2020 |
Rolls A, Franks R, 'Homogenizing the Radical, or Vice Versa? Adapting (to) The Murder of Roger Ackroyd', Journal of Asia-Pacific Pop Culture, 5 50-68 (2020) [C1]
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2020 |
Rolls A, 'Saving Paris from nostalgia: Jumbling the urban and seeing swans everywhere', Australian Journal of French Studies, 57 66-77 (2020) [C1]
© 2020 Liverpool University Press. All rights reserved. This article pays tribute to Brian Nelson's understanding of translation as literary analysis. The source texts that i... [more]
© 2020 Liverpool University Press. All rights reserved. This article pays tribute to Brian Nelson's understanding of translation as literary analysis. The source texts that it engages with are Baudelaire's poems, which Clive Scott admits to hearing everywhere. In order to save Baudelaire's Paris from nostalgia, I translate Ross Chambers's notion of the ¿urban jumble¿ far from its urban home and hear, or rather see, it in the English countryside of Edgar Wright's Hot Fuzz (2007). And the key ungrammaticality that enables this film to become a target (text) of Baudelairean translation is, of course, its swan(s).
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2019 |
Rolls A, 'Boris Vian, "hoax" maker: For a demystification of the Vernon Sullivan Affair', AUSTRALIAN JOURNAL OF FRENCH STUDIES, 56 350-351 (2019) |
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2019 |
Rolls A, 'A Partial Re-Solution of Agatha Christie s And Then There Were None:
A Case of Almost, But Not Quite, Getting the Job Done', Intercripol - Revue de critique policière, 1 1-6 (2019) [C1] |
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2019 |
Rolls A, 'Adapting to Loiterly Reading: Agatha Christie s Original Adaptation of The Witness for the Prosecution ', M/C Journal, 22 1-7 (2019) [C1] |
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2018 |
Rolls A, 'Heads and Tails: Apocope, Decollation and Detective Fiction s Inherent Self-Alterity', Alterity Studies and World Literature, 1 1-15 (2018) [C1] |
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2018 |
Rolls A, 'Ten Missing Minutes to Disavow the Passing of Hours: A Psychological, Analytical Rereading of The Murder of Roger Ackroyd', Studies in Crime Writing, 1 1-13 (2018) [C1] |
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2018 |
Rolls A, 'Ex uno plures: Global French in, on and of the rue morgue and the orient express', Arcadia, 53 39-60 (2018) [C1]
© 2018 Walter de Gruyter GmbH. All rights reserved. In the following paper, Edgar Allan Poe's "The Murders in the Rue Morgue" and Agatha Christie's Murder on t... [more]
© 2018 Walter de Gruyter GmbH. All rights reserved. In the following paper, Edgar Allan Poe's "The Murders in the Rue Morgue" and Agatha Christie's Murder on the Orient Express are considered, and compared, as exemplars of what Andrea Goulet has labelled "Global French," which is to say that both texts convey non-English, and especially French, language use through their own original English. Both texts will be shown to be born in, stage, and depart from primal linguistic scenes: the Babelian confusion of Poe's multiple foreign witnesses will be embodied in the impediments that keep them from the scene of the crime; in Christie's case, the multilingual investigation on board the Orient Express will stand in place of stilted and curtailed conversation held, in the Global French of Christie's English, on the platform of another train. As sites of original translation and communicative excess and failure, these classic texts are about language first and crime second; indeed, the murder on Christie's Murder on the Orient Express embodies taking place but, ultimately, does not take place at all.
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2018 |
Rolls A, Sitbon C, Vuaille-Barcan ML, 'Pratiques Scandaleuses : Présences et absences dans les traductions françaises de Jim Thompson', Contemporary French and Francophone Studies, 22 112-120 (2018) [C1]
© 2018 Informa UK Limited, trading as Taylor & Francis Group. The Série Noire was born out of literary scandals (Henry Miller's Tropic of Cancer and Kathleen Winsor&apo... [more]
© 2018 Informa UK Limited, trading as Taylor & Francis Group. The Série Noire was born out of literary scandals (Henry Miller's Tropic of Cancer and Kathleen Winsor's Forever Amber) and traded on them. Marcel Duhamel's mission statement of 1948 promised readers violence and depravity. Its early focus on translations of so-called American thrillers also led to scandalous cases of French authors masquerading as Americans (Boris Vian's role in the Vernon Sullivan affair shocked Paris in 1946 and shone light on the practices of Duhamel's team). In time it also became famous for its colorful treatment of the original texts that it translated for its French readers. In this article we reassess to what extent the criticisms of Série Noire translation infidelities are warranted. Certainly, there has always been a degree of mythmaking at work in assessments of Duhamel's practices, but, more than that, discussion of publishing scandals often overlooks details that spoil a good story. Discussion of the trajectory in French translation of Jim Thompson's Pop. 1280 is an interesting case in point. The story of the original text's transformation under Duhamel's pen is surprising, but arguably the failure to tell the whole story is itself equally scandalous.
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2017 |
Rolls AC, ' Lever le rideau sur Hercule Poirot quitte la scène : Agatha Christie à la lumière de Pierre Bayard ', Fabula. La recherche en littérature/Colloques, 2017 (2017) [C1] |
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2017 |
Rolls A, 'Legacies of the Rue Morgue: Science, Space and Crime Fiction in France', FRENCH STUDIES, 71 429-430 (2017)
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2017 |
Rolls A, 'Interconnecting Translation Studies and Imagology', TRANSLATION STUDIES, 10 364-367 (2017)
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2017 |
Robert J, Rolls A, Vuaille-Barcan ML, 'On Moving and (Inter) Disciplinarity: Thinking about Australian French Studies in the Active Voice', Australian Journal of French Studies, 54 3-13 (2017) [C1]
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2016 |
Rolls AC, ' Creative, Critical, Intertextual: Agatha Christie s The Murder of Roger Ackroyd ', Text: A Journal of Writing and Writing Courses, 37 1-11 (2016) [C1] |
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2016 |
Franks R, Gulddal J, Rolls AC, '"Editorial"', Text: A Journal of Writing and Writing Courses, 37 n.p.-n.p. (2016)
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2016 |
Rolls AC, ' Liminal Translation, Translating Liminality and Translatability as Limen: Andrea Camilleri s The Shape of Water ', The Australian Journal of Crime Fiction, 2 n.p.-n.p. (2016) [C1] |
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2016 |
Rolls A, Gulddal J, 'Pierre bayard and the ironies of detective criticism: From text back to work', Comparative Literature Studies, 53 150-169 (2016) [C1]
Copyright © 2016. The Pennsylvania State University, University Park, PA. Pierre Bayard is a polarizing figure in contemporary French criticism: on the one hand, he is brilliant, ... [more]
Copyright © 2016. The Pennsylvania State University, University Park, PA. Pierre Bayard is a polarizing figure in contemporary French criticism: on the one hand, he is brilliant, innovative, and daring; on the other hand, he seems to delight in deception and sleight of hand, particularly in the way that he revisits, and arguably transvalorizes, theoretical discourse reminiscent, inter alia, of poststructuralism and deconstruction. In this article, we wish to reveal the double-sidedness of Bayard's new detective criticism in order to see how his new solutions to classic crime texts carry within themselves clues to their own undoing as well as alternative solutions that can be deemed to have been sown consciously or unconsciously into the weave of Bayard's analysis. This is the irony of Bayard's criticism: it references the work by reverting to a study of the text while keeping both, work and text, in view and, effectively, by being both, that is, by exposing the textuality of canonical literary works and presenting his criticism as transparently readable, even as "easy reading," he offers his ideas as works, which the reader can read as such but can also reread, à la Pierre Bayard, as text.
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2016 |
Rolls A, 'Empty Sydney or Sydney emptied: Peter Corris's national allegory translated', TRANSLATOR, 22 207-220 (2016) [C1]
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2016 |
Rolls AC, Vuaille-Barcan M-L, Sitbon C, ' J irai cracher sur vos tombes and the Série Noire: Pseudonymy, Pseudo-Translation, Pseudo-Parody ', Francospheres, 5 81-101 (2016) [C1]
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2016 |
Gulddal J, Rolls A, 'Detective fiction and the critical-creative nexus', Text, 20 1-10 (2016) [C1]
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2016 |
Bondil P, Vuaille-Barcan M, Rolls A, 'Translating Peter Temple's An Iron Rose into French: Pierre Bondil shares his translation practice with Marie-Laure Vuaille-Barcan and Alistair Rolls', TRANSLATOR, 22 232-244 (2016)
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2016 |
Rolls AC, 'Whose National Allegory is it Anyway? or What Happens when Crime Fiction is Translated', Forum for Modern Language Studies, 52 433-448 (2016) [C1]
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2016 |
Gulddal J, Rolls AC, 'Reappropriating Agatha Christie: An introduction', Clues: A Journal of Detection, 34 5-10 (2016) [C1]
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2016 |
Rolls A, 'Vernon Sullivan's alter ego interpretation', French Cultural Studies, 27 335-347 (2016) [C1]
© SAGE Publications. This article takes as its point of departure a number of commonly assumed ideas, or idées reçues, that have, in combination, condemned Vernon Sullivan's ... [more]
© SAGE Publications. This article takes as its point of departure a number of commonly assumed ideas, or idées reçues, that have, in combination, condemned Vernon Sullivan's novel J'irai cracher sur vos tombes to the role of crime fiction parody. In order to dispel such myths as the Série Noire's unproblematic use of translation to usher American crime novels into a France craving Americana after the end of the Second World War, this article analyses Sullivan's novel in the light of Ross Chambers' model of alter ego interpretation. In this way, what has been construed as parody can be reconceived as literary, and Boris Vian's alter ego a writer of serious allegory, not of the United States and its race relations issues, but of France, its post-Liberation literary canon and its relationship to its own national Other.
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2016 |
Rolls AC, Sitbon C, Vuaille-Barcan ML, 'Disparitions et Reapparitions, Mort et Renaissance: les Traductions Fantasques de Marcel Duhamel', Belphegor: Popular Literature and Media Culture, 14 (2016) [C1]
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2016 |
Rolls AC, Johnson M, 'The Stripper Castrated, or how Leigh Redhead's "Peepshow" Stages the Art of 'Being Both'', Clues: a Journal of Detection, 34 104-113 (2016) [C1]
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2016 |
Rolls AC, 'Agatha Christie's 'Dead Man's Folly': Stagnation, Negation and Adaptation', Clues: a Journal of Detection, 34 52-62 (2016) [C1] |
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2016 |
Rolls A, Vuaille-Barcan M-L, West-Sooby J, 'Translating national allegories: the case of crime fiction INTRODUCTION', TRANSLATOR, 22 135-143 (2016) [C1]
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2016 |
Rolls A, 'In translation: translators on their work and what it means', TRANSLATOR, 22 262-265 (2016)
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2015 |
Gulddal J, Rolls A, 'Mobile Criticism: Pierre Bayard's Irreverent Hermeneutics', Australian Journal of French Studies, 52 37-52 (2015) [C1]
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2015 |
Pratt M, Rolls AC, Vuaille-Barcan M-L, 'Ridges on the floors of Hell: Traces ou palimpsestes dans le désert de the Dead Heart', Modern and Contemporary France, 23 81-97 (2015) [C1]
The Dead Heart is American author Douglas Kennedy's first novel. It was first translated into French in 1997 as Cul-de-sac. It was this translation that made Kennedy a househ... [more]
The Dead Heart is American author Douglas Kennedy's first novel. It was first translated into French in 1997 as Cul-de-sac. It was this translation that made Kennedy a household name in France and that gave The Dead Heart its identity as a roman noir. In the space of just 20 years the novel has been translated twice into French and adapted twice more, as a film and now as a graphic novel. Elsewhere, we have analyzed this trajectory from the perspective of retranslation and the ostensible differences between the two translation Skopoi, and the use of paratextual branding to target specific reading publics. Focusing on the graphic novel allows us here to go beyond the problematics of translation and to broaden the scope of our study of textual adaptation. It also allows us to reassess the originality of the source text.
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2015 |
Anderson J, Kimyongür A, Rolls AC, 'Introduction to Special Issue: Detecting and (Re)Solving Conflicts in French Crime Fiction', The Australian Journal of Crime Fiction, 1 (2015) [C6] |
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2015 |
Gulddal J, Rolls AC, 'Mobil kritik: Pierre Bayards uærbødige hermeneutik', Kritik, 48 149-160 (2015)
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2015 |
Anderson J, Kimyongur A, Rolls AC, 'Detecting and (Re)Solving Conflicts in French Crime Fiction: Introduction', The Australian Journal of Crime Fiction, 1 (2015) [C1] |
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2015 |
Rolls A, 'An ankle queerly turned, or the fetishised bodies in Agatha Christie's The Body in the Library', Textual Practice, 29 825-844 (2015) [C1]
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2015 |
Rolls AC, Sitbon C, Vuaille-Barcan ML, 'Conflicts of Publishing Interests, or a Conflicted Case of Translation? Which Orchids for Miss Blandish?', Australian Journal of Crime Fiction, 1 (2015) [C1]
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2015 |
Johnson M, Rolls AC, 'Getting Under the Skin to Read the Signs: The Call of Classical Myths and Mysteries in Leigh Redhead's 'Peepshow'', The Australian Journal of Crime Fiction, 1 (2015) [C1]
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2015 |
Rolls AC, 'The re-imagining Inherent in crime fiction translation', M/C Journal, 18 (2015) [C1] |
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2014 |
Hainge G, Rolls A, 'The Larrikin as Hero (in French Studies)', Australian Journal of French Studies, 51 269-280 (2014) [C1]
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2014 |
Vuaille-Barcan ML, Sitbon C, Rolls A, 'Jeux textuels et paratextuels dans J'irai cracher sur vos tombes: Au-delà du canular', Romance Studies, 32 16-26 (2014) [C1]
The novel J'irai cracher sur vos tombes, which was famously written by the black American author Vernon Sullivan and translated into French by Boris Vian only to be outed sub... [more]
The novel J'irai cracher sur vos tombes, which was famously written by the black American author Vernon Sullivan and translated into French by Boris Vian only to be outed subsequently as a hoax, is generally understood precisely as a simple prank or canular. A close reading of the text, however, reveals multiple layers of mise en abyme, which correspond to the work's equally thickly layered paratextual frame. This article explores the various reflexive devices used throughout the novel, considering them in the framework of its preface, foreword, afterword, and various newspaper articles and legal documents. This book, which is as underrated as it is famous, and in which the diegesis vies for space, at times subtly and at others flagrantly, with the ever-encroaching real world of the hors-texte, in fact raises a number of questions about literary creation, parody, authorial power, and translation. In this way, J'irai cracher sur vos tombes, by testing any number of limits, goes beyond those of an innocent prank. © W. S. Maney & Son Ltd 2014.
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2014 |
Rolls AC, 'Rosemary Lloyd and Jean Fornasiero (eds.), Magnificent Obsessions: Honouring the Lives of Hazel Rowley', Sartre Studies International: an interdisciplinary journal of existentialism and contemporary culture, 20 89-91 (2014) [C3] |
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2014 |
Rolls A, 'Editor s letter: The undecidable lightness of writing crime', Australasian Journal of Popular Culture, 3 3-8 (2014) [C3]
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2014 |
Rolls AC, 'Smoking in Arcadia, or Barry Maitland's embodied folly: Re-opening the Case of The Malcontenta', The Australasian Journal of Popular Culture, 3 105-119 (2014) [C1] |
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2014 |
Sitbon C, Rolls AC, Vuaille-Barcan ML, 'Retelling the Vernon Sullivan Hoax, Or What has been Neglected in the Telling: Why People Do Not Care About Elles se rendent pas compte (1950)', Literature and Aesthetics, 23 38-53 (2014) [C1]
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2013 |
Fornasiero J, Rolls A, Vuaille-Barcan ML, West-Sooby J, 'The practices of translation', Australian Journal of French Studies, 50 153-156 (2013) [C1]
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2013 |
Rolls A, 'Intertextuality as translatability: Regimenting space (for French translation) in Barry Maitland's la malcontenta', Australian Journal of French Studies, 50 189-205 (2013) [C1]
In this article, a text, in this case an Australian crime novel, is analyzed in terms of its translatability. The framework adopted here is influenced by deconstructionism, and es... [more]
In this article, a text, in this case an Australian crime novel, is analyzed in terms of its translatability. The framework adopted here is influenced by deconstructionism, and especially intertextuality, and as such translatability is taken as an inherent tendency of a text to extend beyond its own formal limits and to map itself onto a virtual, foreign version of itself. This mechanics will be shown to be reflected in the structure of Barry Maitland's second novel, The Malcontenta, especially in its exaggerated thickening of liminal spaces and reflexive staging of intertextuality. By comparing Benjamin's call for translation, or a text's translatability, to Genette's call of the epigraph, we consider how Maitland's referencing of a particular intertext oscillates between regimes that, again after Genette, can be considered autographic or allographic. Lastly, a re-reading of the denouement of Maitland's text will be offered - predicated on the frenchness, and specifically not the Frenchness, of a particular set of doors.
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2013 |
Fornasiero J, Rolls A, Vuaille-Barcan M-L, West-Sooby J, 'Guest Editor', Australian Journal of French Studies, 50 (2013) [C6]
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2013 |
Rolls A, 'The Pleasures of Crime: Reading Modern French Crime Fiction', FRENCH STUDIES, 67 136-137 (2013) [C3]
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2013 |
Rolls A, 'French Crime Fiction and the Second World War: Past Crimes, Present Memories', FRENCH STUDIES, 67 281-281 (2013) [C3]
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2013 |
Rolls A, Sitbon C, 'Traduit de l'américain from Poe to the Série Noire: Baudelaire's greatest hoax?', Modern and Contemporary France, 21 37-53 (2013) [C1]
This article reviews the new light shed in 1952 on Charles Baudelaire's translation and critical analysis of Edgar Allan Poe by W.T. Bandy, which exposed the French poet&apos... [more]
This article reviews the new light shed in 1952 on Charles Baudelaire's translation and critical analysis of Edgar Allan Poe by W.T. Bandy, which exposed the French poet's plagiarism of American sources. Our aim here is to suggest that Baudelaire's Poe project, with its wilful problematisation of originality and translation, author and translator, preempts Marcel Duhamel's own translation project of 1945, the Série Noire. We compare these two Parisian translation projects as two major hoaxes of French literature and two foundational stages in the development of French crime fiction. Indeed, we suggest that Baudelaire's original translation praxis is an act of anticipatory plagiarism (of Duhamel's praxis) just as he himself considered Poe's poetry to be anticipatory plagiarism of his own work. © 2013 Copyright Association for the Study of Modern & Contemporary France. © 2013 Association for the Study of Modern & Contemporary France.
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2012 |
Hughes N, Rolls AC, 'Blended learning and disciplinarity: Negotiating connections in French Studies in regional universities', The Language Learning Journal, 40 293-305 (2012) [C1]
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2012 |
Buzzi OP, Grimes SB, Rolls AC, 'Writing for the discipline in the discipline?', Teaching in Higher Education, 17 479-484 (2012) [C1]
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2012 |
Vuaille-Barcan M-LJ, Rolls AC, 'De Cul-de-sac a Piege nuptial: Les avatars d'un texte et de ses paratextes', Essays in French Literature and Culture, 49 117-134 (2012) [C1]
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2012 |
Vuaille-Barcan M-LJ, Rolls AC, 'Paratext Revisited', Essays in French Literature and Culture, 49 1 (2012) [C6]
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2012 |
Rolls AC, 'Conspectus interruptus: Dirty Harry and the trouble in the Fillmore district', The Australasian Journal of Popular Culture, 1 125-136 (2012) [C1] |
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2011 |
Rolls AC, 'Baudelaire's Paris: A new, urban (prose) poetics', Mascara Literary Review, 10 (2011) [C3] |
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2011 |
Rolls AC, 'French studies and creative writing: Writing self and other Any where out of the world', Australian Journal of French Studies, 48 323-336 (2011) [C1]
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2011 |
Rolls AC, 'Boris Vian's Eternal Sunshine, or the truth about mother's textuality', Forum for Modern Language Studies, 47 289-303 (2011) [C1]
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2011 |
Rolls AC, 'Camus's Algerian in Paris: A prose poetic reading of L'Étranger', Sophia, 50 527-541 (2011) [C1]
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2011 |
Rolls AC, 'Film Criticism as Cultural Fantasy: The Perpetual French Discovery of Australian Cinema. Andrew McGregor. Bern: Peter Lang, 2010, pp. 315', New Zealand Journal of French Studies, 32 67-68 (2011) [C3] |
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2011 |
Rolls A, 'The Last Chance: Roads of Freedom IV', EUROPEAN LEGACY-TOWARD NEW PARADIGMS, 16 698-698 (2011) |
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2011 |
Rolls AC, 'The last chance: Roads of freedom IV (book review)', The European Legacy, 16 698 (2011) [C3]
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2010 |
Rolls AC, 'L'elegante de la rue lepic: a new look for une passante', Contemporary French Civilization, 34 91-107 (2010) [C1] |
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2010 |
Rolls AC, 'Jacques Prevert's queer acts of speech, or, an apologia for a postmodern curriculum', Nebula, 7.1-7.2 220-240 (2010) [C1] |
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2009 |
Rolls AC, Vuaille-Barcan M-LJ, 'Une seule ou plusieurs femmes-truies? Une lecture virtualisante de Truismes de Marie Darrieussecq', Australian Journal of French Studies, 46 31-44 (2009) [C1]
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2009 |
Rolls AC, 'C'est en se deguisant qu'on devient Boris Vian: J'irai cracher sur vos tombes et al 'bonne litterature erotique latine'', Europe: Revue Litteraire Mensuelle, 87 50-60 (2009) [C1] |
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2009 |
Rolls AC, 'Retrieving the exiled reference: Fred Vargas's Fetishization of ancient legend', Romance Studies, 27 133-144 (2009) [C1]
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2008 |
Rolls AC, 'What does it mean? Contemplating Rita and desiring dead bodies in two short stories by Raymond Carver', Literature & Aesthetics: The Journal of the Sydney Society of Literature and Aesthetics, 18 88-106 (2008) [C1] |
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2008 |
Rolls AC, Vuaille-Barcan M-LJ, 'How relevant is relevance? Weighing the relative value of relevance and situatedness against disciplinary integrity in the teaching of French in Australian universities', The International Journal of Learning, 15 55-62 (2008) [C1]
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2008 |
Rolls A, McCormack J, 'Introduction: Voices from North Africa (David Murphy)', AUSTRALIAN JOURNAL OF FRENCH STUDIES, 45 101-109 (2008)
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2008 |
Rolls AC, 'Guest co-editor', Australian Journal of French Studies, 4 (2008) [C2] |
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2008 |
Rolls AC, McCormack J, 'Introduction: Voices from North Africa', Australian Journal of French Studies, 45 101-109 (2008) [C2] |
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2008 |
Rolls AC, 'The games of fiction: George Perec and modern French ludic narrative', New Zealand Journal of French Studies, 29 58-59 (2008) [C3] |
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2007 |
Rolls AC, 'Fetishising the Parisian Text-scape in Frederic Cathala's L''Arbalete: La Vraie Vie Commence', AUMLA - Journal of the Australasian Universities Language and Literature Association, 111-129 (2007) [C1] |
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2006 |
Vuaille-Barcan M-LJ, Rolls AC, ''Merde a la fin! L'ecrivain, c'est vous ou c'est moi?': Jeux de roles dans Hygiene de l'assassin d'Amelie Nothomb', Essays in French Literature, 255-270 (2006) [C1]
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2006 |
Rolls AC, 'Throwing Caution to the French Wind: Peter Cheyney's Success Overseas in 1945', Australian Journal of French Studies, 43 35-47 (2006) [C1]
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2005 |
Rolls AC, 'Comic Literatue in France', New Zealand Journal of French Studies, 26 59-60 (2005) [C3] |
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2005 |
Rolls AC, 'Christopher Shorley. Malraus: 'La Condition humaine' and Denis Boak, Malraux: 'L'Espoir.' (Critical Guides to French Texts, 129 & 131 respectively.)', AUMLA, N/A 143-146 (2005) [C3] |
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2005 |
Rolls AC, 'Malraux: "The human condition" (Book review)', Aumla-Journal of the Australasian Universities Language and Literature Association, 143-146 (2005) [C3] |
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2005 |
Rolls AC, 'Silk or Nylon: Boris Vian, leg fetishism and the American way', AUMLA: Journal of the Australasian Universities Modern Language Association, 103 93-108 (2005) [C1] |
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2004 |
Rolls AC, 'Of Mice and Murder: Playing Cat and mouse with Boris Vian's L'Ecume des jours', Australian Journal of French Studies, 26 48-58 (2004) [C1] |
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2004 |
Rolls AC, 'Into Or Out Of The Metro? - Defining A Carrollinian space In Raymond Queneau And Louis Malle's Zazie Dans Le Metro', Nottingham French Studies, 43 11-22 (2004) [C1]
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2004 |
Rolls AC, 'L'Art De Voyager Sans Quitter Paris: Du Passage De L'Opera Jusqu'Au Desert D'Exopotamie', New Zealand Journal of French Studies, 25 26-40 (2004) [C1] |
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2004 |
Rolls AC, 'In Olden Days a Glimpse of Stocking: Fashion, Fetishism and Modernity in Boris Vian's L'Ecume des jours', French Cultural Studies, 15 99-113 (2004) [C1]
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2004 |
Rolls AC, Woodgate KB, 'Mercutio's Dance: Aspects of Inversion in Luhrmann's Film William Shakespeare's Romeo + Juliet', Inter-Cultural Studies, 4 65-79 (2004) [C1] |
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2003 |
Rolls AC, 'Capitaine Coq: Imaginary Journeys in Boris Vian's L'Automne de Pekin', Les Cahiers de l'ARLI, Special Edition 85-97 (2003) [C1] |
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2003 |
Rolls AC, ''Je Suis comme une truie qui broute': une lecture pomologique de Truismes de Marie Darrieussecq', Romanic Review, 92 479-490 (2003) [C1] |
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2003 |
Rolls AC, 'Priere de relire \', Poesie 2003, 96 35-41 (2003) [C1] |
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2003 |
Rolls AC, ''This Lovely, Sweet Refrain': Reading the Fiction Back Into Nausea', Literature and Aesthetics, 13 57-72 (2003) [C1] |
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2002 |
Rolls AC, Alayrac VC, 'Changing the Tide and the Tidings of Change: Robert Drewe's the Drowner', Southerly, 62 154-167 (2002) [C1] |
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2001 |
Rolls AC, ''Une lecture visuelle du boucher Tusco d'Annie Mignard : La nouvelle comme toile'', Essays in French Literature, 38 158-171 (2001) [C1] |
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2001 |
Rolls AC, ''9th Annual Conference of the Australian Society for French Studies: IMAGE LANGAGE'', Carnet Austral, 15 14-15 (2001) [C3] |
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2001 |
Rolls AC, ''Inter-Cultural Studies '01'', Carnet Austral, 15 16 (2001) [C3] |
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2001 |
Rolls AC, ''No Milk Today: (Un)dressing Fashions and (Ad)dressing Motifs in a Photograph by Christophe Mourthe'', Inter-Cultural Studies, 1, no.2 62-75 (2001) [C1] |
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2000 |
Rolls AC, 'Boris Vian's 'L'Ecume des jours': The Pulls of Froth and Days', Nottingham French Studies, 39:2 202-212 (2000) [C1] |
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1998 |
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