Bug-Jargal (French Edition)


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Language English View all editions Prev Next edition 3 of 9. Author Hugo, Victor, Other Authors Bongie, Chris. Physical Description p. Review of Walter Scott's Quentin Durward 2. From Le Globe Journal litte;raire 2. From Le Drapeau blanc 3. From C. Chauvet, "Des romans de M. Victor Hugo," Revue encyclope;dique 5.

Domingo 2. Notes Includes bibliographical references.

Bug-Jargal

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Open to the public ; Open to the public Book; Illustrated English Show 0 more libraries None of your libraries hold this item. Found at these bookshops Searching - please wait We were unable to find this edition in any bookshop we are able to search.

ISBN 10: 2011854040

These online bookshops told us they have this item:. I have seen many planters defend the lives of their slaves. Let us not be any less lenient than they; for us, it is also a matter of self- interest. Will our cause be more holy and more just once we have exterminated women, slit the throats of children, tortured old men, burned colonists in their houses? And yet this is what we are doing on a daily basis.

Bug-Jargal - Broadview Press

Answer me Biassou, must the only trace we leave of our passing always be a trail of blood, a trail of fire? Chris Bongie 13 sullied, nor its holiness be defiled, by deeds of wickedness, such as these? In resisting many of the reactionary strategies of containment by which Hugo attempts to control this message, The Slave-King allows us better to read the ways in which that message is, with difficulty, already readable, translatable, in Bug-Jargal.

The Slave-King might take Bug-Jargal beyond its own frontier but it can do so only in a limited way. Racial prejudice is resisted in The Slave- King, to be sure, but the only way that it can conceive of resisting this prejudice is by intensifying a race-oriented vision of the world. Domingo, as a similar one does through the south, you descend from the interior of the island to the great plain of the Cape.

From this spot, on the first sight of this magnificent plain, you see beneath you a basin of water, sweeping far into the main land from a narrow inlet of the sea, so as to have the appearance of a great lake.

Dernier Jour D'Un Condamme/Bug-Jargal

This is the Bay of Acul. These waters lay stretched at the foot of a lofty detached mountain, called at its southern side the Morne Rouge; and at its northern extremity, where its precipices beetle on the ocean, the Haut du Cap. At this extremity is situated the superb city of the Cape, once equal in splendour to the second-rate cities of Europe, and still beautiful. The cartographic understanding of the Haitian landscape on display in The Slave-King is matched by equally authoritative references to the cultural Downloaded by ["Queen's University Libraries, Kingston"] at 03 May life of its inhabitants.

The assiduous nineteenth-century translator zeroes in on several of the most glaring historical errors in Bug-Jargal, in a way that footnotes for a critical edition such as mine necessarily mimic. In my own footnote to this passage, I am reduced to saying virtually the same thing. Bug-Jargal is trapped by history and it, in turn, sets a trap for its readers, inciting them to respond to the historical mis understanding that is so clearly evident in this colonial novel with a revisionist mis understanding of their own, one that remains indebted to history as nineteenth-century texts like Bug-Jargal and The Slave-King conceive it.

To have recognized this violence at work is not, to be sure, to have escaped the hold that history, and the need to understand it, exercises upon us. What would it involve to adopt that same double perspective on our own understanding of history? What might a textual and activist politics of resisting postcolonialism entail? What might come from, and after, such resistance? Postscript: After humanitarian intervention That resistance can never be detached, in the name of a simplistic binary opposition, from compliance is a lesson that a close reading of The Slave- King amply demonstrates.

What distinguishes later translations is a loss of history, an active erasure of references to Haiti and its revolution. I will cite here just two telling examples of this erasure from the last of these, a edition of Bug-Jargal for the Direct Method French Texts series.

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This editing down of Bug-Jargal, one might add, gets further exacerbated in a number of mid- twentieth-century French editions of the novel intended for children; see, for example, Hugo One can well imagine the appeal of Bug-Jargal, in expurgated form, to schoolboys growing up in the decades of the New Imperialism and weaned on the novels of men like G. But, to be sure or perhaps I should say, alas , one cannot simply jettison such a concept. What I have suggested in the preceding pages is that if a positive response to this question is possible, then that response is, at least for those who feel compelled to pose the question, unthinkable without a conscientious return to the original — a return that must surely be haunted by a troubling awareness of the extent to which the duplicitous language we seek to translate anew remains our native tongue of old.

Accessed 5 January Leitch Ritchie [? Eugenia de B.


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    BUG JARGAL (ópera de Gama Malcher) - Belém, 2005

    Chris Bongie, Peterborough, Ont. Related Papers. By Susan Gillman.

    Bug Jargal - french Summary

    By Victoria Barnett-Woods. By Raphael Hoermann. By Chris Bongie. Download pdf.

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