Molosse

Mo`losse´


n.1.See Molossus.
References in periodicals archive ?
Among their topics are the body of the reader-author: the case of Michel Tremblay, reading botanical metaphors of Creole identity in Patrick Chamoiseau's "L'esclave vieil homme et le molosse," performative bodies in Nina Bouraoui's Garcon manque, corporeal expressions in Fatou Diome's writing, reading the body politic in the prison writings of Abdellatif Laebi, and Nelly Arcan: women's bodies and what is left.
His subsequent experimental phase is studied through his screenplays, columns, and folk tales, as well as the key texts Ecrire en pays domine and L'esclave vieil homme et le molosse (Chapter 6).
On the other hand, using various strategies Glissant seeks to undermine this authority, culminating in the anti-preface to Patrick Chamoiseau's L'Esclave vieil homme et le molosse where bits of text from Glissant written for other purposes are attached to each chapter of the book; in other words, both authors write together.
Patrick Chamoiseau (nascido na Martinica em 1953) empreende um trabalho de reescrita dos afetos e arquivos da escravidao no romance Un dimanche au cachot, dando continuidade a uma tematica que ja aparecia em obras precedentes como L'esclave vieil homme et le molosse (Paris: Gallimard, 1997) e de maneira mais parcial em Texaco (Paris: Gallimard, 1992) e Biblique des derniers gestes (2002).
As a Martinican, Chamoiseau is situated in the space between two worlds, between two epistemes, and must remain vigilant, looking ahead while casting glances over his shoulder, just like the old maroon in Chamoiseau's L'Esclave vieil homme et le molosse. This is, in the end, what it means for Creolite to be an open specificity: anticipating that which will constitute Martinican identities in the future, remaining conscious of what has constituted them in the past, and living the present as a vibration between these two perspectives.
One is tempted to label Molosse a shaggy-dog story in faux Creole; Jack London's dog stories, "The Hound of the Baskervilles," and even Hemingway's "Old Man and the Sea" resonate in the intextual interstices.
In a comparative analysis of Conde's La Belle Creole and Patrick Chamoiseau's L'Esclave vieil homme et le molosse, Higginson examines the narrative strategies employed by Conde to poke fun at and/or controvert a paradigmatic fable of Caribbean identity.
This synopsis suggests little connections between La Belle Creole and Chamoiseau's L'Esclave vieil homme et le molosse. Chamoiseau's novel is set not in the present but in a hazy past.