Фантастичната вселена на Шарл Нодие.

Author(s): Tatyana Batuleva / Language(s): English,Bulgarian Issue: 6/2017

The text, which includes translated excerpts from Charles Nodier’s novel Smarra, or The Demons of Night, attempts to present a reading of the fantastic world depicted by Nodier interpreted through Sartre’s essay “Aminadab, or The Fantastic Considered as a Language”: it covers the whole universe and cannot remain at the level of the event. It represents the inverted image of the union between soul and body, and the rebellion of the tools against the goals. This inverted world amounts to a different way of seeing our human reality

Duras/Godard dijalozi - Poznavao sam je dvije ili tri godine

Author(s): Dina Pokrajac / Language(s): Croatian Issue: 1-2/2020

Dijalozi između Marguerite Duras i Jean-Luca Godarda predstavljaju polazišnu točku i koristan putokaz za bitno preispitivanje odnosa pisane riječi i slike. Godard je u jednom razgovoru iz 1997. godine izjavio da je Duras poznavao »dvije ili tri godine« što je aluzija na nasIov njegova filma Dvije ili tri stvari koje znam o njoj. Godard i Duras sastaju se nekoliko godina i raspravljaju o temama koje ih preokupiraju: radikalnoj razdvojenosti slike i zvuka, prikazivanju onoga što se smatra nemogućim prikazati (npr. koncentracijski logori i incest), ali i o djetinjstvu i televiziji. Tri dijaloga između Marguerite Duras i Jean-Luca Godarda tvore razgovor započet 1979. [prvi dijalog, povodom snimanja Godardova filma Spašavaj tko može (život)], nastavljen 1980. (drugi dijalog, u vezi filmskog projekta o incestu) i koji završava 1987. godine (treći dijalog za televizijsku emisiju »Oceaniques«). Dijaloge najbolje možemo opisati kao slobodnu improvizaciju o najrazličitijim temama u kojoj iskrsavaju lijepi paradoksi. Duras i Godard autori su čije se umjetnosti neprestano i istovremeno privlače i odbijaju, a zajedničko im je unakrsno propitivanje riječi i slika. Njihovi neposredni susreti pretvaraju se u male konceptualne teatralizacije u kojima se od početka do kraja provlači tema neuspjeha filmske umjetnosti čije su moći tijekom povijesti često ostale neshvaćene, neiskorištene i zaboravljene.

DE L’HISTOIRE LITTÉRAIRE (CONTEMPORAINE) EN RÉGIME INTERMÉDIAL

Author(s): Denis Mellier / Language(s): French Issue: 1/2019

If “Literature” has lost its essentializing capital by joining the nexus of social and cultural phenomena which cross it and from which it emerges, and if the idea of nation and national identity is attenuated, debated, even condemned, in a world of globalized exchange and communication, what kind of literary history could still be written in the context of an essentially visual culture (cinema, graphic arts, digital media ecology)? This paper aims at emphasizing the difficulty of establishing national literary histories limited to a simple idea of exchange, mediation or translation in a space that has become intermedial and where cultural phenomena determine one another. Are we in the position to consider that the idea of a history of literature(s) became untenable? This question is relevant especially if we approach literature from either an internal perspective (taking into account its “autocentrism”), or from a national point of view (which focuses on a conservative and totalizing type of identitarian narration). The same question stands for the perspectives that underline the processes of fragmentarity and recomposition (according to the metaphors of the kaleidoscope or of the rhizome), since what is called, in contemporary culture, “Literature” has as a visual exterior the “video sphere” (Virillio) or the culture of the media “flow” (Bauman, Sadin). Consequently, this research is based mainly on LʼHistoire des poétiques, developed by J. Bessière and Ellen Kushner (1998), Franco Morettiʼs Graphs, Maps, Trees: The Abstract Models for a Literary History (2005), respectively Patrick Boucheronʼs new historiographic approach from The World History of France (2017).

LE LEXIQUE VITICOLE REGIONAL DANS L’OUEST DE LA FRANCE : UNE ANALYSE SOCIO-HISTORIQUE SUR CORPUS

Author(s): Inka Wissner / Language(s): French Issue: 4/2020

Regional Wine Terminology in Western France: a Sociohistorical Corpora-based Terminology. In a highly standardised language like French, wine terminology seems largely influenced by national and supranational standards, marked by specialists and diffused through professional training or specialised publications, for instance. Yet, in general, terms referring to wine are at the same time rooted in a territory. Where do they come from, and how do they pass from one area or group of speakers to another? How do people perceive them? Are they necessarily of vernacular tradition? For the study of regional wine terminology, this article focuses on a traditional wine-growing area in France (Poitou-Charentes). It combines the methods of historical linguistics in order to trace the origin and diffusion of regionalisms retrieved from a contemporary corpus with a sociolinguistic analysis of their status through discourse analysis and enquiries. The article analyses more than twenty dialectal terms, revealing their distribution in time and space as well as their legitimacy in current usage.

Інтерпретація художніх текстів у інтермедіальному вимірі. Франсіс Пуленк «Заручини жартома»

Author(s): Iryna Leonidivna Vezhnevets / Language(s): Ukrainian Issue: 3/2020

The purpose of the article is to analyze the peculiarities of the interpretation of artistic texts of the vocal cycle of F. Poulenc on the poem by Louise de Wilmoren "Engagement is a joke" in the intermedial dimension. In addition to the general characteristics of the chamber-vocal cycle of F. Poulenc, the analysis of the poetic text, the peculiarities of its compositional reading, to comprehend the significance of the form of French vocal culture "musical portrait". Outline intermediality as a phenomenon of art in the space of culture. Methodology: comparative, structural methods and narrative analysis to understand the deep psychological processes that occur during the interpretation of "musical portraits". The scientific novelty is the study of the interaction of poetic style and form of "musical portrait" as the basis of internal textual connections of the work of art, and the relationship of the artistic language of different arts, which are coordinated in the process of interpretation into the intermediality space. Conclusions. The musical portrayal is substantiated as a kind of intermedia interpretation of artistic texts. "Musical portrait" as a form of French vocal culture is a full-fledged semiotic space, with a universal textual category of intertextuality, along with the specific characteristics of its sign system, conveys "figurative" information. Correlation of poetic texts, features of intersemiotic translation of figurative structures which carry information by means and at the expense of aesthetic possibilities of other kinds of arts - is an actual theme of the present. Correlation of poetic texts, features of intersemiotic translation of figurative structures which carry information by means and at the expense of aesthetic possibilities of other kinds of arts - is an actual theme of the present. A special type of intratextual relationships is formed in a work of art - intermediality, based on the interaction of artistic codes of different types of art.

Introduction

Author(s): / Language(s): French Issue: 1/2018

ROLAND BARTHES ET LE MINIMALISME AFFECTIF

Author(s): Alexandru Matei / Language(s): French Issue: 1/2018

The question of “actuality” of Roland Barthes' writings presupposes an investigation into their emotional expression, the ways in which it interacts with the readers who make this time “ours”. It is through Japan's “textualization” and the increasingly obvious reserve towards the role of intellectual that he was still fulfilling that Barthes raised the question of his own assent to the world in which he lived in the 1970s. Rereading, re-visiting his doubts would allow us to better understand his current aura today.

ARTICULER LES AFFECTS : FUIR DE JEAN-PHILIPPE TOUSSAINT

Author(s): Vesna Elez / Language(s): French Issue: 1/2018

In his novel Running Away (a part of his “Cycle of Marie”, the other three being Making Love, The Truth about Marie and Naked), Jean-Philippe Toussaint offers an unconventional narrative treatment of the affective dynamics. The narrator-protagonist informs the reader that the novel is about his attempted separation from Marie. He leaves to China. The plot comprises several episodes which are not directly linked to the affects, offering a roman noir pattern of sorts. However, the affective canvas is overwhelming: although hardly articulated, the affects inundate the text by their silent presence. We intend to demonstrate that by using the verbs of movement which create distance between each other (leave, run, move, abandon, disappear, etc.) the narrator underlines Marie’s omnipresence, although she actually appears in the last section of the novel. Her absence translated into her presence articulates the paradoxical nature of the affects which cannot be dominated by a rational decision and which defy the very narrative’s linearity. Following Roland Barthes’ arguments in his essay A Lovers’ Discourse: Fragments, we aim to underline the paradoxical narrative strategy which confirms the predominance of the affects using the imagery of emptiness, void and escape.

LA SOUFFRANCE AMOUREUSE CHEZ MARIE NDIAYE

Author(s): Hajer Tabakh / Language(s): French Issue: 1/2018

The physical as well as the psychological suffering is an omnipresent theme in the work of Marie NDiaye. The writer insists notably on increasing the physical discomfort of his characters in close connection with their love disappointment. The pain is lived intensely by the characters that are described through their bodies, surface of capture of the surrounding world and emotional abyss. It will therefore be in the context of this article to detect affective expressions and to study the mechanisms of emotional language. We will also see how the affect shapes the ndiayien character's journey and how it models his narrative environment.

INFLUENCE AS A MEANS OF CONVEYING EMOTION IN THE ROMANIAN INTERWAR LITERATURE

Author(s): Amalia Cotoi / Language(s): English Issue: 1/2018

The Romanian literature and culture at the beginning of the 20th century is marked on the level of affective configurations by two imports: (1) philosophy, as a science of the soul, and (2) Marcel Proust, as an analyst of inner life. Starting from a general frame of viewing emotions in relation to an effort of descent into spiritual world, we will investigate the role of influence in the development in Romanian interwar literature of a vocabulary of affects, taken from the French space through these two aforementioned means of import. We define the influence as a “diffuse, almost indiscernible, often unconscious” phenomenon (Maxime Decout, Qui a peur de l’imitation), which requires from the reinterpreting author an import, a selection and, finally, an adaptation, and we relate it to Maurice Halbwachsʼ theory of emotions, that are described as an instrument for ensuring the cohesion of the group and, at the same time, the preservation of society (L’expression des émotions et la société), and to Frédéric Lordon’s theory, where affects are seen as the effect of the structure in which the individual is involuntarily constrained (La société des affects).

CIORAN: A REFLECTION ON DECADENCE AS A LIFESTYLE

Author(s): Angelo Mitchievici / Language(s): French Issue: 1/2017

I started this study from a basic observation formulated by the vast exegesis dedicated to the work of the philosopher Emil Cioran: his philosophy seems to spring from a practice, from a particular endorsement of a lifestyle, drawing to a series of emblematic gestures, the most prominent of all being the refusal of social integration. Nevertheless, this refusal goes hand in hand with the need to be validated, through an intense activity in terms of reading and writing, within the host culture (the French); also, it implies a refusal of new citizenship redoubled by enfranchisement through culture, etc. Appealing to a famous poem by Verlaine, it seemed to me necessary to restore a defining gesture that focuses on the ontological status of the Romanian philosopher: labeling as “decadent” the apparently contradictory position of the “barbarian”, whose voice brings echoes from a “small” and recent culture (the Romanian). Thus, I analyzed the way in which Emil Cioran translates into a form of life/ lifestyle the philosophical elements that marked his formative trajectory through Oswald Spengler’s work, The Decline of the West. In order to analyze Cioran’s identification with the Decadent movement, I also addressed Friedrich Nietzsche’s work, which offered more clues concerning Decadence and decay, in particular, for Cioran’s style of philosophical reflection, for his idea of “thinking” through the body, and for his attention to a particular metabolism. As case studies, I chose Emil Cioran’s essay On France and his lesser- known youth articles collected in the volume, The Revelations of Sorrow. The first essay highlights the fact that we need to rethink the morphology of culture from the perspective of life forms associated with specific stylizations of everyday life. The other youth articles enhance the fact that the Bohemian lifestyle should be reconsidered thoroughly because it mirrors the most specific modalities of the French culture and civilization. In conclusion, I analyzed a part of Cioran’s reflection not only as an instance when a life form is assumed (the Bohemian style), but also as a form of life interbreeding a prestigious cultural form (the French culture) and the philosopher’s own type of sensitivity (decadence).

TOWARDS A REHABILITATION OF THE COMMONPLACE

Author(s): Antonio Patraş / Language(s): English Issue: 1/2015

The metaphor of “Terror” in Literature expresses the obsession with originality, rooted in Romanticism, and matched, in modern times, by the (anti-literary) cult of authenticity. Nevertheless, in an age of multiple radicalisms, Paulhan rehabilitates literary tradition, with all its conventions and clichés, showing how it can be made to assume new functions from a contemporary perspective without falling into conventionalism and routine. This lenient attitude towards cliché (reactivated out of the wish to rediscover a common and intelligible language, rather than out of inertia) reflects here a definitive rejection of any kind of fanaticism, which made the French essayist criticize both the “rightist” political extremism of the inter-war period and the “leftist” extremism of the post-war age. In what follows, I intend to develop these observations and demonstrate that Paulhan’s reflections draw on a humanistic model that prevailed amidst dramatic historical circumstances, which favoured dogmatic thinking, the “terror” in Letters and life alike.

L’EXODE DANS SOUS LE PONT MIRABEAU DE MADELEINE BOURDOUXHE

Author(s): Katarina V. Melić / Language(s): French Issue: 70/2019

Dans Sous le pont Mirabeau, Madeleine Bourdouxhe raconte l’histoire d’une femme qui fuit avec la petite fille qu’elle vient de mettre au monde, vers le sud à travers la Belgique et la France, à la suite de l’invasion de la Belgique par les Allemands. La lecture proposée ici montrera comment cette histoire associe dans le récit, la réalité quotidienne des civils et l’exceptionnalité de la guerre. Au lieu de représenter les horreurs et la violence de la guerre, le narrateur préfère donner une autre image de cette réalité : en effet, dans ce récit, la protagoniste rencontre la gentillesse des étrangers, la compassion et aspire à la paix et à la normalité, même en temps de guerre, et préfère se focaliser sur ces aspects, parfois inattendus et déroutants pour le lecteur.

Alžirske kronike 1939. – 1958.

Author(s): Albert Camus / Language(s): Croatian Issue: 25/2020

Collection of writings by Albert Camus (Letter to the Algerian soldier)

Márai francia címfordításai – mentés másként?

Author(s): András Kányádi / Language(s): Hungarian Issue: 3/2020

In the case of literary translations, the definitive title of the book is a right held by the publisher. The article aims to map the works translated into French by one of the most famous Hungarian writers of the past, Sándor Márai, by reconstructing the intertextual dialogue between title and reader, while trying to formulate some considerations on the publishing strategy that was the basis of its international success.

Окуджава и приказката на Екзюпери „Малкият принц“

Author(s): Aleksandar Kulagin / Language(s): Bulgarian Issue: 20/2020

The article reveals reminiscences from The Little Prince, the fairy tale by A. Saint-Exupery in the works of B. Okudzhava. They are found in the song Night talk (light, lamplighter, path motifs), in a series of poems related by the rose motif (the song I am writing a historical novel, etc.), in the fairy tale for children Charming adventures (a cumulative tale, characters from the animal world, auto-illustration).

Politics of Remediation: The Renewed Commitment of Contemporary French Literature. Critical Issues and Societal Debates

Author(s): Alexandre Gefen / Language(s): English Issue: 1/2020

The aim of this article is to investigate several issues related to the renewed social and political commitment of contemporary French literature. The article considers literature’s ability to oppose societal normativity as political storytelling through entrusting both individuals and the community with increased acting power, as well as through challenging critics and academics to take part in current debates. Showing that literature can become a tool of individual reconstruction and can recreate social links, or a remedy against various forms of individualism and tendencies towards commodifying the world, the article presents several types of contemporary French works of fiction whose main goals are theorizing, describing, expressing empathy towards those who are confronted with illness, death, exile or terrorism. Several literary works that contest identity or societal labels are added to these, since they help us debate upon and stand up against inequalities or normativity.

LA COULEUR D’UNE GUERRE : LA BATAILLE DU MACAR (LE ROMAN SALAMMBÔ DE FLAUBERT)

Author(s): Camelia Manolescu / Language(s): French Issue: 1/2020

The novel Salammbô (1862, Paris, Michel Lévy), seen as the sum of the thematic in colours and details, often analyzed as belonging to romanticism (as a historical or archaeological novel) for its descriptions and its characters, to realism for the action eventful imprinted by the Mercenary War (in the 3rd century BC), to naturalism for the suggested sensations, is Flaubert's creation, a mixture of cruel scenes of war, crimes, violence, love and religious exaltation.In our study, we want to demonstrate, by analyzing the examples taken from the novel Salammbô (the chapter The Battle of the Macar), that the romantic Flaubert, avenging himself on a Flaubert adept of impersonality and impassibility, and nourished by so many travels and documents, recreates the sensation of a single colour, the red one, as the colour that dominates his book; that he imposes, in the episode of the Battle ofthe Macar, the spirit of red-carnage, hidden and spread red.

CONSTRUCTION DE L’IMAGE (SUBJECTIVE) DU NARRATEUR DANS LORSQUE J’ÉTAIS UNE OEUVRE D’ART D’ÉRIC-EMMANUEL SCHMITT

Author(s): Anda-Irina Radulescu,Valentina Radulescu / Language(s): French Issue: 1/2020

An original and disturbing novel, Lorsque j’étais une oeuvre d’art describes the traumatic experience of a man temporarily transformed into a living sculpture and raises the problem of the human condition in a contemporary consumerist society. In our article we tried to highlight some of Emmanuel Schmitt’s narrative techniques and linguistic processes in the construction of the (subjective) image of a homodiegetic narrator. Firstly, the reflection is centered on the genesis of the plural image, located at the intersection of the narrator’s self-centered point of view and the other characters’ points of view. Secondly, we study the subjectivemes through which the narrator expresses the evolution of the positive and negative judgments about himself as well as the contradictory points of view the other characters have on him.

„Jaki demon pchnął mnie do Afryki?” O podróży Andre Gide’a do Konga (1925–1926)

Author(s): Małgorzata Kamecka / Language(s): Polish Issue: 16/2020

The aim of the article is to analyze Andre Gide’s views on the situation ´ in the Congo, where the writer went as an official envoy of the Minister of the Colonies in 1926. His stay in Africa resulted in Voyage au Congo (1927). Gide’s observations of native inhabitants prompted him to take a critical attitude towards the policy of France in the colony. Gide perceived the manifestations of pathology and inhumane treatment of the Africans by the colonizers, but he by no means undermined the system based on exploitation and the dominance of the white man. He saw the healing of the situation in enhancing the administration and increasing the educated staff of the colonial power.