction undoubtedly represents an archaic, recurrent subject that has already been addressed in the literature. What about when the narration is entrusted to a dead character? It is by this narratological modality that Nathacha Appanah built her novel entitled ""Tropic of violence"". The importance of this work is reflected in the fact that the author highlights a new poetics of narratology: ""to make a dead man speak"". In this context, it is not the words of the deceased which are reported by a living character, but the deceased himself takes charge of the narration while recounting an action specific to him, or events concerning other subjects in fiction. Our problematic aims to treat the Autothanatographic Narration in this novel distinguished by the alternation of the narrative voices and the diversity of the perspectives. Our essential objective is to implement a kind of applied narratology since we will try to approach what is called autothanatographic narration, to highlight its different criteria, to demonstrate to what extent it has effects on the other constituents of the diegesis, as well as on the voices telling."

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sacrifice. [17] Philoneos’ concubine went along for the sacrifice. When they were in Peiraieus, Philoneos sacrificed, of course. And when he had completed the sacrifice, the female wondered how to administer the drug to them, before or after dinner. And as she considered the matter she concluded that after dinner was better; she was also acting on the instructions of this Klytaimestra, my brother’s mother. [18] The full account of the dinner would be too longwinded for me to tell and you to hear. I shall try to give as brief an account as I can of the rest, of how the poison was administered. After dinner, naturally, since one was sacrificing to Zeus of Possessions and entertaining the other, and one was about to go on a voyage and was dining with a close friend, they made a libation and offered incense for their future. [19] And while Philoneos’ concubine was pouring the libation for them – as they offered prayers which would never be fulfilled, gentlemen – she poured in the poison. Thinking she was being clever, she gave more to Philoneos in the belief perhaps that if she gave him more she would win more affection from him – she had no idea that she was my stepmother’s dupe until disaster struck – while she poured less in our father’s drink. [20] They for their part after pouring their libations took their final drink, holding in their hands their own killer. Philoneos died at once on the spot; our father was afflicted with a sickness from which he died after twenty days. For this the assistant who carried out the act has the reward she deserved, though she was not to blame – she was put on the wheel and then handed over to the public executioner; the guilty party, the one who planned it, will soon have hers, if you and the gods will it. [21] Note how much more just my plea is than my brother’s. I urge you to avenge the dead man, who is the victim of an irreparable wrong. For the dead man my brother will offer no request, though he deserves your pity and support and vengeance for having his life taken in a godless and inglorious manner before his time by the last people who should have done this. [22] His plea will be for the murderess, a plea which is unprincipled, unholy, which deserves neither fulfilment nor attention either from the gods or from you; he will seek with his plea (to induce you not to convict her for her crimes) though she could not induce herself not to devise them.* But you must give your support not to those who kill but to the victims of deliberate

Trials from Classical Athens ◽

10.4324/9780203130476-7 ◽

2002 ◽

pp. 47-48

Keyword(s):

Close Friend ◽

The Other ◽

Full Account ◽

The Public ◽

The Dead ◽

The One ◽

Dead Man ◽

The Sacrifice

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Feinberg's Theory of “Preposthumous” Harm

Dialogue ◽

10.1017/s0012217300049623 ◽

1986 ◽

Vol 25 (4) ◽

pp. 727-734 ◽

Cited By ~ 2

Author(s):

W. J. Waluchow

Keyword(s):

The Other ◽

Strong Tendency ◽

Recent Book ◽

Alternative Theory ◽

Logical Possibility ◽

Joel Feinberg ◽

Other Hand ◽

Harm To Others ◽

The Subject ◽

Dead Man

In his recent book, Harm to Others, Joel Feinberg addresses the question whether a person can be harmed after his or her own death, that is, whether posthumous harm is a logical possibility. There is a very strong tendency to suppose that harm to the dead is simply inconceivable. After all, there cannot be harm without a subject to be harmed, but when death occurs it appears to obliterate the subject thus excluding the possibility of harm. On the other hand, there is an inclination to believe that harmful events can indeed occur posthumously. As Aristotle observed, “a dead man is popularly believed to be capable of having both good and ill fortune—honour and dishonour and prosperity and the loss of it among his children and descendants generally—in exactly the same way as if he were alive but unaware or unobservant of what was happening”. Feinberg sides with Aristotle on this issue and develops an intriguing theory purporting to show how posthumous harms are possible. My intention in this paper is to argue that Feinberg's account meets with such serious difficulties that we must either develop an alternative theory or agree with those who claim that death logically excludes the possibility of harm. I shall begin in §2 with a brief sketch of Feinberg's provocative theory. This will be followed in §3 by my comments and criticisms. Section 4 will close with suggestions about where Feinberg's account goes wrong and how it might be repaired.

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Face to Face with the Dead Man: Ethical Responsibility, State-Sanctioned Killing, and Empathetic Impossibility

Alternatives Global Local Political ◽

10.1177/030437549702200402 ◽

1997 ◽

Vol 22 (4) ◽

pp. 467-492 ◽

Cited By ~ 4

Author(s):

Patricia Molloy

Keyword(s):

The Other ◽

Ethical Responsibility ◽

Death Row ◽

Face To Face ◽

The Face ◽

The Dead ◽

Dead Man ◽

As If ◽

The Way

The image of the death house with its polished tiles and gleaming oak chair is fading. I turn my attention to where life is. Although I have decided that I will not be going to death row again, I cannot bear to think that there are some men there now who are facing death alone. The other man's death calls me into question, as if, by my possible future indifference, I had become the accomplice of the death of the other, who cannot see it; and as if, even before vowing myself to him, I had to answer for this death of the other, and to accompany the Other in his mortal solitude. The Other becomes my neighbour precisely through the way the face summons me, calls for me, begs for me, and in so doing recalls my responsibility, and calls me into question.

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Attic Geometric Vase Scenes, Old and New

The Journal of Hellenic Studies ◽

10.2307/628988 ◽

1966 ◽

Vol 86 ◽

pp. 1-5 ◽

Cited By ~ 7

Author(s):

John Boardman

Keyword(s):

New York ◽

The Other ◽

Small Fish ◽

Vase Painting ◽

Filling Device ◽

Siamese Twin ◽

Funeral Practice ◽

The Dead ◽

Dead Man

The New York crater, 14.130.15 (PLATES I–III), was first published by Miss Richter fifty years ago. Since then it has frequently been accorded illustration and comment both for its figure scenes—notably the prothesis, the chariot friezes and the occurrence of ‘Siamese twin’ warriors—and for its place in the development of Attic Geometric vase painting. There are, however, a number of features in the figure scenes which have escaped notice hitherto in publication, and which are of some interest to the student of Geometric funeral practice and iconography.The prothesis itself (PLATE II a) is conventional enough in most of its details. The child crouching over the legs of the dead man extends his arms over them. The child standing behind the head tears his hair with one hand while the other seems to be stretched towards the dead man's mouth. Certainly no branch or fan is held—the motif found in some other prothesis scenes. Before the child's leg is a small fish. The gesture and the fish (an odd filling device, if it is one) are not readily explained but may be borne in mind when other features of the frieze are discussed.

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Sensible/visible: les hijes de detenides desaparecides en Hasta que mueras, de Raquel Robles (2019) y Yo la quise (2020), de Josefina Giglio

Catedral Tomada Revista de crítica literaria latinoamericana ◽

10.5195/ct/2021.510 ◽

2021 ◽

Vol 9 (16) ◽

pp. 104-129

Author(s):

Mirian Pino

Keyword(s):

Lived Experience ◽

The Other ◽

Traumatic Experience ◽

Nation State ◽

Argentine Literature ◽

Central Node ◽

The Subject ◽

The Voice ◽

Narrative Voices ◽

The Disappeared

The literature of the children of forced disappeared victims, including that of Raquel Robles and Josefina Giglio, who went through the traumatic experience of the last Argentine civic-military ecclesial business dictatorship in 1976, has been the subject of multiple approaches by vernacular critics (Reati, Domínguez, Basile), or foreign (García Díaz, Bolte, Gatti, et al). In this study, I name the group as lowercase in order to displace the institutional character that, although important, can reduce the perspective that I am trying to display. This perspective focuses on questioning what the writing of children of the disappeared contributes in terms of complexity to literary studies within the framework of memory-literature articulation. Thus, I notice an accumulation of writings, whether in the multiple arc of narrative or poetry, where the assumption of the voice that enunciates, in some cases, works the experience in the first person from styles already registered in literature, although the experiences of the authors enhance writings that are difficult to place in literary trends. As if literature were to make visible the very tension that its politicity implies from the narrative voices with one foot in the lived experience and the other in the creative laboratory; It is also necessary to point out that this experience places state politics as the central node since it reconfigured the life not only of the authors but of all society, in this case Argentina. In the selected novels we are faced with what Jacques Rancière (2015, 2011) understands as a principle of action, from which neither literature nor readers can be far from a new ethos. From this it is possible to connect with certain experiences that emerge in this case from both novels and that affect our perception of reality and history. Argentine literature, born in the very bosom of the nation-state, is not the same after the sons once they intervened in the street in the second half of the 90s of the last century to demand justice, they speak in the new millennium and write experiences that affect us all, and that reshape the ways of thinking politics, literature and history.

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Heterotopisk Svalbard-krim

Nordlit ◽

10.7557/13.3426 ◽

2015 ◽

pp. 63 ◽

Cited By ~ 1

Author(s):

Lisbeth Pettersen Wærp

Keyword(s):

Police Officer ◽

Michel Foucault ◽

Theoretical Framework ◽

Crime Fiction ◽

The Other ◽

The Arctic ◽

The World ◽

The Dead ◽

Dead Man

How is the Arctic represented in modern crime fiction written by a female glaciologist, meterologist and polar explorer? Monica Kristensen is the author of a new, critically acclaimed, series of crime novels set in Svalbard. The first four novels of the series are Hollendergraven (2007, The Dutchman's Grave), Kullunge (2008, Coal Baby), Operasjon Fritham (2009, Operation Fritham), Den døde i Barentsburg (2011, The Dead Man in Barentsburg) and Ekspedisjonen (2014, The Expedition). According to the publisher, Forlaget Press, the series, when completed, will consist of altogether 12 books. The originality of the series is the use of Svalbard as setting. The setting is not only spectacular, it is significant: Knowledge of nature and climate is of greatest importance to the characters, the protagonist, police officer (sysselmannsbetjent) Knut Fjeld, as well as his various antagonists. Svalbard is not only a place in the Arctic, but also a group of islands. Both aspects are effectively exploited in Kristensen's novels. The representation of the Arctic archipelago is to a great extent based on the differences from other places, e.g. mainland Norway. The arcticle argues that the arctic archipelago as represented in these novels comes close to what French philosopher Michel Foucault calls heterotopia: A place that is totally different from other places, a place that represents the other, the deviant, and like the utopia and dystopia reflects the world of which it is an extension. Heterotopia is Foucault’s neologism (1967), and unlike the utopia/dystopia, the heterotopia actually exists. Within this theoretical framework the article presents a reading of the first five novels with special emphasis on the exploitation of place.

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Stromatoporoids from the Famennian (Devonian) Wabamun Formation, Normandville oilfield, north–central Alberta, Canada

Journal of Paleontology ◽

10.1017/s0022336000018321 ◽

1988 ◽

Vol 62 (03) ◽

pp. 411-419 ◽

Cited By ~ 5

Author(s):

Colin W. Stearn

Keyword(s):

Patch Reef ◽

Abundant Species ◽

The Other ◽

North Central ◽

Biotic Crisis

Stromatoporoids are the principal framebuilding organisms in the patch reef that is part of the reservoir of the Normandville field. The reef is 10 m thick and 1.5 km2in area and demonstrates that stromatoporoids retained their ability to build reefal edifices into Famennian time despite the biotic crisis at the close of Frasnian time. The fauna is dominated by labechiids but includes three non-labechiid species. The most abundant species isStylostroma sinense(Dong) butLabechia palliseriStearn is also common. Both these species are highly variable and are described in terms of multiple phases that occur in a single skeleton. The other species described areClathrostromacf.C. jukkenseYavorsky,Gerronostromasp. (a columnar species), andStromatoporasp. The fauna belongs in Famennian/Strunian assemblage 2 as defined by Stearn et al. (1988).

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D. The Line Spectrum of Pulsating Variable Stars

Symposium - International Astronomical Union ◽

10.1017/s0074180900019021 ◽

1967 ◽

Vol 28 ◽

pp. 207-244

Author(s):

R. P. Kraft

Keyword(s):

Variable Stars ◽

The Other ◽

Line Spectrum ◽

Afternoon Session ◽

Empirical Information ◽

Pulsating Variable Stars ◽

Almost Continuous ◽

Informal Approach

(Ed. note:Encouraged by the success of the more informal approach in Christy's presentation, we tried an even more extreme experiment in this session, I-D. In essence, Kraft held the floor continuously all morning, and for the hour and a half afternoon session, serving as a combined Summary-Introductory speaker and a marathon-moderator of a running discussion on the line spectrum of cepheids. There was almost continuous interruption of his presentation; and most points raised from the floor were followed through in detail, no matter how digressive to the main presentation. This approach turned out to be much too extreme. It is wearing on the speaker, and the other members of the symposium feel more like an audience and less like participants in a dissective discussion. Because Kraft presented a compendious collection of empirical information, and, based on it, an exceedingly novel series of suggestions on the cepheid problem, these defects were probably aggravated by the first and alleviated by the second. I am much indebted to Kraft for working with me on a preliminary editing, to try to delete the side-excursions and to retain coherence about the main points. As usual, however, all responsibility for defects in final editing is wholly my own.)

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C. The Continuous Spectrum of Pulsating Variable Stars

Symposium - International Astronomical Union ◽

10.1017/s007418090001901x ◽

1967 ◽

Vol 28 ◽

pp. 177-206

Author(s):

J. B. Oke ◽

C. A. Whitney

Keyword(s):

Continuous Spectrum ◽

Variable Stars ◽

Velocity Fields ◽

The Other ◽

Line Spectrum ◽

Direct Information ◽

Thermodynamic Structure ◽

Diagnostic Interpretation ◽

Pulsating Variable Stars ◽

The Continuum

Pecker:The topic to be considered today is the continuous spectrum of certain stars, whose variability we attribute to a pulsation of some part of their structure. Obviously, this continuous spectrum provides a test of the pulsation theory to the extent that the continuum is completely and accurately observed and that we can analyse it to infer the structure of the star producing it. The continuum is one of the two possible spectral observations; the other is the line spectrum. It is obvious that from studies of the continuum alone, we obtain no direct information on the velocity fields in the star. We obtain information only on the thermodynamic structure of the photospheric layers of these stars–the photospheric layers being defined as those from which the observed continuum directly arises. So the problems arising in a study of the continuum are of two general kinds: completeness of observation, and adequacy of diagnostic interpretation. I will make a few comments on these, then turn the meeting over to Oke and Whitney.

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Observing programme for the 24-inch/36-inch Schmidt telescope

Symposium - International Astronomical Union ◽

10.1017/s007418090005364x ◽

1966 ◽

Vol 24 ◽

pp. 337

Author(s):

W. Iwanowska

Keyword(s):

The Other ◽

Schmidt Telescope ◽

Flint Glass

A new 24-inch/36-inch//3 Schmidt telescope, made by C. Zeiss, Jena, has been installed since 30 August 1962, at the N. Copernicus University Observatory in Toruń. It is equipped with two objective prisms, used separately, one of crown the other of flint glass, each of 5° refracting angle, giving dispersions of 560Å/mm and 250Å/ mm respectively.

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