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RÉFLEXIONS SUR L’ESPACE COMIQUE. L’EXEMPLE DU MARIAGE DE FIGARO

Author(s): Patrick Dandrey / Language(s): French Issue: 2/2020

Reflections on Comic Space. The Example of The Marriage of Figaro. This study shows from the example of the Marriage of Figaro how the space defined by the dramatic text within fiction has a creative energy and a range of meaning which can be compared to that of the speech or the acting of the characters. Suzanne’s armchair is the centre of a long play of scenes in the 1st act: this inert object then constitutes the crux of the action and embodies the force of chance fighting against the Figaro industry, a bit like fate in the tragedy fights against the active will of the heroes. The corner of the park under the chestnut trees in the last act plays the same role by precipitating all the intrigue and all the characters, in favour of the night, in a game of masks, misunderstandings and deceptions which summarize the issues of the intrigue and untie it. Figaro’s monologue located at the entrance to this dramatic space gives the key to its functioning: human life is governed by Chance, which is the god of comedy. Consequently, the question of Being becomes that of being there. This awareness by Figaro opens at the heart of comic space a subjectivation by spatialization, the secret of which is that we are spatial beings, that is to say social beings, defined in everything and for everything by our relationships and by the successive situations in which we form, act and live: lucid and disillusioned awareness of our constitutive “spatiality”.

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СEЋАЊЕ, ИДЕНТИТЕТ, ТРАЈАЊЕ

Author(s): Adrijana Marčetić / Language(s): Serbian Issue: 75/2021

Selon Marcel Proust, pour donner la sensation du temps écoulé, il faut décrire un même personnage à de nombreux moments de sa vie pour qu’il nous apparaisse comme plusieurs personnages successifs et différents, tant les gens changent avec le temps. Proust dit que, comme il y a une géométrie plane et une géométrie dans l’espace, son roman, À la recherche du temps perdu, n’est pas seulement de la psychologie plane mais de la psychologie dans le temps. Une autre distinction fondamentale du systéme de Proust c’est une constante alternance entre mémoire volontaire et mémoire involontaire. La mémoire volontaire, ou la mémoire de l’intelligence, est celle qui ne nous donne du passé que des images sans vérité, des illusions sans authenticité. Au contraire, la mémoire involontaire est une mémoire de l’impression, elle survient à un moment impromptu, par la redécouverte d’un lieu, d’un son, d’un goût que nous avons déjà rencontré dans notre enfance. Et c’est par cela seulement que le passé resurgit dans toute sa saveur, comme si nous y vivions de nouveau. Proust soutient que la réminiscence involontaire nous donne une immense joie parce-que, de cette facon, un moment de notre vie nous se manifeste dans sa soustraction à la condamna- tion du temps et il apparait dans son vrai sens, ce sens-là que, tandis que l’événement arrivait, nous avait échappé. Pour chaque lecteur de Proust ce sont des sujets bien connus; ils ont été écrits à partir d’un grand nombre de perspectives différentes. Cependant, dans cet article, je tiens à souligner une fonction très importante de la mémoire involontaire qui - à ma connaissance - n’a pas été suffisamment soulignée jusqu’à présent. À savoir, le rôle de la mémoire involontaire dans la Recherche n’est pas seulement de retrouver le passé que l’on croyait perdu, mais aussi d’établir une continuité émotionnelle – interrompue par le passage du temps – entre notre je pré- sent et l’être que nous étions autrefois. En établissant une continuité émotionnelle avec notre passé, nous sauvons en fait les êtres que nous étions autrefois de l’oubli et de la mort, et remportons la victoire sur le temps.

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L’IMAGE DU BERLIN DE L’APRÈS-GUERRE: „MON ENFANT DE BERLIN“ D’ANNE WIAZEMSKY

Author(s): Nikola R. Bjelić / Language(s): French Issue: 75/2021

Dans son roman Mon enfant de Berlin (Gallimard, 2009), l’écrivaine et actrice française Anne Wiazemsky (1947–2017) parle de la rencontre de ses parents dans le Berlin de l’après-guerre, de leur amour et de sa naissance. En reconstituant le passé de ses parents à l’aide d’un journal tenu par sa mère Claire Mauriac, mais aussi à l’aide de l’imagination qui a comblé les lacunes du journal par la fiction, l’auteure construit sa propre identité et crée son propre passé.Dans notre article, nous essaierons de montrer comment l’écrivaine a reconstruit le passé et ravivé la mémoire dans son roman. En utilisant la méthode comparative, nous porterons une attention particulière à l’image du Berlin de l’après-guerre qu’elle montre et à sa différence avec le Berlin de l’avant-guerre de la République de Weimar, qui, grâce à l’expressionnisme et à d’autres mouvements novateurs, est devenu la capitale culturelle de l’Europe, remplaçant ainsi Paris.

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The Author Disappearing? Authorial “Surrogates” and Contemporary Self/Other-Writing in Selected Works by Annie Ernaux, Édouard Louis, and Rachel Cusk

Author(s): Robert Kusek / Language(s): English Issue: 1/2021

The aim of this paper is to investigate various diegetic gestures of deliberate and insistent selferasure – quite conspicuous in the age of the authors’ glorious “return” and their hyper-visibility – which the essay wishes to identify as testifying to some countertendencies in present-day auto/biographical writing. The return of the author, officially acknowledged in the final decade of the twentieth century, resulted in contemporary writers unanimously and abundantly engaging themselves in narrating their real life stories – the phenomenon which prompted an unprecedented emergence of writers’ auto/biographical narratives at the turn of the twenty first century. Nevertheless, in recent years this authorial resurrection has also led to the rise of some new forms of self-writing which might be seen not only as a means of expressing one’s dissatisfaction with the present-day auto/biographical boom but also a manifestation of the crisis of both the auto/biographical self and form. These new self-narratives consciously play with the idea of authorship and question the principles of straightforward representation of the historical author in their literary production. The paper will analyse selected contemporary self-narratives (i.e. Annie Ernaux’s Les Années [2008], Édouard Louis’s En finir avec Eddy Bellegueule [2014], and Rachel Cusk’s “Fay” trilogy, which comprises Outline [2014], Transit [2016], and Kudos [2018]) so as to investigate the authors’ “surrogates” and thus the emergence of a new poetics of self/other-writing.

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La mère : des représentations autres

Author(s): Olga Gancevici / Language(s): French Issue: 2/2021

This study marks the beginning of an ample research into the mother figure in French literature during the past hundred years, mainly addressing autobiographical and autofictional works published since the second half of the twentieth century. Steering clear of the stereotypical idealised motherly figure, we focus on unconventional portraits: cold, absent, abusive, unstable, suicidal, tyrannical, unworthy, imperfect. The idea of motherhood as the iconic image of unconditional love has not changed; however, perspectives have multiplied. It is here that our focal point lies: inventorying (without any intention to exhaust) a series of books revolving around the maternal figure represented with the frankness and the lack of taboo that characterise contemporaneity, far from stereotype or conformism, all along intentionally avoiding Hervé Bazin’s Folcoche, primarily the typed hateful mother.

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Au Bonheur des Dames – L’histoire de l’ascension d’une femme

Author(s): Corina Iftimia / Language(s): French Issue: 2/2021

This article presents in a descriptive and narrative way the fate of Denise Baudu, the heroine of the novel ”Au Bonheur des Dames” by Émile Zola. This story breathes new life into literature where women, even if they occupy the central place, are still confined to known classic roles. With Denise, the author creates the prototype of the modern, independent, strong, creative woman who is able to build a successful career and rise above her class in a society dominated by men, thanks to her merits. We first present the era - the birth and development of high commerce, - then the micro-society in which the character evolves, the ”Bonheur des Dames” novelty store and the shops in the neighborhood and finally, the rise of Denise, her career by stages, all this accompanied by a few considerations concerning the art of the naturalist writer.

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GUSTAVE FLAUBERT : ECRIVAIN-VOYAGEUR OU VOYAGEUR-ECRIVAIN ?

Author(s): Camelia Manolescu / Language(s): French Issue: 1/2021

Gustave Flaubert, the nineteenth-century realist writer known for his unique way of writing his novels, for his impersonal and impassive techniques that highly featured at the time, was also tempted by the fashionable travel diary although for him travel nurtured his later literary creation and self-discovery, alongside his power of suggestion. Our study is intended, first, to review the term travel as a literary genre and the travel story as a variant of writing over the centuries, and then, to thoroughly analyse the status of the realistic writer Flaubert, perpetually balancing two trends: a writer-traveller and a traveller-writer.

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HYBRIDITE DES DISCOURS TOURISTIQUE ET RELIGIEUX DANS LA TRILOGIE DE VOYAGE EN TERRE SAINTE DE PIERRE LOTI (1894)

Author(s): Shoshana-Rose Marzel / Language(s): French Issue: 1/2021

In 1894, Pierre Loti embarked on a journey to the Holy Land. On his return, he published a series of three volumes entitled The Desert, Jerusalem and The Galilee. Although presented as a travelogue, this trilogy is also the narration of a pilgrimage. The paper seeks to validate this hypothesis by analyzing the hybridity of the triptych' discourses, that of tourism and that of spiritual quest.

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LE VOYAGE DE CATHERINE DE BOURBOULON (1858-1862). CHINE, MONGOLIE, RUSSIE

Author(s): Qingya Meng / Language(s): French Issue: 1/2021

Our study aims to investigate the journey of Catherine de Bourboulon (1827-1865) with her husband, a French diplomat, from northern China to Mongolia and Russia, during which she wrote a diary published after her return to France in 1866. The text translates both her compassion for the Mongolians living in extreme poverty and her joy at their sense of hospitality as soon as she arrives in a village. But her point of view is part of a hierarchical relationship with the others. The study aims to shed light on Catherine de Bourboulon's art of travel. It is a particular tourism made of carelessness and lightness. The traveler tells picturesque scenes, and describes arid landscapes where live peaceful nomads. This journey, considered by some travelers of the XIXth century, as well as the writer Jules Vernes, as a real feat, still remains unknown today.

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La réception de la poésie de Boris Vian

Author(s): Letiţia Ilea / Language(s): French Issue: 1/2022

The article examines the main critical contributions to the reception of Boris Vian’s poetry. In our view this important part of the French author’s creation was not given enough attention, despite its significant literary value.

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PHILOSOPHICAL META-STORY ABOUT THE LITTLE PRINCE AS A SYNERGY OF BOOK AND FILM INDUSTRIES: ON THE POSSIBILITIES OF FILM ADAPTATION OF LITERATURE FOR CHILDREN AND YOUTH

Author(s): Lenka Rusňáková,Zuzana KOPECKÁ / Language(s): English Issue: 1/2022

The present study explores the ways in which children’s and young adult literature is adapted to film, as these stories allow the autonomous world of childhood, distinctly different from the adult perspective, to emerge. At the same time, however, literary testimony presented through children’s perception and interpretation of reality can bring contemporary social or existential problems closer to the adult reader through imagery accessible to people of all ages. A representative result of the confrontation of the children’s and the adult world is also the literary work of the French writer Antoine de Saint-Exupéry, originally intended for children. The depth and topicality of the philosophical fairy tale The Little Prince (originally in French, Le Petit Prince, first published in 1943) lie in the fact that it is one of the world’s most translated fairy tales, which has been the basis for numerous dramatic adaptations, re-editions and film adaptations. The main aim of the study is, therefore, to clarify the way the philosophical metanarrative of The Little Prince is expressed in the literary source and in the audiovisual film of the same name, The Little Prince (Le Petit Prince, 2015, directed by Mark Osborne). In order to achieve this goal, we apply a narrative analysis of both research materials based on analytical categories defined in the methodological section of the study. The identification and subsequent comparison of the chosen analytical categories is the starting point for determining the mode of filmic adaptation of the literary subject matter. The categorisation of film adaptations of literary works according to L. Giannetti and T. Leitch becomes the focus. Within the theoretical delineation of the issue under discussion, we point to its interdisciplinary character (the ‘intermingling’ of media and communication studies, literary criticism, but also media philosophy, film studies and other related disciplines), emphasising the cultural overlap of the philosophical metatheory of The Little Prince. This timelessness opens up space for further research into the possibilities of the story’s cinematic adaptations and interpretative planes. Characteristic logical-conceptual procedures are employed to achieve the stated aims.

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Le tâtonnement identitaire. Le moi, de l’ombre à la lumière

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Le tâtonnement identitaire. Le moi, de l’ombre à la lumière

Author(s): Imen Kacem / Language(s): French Issue: 29/2022

In the novel Curtain ! French Chronicle of the 20th century by Paul Vialar, the narrator’s ego is vague and indecisive. It is the theatrical art discovery that saves the narrator until he encounters another form of threat that destabilizes him once again. The double’s appearance puts this character once again face to his failings. However, behind the curtain of experience, a scene takes place behind the scenes of the narrator in order to ensure the construction of the new self.

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Recepcija Malog princa Antoana de Sent Egziperija putem individualizacije

Author(s): Ivana Tasić Mitić,Amela Malićević,Boško Lj. Milovanović / Language(s): Serbian Issue: 19/2022

This paper examines ideas, meanings, and motives in The Little Prince by Antoine de Saint-Exupery. By studying the symbols present in this literary curiosity, we point out the multiplicity of meanings that make this modern fantasy story a read for children and adults. The complexity of The Little Prince, the ambiguity of its elements, and the intertwining of motives, ideas, and messages of this paper, can be a real challenge for young readers when it comes to proper interpretation. There is a question of whether this literary work is intended for children at all? To facilitate students’ understanding and provide a complete emotional experience, we propose the application of individualized teaching, a model of work that allows each child following their intellectual, cognitive, emotional, and other abilities, to adopt a literary text and appropriately engage reception. Literature, as the art of words, should be able to provide an opportunity for recipients to get to know a literary work in their way, that is, following their abilities and sensibility, and to understand all its compositional layers.

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L’écriture de l’exil comme transgression topologique et linguistique

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L’écriture de l’exil comme transgression topologique et linguistique

Author(s): Mihaela-Genţiana Stănişor / Language(s): French Issue: 29/2022

In this review we analyze the book of Stéphane Cermakian, Poétique de l’exil. Friedrich Hölderlin, Arthur Rimbaud et Nigoghos Sarafian, (Paris, Classiques Garnier, 2021), focusing on the author’s manner of constructing an argumentative discourse based on the configuration of a literature and a language specific to exile. He studies three authors belonging to different cultural spaces and ages: Friedrich Hölderlin (Germany), Arthur Rimbaud (France) and Nigoghos Sarafian (Armenia).

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PUNEREA ÎN ABIS ŞI FENOMENUL DE TRANSFER. PSIHOBIOGRAFUL ÎN IPOSTAZELE LUI PSYCHÉ ŞI ACTEON

Author(s): Mihai Șerban / Language(s): Romanian Issue: 1/2019

Gide’s literature can be regarded as a means of achieving self-discovery, as it functions like self-conducted psychoanalysis: the technique mise-en-abyme (namely, the concealing of the author in a character-writer, the author’s alter-ego, who, in turn, is concealed in another alter-ego – for instance, the relationship Gide/Walter/Allain in Les cahiers d'André Walter) allows the writer both to live again a trauma that marked his personality, and at the same time to dissociate from it, to control it at a conscious level. Similarly, Jean Starobinski identifies the ideal critical path as a two-stage process: the critic’s immersion in and fascination by the studied universe vs. dissociation from it, and controlling his emotional reaction and feelings. This paper parallels Gide’s employment of la mise-en-abyme in his writing and Starobinski’s critical work, although the latter does not overtly refer to Gide’s literature.

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MISTUIREA/RENAŞTEREA ARTISTULUI ÎN ACTUL POIETIC

Author(s): Raluca Nicoleta Șerban,Mihai Șerban / Language(s): Romanian Issue: 1/2019

This paper attempts to introduce the typical scenario of Gide's creation process, that in which, via the psychoanalytical phenomenon of transference, the author allows himself to live again a traumatic past that denies being forgotten or dealt with, that haunts the author, in order to mark two irreconcilable imperatives. On the one hand, there is an imperative to abandon the contingent (the alter-ego, Walter, is absorbed, lost in his mirror reflexion, Allain, who personifies Walter's moral, ethical pressure), similar to the famous creative impersonation that Maurice Blanchot speaks about, and on the other hand, there is a constant effort to recover forbidden, rebellious desire, through writing.

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AUTOFICŢIUNEA ÎN LITERATURĂ

Author(s): Mihai Șerban / Language(s): Romanian Issue: 1/2018

This paper aims to define the concept of self-fictionalization (French: l’autofiction), see how it was understood starting with Serge Doubrovsky and Vincent Colonna to Gérard Genette, Jean Delay, Dominique Fernandez or Philippe Lejeune, and explore its potential in the field of literature and literary study. A subsequent paper will take it beyond the boundaries of its domain of origin, psychoanalysis, with a view to applying it to the analysis of postmodern literature.

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Imaginaires féminins et figures féminines dans l’œuvre de Henry Corbin

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Imaginaires féminins et figures féminines dans l’œuvre de Henry Corbin

Author(s): Daniel Proulx / Language(s): French Issue: 42/2022

This article aims to clarify the role and context of female figures in Henry Corbin’s work. It will then attempt to circumscribe how these figures open the way to a surpassing of dualism, towards what Corbin calls dualitude. Finally, after the positioning of the notions of imagination and imaginal in relation to their metaphysical- epistemological function in Corbin’s writings, the analysis will return to the influence of Sergei Bulgakov and Carl Gustav Jung, as these authors influenced Corbin in the technical use he makes of the “feminine” in his work.

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Le désir monstrueux dans l’œuvre dramatique de Marie NDiaye

Author(s): Johanna Biehler / Language(s): French Issue: 29/2022

Marie NDiaye’s literary work is at times considered as an example of magical realism, a kind of realism whereby one of the structural elements does not quite fit within an otherwise true-to life-world, which therefore unexpectedly triggers the magical. In NDiaye’s dramatic works (in particular Hilda, Les Grandes Personnes and Toute vérité, the last one written in collaboration with Jean-Yves Cendrey, her husband), this “magical” element transpires in the characters’ desires. These “abnormal” (sexual perversion, narcissistic perversion) and out of the ordinary desires turn characters into monsters, even though, in a world where magic and reason are conflated, monsters are not necessarily defined in the traditional way. In addition, the exploration of devious phenomena leads to quasi clinical descriptions of behavioural disorders, such as BPD (borderline personality disorder), which takes Marie NDiaye’s works to a blurred border where magic and psychiatry can happily coexist, and where each reader/spectator can see a monster according to his/her own desires.

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LA CARACTÉRISATION DE CHÉRI DU ROMAN HOMONYME DE COLETTE

Author(s): Adriana Ieremciuc / Language(s): French Issue: 02/2022

In this article, we will analyze the transformation and evolution of an extravagant character in the novel Cheri. The protagonist illustrates the detrimental consequences that reckless choices can have, moving from balance and well-being to the instability that brings him decline in the second part of the novel. Passages meant to support the hermeneutic analysis of our approach that focused on the first part of the novel were selected and analyzed. The character Chéri remains a Don Juan of French literature, who, despite his full confidence in his own strength, comes to seek the balance of a monad.

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