![]() ![]() This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. Given their saturation and even obsession with the “other,” it is no less surprising that novels written by native French speakers also draw strongly on the ambient political, cultural, and historical contexts. There are great spaces where you pretend there used to be someone, but it’s not true, there was no one. This is especially true in the novel, whose narratives are often underpinned by direct references to, say, the evolution of Vietnamese society in Tran Van Tung’s Bach-Yên or Pham Van Ky’s Frères de sang (Blood Brothers), or to the wars for independence in Cung Giu Nguyen’s Le Domaine maudit (The Accursed Land) and Ly Thu Ho’s Le Mirage de la paix (The Mirage of Peace). Not surprisingly, this literature draws on existing political, cultural and historical contexts. The emergence of a Vietnamese literature in French was a direct result of this French presence in Viet Nam. As in other colonies, the official presence of the French in Southeast Asia (1860s to 1954) provoked cultural production from both indigenous and colonial populations. Most readers of Duras know of her birth and childhood in Indochina during the colonial period. The Lover came out when Duras was 70 (it’s never too late ), won the prestigious Prix Goncourt that had eluded her over a long and prolific career, and continues to be passed around and. ![]()
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