O pravilnoj upotrebi distopijskih prostora : Catherine Mavrikakis, Christian Guay- Poliquin i David Calvo
| Title in English | Good use of dystopian spaces : Catherine Mavrikakis, Christian Guay-Poliquin and David Calvo |
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| Authors | |
| Year of publication | 2019 |
| Type | Article in Periodical |
| Magazine / Source | Književna smotra |
| MU Faculty or unit | |
| Citation | |
| Web | http://www.hfiloloskod.hr/images/HFD/Casopisi/Knjizevna_smotra/ks192zaweb_novo.pdf |
| Keywords | Quebec literature; dystopian narratives; spatiality; Catherine Mavrikakis; Christian Guay-Poliquin; David Calvo |
| Attached files | |
| Description | In Quebec literature, dystopias seem to be an extension of apocalyptic narratives. Several common points are noticeable: a vision of the end of time; an axiology that oscillates between evil, redemption and salvation; an inquiry about the relationship between the individual and the social. However, the function- ing of cultural memory and the role of the “actual world” are different from apocalyptic narratives. The fact is indicated by several recent dystopian novels: Oscar de Profundis (2016) by Catherine Mavrikakis, a kind of rewrite of Joris-Karl Huysmans' A rebours;, a cyberpunk dysto- pia, inspired among others by David Cronenberg's Le Fil des kilometres (2013) and Le Poids de la neige (2017) by Christian Guay-Poliquin, a diptych opposing the road novel to the roman du terroir; Toxoplasma (2017) by David Calvo films. The comparison will focus on spatiality, which exploits the specifically Québécois and Canadian con- notations and whose organization and meaning seem to outweigh temporality. Mavrikakis's aestheticization of Montréal space, Calvo's mythologization of the city of Montréal and Guay-Poliquin's theologiz- ing transcendence of landscape and nature seem to offer three distinct aspects of the specificity of Québec dystopias. |
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