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Il y a des photos propres à représenter l. a. honte et, à côté, des pictures éhontées, enfin des pictures qui éprouvent, en leurs plis, los angeles honte. Dira-t-on que notre tradition se plaît à jouer avec l’impudeur, l’opprobre, l’abjection? Cherche-t-elle à les piéger ou à les exalter? Que signifie los angeles tentation du snuff motion picture: ces motion pictures «interdits» qui veulent capter le travail du trépas sur les visages ou dans les postures ultimes, et ainsi porter atteinte à ce qui est au plus profond de l’être, à l’identitaire?Aux multiples domaines de l’art s’appliquent les diverses interrogations propres aux sciences humaines: histoire des mentalités, esthétique, psychanalyse.

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No further novels by Woolf were translated into Swedish until 1942, when TT, one of Woolf s least experimental texts, was published. TT was, as the above list indicates, also the first of Woolf s texts to be translated into Danish (in 1941) and Polish (in 1958). This somewhat conservative and surprising choice is in both cases indicative of the political situation. As Ida Klitgard argues,'the period during and immediately after the Second World War was one of great cultural crisis for Denmark, which was occupied by Germany from 1940 to 1945' (Klitgard, 167) the sophisticated aesthetics of international modernism were thought to be of little consequence 'when the dominant concerns were national pride, unity and resistance'.

The violence, as opposed to the privilege, of this translation as encounter is done to the text in response to an extreme political situation: 'It is no doubt a measure of the strength of Woolf s ideas and prose that some of their power managed to survive the treatment to which her language was subjected' (Abranches, 323). 14 The Reception of Virginia Woolf in Europe Different narratives of reception The drama of Woolf s reception in these accounts of censorship and revolution makes for clear narrative lines: elsewhere, her significance as a modernist, feminist and political thinker is clearly established, but cannot be represented by an unfolding narrative as such.

Brought a complete transformation of the writer's image as the modernist edifice was replaced by a more popular picture' (Terentowicz-Fotyga, 140). This more popular picture was above all feminist, and took shape some decades after the more general European reception of Woolf as feminist in the 1970s. Prior to this revolution, the struggle for democracy had taken precedence over the question of the place of women in Polish society, but as what Terentowicz-Fotyga describes as 'the patriarchal character of the new democracy' became increasingly evident, so the feminist movement in Poland was activated, and Woolf claimed for it — ROO was first published in translation in 1997, and TG is still in the process of being translated.

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