Blood, E. (2021). English translations of biographical essays: François-Xavier Burque, Armand Chartier, Paul Chassé. Dictionnaire des auteurs franco-américains de langue française / Dictionary of Franco-American Authors Writing in French. French Institute at Assumption College. https://library.assumption.edu/french_institute/dictionnaire_des_auteurs
Project Abstract
In 1985, Robert Cornevin of France’s Académie des Sciences d’Outre-Mer (Overseas Academy of Sciences) asked the French Institute to create a dictionary of Franco-American authors as part of its series on Francophone authors throughout the world. This Dictionary of Franco-American Authors Writing in French initially consisted of bio-bibliographies of 65 deceased authors, but it has since grown to 103, including a dozen living authors. Because it concentrates on French, it does not discuss the many and often better-known Franco-American writers who have published exclusively in English, for example, Jack Kerouac (whose French writings remained in manuscript during his lifetime), Grace Metalious, or David Plante. As used in this dictionary, the term Franco-American refers to people of French-Canadian or Acadian birth or ancestry living in the Northeastern United States, where the term originated in the 1880s. Thus, the dictionary does not cover French literary production from the so-called American Creole Crescent, from the Great Lakes to Louisiana.
Entries follow a common format: a short biography of each author, followed by a list of her or his French-language works, and bibliographical references where available. Initially written in French, they are currently being translated into English by translation students at Salem State University, under the supervision of Professor Elizabeth Blood. English translations will be added as they become available.
Dávila Gonçalves, M.C. (2021). Las ironías de la soledad en Doce versiones de soledad de Janette Becerra (The Ironies of Solitude in Doce versiones de soledad by Janette Becerra). Cuadrivium. 4(21), 72-78.
Dávila Gonçalves, M.C. (2021). Testimonio de torturas visibles e invisibles: trauma y espectralidad en Batismo de Sangue (Testimony of Visible and Invisible Tortures: Trauma and Spectrality in Blood Baptism). Espectros del poder: Representaciones y discursos de resistencia en literatura y cine en los Siglos XX-XXI. 71-98
Kleefeld, C. (2021). Soul Seeds/Semillas del alma. (Doll, K., Trans.) Edicions Saldonar/Cross-Cultural Communications. Barcelona/New York.
Doll, K. (Trans.). (2021). Dolors Miquel Abellà, Scourer and The pink plastic glove. Syndic Literary Journal, 44. http://www.syndicjournal.us/a-syndic-no44
Doll, K. (Trans.). (2021). August Bover, Between skin and glove and Paradise lost. Syndic Literary Journal, 44. http://www.syndicjournal.us/a-syndic-no44
Doll, K. (Trans.). (2021). Teresa d’Arenys, Never and This. Syndic Literary Journal, 42. http://www.syndicjournal.us/a-syndic-no-42-international-poets-no-2
Doll, K. (2021, July). Lawrence Ferlinghetti memorial supplement: True confessional; Firenze, a lifetime Later; Café Notre Dame; And the Arabs asked terrible questions; O, heart. Syndic Literary Journal, 41. https://www.syndicjournal.us/syndic-no-41-ferlinghetti-memorial
Doll, K. (2021, September). Laura Fisk, Tell me the truth. Syndic Literary Journal, 43. https://www.syndicjournal.us/syndic-no-43-table-of-contents/syndic-no-43-12-famous-women
Doll, K. (2021, September). Ly Seppell, Long-ago life shimmers through and Sorrow trudges along beside me… Syndic Literary Journal, 44. http://www.syndicjournal.us/syndic-no-44-international-poets/
Doll, K. (2021, October). John Digby, Merlin talking to himself. Syndic Literary Journal, 44. http://www.syndicjournal.us/syndic-library-narrations-poet-john-digby/
Doll, K. (2021, December). Vilma Tapia Anaya, Butterflies, This language of mine; Livia Viitol, In the darkening watery mirror and They are a gust of wind; Elin ap Hywel, Slipping by and East wind. Syndic Literary Journal, 46, http://www.syndicjournal.us/syndic-n046
Rocca, A. (2021). Assia Djebar’s "La Soif": Abortion and crime. In C. Beyer and J. Savarese (Eds.), Mothers Who Kill. Ontario, CA: Demeter Press.
Abstract
"La Soif" (1957) was written during a historical period of tremendous hostilities between Algeria and France. The novel reflects the hypocrisy of both the French and Algerian nationalist agendas that exploited the idea of modernity as a new political system of socialization. It also reveals the tensions of the time as well as the profound alienation that women in particular were facing in both modern and traditional worlds.
Rocca, A. (2021). Tunisia: Héla Ammar’s Tarz: An affective and imaginative memory upon dispossession. In D. Newbury, L. Rizzo, and K. Thomas (Eds.), Women and Photography in Africa: Creative Practices and Feminist Challenges (pp. 249-268). London: Routledge.
Abstract
Héla Ammar is a feminist, a visual artist, a jurist and a professor of law at the University of Tunis. This chapter focuses on Ammar’s 2014 photographic installation Tarz, the Arabic word for ‘embroidery’. Tarz combines Ammar’s photographs taken during the Tunisian revolution with old photographs and official documents chronicling historical landmark events. Ammar’s selection and arrangement of old and contemporary photographs, along with her decision to desaturate more recent photographs in order to give them a weathered appearance, artificially recreate a space of historical continuity. In order to counteract national and personal memory’s fragmentation, Ammar also embroiders photographs’ details with a red thread. Enhancing connection between images, this thread evokes both the Tunisian flag and martyrs’ blood. As Ammar explains, embroidery in Tarz recalls women’s skills and qualities such as ‘time, patience, self-sacrifice, even, and precision’, which are paramount to understanding the complex and long political process Tunisians endured in their efforts to attaining democracy. Most importantly, by supporting a different pace of time, Ammar’s use of embroidery in photographs favours reflection and opens imaginative spaces within the photograph that are essential to envisioning alternative histories. Indeed, the act of embroidering photographs, I argue, rails against historical dispossession and encourages a dialogue between personal and collective memories. Furthermore, while grappling with questions of Tunisian historical memory, transmission and dispossession, Tarz also underscores the importance of counteracting historical fragmentation by means of ordinary acts of caring that the tactile aspects of embroidery evoke.
Serra, F. (2021). Amores que matan: “Crímenes de familia (2020)” de Sebastian Schindel. Madrid, capital de las ciencias, las letras y las artes. Actas seleccionadas del XL Congreso Internacional de ALDEEU. Antonio Román, ed. Ediciones Fragma. (167-173).