PROUST: INCONSTIENTUL SI INTER-ZISURILE SALE

Author(s): Virgil Ciomoş / Language(s): Romanian Issue: 13/2015

L’auteur se propose de repenser le sens inouï des expériences dites „proustiennes” compte tenu des dernières contributions de la psychanalyse lacanienne et de la phénoménologie richirienne. Il s’appuie surtout sur la théorie psychanalytique de la passe, définie comme synthèse paradoxale entre l’acting out et le passage à l’acte, qui rend possible une „expérience” survenue dans les parenthèses secondes des parenthèses premières de nos propres aperceptions, dépossédées de leur prétendue continuité. L’oubli devient ainsi le non-lieu privilégié d’une réduplication des lacunes du langage et du temps, que Proust anticipe par son „double sillon”, et, par la suite, le blanc d’une „inscription” autre, in-(dé-)terminée, par rapport à laquelle notre conscience reste totalement assujettie. Une telle „expérience”, seconde, insiste de l’intérieur de nos aperceptions lacunaires de langage et de temps, comme une sorte d’„auto-symbolisation” de l’inconscient, à savoir, comme „silence parlant” et comme „fragments d’existence soustraits au temps”.

Le jeu du même et de l’autre : Le Horla de Guy de Maupassant, un récit « dédoublé » en deux versions

Author(s): Anna Kaczmarek-Wiśniewska / Language(s): French Issue: 05/2015

The Horla, written twice, is considered as a masterpiece of a short horror story. Its two versions are still objects of critics’ arguments : some of them see in the second text an amplified and revised version of the first one, whereas others consider the two texts as two separate stories. The paper tries to consider the two Horlas as two complementary parts of the same story ; the first is told by a completely ‘normal’ person who has asked to live in a lunatic asylum, and the second, full of striking, strong emotions, is given by someone who gives up more and more to mental troubles caused by his fear of the unknown, the unnamed, the invisible. Considered in this way, the texts of the two versions of The Horla become one “autoscopic” story, which means that it is its own reflect; two narrative lines and two different endings deal with two sides, one rational ant the other irrational, of the narrator’s personality. This dualism comes as well from the writer’s biography (his gradual insanity) as from his time’s fascination of mental illnesses and anomalies.

Katarzyna Dybeł, Mistrz i uczeń w starofrancuskiej literaturze powieściowej

Author(s): Anna Gęsicka / Language(s): Polish Issue: 05/2015

Anna Kaczmarek, L’image de la femme dans l’œuvre d’Émile Zola

Author(s): Edyta Kociubińska / Language(s): Polish Issue: 05/2015

MONTAŽA: MICHEL TOURNIER, KRALJ JOHÂ I JA

Author(s): Bosiljka Brlečić / Language(s): Serbian Issue: 500/2016

BIBLIOGRAFIJA: GRAĐA ZA BIBLIOGRAFIJU MIŠELA TURNIJEA NA SRPSKOM I HRVATSKOM JEZIKU

Author(s): Gordana Đilas / Language(s): Serbian Issue: 500/2016

« Dans le coin du miroir : cinq propositions sur le récit de soi, la *Francophonie et les minorités »

Author(s): Christophe Ippolito / Language(s): French Issue: 2/2016

This introduction presents the LSMLL volume that follows (volume entitled “Self-Narratives and Society”), and discusses five propositions: I. Self-narratives may be analyzed as rediscoveries of what the self is not, i.e. society in particular; II. Beyond questionable distinctions between autobiography, autofiction and testimonies, self-narratives may be defined interculturally (with help from the English-speaking world) as (predominantly reflexive) forms of life narratives and examples of life-writing; III. Autobiography and autofiction can’t file for divorce; IV. We should joyfully call for the end of [La] *Francophonie, substitute what could be abbreviated as LEF (littérature d’expression française) to the unfortunate expression littérature *francophone, and/or play on semantic neutrality and signal the *Francophone imposture with a (typographical) counter-sign: *francophone, *Francophonie; V. The “culturality” inherent to self-narratives opens itself up to the question of minorities.

« Altérité et écriture de soi dans l’œuvre mémorielle de Paul Auster »

Author(s): Mehdi Kochbati / Language(s): French Issue: 2/2016

If the presence of extracts from the life of the author (Paul Auster) allows us to postulate the “autobiographical” project of the memorial writing, others on the contrary confer it with a fictive project. The use of a stratagem of increased self-distancing and the multiple “mise en abyme” of identities leaves us puzzled as to the existence of an autobiographical scheme specific to Auster’s creation. Through the many forms of auctorial disguises, games of duplication, self-reflective mirroring, identity usurpation and handwritten possession, memorial writing integrates the different autobiographies of others. These are transformed into a functionalized or “real” autobiography of a subject who is a narrator, a character and an author.

« L’écriture de soi au service de la construction du mythe de l’écrivain : le cas de José Luis Peixoto »

Author(s): Vânia Rego / Language(s): French Issue: 2/2016

Through a series of continuous innovations, the literary work of José Luís Peixoto always emphasizes the value of the self. The intersection between self-fiction and the language of the self, most often in stories dealing with identity, creates a kind of writing that quivers between creative imaginative fiction and autobiographical writing of the self, in an idiosyncratic double-drive characteristic of this author. The power of Peixoto’s work spawns from the communion of his unique ideological vision of contemporary Portuguese society and his use of a language that is extremely lyrical, and full of symbolism.

« La Vie comme fiction : le tournant autofictionnel dans la littérature féminine du Maghreb »

Author(s): Nancy Nabil Ali / Language(s): French Issue: 2/2016

The twentieth century witnessed the birth of a feminine strand of autofictional writing coming from the ancient colonies, of which Fantasia: An Algerian Cavalcade, by the francophone Algerian writer Assia Djebar, and the Arabic Memory in the flesh, by the Algerian writer Ahlam Mosteghanemi, are emblematic. Whether it be in the Arabic or French language, the women writers of the Maghreb risked writing an autobiography in a culture that stresses the anonymity of women. The coming to writing for these women is often accompanied by a desire – or necessity – to revisit the collective past from a female perspective. For these women, literary writing also meant writing their stories on the palimpsest of dominant history, in order to carve their place in it. To fight the forced amnesia of historical discourse constructed by man, they must create works that give voice to the stories silenced by the totalizing male narrative. Djebar and Mosteghanemi both insist that the emancipation of women is possible only if the subaltern woman becomes subject not object of her story/history.

« Autobiographie et transgression générique dans Les hommes qui marchent, La Transe des insoumis, et Mes Hommes de Malika Mokeddem »

Author(s): Fizia Hayette Mokhtari / Language(s): French Issue: 2/2016

In life narratives, authors unveil their lives, and autobiography also inspires authors from Muslim Arab societies. In contemporary societies, some authors have talked about their “ego” without fully revealing all their secrets. Things are more complex in a Maghrebian context in which disclosing and recounting one’s life (childhood, adolescence or even adult life) becomes a vital act. Our reasoning in this paper consists in showing that, to Malika Mokeddem, despite the criticisms and taboos, writing and being emancipated are no impediments; on the contrary, these taboos or proscriptions have motivated and served her life choices. Algerian authors often write about themselves by referring to their childhood, education and readings. Often the history of their country is at the center of their autobiographical novels. In this article, we focus on Malika Mokeddem’s childhood and adolescence, two very important periods for her, and proceed to analyze the different processes used by the novelist who in her autobiographical works seeks to “recover” her identity.

Une démythification de l’histoire algérienne : enjeux du récit de soi dans l’œuvre de Boualem Sansal

Author(s): Lisa Romain / Language(s): French Issue: 2/2016

As a fully committed writer, Boualem Sansal has “stepped in literature as he would have put on a combat gear”, to dismantle poisonous myths that prevent, for him, post-independent Algeria to look dispassionately into the future. Mobilizing all possible resources to fulfil his purpose, he logically turns towards self-narrative, which undertaken subjectivity is used as an answer to the falsification of objective historic by the ruling political power. The way Boualem Sansal re-appropriate self-narration, strongly strengthening the role played by the reader, makes his literary work a radically renewed approach of the relation between fiction and reality.

Déplacements transculturels et récits de soi contemporains au Canada francophone

Author(s): Adina Balint / Language(s): French Issue: 2/2016

How can we measure the evolution of contemporary francophone self-narratives in Canada? Through the analysis of transcultural fictions and bio-fictions, we show how literature leads us to better understand multiple identities and our pluralistic world.

« Métafiction, figures du temps et interface langagière dans Guyana d’Élise Turcotte »

Author(s): Julien Defraeye / Language(s): French Issue: 2/2016

In 2011 Élise Turcotte released Guyana, a historiographic metafiction in which the characters come to realize the sheer impossibility of accessing a collective imagination. The famous Jonestown massacre surges to the forefront of the writing through the murder of Kimi, a hairdresser from Montreal, and initiates a frantic quest for the understanding of self through another, in order to get past the ineffable characteristic of the past. This article will explore the metafictional aspect of Guyana and its polyphonic narration before revaluating the stakes of, and the way in which we perceive, tales of trauma.

Fiction de la mémoire et création de la vie chez Georges Perec

Author(s): Rodrigo Ielpo / Language(s): French Issue: 2/2016

In 1975, Georges Perec published W ou le souvenir d’enfance, a work that is both fictional and autobiographical, and in which there are two different systems of enunciation side by side, thus opposing the distinction drawn by Gérard Genette between fiction and diction. In his book, Perec shows this undecidability between the imperative of narrating that which he hasn’t lived and the complete impossibility of such narrative. By developing a narration strategy based on a certain use of fiction, Perec tries to face his lack of memories. This paper aims at analyzing how these two systems operate in order to create a double space where author and narrator get mixed up, creating a game in which the subject can only exist at the risk of his complete dissolution.

« Passé et présent dans L’écriture ou la vie de Jorge Semprun »

Author(s): Giulia Ferri / Language(s): French Issue: 2/2016

Being a survivor to the Buchenwald concentration camp may imply the inability to tell this tragic experience. Semprun tries to go beyond this difficulty by writing L'écriture ou la vie. His trauma and the camp’s omnipresence determine a noncoincidence between interior and exterior time and the fragmentation of the text. Chronological linearity makes way for a labyrinthic time caractherized by a continuous change of present into past tense and by several flash-backs and metatextual digressions. The latter are also the indication that the elaboration process is underway and this suggests that art in itself makes the evolution possible.

« Vie réelle, vie mythifiée ou le subterfuge des minuscules chez Pierre Michon »

Author(s): Mohamed Naouar / Language(s): French Issue: 2/2016

Pierre Michon’s Vies minuscules reveals something of the narrator’s life through eight mini-biographies. Could this be an indirect autobiography? Are the boundaries between the characters and the narrator fully inaccessible? Is this story an attempt at mythologizing reality? This article addresses the close relationship that is built between autobiography and reality writing in Vies minuscules. The absence of separating limits between the « real » of the minuscules and autobiography allows for fiction to become he place of a mythologizing of the « I » through the fabulousness of the « reality » of those characters.

Између фикције и сведочанства: ратна књижевност у Сведоцима Жана Нортона Крија

Author(s): Dunja S. Dušanić / Language(s): Serbian Issue: 153/2014

FRAGMENTI LJUBAVNOG GOVORA

Author(s): Jackques Henry,Roland Barthes / Language(s): Serbian Issue: 456/2009

Interview with Roland Bart by Jasques Henry

La poétique de la résistance entre tradition médiévale et modernité pour un réarmement culturel dans Le Crève-Cœur d’Aragon

Author(s): Kouakou Bernard Aho / Language(s): French Issue: 1/2017

Le Crève-Cœur (The Heartbreak) by Louis Aragon approaches the Resistance by drawing from the Renaissance heritage to reach the modernity in the humanist spirit called to consolidate the bases of French culture. Resting on socio-criticism and stylistics, the results of the present reflection have shown that, faced with the asphyxiation of values and the obsession of freedom, the resistance of the traditional poetic forms rises in the form of new aesthetics and ethics. The medieval tradition becomes a cultural re-armament used for the judgments present in contemporary history. Poetic action and resistant action unite in revolt to reach a new humanism.