Les degrés de lecture de Citadelle d’Antoine de Saint-Exupéry

Author(s): Alexandru Lucian Luca / Language(s): French Issue: 08/2009

Belonging to the same poetic line as Le Petit Prince, Citadelle is an open work that elicited malevolent criticism upon its publication. Saint Exupéry has even been accused of totalitarianism because of the contradictions characterising the Berber prince who loved his people but never hesitated to put to death people who rebelled or did not respect human values cherished by the prince. The book is neither mystical at all, God representing the idea of the absolute, the supreme value that is worth pursuing by everybody. There are pages of fine poetry in this book and they are the expression of the poet's attempt to create a new language that could translate the most intimate pulsations of human heart.

UOKVIRIVANJE

Author(s): Author Not Specified / Language(s): Serbian Issue: 500/2016

Jelena Novaković: MIŠEL TURNIJE: RUSOOVSKI MIT U POSTMODERNISTIČKOM KONTEKSTU Srđan Srdić: TOTALNI ESEJ Muharem Bazdulj: MIŠEL TURNIJE: IZMEĐU DVA OTKUCAJA Katarina Pantović: METAFIZIČKO I ISTORIJSKO U DELU MIŠELA TURNIJEA

MYTHE ET IMAGE DANS LA GOUTTE D’OR DE MICHEL TOURNIER

Author(s): Floarea Mateoc / Language(s): French Issue: 1/2016

Michel Tournier’s originality consists in re-writing and re-interpretation the great myths of humanity. He’s concerned with “a bricolage” of myths whose initial meaning he re-interprets in an idiosyncratic manner in his work. He also gives to his mythological novels a dimension of reality which makes them an instrument of knowledge. In «La Goutte d’or», Tournier uses the Roman myth of «bulla aurea» that he opposes to that of the modern image of the Occident. In fact, as he says, the novel shows the meeting of two cultures: the Islam which values the sign and the Occident which cultivates the visual. Our article intends to focus upon some aspects of this myth and on the different « facettes » of the image which mark the heroes’s trajectory in France. In effect, one can speak of conflict of values between the mythical space of the desert and the modern western world.

La narración del inicio y final de la expedición en los relatos de viaje franceses del siglo XIX

Author(s): Cristina G de Uriarte / Language(s): Spanish Issue: 18/2019

In the 19th century, undertaking a long sea voyage entails grave dangers. While the beginning is always lived with a mixture of anguish, fear and happiness, the return implies to have overcome hunger, diseases and death. Based on a set of French travel writings from the 19th century, we will analyse the different methods to relate two key moments of the journey: the beginning and the return. We will be able to confirm that some authors opt to provide details of the circumstances and personal information and others restrict themselves to just offer some quick references, thus pointing out their way of understanding travel writing.

Analogie et cohérence textuelle. Cas de l’analogie animale dans les fables de La Fontaine

Author(s): Rim Ben Yacoub / Language(s): French Issue: 18/2019

This article attempts to study the mechanisms of analogy as a means of textual coherence in two of La Fontaine’s Fables. It suggests an analysis of the process of textual structuring via animal analogy. Indeed, this article emphasizes the links between the different figures of analogy and their corresponding marks pointed out in both fables.

The Voracious Text – Hélène Cixous’ Vivre l’orange

Author(s): Ioana Cosma / Language(s): English Issue: 18/2019

In her autobiographical texts, Hélène Cixous creates a strong connection between self, writing and place through the medium of consumption. Hers is a voracious writing which both consumes and creates the self. In her texts there is an intricate relationship – on the level of the signifier – between the narrating “I”, the letters of the text and referentiality. Perhaps one of the most conspicuous examples is her play upon words in Living the Orange, where orange is a pun made up of Oran, her birth place, and je which claims a central part in the text. In this way, Cixous ensures a non-objectified version of the self but one which is entrenched in a highly subjective space and language.

L’éclairage narratif de l’amour tristanien : feux épiques et hagiographiques

Author(s): Brînduşa Grigoriu / Language(s): French Issue: 2/2019

Romance (“roman”) makes its debut as an experimental genrewritten in verse, whose epic stature is counterbalanced by the promotionof “courteous” values illustrating the medieval embodiment of humanexcellence and memorability. The new kind of hero – a tender,resourceful, hardy one – is matched by a suited heroine, while theopponent’s part is played by a self-justifying community that exerts itsinfluence outside the paradigm of the loving couple. Notions such astreason, truthfulness and triumph are thus revisited in a dramatic light.In Béroul’s phantasmagoria and in Thomas’s kaleidoscope of theTristanian matter, as well as in the specular structure of the Folies, themanagement of the characters’ visibility invites to a closer look. Ouranalysis provides a phenomenological approach of the universe oftheatrical performance and erotic blossoming of the mythic lovers ofCornwall by highlighting their role as players in a show of blazingshadows. The main episodes of the magic infatuation, of thecondemnation to the stake and of the protagonists’ shared death reveal aspecific usage of light as a narrative device which enables the authors toadjust their setting to the enduring influence of the epic and to theexploratory ambitions of the emerging romance.

Annie Ernaux’nun Yalın Tutku romanında kadınlık durumu

Author(s): Ali Tilbe / Language(s): Turkish Issue: 2/2020

In Simple Passion, as in her other novels, the personal events that lead Ernaux's life are narrated. Simple Passion, which carries some of the distinctions of the stylistic postmodernism short story narrative, is an autofictional self-narrative that offers readers such as “alienation to love, being a slave to passion and suffering emotional violence” in a very striking way. The narrative person narrates how her forbidden love for an Eastern stranger turns into a sensual passion and delusion, the phenomenon that such a human experience can find everyone, at any moment, anywhere, by passing the present through a social filter with a very clear simplicity and fearless past with the name of the singular first person “I”. This sickly state of passion takes over the narrative person's mind, her life, dragging him toward spiritual and bodily exhaustion. He also wants to enter into a showdown with her family history, tell the woman who has submitted to society how she has gained a free female identity, and reverse the traditional patriarchal perception of women. In the study, we will try to explain the passionate captivity of a woman who refers to Simone de Beauvoir’s motto “One Is Not Born, But Rather Becomes, A Woman!” and who defies society by trying to exist with her self-identity in a spiral of emotional and sensual violence.

Rwanda z reportaży Jeana Hatzfelda – czytana przez różnie formułowane definicje ludobójstwa

Author(s): Katarzyna Kuczyńska-Koschany / Language(s): Polish Issue: 6/2020

The present essay reflects upon the outstanding, from the reporter’s craft point of view, and unprecedented when it comes to empathy (which sometimes borders on European, colonial complicity) books by Jean Hatzfeld (born 1949), which consist of five volumes on Rwanda: Dans le nu de la vie. Recits des marais rwandais (2000), Une saison de machettes (2002), La strategie des antilopes: recits (2007), Engelbert des collines (2014), Un papa de sang (2015). Various definitions of genocide (starting with the notion itself, authored by criminal lawyer, a Polish Jew Rafał Lemkin (1900–1959)), that were also formulated ad hoc in works of art (the case of a feature film by Joanna Kos-Krauze and Krzysztof Krauze Ptaki śpiewają w Kigali [Birds Are Singing in Kigali]) prove to be a kind of Ariadne’s thread. Embedding Hatzfeld’s reportages in the context of the notion of genocide aims at broadening the field of associations for both, the narrator himself and his Rwandan interlocutors, who sporadically and comparatively/by way of comparison refer to the Shoah.

CALAMITAS TERRENA OU POENA DIVINA : UNE APPROCHE ÉLIADIENNE DE LA PESTE DANS LE ROMAN SORTEZ VOS MORTS DE BRUNO LEYDET

Author(s): Ciprian Onofrei / Language(s): French Issue: 1/2021

Calamitas terrena or Poena divina: An Eliadian Approach to the Plague in the Novel Sortez vos morts by Bruno Leydet. The article proposes a dichotomous analysis of the outbreak of the Black Plague in Marseille (1720), described by French writer Bruno Leydet in the novel Sortez vos morts, which appeared in 2005. According to the grid established by Mircea Eliade, the analysis is built on two levels: the sacred and the profane. The religious as well as the modern perception of the disease and the use of a relevant lexis allow the bubonic plague to transgress the historical space, passing into the literary one. The plague epidemic in southern France is, in our view, not only a manifestation of the divine will to punish the sinful souls of the dead, but also the incarnation of greed and vicious side of the human being.

ЗАКОН И ОТПОР: КЊИЖЕВНОТЕОРИЈСКЕ РЕАКЦИЈЕ НА ИЗАЗОВ „БАРТЛБИ“

Author(s): Predrag Krstić / Language(s): Serbian Issue: 3/2020

Melville’s novella ’Bartleby, the Scrivener. A Story of Wallstreet’, written in the middle of the nineteenth century, encountered unexpected processing in the second half of the twentieth century. Prominent philosophers and literary theorists revitalized and reinterpreted it in the key of their conceptions, reading the character of Bartleby or loading in it some paradigmatic property that could be instructive for contemporaneity. The author of this paper believes that this unconcluded debate could be presented through two key concepts: law and resistance. After presenting the plot and some significant moments of Melville’s text, the first part of the paper comments on Deleuze’s and Rancière’s interpretation of Bartleby’s ’agrammatical’ formula, a sentence that responds to all the offers and demands before him: ’I would prefer not to.’ The central parts of the paper are dedicated to the analyses of (in)possibility or (in)desirability of a transition or generalization that these interpreters attribute to that statement, the transition from grammatical to ethical and political resistance. In that respect opposed, Deleuze’s and Rancière’s views are joined by the radically emancipatory-oriented suggestions of Negri and Hardt. The final parts of the paper, inspired by Agamben’s vision of Bartleby as a character representing the pronouncebility and necessity of rehabilitation, in the history of Western thought neglected, ’potentiality’, pointing to a kind of conscious reduction procedure of Melville and/or Deleuze in articulating a figure of ’absolute potentiality’. It would not establish a new law, but would only enable the game of power and resistance of benevolent singularities in the multitude which would not be – which should not be – regulated in advance.

Márvány, repedésekkel. Swann és a féltékenység

Author(s): András Kányádi / Language(s): Hungarian Issue: 06/2021

The article discusses an excerpt of Andor Horváth’s new translation of Proust’s In Search of Lost Time, highlighting the specificities of Proust’s discourse and the nature of jealousy as reflected in the fragment. Proust’s novel is rich in intertextual allusions and some of Swann’s reactions in the novel can be explained through these allusions. The new Hungarian translation follows carefully the structure of the proustian sentence.

Két új francia regény kultúraközi összefüggései

Author(s): Beáta Thomka / Language(s): Hungarian Issue: 3/2016

The study deals with two “first” novels one of which was written by Georges Perec (1936-1982), the well-known author of 20th century French literature, while the other one is Kamel Daoud (1970), a present-day Algerian French writer. The manuscript, which had gone astray, was found by the researchers of his oeuvre in the writer’s legacy. One of the locations of this early novel written in 1957 is the Belgrade of the time, and some of the characters are Serbian painters and art historians living in Paris. Yugoslav aspects give a peculiar feature to The Sarajevo Assassination (L’Attentat de Sarajevo). The essence of Daoud’s bold experiment is a cross-opus dialogue the writer initiates with Albert Camus’ classical work L’étranger.

Hélène Le Meaux and Françoise Briquel Chatonnet, Le sarcophage d’Eshmunazor (Collection SOLO 72), Éditions El-Viso, Paris 2019, 56 pp.

Author(s): Edward Lipiński / Language(s): English Issue: 1/2021

Quand l’amour de bienveillance triomphe de l’amour de concupiscence : Alma de J.-M.G. Le Clézio. Étude de cas

Author(s): Alexandra Dărău-Ștefan / Language(s): French Issue: 1/2020

The Greeks distinguished between four major types of love – Storgē, the family love, Philia, the love between friends, Éros, the sexual passion, and Agápe, the love of one’s neighbour –, these facets have been the subject of numerous philosophical and theological debates throughout history. As for literature, this field has shown a particular interest in Éros, which it refers to as romantic love and which it sets out through a rich book production, nevertheless, without ignoring its desexualised, deindividualised and desinterested pair that is Agápe. In this article, we aim to analyse the interferences occurring between passionate and compassionate love, as they reveal themselves on a careful reading of Alma, a recent work bearing the signature of J.-M.G. Le Clézio. Even if the two facets of love are inseparable from each other, just as the spirit of man is inseparable from his body, in the leclezien fictional world the ethical moment dominates the passionate moment, whilst the love of benevolence triumphs over the love of concupiscence.

Intermédiarités dans Douleur exquise de Sophie Calle

Author(s): Monica Garoiu / Language(s): French Issue: 1/2020

Sophie Calle’s work is at the crossroads of several media, such as photography, literature, visual arts, and cinema. Exquisite Pain (2003), a heavily autobiographic work, juxtaposes the narrative of the author’s trip to Japan in 1984, the one of her separation, as well as a collection of anonymous stories which echo the main narrative. In this study, we aim to analyze the hybridization of photography and literature in Calle’s Exquisite Pain: if images are static, the narrative of the pain, to the contrary, turns out to be dynamic, evolving from simple captions accompanying the photographs to a real story prodigiously expressed in words. In addition, we will focus on how the two mediums rely on each other, with photography adding an emotional impact to the narrative force of writing.

‘Lecture d’un tableau’ pour déchiffrer les canons esthétiques du romantisme littéraire ? Interférence(s) littérature-peinture

Author(s): Ramona Malița / Language(s): French Issue: 1/2020

Our approach questions the relationship between literature and painting in the Romantic period. Thanks to Théodore Géricault's painting, Le Radeau de La Méduse (artist – master of Romantic art of the first half of the 19th century) we investigate the formation of the aesthetic canons of this artistic-literary current. The supports of our semiotic endeavour are the relevant considerations on the roles and functions of images, advertising or not, made by Martin Joly and Alain Joannès. The conclusion would be that a painting can be 'read', because it will always have a hidden text; it is perceptible thanks to the details that the initiated viewer knows how to see beyond the image that carries meaning. What you don't see is a thousand times more intriguing.

Les interférences entre l’histoire et la littérature dans l’œuvre de Sylvie Germain. L’image de la seconde guerre mondiale

Author(s): Roxana Maximilean / Language(s): French Issue: 1/2020

The dichotomy made by Mircea Eliade between mythical, sacred time and historical, profane time punctuates the work of Sylvie Germain. The primordial time that recalls the Golden Age is always broken by historical time, destroying paradisiacal peace, usually by the outbreak of a conflagration. The writer feels an imperative need to remember, being particularly sensitive to the suffering of the other, especially to that of the victims of which she draws a sepulture made of words: “The suffering of the victims remains unjustifiable, scandalous and forever inconsolable. [...] It is less a question of judging than of not forgetting.” A problem that haunts her is the war she finds absurd in a society inherited from two millennia of Christianity. Thus, all his work is scattered with the disastrous consequences of a fratricidal century. In our work we will be interested in the interferences between literature and history in the work of Sylvie Germain while trying to observe the image of the Second World War as a doorway to profane, historical time. We will analyze the traces left by the war at the spatiotemporal level. Besides changing the chronotope, the opposition between mythical time and profane time extends to the characterization of the characters, each time period having its specific type of character.

Дон Жуан у потрази за идентитетом у комаду Ноћ у Валоњи Ерик-Емануела Шмита

Author(s): Nikola Bjelić / Language(s): Serbian Issue: 3/2021

The first play by the contemporary French writer Éric-Emanuel Schmitt, The Night in Valognes (La Nuit de Valognes, 1989), represents a completely new interpretation of the myth originating from the 17th century, and celebrated in the writings of many subsequent authors, from Tirso de Molina, over Molière and Mozart, to Ballester and Handke. The play is situated in a castle in northern France, taking place some thirty years after the well-known adventures of Don Juan, and represents a trial organized by five women, his former lovers. However, the pen-alty – to marry his last victim, is not executed.The aim of the paper is to argue that in this humorous philosophical play, written by the end of the 20th century, Schmitt is not interested in the problem of seduction, represented in the classical myth, but in the quest of the main character for his identity. His hero does not give the answer to the key question: “Who am I?”, but instead poses the question if our sexual identities are solid and unchangeable. The hero’s search for identity is presented as the quality of contem-porary man, re-examining his sexuality through search for love, as well as homosexuality, hinted at in the play as one possible modern identity of Don Juan.

ЗНАЧАЈ МАШТЕ У РЕАЛИЗМУ: СУКОБЉЕНЕ ПОЕТИКЕ БАЛЗАКОВ ПРЕДГОВОР ЉУДСКОЈ КОМЕДИЈИ, ШАГРИНСКА КОЖА, ЧИЧА ГОРИО

Author(s): Milena Vladić Jovanov / Language(s): Serbian Issue: 3/2021

In diesem Artikel zeigen wir am Beispiel der Schöpfung eines der bekanntesten realistischen französischen Schriftsteller, inwieweit die Vorstellungskraft, obwohl sie den Anforderungen des Romans als Studie widerspricht, die der wissenschaftlichen Studie nahe steht, Teil ihrer Procedur ist. Die Poetik des Realismus erscheint phänome-nologisch als Grundstruktur, nicht weniger bedeutsam, ist jedoch die Unterstruktur, die Hauptstruktur fast unsichtbar regiert. Daher gibt es eine Verflechtung und Durchdringung von Elementen unterschiedlicher Poetik, die, wenn sie transformiert werden, die Poetik eines einzelnen Werks ergeben, aber auch Übertragungen und Veränderungen im Rahmen eines großen realistischen Prozesses anzeigen. All dies sagt uns, dass wir literarische Werke sorgfältig lesen und studieren müssen, denn selbst wenn sie uns sagen, was sie in einem realen oder anpassungsfähigen Manifest wollen, schaffen Schriftsteller immer etwas Neues, etwas, das sich auf frühere Werke stützt, aber gleichzeitig steht es am Zeitquerschnitt und zeigt auf das zukünftige Schöpfen.