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In this paper, we examine the question of the verbalization of fear and its translation from Modern Greek into French. The target texts of our analysis are of two types: translations of experienced translators and translations of Cypriot learners. We study data from the analysis of our translation corpus and we question the conceptualisation of the emotion of fear.
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When in the 16th century multiple texts present utopian societies, Urfé adapts this theme for a pastoral universe in L’Astrée. However, instead of proving its superiority, he demonstrates the inherent weakness of every utopian project: what could any utopia be good for if it is incapable of long withstanding the assaults of reality? The ideal society presented at the beginning of the novel grows weaker with every new chapter, and is finally destroyed. Between denunciation of utopia as a genre and a paternal consideration of the characters doomed to suffer as a result of meeting the outside world, L’Astrée shows how the most beautiful of the earthen pots inevitably crashes against the iron pot of reality. The novel depicts the beauty of this crash.
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Le monde tel qu’il sera en l’an 3000, written by Émile Souvestre in 1845, is known as the first French dystopian novel. To give his fellow citizens a warning, the author projects into the future, an exacerbated contemporary situation. This journey through time is part of a vast debate that opposes not only utopias and dystopias, but also the social and political sciences. Le monde tel qu’il sera... can thus be understood as a refutation of the ideological constructions which are based on an unshakeable faith in the future. Influenced by Saint-Simon, Souvestre considers that technical progress can lead to the ideal city only if it is combined with moral progress, to which he aims to contribute by demonstrating to his contemporaries the appalling consequences of the providentialism that dominates the mid-19th century.
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In the last years of the 19th century, the Belgian writer Camille Lemonnier published three novels, L'ÎleVierge, Adam et Ève, and Au cœur frais de la forêt, which conveyed the dream of seeing humanity freed from the shackles imposed by society that enslaves men and women and distorts their instincts. The Belgian Georges Eekhoud published in 1912 Les Libertins d'Anvers, which traces the history of Christian heresies in Antwerp from the 12th century until their repression by the Protestant reform and the Catholic counter-reform. Inspired by the same identity concerns, Lemonnier and Eekhoud offer models of utopian communities that draw inspiration from both paganism and Christian evangelism. The two writers praise charity, and respect for others and for nature. However, they differ in the interest they place in the couple and the family as a social foundation, Lemonnier applying the lessons of naturism, while Eekhoud is more in line with anarchist thinkers such as Charles Fourier, Raoul Vaneigem and Michel Onfray.
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Often perceived as the result of empirical speculation, the sanatorium, intended for the treatment of tuberculosis patients in the first half of the 20th century, was at first sight a therapeutic utopia originating in the medical profession. In this enclosed space, it is the doctor that exercises the authority and their recommendations have the value of injunctions. However, a reversal of this order is depicted in two 20th-century novels: Les “Heures de silence” by the Swiss writer Robert de Traz (1884-1951), and Siloé by Paul Gadenne (1907-1956), a French author who was himself a regular visitor to such care institutions. In these works, the unity of place - the sanatorium - becomes a convenient device for questioning the world of the healthy on three levels: the ego, the relationship to others and the relationship to natural space. Because the "tubercular condition" neutralises the differences between individuals, it questions the primacy of health and paradoxically outlines a balanced lifestyle based on the idiorhythmic alternation between solitude, social life and immanence.
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Léopold Sédar Senghor was a thinker and poet of Négritude, and also a politician, a member of the French National Assembly in the context where decolonization was inevitable. With the theoretical support of Paul Ricœur, this article explores Senghor's utopia in order to reflect on the function of these unreal places in his thought and to restore his vision of the future. Both the Kingdom of the Sine and Confederate France - the figures of his eutopia - were presented as harmonious communities by which to imagine the future. If Senghor does not challenge colonial ideology with a conservative utopia, where the Kingdom of the Sine would regain its ancient form, but with that of a federal thus decolonized France, where equality of political, civic and social rights between members of a plurinational state would obtain, the question of knowing if he was a utopian remains.
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Having adopted a pro-Maoist position during the 1970s, Philippe Sollers went to China for three weeks in 1974 to witness the great success of the Cultural Revolution (1966-1976). According to the writer, director of the magazine Tel Quel, the revolution must be achieved through writing and theory. Nevertheless, the China he discovered during his stay seemed to be far from the China he had dreamt of before his departure... Based on articles published by Tel Quel, the paper seeks to show how Mao's China, idealized in ideological discourse, is transformed into a dramatized reality that the Chinese people are obliged to stage in front of the tourists allowed to visit China.
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The principle of complementarity, which comes from quantum physics, is close to the reciprocity between the clinical approach and its dramatic counterpart in Michel Houellebecq’s writing. As for the utopian questioning, this principle can be used as a pivot to study the ambiguity of the author's utopian writing. Taking this physical principle as a starting point, we will first try to analyze the various utopian or dystopian universes in Houellebecq's works, especially through the relationship between the individual and society. Then, by penetrating the Houellebecqian space, we will study the representation of non-places and traditionally utopian spaces in his work, according to the dichotomy between the clinical and dramatic components. Finally, in a narrative sense, we will consider the coexistence of an ideological and utopian narrative in Houellebecq's work, with the boundaries between the author's voice, the narrator's voice and the characters' voice blurred. The sphere of fiction and realism overlap.
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The characters created by Michel Houellebecq and Jean-Philippe Toussaint end up by extracting themselves from our social and geographical world whose rules and limits are too difficult to bear. In this context, retreating to existing islands appears to be a legitimate solution. If, at first glance, they seem to be alternatives to the throes of the metropolis, Lanzarote and the island of Elba do not represent utopias as ideal societies but as non-places in the etymological sense of the term: the place of nowhere or which is in no place. The two authors do not cease playing with the codes of the island utopia, while depriving them of the history and the literary references which are usually associated with the concept. The article aims to analyze the effects and manifestations of Houellebecq’s and Toussaint’s anti-utopian islands, in a world whose limits and finitude of resources have been measured.
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This article examines the relationship between Rachid Boudjedra's dystopian writing and postcolonial theory exploited in his novel L’Escargot entêté ("Stubborn snail”). This particular work represents postcolonial Algerian literature and therefore stands as an emblem of hybrid aesthetics. The hybridity employed by the author - which is nothing but a utopian concept of postcolonial theory - ends up shattered in the text, thereby generating a dystopian work. To achieve this effect, the writer mixes realistic and fantastic genres, only to create a split between them, to perpetuate the image of dystopia. He uses misinformation to form cracks in the novel's intertextuality, imploding the hybridity of the writing from within. Finally, he tries to liberate Algerian literature, to separate it from French literature, creating a breach between "the periphery" and "the center".
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Western imagination has often portrayed islands as heavenly places, or even utopias. However, contemporary island narratives often put violence, social inequalities, as well as climate issues and topics of exile at the heart of their narrative. The districts of "Gaza" and "West Eden" in Alfred Alexandre’s novel Les Villes assassines (2011) and in Nathacha Appanah’s Tropique de la violence (2015) are indeed depicted as zones of extreme precarity. This article examines the relevance of the conceptual category of “dystopia” for addressing certain tropes of French-speaking island literature. The link between dystopia and the popular notion of “collapse” shall lead us to examine new modes of representation of contemporary islands in these two novels, particularly when discussing the prevalent topics of slums and undocumented immigrants.
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This paper offers an analysis of the utopian discourse in the novel Les Furtifs and the short stories “C@PTCH@” and “Hyphe…?”, all coming from the French science fiction writer Alain Damasio, from the perspective of the issue of inhabitation. We will see that the three dystopias do not content themselves with taking a critical look at the current situation or offering an alternative vision of what inhabiting the world must - or could - signify. To the contrary, they also question the limits of a classical utopia conceived as a program, in order to propose, by means of meta-utopian discourse, a concept of utopia as an aspiration and "a game on the possibilities lateral to reality".
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L’article traite tout d’abord le terme ‘roman psychologique moderne’ dans ses diverses utilisations. Les accents mis différemment par la critique dans chaque littérature présentée ici ne mènent pas cependant jusqu'à la méfiance quand à l’essence du terme. Tout au contraire, la connaissance des distinctions permet à être trouvés des exemples similaires pris dans les trois littératures européennes de l’entre-deux guerres, notamment la littérature roumaine, la littérature bulgare et la littérature française. Un nouveau moment pour le roman psychologique de cette période est souligné, à savoir, l’anxiété éveillée (par la psychanalyse) devant l'inconscient et son utilisation comme élément constructive de l’intrigue romanesque. Les exemples sont tirés des romans de Camil Petrescu, Boris Chivatchev et Marcel Proust.
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The core topic of this paper is Marguerite Yourcenar’s translation (1937) of Virginia Woolf's novel The Waves. I also trace back the major debate in France in 1993 when a second translation of The Waves by Cécile Wajsbrot appeared in French. In conclusion, the paper provides Marguerite Yourcenar's reflection on Virginia Woolf. By outlining the genealogy of Marguerite Yourcenar's writing, it goes beyond the obvious predecessors like Marcel Proust and Thomas Mann, in order to unmask Woolf as a possible precursor.
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The paper analyses two film adaptations (1977, 2020) of Romain Gary’s novel The Life Before Us exploring the transformation strategies originating from the transition from page to screen as well as different forms of (re)contextualisation in the 20th and 21st century. The comparative case study examines the evolution of dominant adaptation approaches going from fidelity to the source text to intertextuality and reinvention. We aim to reveal the relevance of the author’s humanist views through the strong visual thematisation of universal values and empathic figures’ interactions.
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This text examines George Perec's novel The Man Who Sleeps and its adaptation through a young man's existential crisis in search of the meaning of his existence. The disintegrated time and space introduce the reader to the labyrinth of wandering consciousness through the “rhetorical places”, the delight of emptiness, on the border between dream and reality. The work is close to the experiment of the literary movement “New Novel”, approaching in the film the “camera-pen” embodied in the New Wave of French cinema.
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The article aims to answer a few questions related to the autobiographical and literary basis of Vazov’s short story Emma, its hidden correlation and opposition to Flaubert’s Emma from the novel Madame Bovary, as well as to trace some “bovarystic” plots in the prose of the antibovaryst Vazov.
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Le croate, comme la plupart des langues slaves, ne connaît pas la catégorie des articles. Pourtant, nous voudrions mettre en évidence plusieurs façons d’exprimer la (non)-détermination du nom en croate, qui peuvent étre considérées comme équivalents de l’article. Ce sont surtout jedan, le démonstratif, l’opposition entre l’accusatif et le génitif, l’ordre des mots, l’aspect verbal et les différentes formes de l’adjectif, mais il ne faut pas négliger l’importance de l’équivalent zéro. Nous illustrons nos propos avec les résultats de la recherche effectuée sur un corpus composé de textes en croate, français et roumain.
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Far from nourishing the image of a fantasized Orient, Devi takes a sceptical look at the ancestral culture and deconstructs the stereotypes of exotic images and those reducing women to a simple object. Taking pleasure in transgression, she rehabilitates through discursive and linguistic processes the place of the female subject in the narrative space. The author demonstrates intellectual nomadism, through the mixing of identity and culture. In Devi’s text, languages are in alchemy: they rub shoulders, inseminate and proliferate. She handles languages, makes her text dance to rhythms and intonations to accompany her universal themes with a nomadic poetic who works her work in-depth.
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