Guests, Hosts and Parasites
International audience “The Break” is the name given to a strip of empty land in the North End of Winnipeg, the provincial capital of Manitoba and the setting of Katherena Vermette’s début novel (2016). It is also the place where, on a winter’s night, a thirteen-year-old Métis girl is raped her with...
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ftunmontpellier3:oai:HAL:hal-04311378v1 2023-12-31T10:06:58+01:00 Guests, Hosts and Parasites Guests, Hosts and Parasites: Deviant Hospitality in Katherena Vermette’s The Break Omhovère, Claire Etudes montpelliéraines du monde anglophone (EMMA) Université Paul-Valéry - Montpellier 3 (UPVM) Marie Mianowski Grenoble (Campus), France 2020-11-19 https://univ-montpellier3-paul-valery.hal.science/hal-04311378 en eng HAL CCSD hal-04311378 https://univ-montpellier3-paul-valery.hal.science/hal-04311378 Hospitalities, Hostilities : Narratives and Representations https://univ-montpellier3-paul-valery.hal.science/hal-04311378 Hospitalities, Hostilities : Narratives and Representations, Marie Mianowski, Nov 2020, Grenoble (Campus), France Canadian literature CanLit hospitality [SHS]Humanities and Social Sciences info:eu-repo/semantics/conferenceObject Conference papers 2020 ftunmontpellier3 2023-12-06T17:16:52Z International audience “The Break” is the name given to a strip of empty land in the North End of Winnipeg, the provincial capital of Manitoba and the setting of Katherena Vermette’s début novel (2016). It is also the place where, on a winter’s night, a thirteen-year-old Métis girl is raped her within earshot of the neighbouring houses. The novel’s choral composition relies on alternating viewpoints to throw light on the assault’s circumstances, and the relations which, even as they are slowly revealed, cause the line between victim and perpetrator to blur. The crime and its antecedents are initially envisaged from the perspective of the Indigenous community, but the characters’ lives are also replaced in the wider context of the colonial history that has shaken the foundations of home and homeland for Canada’s First Nations. When seasonal visitors and partners in trade came to be replaced by settlers and the newcomers turned into permanent residents the relation between hospitality and hostility evolved in response to the colonial dynamics of inclusion and exclusion that welcomed some while rejecting others regarded as threats to the national project. The Break begins with an extraordinary description of place that must be distinguished from a mere exposition scene, namely the presentation of a setting in preparation for a plot that will quickly come to eclipse it. For its poetic and political impact, Vermette’s prologue relies on a metaphor that condenses the discontinuities interrupting the lives of the characters, their occupation of space, but also the transmission of stories between successive generations. In The Break, however, storytelling requires taking into account the entropy – the parasitic interference or white noise – that is part of transmission, especially when vast distances separate the sender from the audience invited to listen in. To understand the various regimes and functions of hospitability in Vermette’s novel, the essay will be relying on Michel Serres’s theory of the parasite as a ... Conference Object First Nations HAL Portal Paul-Valéry University Montpellier 3 |
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HAL Portal Paul-Valéry University Montpellier 3 |
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ftunmontpellier3 |
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English |
topic |
Canadian literature CanLit hospitality [SHS]Humanities and Social Sciences |
spellingShingle |
Canadian literature CanLit hospitality [SHS]Humanities and Social Sciences Omhovère, Claire Guests, Hosts and Parasites |
topic_facet |
Canadian literature CanLit hospitality [SHS]Humanities and Social Sciences |
description |
International audience “The Break” is the name given to a strip of empty land in the North End of Winnipeg, the provincial capital of Manitoba and the setting of Katherena Vermette’s début novel (2016). It is also the place where, on a winter’s night, a thirteen-year-old Métis girl is raped her within earshot of the neighbouring houses. The novel’s choral composition relies on alternating viewpoints to throw light on the assault’s circumstances, and the relations which, even as they are slowly revealed, cause the line between victim and perpetrator to blur. The crime and its antecedents are initially envisaged from the perspective of the Indigenous community, but the characters’ lives are also replaced in the wider context of the colonial history that has shaken the foundations of home and homeland for Canada’s First Nations. When seasonal visitors and partners in trade came to be replaced by settlers and the newcomers turned into permanent residents the relation between hospitality and hostility evolved in response to the colonial dynamics of inclusion and exclusion that welcomed some while rejecting others regarded as threats to the national project. The Break begins with an extraordinary description of place that must be distinguished from a mere exposition scene, namely the presentation of a setting in preparation for a plot that will quickly come to eclipse it. For its poetic and political impact, Vermette’s prologue relies on a metaphor that condenses the discontinuities interrupting the lives of the characters, their occupation of space, but also the transmission of stories between successive generations. In The Break, however, storytelling requires taking into account the entropy – the parasitic interference or white noise – that is part of transmission, especially when vast distances separate the sender from the audience invited to listen in. To understand the various regimes and functions of hospitability in Vermette’s novel, the essay will be relying on Michel Serres’s theory of the parasite as a ... |
author2 |
Etudes montpelliéraines du monde anglophone (EMMA) Université Paul-Valéry - Montpellier 3 (UPVM) Marie Mianowski |
format |
Conference Object |
author |
Omhovère, Claire |
author_facet |
Omhovère, Claire |
author_sort |
Omhovère, Claire |
title |
Guests, Hosts and Parasites |
title_short |
Guests, Hosts and Parasites |
title_full |
Guests, Hosts and Parasites |
title_fullStr |
Guests, Hosts and Parasites |
title_full_unstemmed |
Guests, Hosts and Parasites |
title_sort |
guests, hosts and parasites |
publisher |
HAL CCSD |
publishDate |
2020 |
url |
https://univ-montpellier3-paul-valery.hal.science/hal-04311378 |
op_coverage |
Grenoble (Campus), France |
genre |
First Nations |
genre_facet |
First Nations |
op_source |
Hospitalities, Hostilities : Narratives and Representations https://univ-montpellier3-paul-valery.hal.science/hal-04311378 Hospitalities, Hostilities : Narratives and Representations, Marie Mianowski, Nov 2020, Grenoble (Campus), France |
op_relation |
hal-04311378 https://univ-montpellier3-paul-valery.hal.science/hal-04311378 |
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1786839177578414080 |