摘要：In the past oral Caribbean and African cultures,performances by the“griots”reminded the community of its heroic *** colonial studies,performance is a way for the colonized people to reconnect with its original soul and language and to become magnificent of creativity like the storyteller Solibo in Chamoiseau’s Solibo Magnifique(Caribbean).In Chamoiseau’s novel,the Black policemen who came to investigate on Solibo’s sudden death during the performance look *** mimic the French colonizers with their“baton”and their racism at thinking evil of the Black community and they provoke *** and the irony it conveys,subverts the formerly ironclad authority of the colonial order(Homi *** in Location of Culture).The Cameroonian writer Werewere Liking-Gnépo also warns the Africans of the danger of wearing the White Mask of the colonizers(like Fanon in Black Skin,White Masks).She demonstrates in her Song/Novel She will be of Jasper and Coral,that while the African Mask empowers the performer of metaphysical powers,the White Mask of colonialism on the contrary weakens the performer who internalizes his inferiority and becomes complicit of his ***,Werewere Liking-Gnépo shows ithat the White Mask of colonialism can be used to mimic the harshness and corruption of the Colonial order and in doing so to bring back regeneration of Africa.

摘要：This article will study the Quebecois novels of the 1960-1980＇s and especially the feeling of debt that women had because of the Christian Bible that condemned women as being the sinful Eve responsable for the Fall of Humanity. These novelists from Quebec, Marie-Claire Blais, Anne Hebert, and Gabrielle Roy, show that their female characters are unable to let go of this myth of the incarnation in their bodies of the temptations leading to Sin. Consequently, these heroines show a violent disgust for their bodies, and for all sexual manifestations （puberty, pregnancey, child-birth） that they describe very crudely. They reject their bodies and live in shame of their bodies. For this reason, they dress with modesty and have a neurotic fear of the Sin of the Flesh. This Sin makes them want to withdraw from the image of the temptress Eve and to identify themselves to Mary, the sublimated woman. For Quebec novelist Gabrielle Roy, the female debt cannot be repaid by a sublimation of women to Mary, but by a sublimation of women＇s own talents. Gabrielle Roy sees her late birth as a debt contracted towards her very impoverished and old parents. Fortunately, in her adolescence, she rebels against this unfair contract that her family and especially her mother imposes on her and that wrongs her because it forces her to follow the career path of a school teacher to repay the debts of her family. She withdraws from this debt by leaving for France and following the career path of a writer. She will redeem the debt of her family by writing her autobiography which is a monument in sublimation of her mother

摘要：In Western culture, the symbol of the tree which divides into branches and has a foliage of the same lineage as its roots is the best symbol for describing identity and also for describing the Cartesian reasoning which proceeds by eliminating misconceptions and following thesingle true idea. In the West Indies culture, it is the rhizome that is the best symbol to describe the identity of these peoples. The rhizome as explained by Deleuze and Gattari in their Introduction Rhizome of the book .4 thousand plateaus, is a tuber that makes roots after being cut off from its original plant. In this respect, it is most appropriate to describe the people of the Caribbean who have been cut off from their African roots by slavery but who have thrived on the island, re-establishing links with the different peoples who came to work there. The rhizome is similar to the mangrove that protects the island from marine erosion, it intertwines with other plants so that it is impossible to distinguish the source plant. In this respect, it is the best symbol to describe the creole identity and the refusal of the West Indians to return to a racial and social system that promulgated the white race as superior to the black race during colonialism. The structure of the books of Maryse Cond6 is itself rhizomatic since it does not present the theme of its stories through the view point of an omnipotent author but through the view points of all the characters of the novel who by their discussions letthe reader discover their terrible history of slavery, and transform himinto a new man who would seek diversity.

摘要：Close reading and inter-textual analysis of Borges＇ essays, fiction, and poetry suggest a poetics of visible unrealities, a fiction that calls attention to its own artifice. Borges＇s poetics of reading and dreaming require another poetics of the work as a text that calls attention to its own artifice. In reading Borges＇ fiction, the separate roles and identities of reader, writer, and work of fiction merge and exchange roles, powers, and identities and are transformed into a single act of dreaming, which assumes cosmogonic and apocalyptic risks. In the dominant role given to the reader, the work of fiction as an object or work of art does not exist unless it is read. There is no determinate text, only a version of our own we re-write and invent every time we read the text. The author＇s reading is not a spontaneous evocation of vision, but an artifice, as artificial as the writing of the fiction. As writers and readers we are composed of texts and schemata, alphabets and artifacts, not merely mental perceptions and ideas. The reader requires a prior text to copy, translate, and recreate, and that text only exists as a fictional microcosm in so far as it is being read by a Reader who is able to actualize the revelation only imminent within it.

摘要：The purpose of this paper is to show that autobiographical works like Gabrielle Roy＇s Enchantment and Sorrow （1988） and R6gine Robin＇s La Qudbdcoite （1983）, do not succeed in anchoring the self and eliminating past traumatic experiences. These writers realize that they cannot reincarnate their former ＇T＇ as time has passed and their lives have changed. The self does not let itself be reduced to a definite being but on the contrary mirrors itsef in all its surroundings. Writing the fragmentation of the self makes these authobiographies appear on one hand, fictional as the ＂I＂ always eludes itself. But on the other hand, they best describe the postmodern ＇T＇ who is conscious of the permeability of one＇s own self as well inwards by the influences, the collages of others on the Self as outwards by the projection of the self onto others, like rhizome connecting to others and forming a web of exchanges like in cyberspace

摘要：The transformational journey archetype begins long before literature in rites of initiation when a child undergoes a journey full of tests and temptations, perilous encounters in an underworld, and visions that transform the child into a member of a tribe. Before this archetype is translated by the written word into literature, the telling of the story is not just the account of something that happened long ago in the past, but an actual reenactment of the events for the audience. The journey archetype appears in the earliest example of literature, Homer＇s Odyssey, where Homer makes the readers both an observer and participant in the transformation. The journey does not always, as in rites of initiation, involve a child and occur only once in life. Instead, the journey may begin in death and trauma and involve a person who must resume that journey over again as an adult. Such is the fate of Aeneas in Virgil＇s Aeneid whose transformative journey begins with the burning towers of Troy. In these two early epics the heroes suffer the loss of an older world and must resume their pursuit of new identities in a new world after descending to a land of death or underworld to consult ancestor figures who prepare them for the transition to a new life, identity, and destiny. The reader of these works participates in the journeys the heroes undertake and learns to renew contact with the sources of life and consciousness in myth, magic, and vision. Dante＇s journey through the Inferno to his vision of God in Paradiso is a culmination of this transformative experience and vision, whose intent is to transform us as well through imaginative and intellectual participation in the journey. In Jorge Luis Borges＇s parody of Dante in his story, ＂El Aleph＂, Borges goes beyond Dante in making the reader, not only a participant in the journey and vision, but a ＂writer＂ whom Borges evokes to transform the impossible vision of the Aleph into an illusion of reality. Unlike Dante＇s positive trans

摘要：This article reviews famous monsters in Western literature that reveal a hidden humanity or affinity with the hero that elicits compassion or emphasizes their bestiality in surprising ways. Their monstrosity is often a distorted mirror image of the hero＇s humanity. Shakespeare＇s Caliban is a famous example of the affinity between monster and protagonist. Homer＇s Polyphemus, the first monster in Western tradition establishes certain traits that persist through later literature： lawless, barbarian, cannibal, and giant. Polyphemus hates men, but loves his old ram. Grendel, Grendel＇s mother, and the dragon in Beowulf are giants, lawless, cannibals. The dragon Beowulf dies fighting anticipates the identity between hero and monster that Borges makes explicit in Asterion, the Minotaur. Dante＇s Satan in the Inferno fails to leave later successors. In Borges＇s ＂The House of Asterion＂ the Minotaur is both monster and hero. Asterion＇s affinities with other protagonists in Borges＇ stories suggest that the monster in the labyrinth is not the Minotaur, but the concept of infinity.

摘要：Picaresque novel as a genre is usually traced back to the anonymous Lazarillo de Tormes, but mystery surrounds the origin of this paradoxical narrative that appeared in 1554. In particular, the techniques of irony and paradox employed in Lazarillo as vehicles for moral and social satire are influenced by an extremely widespread classical tradition, the rhetorical paradox, recently revived and made popular by Erasmus in his Praise of Folly. Lazarillo＇s ties with a humanist revival of literary genres suited to social satire and self-inquiry extends to other forms of Menippean satire of which the rhetorical paradox and mock oration are only specialized forms. The Golden Ass by Apuleius, a 2nd Century A.D. prose Menippean satire, alluded to in Cervantes＇ Don Quixote, and Lazarillo both employ a frame-story motif, ＂the servant of many masters,＂ as a vehicle for social and moral commentary. A fundamental conflict between how people appear and what in fact they are runs through the narrative, first exemplified by Lazaro＇s clever exposure of others, then extended to Lazaro himself. Paradox extends from Lazaro himself and his actions to the very form and style of the narrative itself. In Paradoxia Epidemica： The Renaissance Tradition of Paradox, Rosalie Colie traces the influence of rhetorical paradox through the literatures of the 16th and 17th century. Rhetorical paradox is a formal defense of an unexpected, unworthy, or indefensible subject, as in Erasmus＇ mock encomium of folly. Rhetorical paradox criticizes and calls into question traditionally received opinion by appearing to assert one position while in fact asserting another by implication. By placing his praise in the mouth of the subject itself of that praise, the praise of folly in the mouth of Folly in Erasmus, or the praise of Lazaro the self-made man in the mouth of Lazaro, the satirist ironically undercuts the reliability of the speaker and removes all objective standards by which the discourse can be measured

摘要：This is a partial history of the literary topos ＂sub specie aetemitatis＂. The Latin phrase means ＂from the perspective of eternity＂. Eternity is the way God sees the universe, not as a succession of moments in time from past, to present, to future, but as a simultaneous present which includes the past and future as if they are already and always present. This temporal simultaneity is accompanied by a spatial totality and simultaneity. In both Chaucer and Dante the protagonist ends life＇s wanderings and struggles by being carried up into the heavens and looking back on earth from the point of view of eternity. Their literary source is Maerobius＇ Commentary on the Dream of Scipio and Boethius＇ The Consolation of Philosophy. The vision results in epistemological transformation that provides consolation or ＂contemptus mundi＂, the rejection of earthly concems. The ＂sub specie aetemitatis＂ vision is both a revelation of the nature of the universe, time, and the protagonist＇s place in them and a disillusionment that radically changes the protagonist＇s understanding. The work of literature and the reading of it are potentially transformational. For the pagan lover Toilus in Chaucer＇s Troilus and Criseyde the ＂sub specie aeternitatis＂ vision results in religious conversion as well as epistemological transformation. Boethius, whom Chaucer translated, offers an analogue to the vision in the way humans perceive a sphere through their senses and reason. Dante＇s version of the vision in Paradiso xxxiii is the most famous literary example as the protagonist＇s vision merges with the vision of God as an intense ray of light. The conversion and consolation associated with the ＂sub specie aetemitatis＂ vision takes cosmic dimension in Dante. A modem example is Jorge Luis Borges＇ parody of Dante in his story ＂The Aleph＂ where a satiric vision takes place not in the heavens but in the basement of the house in Buenos Aires. In Cervantes＇ Don Quixote the ＂sub specie aetemitatis＂ trope is p

摘要：Borges wants his reader to use imagination to participate in his fiction, to imagine the vision of the universe as anAleph. The vision of the Aleph is paradoxical, impossible, inexpressible--a point in space, in the basement of ahouse in Buenos Aires, where all other points in the universe are simultaneously present. The reader sees theAleph--or the illusion of the Aleph, watching it emerge as if through Borges＇ own eyes, as an unrequited lover andfrustrated poet gradually accommodating the infinite vision to the limitations of actual perception. The illusion ofactual presence the reader evokes seems to include the reader as both a subject reading and an object in the *** reader mirrors himself in the enumeration as the reader imaginatively projects associations and expectationsinto the images in order to make sense of them. The reader tries to avoid involving himself in the vision, but theimages the writer presents the reader with are ambiguous, schematic, demanding intervention to try to resolveapparently unresolved contradictions by trying out the different interpretations that may make sense of them. Overand over again in reading the enumeration the reader encounters images that allow him to convert sequence intosimultaneity, part into whole. Other images suggest the presence of infinite, multiple, perspectives on each objectconverging in the Aleph and reveal insights into hidden designs and into secret interiors of structures. The visionthe reader reads must seem to exceed the limits of language and perception. Opposed to images of disintegrationand chaotic dispersal are microcosmic images that suggest a whole reflected or contained in its parts, worldsreflected within worlds by infinite regress. Infinite regress undermines the assumption of a subject and objectdichotomy in the act of reading and enhances the illusion of participation in the vision. Infinite regress, imagewithin image, world within world, is a symmetry that asserts itself against the ill