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    <title>Journal of the Short Story in English</title>
    <link>http://jsse.revues.org</link>
    <description>Journal of the Short Story in English. Revue semestrielle fondée en 1983. Editée par les Presses universitaires d'Angers sous l'égide d'un comité de rédaction franco-américain</description>
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      <title>International Conference: Bigger on the Inside: Emerging forms of contemporary short fiction</title>
      <link>http://jsse.revues.org/index1029.html</link>
      <description><![CDATA[]]></description><author>jsse@univ-angers.fr         </author>
      <pubDate>Fri, 15 Feb 2013 00:00:00 +0100</pubDate>
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      <title>(Archived) International Conference: Liminality and the Short Story</title>
      <link>http://jsse.revues.org/index928.html</link>
      <description><![CDATA[]]></description><author>jsse@univ-angers.fr         </author>
      <pubDate>Thu, 14 Feb 2013 00:00:00 +0100</pubDate>
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      <title>International Conference: Unbraiding the Short Story </title>
      <link>http://jsse.revues.org/index1090.html</link>
      <description><![CDATA[]]></description><author>jsse@univ-angers.fr         </author>
      <pubDate>Thu, 14 Feb 2013 00:00:00 +0100</pubDate>
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      <title>International Conference: The Short Story and Short Story Collection in the Modernist Period: Between Theory and Practice</title>
      <link>http://jsse.revues.org/index1089.html</link>
      <description><![CDATA[]]></description><author>jsse@univ-angers.fr         </author>
      <pubDate>Thu, 14 Feb 2013 00:00:00 +0100</pubDate>
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      <title>A History of the American Mind: &#34;Young Goodman Brown&#34;</title>
      <link>http://jsse.revues.org/index939.html</link>
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        <![CDATA[
        <p class="texte" dir="ltr">Nathaniel Hawthorne is foremost, with some exceptions, a historical, allegorical, and moralistic writer. That is, he writes about the nature of historical understanding by referring to historical situations or figures. In his better works he writes about this history allegorically, which I hope to clarify in this essay. And as he writes this “allegorical history,” he imparts to his readers a moral lesson, or various lessons, as is implicit in the genre of allegory. As he offers these concrete meanings, however, he allows more permissive, democratic, responses to his stories. “Young Goodman Brown” is, among the short fiction, the superior example of this allegorical history.</p>
        <p class="texte" dir="ltr">In order to foreground my approach to the short story, however, it is helpful to refer to recent readings of <em>The Scarlet Letter</em>. Much recent critical work on <em>The Scarlet Letter</em> assumes that part of the allegorical meaning of the letter A is this: A stands for America as a nation. Sacvan Bercovitch's <em>The Office of </em>The</p> (...)]]>
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      <author>jsse@univ-angers.fr         (Steven Olson)</author>
      <pubDate>Sat, 01 Dec 2012 00:00:00 +0100</pubDate>
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      <title>Dangerous Similitude in Charles Dickens’ “To Be Read at Dusk”</title>
      <link>http://jsse.revues.org/index937.html</link>
      <description>
        <![CDATA[
        <p class="texte" dir="ltr">Charles Dickens’ ghost story “To Be Read at Dusk” was first published in 1852 in <em>Heath’s Keepsake</em>. Though it seldom appears in recent Dickens scholarship, the story is unique for its self-reflexivity, a quality not often as apparent in Dickens’ works. The text consists of two ghost stories inside a frame narrative whose occupants are observed by the narrator who, as I explain below, is interrupted by the author himself. While all of these layers of narration would be enough to call attention to the act of storytelling itself, there is an additional level of self-reflexivity in the content of the various tales; they are all concerned with figuration and representation. The focus of the frame narrative, and thus the motive force behind the telling of the two inner tales, is the simile and its properness – who voices it, to whom does it belong, to what does it refer, and does it do so convincingly? The two internal tales then serve to demonstrate how likeness, similitude, operates. This o</p> (...)]]>
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      <author>jsse@univ-angers.fr         (Kimberley Jackson)</author>
      <pubDate>Sat, 01 Dec 2012 00:00:00 +0100</pubDate>
      <guid isPermaLink="true">http://jsse.revues.org/index937.html</guid>
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      <title>The Half Shall Remain Untold': Hunilla of Melville's Encantadas</title>
      <link>http://jsse.revues.org/index949.html</link>
      <description>
        <![CDATA[
        <h1 dir="ltr" id="heading1">Introduction</h1>
        <p class="texte" dir="ltr">Melville’s <em>Encantadas, or Enchanted Isles</em> is a group of ten ‘sketches’ about the Galapagos Islands. Melville visited the islands in the early 1840s, possibly several times, not long after Charles Darwin’s momentous encounter. Darwin had been mystified and entranced by the ‘creative force’ which such blackened, ruined landscape could still convey to the onlooker, and Melville’s sketches suggest that this paradox provided a stimulus for his own imagination. Of greatly-varying lengths and themes, the first few pieces describe the bizarre and other-worldly landscape and fauna of the volcanic, lava-encrusted rocks. Beaches are strewn with decayed bits of sugar cane, bamboo, and cocoanuts, all ‘relics of distant beauty’ washed up onto this ‘other and darker world’ from the palm isles of the South Pacific. The wondrous Galapagos tortoises are enchanted, huge, antediluvian creatures, their shells engraved with ‘hieroglyphic ciphers’ representing indecipherable histories. Later sket</p> (...)]]>
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      <author>jsse@univ-angers.fr         (K. M. Wheeler)</author>
      <pubDate>Sat, 01 Dec 2012 00:00:00 +0100</pubDate>
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      <title>Linguistic Structure and Rhetorical Resolution in Katherine Mansfield &#34;The Garden Party&#34;</title>
      <link>http://jsse.revues.org/index951.html</link>
      <description>
        <![CDATA[
        <p class="texte" dir="ltr">What happens when a young woman attempts to cross the boundaries that divide the upper-class world that she inhabits from the lower classes surround her? Katherine Mansfield’s most famous work, “The Garden Party,” explores that question from a decidedly Modernist perspective. First published in February 1922, the short story follows the wealthy Sheridan family as they prepare for an afternoon fête. The narrative focuses on Laura, the &#34;artistic&#34; daughter who argues that the party should be cancelled out of respect for Scott, a poor neighbor who has just been killed while working as a carter. After her lobbying fails to move Mrs. Sheridan, the party takes place as planned, and Laura becomes the centerpiece of the event, thanks to a striking hat that her mother has given her. The party over, Laura visits Scott’s family with a basket of leftover food. Unfortunately, she still wears her prized bonnet, which is now garishly inappropriate. Feeling out of place and ashamed, she plead</p> (...)]]>
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      <author>jsse@univ-angers.fr         (Stephen E. Severn)</author>
      <pubDate>Sat, 01 Dec 2012 00:00:00 +0100</pubDate>
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      <title>La Tentation melancolique dans One Warm Saturday de Dylan Thomas</title>
      <link>http://jsse.revues.org/index954.html</link>
      <description>
        <![CDATA[
        <p class="texte" dir="ltr">Dylan Thomas termina l’écriture de la nouvelle en Juillet 1938 et elle fut incluse dans le recueil intitulé <em>Portrait of the Artist as a Young Dog</em> (1940) sans passer par le stade préalable de la parution en revue. Si l’on retient la distinction classique, mais quelque peu schématique, entre la manière des premières nouvelles qui les rapprochait d’une écriture surréaliste dans la mesure où l’onirisme, la déréalisation prenaient le pas sur la logique narrative de l’histoire, et la seconde manière beaucoup plus directement autobiographique, comme en témoigne clairement le titre même du recueil avec son clin d’œil à Joyce, « One Warm Saturday » présente la singularité de combiner ces deux modes narratifs. La dimension autobiographique du texte est patente, puisqu’il s’agit bien de décrire la journée d’un écrivain en herbe qui s’interroge sur sa vocation et sur ses dons. Il passe une journée au bord de la mer, et faute d’objectifs précis, se promène en voyeur sur la plage. Il finit par rentr</p> (...)]]>
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      <author>jsse@univ-angers.fr         (Claude Maisonnat)</author>
      <pubDate>Sat, 01 Dec 2012 00:00:00 +0100</pubDate>
      <guid isPermaLink="true">http://jsse.revues.org/index954.html</guid>
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    <item>
      <title>Identity is a Slippery Fish – the Discovery of Identity in Elizabeth Bowen's Short Story &#34;The Demon Lover&#34;</title>
      <link>http://jsse.revues.org/index956.html</link>
      <description>
        <![CDATA[
        <p class="texte" dir="ltr">Identity is performed or produced through action and not simply, as psychoanalysis has suggested, through identification. It is a process embedded in positionality rather than essences. In early psychoanalysis it was Freud who maintained in his <em>The Ego and the Id</em> that the ego-subject is a corporeal projection one constructs during the lengthy process of identity and unity formation. Still different, Lacan believed subjectification to be indirect/imaginary projection of the body outlined by the image of the other.</p>
        <p class="texte" dir="ltr">In one of her interviews Judith Butler says that it is essential to distinguish performance from performativity: the former presumes a subject but the latter contests the very notion of the subject. Butler explains that she begins her work with the Foucauldian premise that power works in part through discourse and it works in part to produce and destabilise subjects. </p>
        <blockquote>
          <p class="citation" dir="ltr">“But then, when one starts to think carefully about how discourse might be said to produce a subject, it's clear</p>
        </blockquote>
         (...)]]>
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      <author>jsse@univ-angers.fr         (Zuzanna Zarebska Sanches)</author>
      <pubDate>Sat, 01 Dec 2012 00:00:00 +0100</pubDate>
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