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Domestication and foreignisation of allusions in Persian translations of Waiting for Godot: A case study

Author(s): Mehrdad Vasheghani Farahani,Nima Mahmoudi Kaleybar / Language(s): English Issue: 2/2019

In this thesis, Samuel Beckett’s Waiting for Godot along with its Persian translation was analysed in terms of Venuti’s dichotomy of domestication and foreignisation. The allusion samples were selected through the whole book. Then, the translations of the allusions were analysed according to Venuti’s framework. It was found that foreignisation happened mainly when there was a proper name (PN) in the item which was translated. Items without PN were almost domesticated.Even if they had been foreignised, the referents for the TT reader would have been ungraspable mainly due to the cultural and religious differences. These findings will help literary translators to have a better understanding of such plays. Taken that the translators would stick to the findings of this research, the readers would be able to have an expressive translation of the play rather than an informative piece of translation.

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LANGUE ET THÉÂTRALITE DANS UN CAPTIF AMOUREUX DE JEAN GENET

Author(s): Ben Hamou Malak / Language(s): French Issue: 7/2019

This article analyzes two of the numerous sign systems that cross the posthumous text of the writer and playwright Jean Genet, Un captif amoureux, aiming to comprehend how they interlock in a text and what they bring to it. To that end and because of the lack of a unique and precise theory analyzing the sign systems, it was necessary to gather polyvalent theoretical tools addressing the two sign systems in question, namely the language and the theatricality. The tool suggested by Barthes, especially in Mythologies, as the one covering different types of sign systems, enabled a better reading of this work dealing with the Palestinian revolution, and a better comprehension of the primary role that the sign system holds in the reading of a work that deals with a conflict opposing two peoples, two languages, two cultures for the same land.

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LE DÉVELOPPEMENT ET LA DÉGRADATION D’UN PERSONNAGE DE PROUST: LE BARON DE CHARLUS

Author(s): Eva Gjorgjievska / Language(s): French Issue: 6/2018

The article will follow the perpetual development of the character of baron de Charlus in the Proustian novel, his appearance, his discovery, his greatness and his fall, according to the theories of morality and the plasticity of literary forms. Beginning with the moment of the first meeting with the Narrator, when the character of Charlus is described in segments through his piercing gaze or the dynamics of his movements and gestures, he is represented as informal, as an energy and not as as a fixed form. The excesses of his character, which are in accord with his genius and talent for discourse, reveal the excessiveness of his passion and destabilize his image. As one of the most complex characters, Charlus is a man and a woman, aristocrat and underground man, French and Oriental.

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РЕАКТУЕЛИЗАЦИЈА НА МИТОТ ЗА АНТИГОНА ВО ДРАМИТЕ НА СОФОКЛЕ И НА ЖАН АНУЈ

Author(s): Ivona Murgoska,Mariche Cholakova / Language(s): Macedonian Issue: 5/2018

The research focuses on the comparison of Antigone by Sophocles, which is not only one of the most widely read ancient Greek tragedies on the world stage, but it is also one of the most exquisite, most translated and most discussed classical texts of all time, and Antigone by Anouilh which is a modern recreation of the classical Greek drama. More specifically, the study examines the differences and similarities of the two dramas written at different period of time, starting with the title, the content and the structure of the text, the description of the main and supporting characters, and finishing with the analysis of the themes in both dramas.

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L’ÉTRANGER DI A. CAMUS E UOMINI E NO DI E. VITTORINI: UN CONFRONTO

Author(s): Franco Costantini / Language(s): Italian Issue: 3/2017

This text proposes a comparative analysis of some aspects of two novels of the twentieth century, L'étranger by A. Camus and Uomini e no by E. Vittorini. Based on a comparison of the figures of the two authors, united by a certain marginality during the post-war’s culture, it tries then to put in resonance some stylistic and conceptual traits of their two novels, to find out that maybe in the two protagonists it is possible to see shadows of their respective authors.

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MARCEL PROUST AND ZEN-BUDDHISM

Author(s): Amra Memić / Language(s): English Issue: 3/2017

In order to be able to understand the Proust's search for lost time, firstly we need to explain the basic terms closely connected to this, according to many, the best novel of all times that altruistically offers the humanity recipe for happy life philosophy. To understand Proust's concept of time, at the same time means to possess basic knowledge in many natural science, primarily in physics (quantum physics and theory of chaos), but also in philosophy and history. To be able to understand how this Zen Buddhism can be connect with one of the world's greatest writer, Marcel Proust, we must first explain the concepts of Zen Buddhism and its highest goal-Satori, and then we must also deal with Bergson's interpretation of time and ''memory'', Russian school of formalism, contemporary self psychology, and it is also inevitable to mention the Celtic mythology, all with the goal better to understand Proust as a writer who can really change our lives. Proust, himself, could be perceived as an excellent self-psychologist, because his huge novel In Search of Lost Time can be seen as a contemporary form of self-psychoanalysis, in whose centre of interests is a conflict between I (Marcel as narrator) and Not-I (Marcel as the hero, through the time mirrors). Self psychology is the first scientifically proven theory that connects a sense of identity (self) as non-duality (Unity) between I and Other. While I and Other seemingly create conflict situation, they still make a meaningful whole in which I and Other are defined, complementary and creating each other. He seems to be trying to cross the invisible furrow between '' this '' and '' that '' world, i.e., he if trying to achieve their unity, what he has certainly succeeded at that moment when he again found the lost time, and recipients of this, his, timeless novel offers teleporter to another and nicer dimensions of living.

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L’ACTION TRAGIQUE DES « FURIEUX »: LA MÉDÉE DE CORNEILLE ET SES SOURCES ANTIQUES

Author(s): Snežana Petrova / Language(s): French Issue: 2/2016

The French drama is profoundly inspired by the Greek and Roman theatre, especially by Seneca’s works read avidly by the pre-classical authors. In that way the tragedy has evolved in its structure and in its aesthetics, in its characters and especially in the tragic action. Thus, the Greeks by the awakening of the inhuman side of a person defined the tragic action of the monstrous myths where Fate is unchangeable and people are only its victims; Romans did not show people but "furious" that project out of civilization and humanity. The French Humanists and the Preclassicists, liked repeating the same characters because of their reputation and their nobility, and especially because of their exemplary torments. According Florence Dupont, the protagonists of the pre-classical tragedies in ancient or mythological subject are classified into furious-executioners furious-victims and mere mortals. The furious are those who by their character and role do the tragic action that is the case of Medea, the protagonist of the eponymous play by Corneille. In order to understand well Medea by Corneille, our study will compare this seventeenth century furious - a proud, energetic, conscious, intelligent, but above all human – with the ancient furious, Medea by Seneca and that of Euripides. The comparison of these versions will highlight the treatment of characters and the dramatic action, therefore, in order to better understand the evolution of the tragic aesthetic over time.

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RÉACTIVATION D’UN IMAGINAIRE DU XVIIIE SIÈCLE DANS LES ILLUSIONS PERDUES D’HONORÉ DE BALZAC

Author(s): Miruna Craciunescu / Language(s): French Issue: 1/2016

It is a well-known fact that Honoré de Balzac’s canonical novel, Lost Illusions, draws an ironic portrait of Paris’s literary scene. Writers are divided into two types. While the high-minded Daniel d’Arthez embodies the Romantic myth of the ill-fated poet, journalist Étienne Lousteau is characteristic of a new type of authors: one that is willing to trade the ever-lasting, post-mortem fame that fallows a life of sacrifice and poverty, for a career in journalism that guarantees not only material comfort, but also a short-run success. Lucien de Rubempré’s failure to succeed as a writer can be partly attributed to the fact that he fits into neither of these categories. In this essay, I claim that Lucien’s failure can also be explained by the protagonist’s obsolete desire to break through by integrating the Parisian aristocratic elite, at a time when the press already offered authors a much greater visibility than the salon ever could. This paper thus aims to explore the problematic relationship between French litterateurs and elites in the years 1820’s to 1830’s. It argues that Balzac’s parodic depiction of a failed poet’s career in Paris reveals a deeper anxiety concerning the disappearance of the salon as a mode of literary legitimization characteristic of the Ancient Régime, in favor of the press.

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MARCEL PROUST ET LES PERSONNAGES JUIFS DANS A LA RECHERCHE DU TEMPS PERDU

Author(s): Eva Gjorgjievska / Language(s): French Issue: 1/2016

Independently of the imaginary individuality of the work of art that separates it from the reality, even by reason of his personal history, Marcel Proust is predestined to raise the question of the Jewishness: its origins (a Catholic father and a Jewish mother) incite him to focus on the Jewish question, but at the same time they cause the duplication of its position, allowing him a critical distance. The historical contingency makes his life history cross with a well-known fact, the Dreyfus affair, which created in him the sense of belonging to the Jewish people and imposed the question of essential signs of recognition of this people. With Swann, Bloch, and also Albertine and Rachel, Proust begins the narrative adventure which must respond to the question regarding all the faces of one of the ethnicities, the Jewishness.

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La lecture lacanienne du roman durassien Le Ravissement de Lol V. Stein : l’expérience « autre » de l’inconscient et du langage

Author(s): Anna Ledwina / Language(s): French Issue: 3/2020

Inscribed in human condition, Loss is an integral part of Duras’s work. It is a leitmotif of the novel Le Ravissement de Lol V. Stein (The Ravishing of Lol Stein), in which the feeling of love is shown as ambivalent, connected − on the one hand − with ecstasy, admiration and exaltation, and on the other – with suffering, loneliness, pain and absence. Considered from the Lacanist perspective, the text allows us to see the originality of Duras’s prose, which involves capturing the unspeakable, the thing that escapes rational analysis and conventional writing technique: the subconscious. The author refers to it both in the thematic and stylistic layers, thus emphasizing the fragmentary nature of the language that implicitly transmits the eroticism of a woman condemned to silence.

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La carte et le territoire de Michel Houellebecq en tant que roman de l’artiste postmoderne

Author(s): Zofia Małysa-Janczy / Language(s): French Issue: 3/2020

The purpose of the article is to study the phenomenon of postmodernist Künstlerroman on the example of The Map and the Territory by Michel Houellebecq. The paper is focused on the social voyage of the artist-protagonist, Jed Martin, who enters into the art world and has to face its capitalist logic. The analysis of Michel Houellebecq’s novel allows not only to trace the evolution of the young artist and his search to develop a sense of identity, but also to reveal the process inherent to the postmodernist Künstlerroman – the process of devaluation, marginalization and relativization of art.

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Gherasim Luca’s short prose: The objects of prey (first chapter)

Author(s): Jakub Kornhauser / Language(s): English Issue: 3/2020

The paper continues “object-oriented” analysis of the most inspiring experiments in the Romanian Surrealism’s repertoire, notably in the short stories by Gherasim Luca, one of the movement’s leading representatives. His two books of poetic prose, published originally in the 1940s, could be interpreted as the emblematic example of Surrealist revolutionary tendencies in the field of new materialism. Such texts as The Kleptobject Sleeps or The Rubber Coffee become the laboratory of the object itself, gaining a new, unlimited identity in the platform of Surreality, where the human-like subject loses its status. Objects possess quasi-occult powers to initiate and control human’s desires. Therefore, Breton’s “revolution of the object” could concretize as literary praxis showing the way how contemporary “materialist turn” in anthropology deals with avant-garde theories.

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L’Âme en folie de François de Curel : à la recherche d’un nouveau paradigme dramatique

Author(s): Tomasz Kaczmarek / Language(s): French Issue: 4/2020

The author of the article studies Curel’s play, which testifies to the crisis of traditional drama, announced at the turn of the 20th century. Curel seems to destroy the canonical form of “drama-in-life”, based on a dramatic progression of the action and on the character as an active agent ensuring this same progression, by proposing a new paradigm of “drama-of-life”. The latter moves away from classic prerogatives to focus on the inner life of the protagonist. Instead of focusing on episodes that inevitably lead to disaster, the French writer attempts to embrace the evolution of the characters’ souls. This is how he passes from “agonistic drama” to an “ontological” one.

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Fantastic hesitation, phenomena and the male character in Marie NDiaye’s Three Strong Women

Author(s): Anna Swoboda / Language(s): English Issue: 4/2020

The aim of this article is to demonstrate that the male protagonist of the second story of Marie NDiaye’s Three Strong Women (Trois femmes puissantes) can be viewed as a fantastic character. The protagonist’s hesitation in the face of unsettling phenomena – both the external world and the traumatic events from his past – constitutes the central pivot of his construction. The fantastic characteristics of Rudy Descas, whose voice is predominant in the text, reveal the multidimensionality of the supernatural in NDiaye’s work, as the boundaries between the notion of the “character” and the “phenomenon” are not clearly defined. The analysis is based on literary theories concerning the nineteenth century fantastic, the new fantastic and the African fantastic.

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L’adaptation de Salammbô en BD en version polonaise – vers une étude éditoriale-péritextuelle

Author(s): Joanna Kulczewska / Language(s): French Issue: 4/2020

The author of this paper discusses the problem of peritextual and editorial issues, using the French 19th century novel Salammbô by Gustave Flaubert as an example. The following study consistsof peritextual analysis of the Polish version of Druillet’s comic book adaptation, which is the object ofthis research. The methodological approach is based on semiotic analysis. Umberto Eco’s conceptsof model reader and closed/opened texts are also applied. The aim of this paper is to define the role of editorial peritexts of literary comic book adaptations in the world of mass media.

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Decolonizing the ‘French as a Foreign Language’ University Curriculum through Literature, Interpretation from a South(ern) African Perspective

Author(s): Mia-Louise Nel,Karen Ferreira-Meyers / Language(s): English,French Issue: 9/2020

In this article, the authors examine the decolonization of the FLE (French as a Foreign Language) curriculum in South Africa. More specifically, they concentrate on how literature in the French language has been taught and what transformations can be introduced in order to meet student demands—in 2015 students from the University of Cape Town (South Africa) demonstrated against the colonial spirit which, according to them, still reigned on their campus and in South African universities. Their protest, Rhodes must fall, quickly led to a national movement inspiring students across South Africa to insist on the decolonization of all universities (Knudsen et al. 2019 and Ahmed 2019). A survey (questionnaire and interviews) conducted in 2020 among 10 South African universities sheds light on how to address the decolonization of the FLE curriculum in South Africa. The results provide possible approaches to establishing a decolonized curriculum as well as works and themes to be studied in the literature component. Decolonizing the curriculum is interpreted in two different ways: some stakeholders have a rather extreme view wanting to remove all information originating from Europe and the West from the program. Others feel that content from the West can no longer be at the centre of the curriculum, but should not be left out completely (Luckett et al. 2019; Senekal and Lenz 2020).

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Vrijeme u prostoru – sjećanje i impresije M. Prousta

Author(s): Edin Pobrić / Language(s): Bosnian Issue: 31-32/2020

Za ljubav se kaže da je to onaj fenomen ljudskog postojanja čiju svrsishodnost ne treba dokazivati, ona je naprosto aksiom dobrine života. Ipak, pita se jedan od junaka Dostojevskog u romanu Braća Karamazovi, da li je moguće voljeti istinski drugo biće kada je to drugo biće tako prolazno, ništavno u svom trajanju, nepostojano u svom bitku!? Ako postoji sumnja, onda nije čudno što je čovjek oduvijek bio toliko zaljubljen u dirljivost i očiglednost trenutka sadašnjosti. No, on-trenutak sada, kako se to dobro zna, posve izmiče, bježi i pretvara se u neku prošlost koja više nije, a na isti način se, i u isto vrijeme, zna da ni budućnost još uvijek nije. To je valjda najočiglednija tuga života, njegova ponajbolja prevara.

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Du titre à la poétique : les recueils de nouvelles de Benoît Gonon

Author(s): Marta Elżbieta Trębska / Language(s): French Issue: 15/2020

Benoît Gonon, author of three collections of short stories, is almost completely unknown today. As one of the epigones of the genre of short story in the 17th century, Gonon writes his stories to moralize and edify his readers. It is hardly surprising that, in terms of the themes addressed by the author, his work does not reveal too much originality. However, one observes there an interesting element: the titles given by Gonon to the three volumes of short stories, which contain in germ the literary program of the author. In each volume Gonon introduces himself as a compiler seeking invention from other writers. But, from one volume to another, Benoît Gonon also adds other interesting elements: he gradually enriches the thematic layer of his compilations, he signals his target audience. These amplifications of the title reveal the concern of the author for the rhetorical effectiveness of the titles of his compilations.

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Montaigne, czyli o wielkości małych słów

Author(s): Wojciech Ryczek / Language(s): Polish Issue: 35/2019

The main aim of this paper is to propose a new Polish translation one of the well-known Michel de Montaigne’s essays, De la vanité des paroles (On the Vanity of Words, I 51). For the humanist, rhetoric delimited only to elocution responsible for linguistic adornments becomes the subject for critical investigation. In a short introduction to the essay, the author takes into consideration the rhetoric of Montaigne’s discourse on ‘the vanity of words’ with a particular attention to two rhetorical forms: amplification and figuration. Raising questions about lack of temperance in amplifying and adorning words with tropes and figures, the humanist attempted to revalorize linguistic and stylistic simplicity. Therefore, to find the proper words for various things, emotions and experiences are the central concern of an essay, a new literary genre invented by Montaigne.

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„Czarna przędza” Baudelaire’a

Author(s): Magdalena Siwiec / Language(s): Polish Issue: 37/2020

The article shows Baudelaire’s poetry as a sign of both fascination and disgust with melancholy at the same time, which paradoxically results in an over-representation of melancholic images. Black yarn is the key image in the interpretation of Fleurs du mal presented here. Blackness appears as a sign of emptiness, of what is lost, as something interiorized and appropriated by a melancholic subject. The article proves that this emptiness and abysmal desolation in Baudelaire’s texts provide the substantive weight and that blackness becomes the materialization of melancholy and the matter of poetry at the same time, which leads us directly to a melancholic poetry par excellence.

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