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Depuis longtemps Kundera suscite des réactions passionnées, tout d’abord en Tchécoslovaquie, puis un peu partout : les admirateurs s’enthousiasment pour chacun de ses livres, les détracteurs l’accusent de cynisme et, dernièrement, de puritanisme et de fatalisme.
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La phrase de Sade citée en exergue d’après Georges Bataille dans son essai sur l’érotisme avait été écrite pendant une période de grande tourmente, vécue par les Français dans les années qui ont précédé la Révolution de 1789, sur tous les plans de la vie humaine.
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In his short-story entitled “Les naufragés” or “The Shipwrecked” (Sept histoires qui reviennent de loin, Paris, Gallimard, 2011), Jean-Christophe Rufin analyses the social and cultural fissures in Mauritius through his text which goes beyond the class conflicts in order to take into consideration a historical dimension which gives to the text its own characteristic. The nostalgic drift that we shall address in this paper, and which adds to the idea of a wreck results in a sad ending for the narrator (a white woman) while in a happy one for the “silent” protagonists of the text (the Hindus of the inlet where the narrator and her husband live). However, this short-story remains relevant because it offers a new look on the end of white hegemony on the island of Mauritius which has experienced the horrors of colonisation. In the first of the three parts of this paper, we shall look into the nostalgia for a glorious past, where the character-narrator remains deeply nostalgic of such a past. The second part of our analysis will focus on highlighting temporal differences; the white narrator, will demonstrate how time – an important factor to analyse in the process of decolonisation – can create a nostalgic drift. The last part of the analysis of this short story will be marked by the nostalgic quest for the past in contrast to the inevitable present. This fatality is then sadly linked to the suicide of the character who can no longer accept the profound changes taking place within Mauritian society.
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Studiul îşi propune să identifice mecanismele umorului şi ironiei ca strategii de discurs şi ca modalităţi de apărare împotriva suferinţei melancolice. Umorul lui Cioran se descoperă constant în confruntarea dintre ceea ce este de ordin moral şi ceea ce este de ordin conceptual, între ceea ce este de resort etic sau ceea ce aparţine fiziologiei. Acest tip de umor se organizează în tradiţia filozofică a lui Democrit şi el invită la seninătatea detaşării. Cu aerul unei provocări maliţioase sau agresive, ironia cioraniană atinge un fond de pesimism melancolic, ce va declanşa exerciţiul unui sistem defensiv, într-o lume biliară, insensibilă, anihilată de propriul său vid existenţial. Ironiile lui Cioran cultivă un joc perpetuu între spiritul cartezian al dialecticii sale şi dualismul involuntar al diferitelor forme de antinomie. Experienţa vacuităţii şi sentimentul nimicului vor întreţine constantele exerciţiului de „de-fascinaţie” în consonanţă cu umorul şi ironia acelui carnaval interior, în care nebuni nu sunt cei care au pierdut uzul raţiunii, ci cei care salvând-o au pierdut lumea.
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This article represents the first discussion in Polish of the writing of Sorana Gurian (1913–1956), a Jewish writer from Bessarabia who wrote in French and Romanian. In the light of the latest feminist reflection, her writing emerges as subversive (appealing to the strategy of mimicry) and emblematic of 20th century European literature, as it addresses such topics as the status of women as society modernized, the position of woman artists in a masculinist society and of artists from the periphery who tend towards the centre, the representation of corporality (diseases, sexuality, etc.) and the confusion between reality and fiction in literary text.
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Is there any room for comedy in the “monster” that the “Divine Marquis” has been identified with, in such a “pervert” and “pornographer”? What fun can be derived from the work which in an exemplary way transgresses all the limits of morality and criminal imagination? Is it possible to admire anything in Sade, even his humor, if in the light of Georges Bataille’s opinion, “our admiration is tantamount to contempt for his victims, who we transfer from the material world of terror to the world of ideas”? Basing both upon the work of classical commentators and more recent literature on the subject, this text further contributes to the already existing research by presenting comical measures used by Sade in his prose and identifies in it the mechanisms responsible for arousing laughter in the reader. I corroborate the thesis that Sade can be read as a great humorist and that his oeuvre, despite its inherent violence, can be the source of unforced laughter. In order to notice this humor, however, the reader must, firstly, interiorize the difference between reality and the literary fiction and distance himself from the thematic, representational layer of the Sadean text, secondly, open to purely linguistic dimension of this oeuvre, to the “spectacle of discourse” (Barthes), and thirdly, possess (or work out) a certain aesthetic sensitivity or a “comic competence”
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Based on Mont-Oriol by Guy de Maupassant, the geopoetic approach questions the representation of Auvergne, land of volcanoes and thermal springs, crystallizing the multiple tensions between man and space. The trope of the spa town focuses on water as an agent of transformation and as a flow diluting the boundary between individuals and their immediate environment. Changing and ambivalent, Maupassant’s Auvergne is sometimes depicted as an untouched space, exempt from human action, and, therefore, conducive to idylls. On the other hand, it appears as an anthropic space, revealing man’s control over Nature and leading to numerous disruptions in balance.
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In his latest collections, the poet Jean Tortel (1904–1993) manifests an ecosemiotic approach to space which avoids the naturalist pitfall (systemism, determinism, thought of a subject “surrounded” by nature). Perceived in the instability of its “limits”, the representation of the garden-semiosphere dissolves in the experience of its transformations giving way to the ecophenomenal environment of the exercise of relations between living and non-living and their interactions. The body of Seeing is traversed by space, adjusted to its variations. The ecopoem is no longer itself a circumscribed space but a form of life open to otherness, to contact and to the possible renewal of cosmo-poetic enchantment
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Sidonie-Gabrielle Colette played a significant role in the development of French literature. Her novels vividly depict independent and self-aware women, thereby reflecting the author herself. Colette’s works have captured the attention of researchers and have been the subject of numerous studies. In this proposed research, an interdisciplinary approach combining literary and linguistic perspectives is adopted to explore Colette’s literature. The objective of this study is to closely examine the portrayal and circumstances of women and girls in Colette’s work, specifically focusing on the nomino-adjectival collocations involving the lexemes femme and fille used by the author in her six novels from the “Claudine” series. These novels serve as prime examples of Colette’s reclamation of autonomy through her writing. The research will culminate in a literary analysis, contrasting the results obtained through the linguistic methodology with the insights gained from a literary approach.
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The article presents the results of a quantitative and qualitative analysis of textbooks for learning French for secondary schools in terms of the use of fragments of literary texts and the didactic goals assigned to them. The conducted study of 43 titles approved for educational use over the last twenty years in Poland reveals that in the majority of textbooks adapted to the 1999 core curriculum, fragments of literary texts appear and are used, in accordance with the communicative approach, mainly to develop key language competencies. Over time, a clear downward trend is noticeable, which means that in the current textbooks, adapted to the 2018 core curriculum, literary texts are practically non-existent, despite the possibilities offered by the action-oriented approach in this matter.
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The article aims to present the results of a diagnostic study of textbooks for teaching corrective phonetics at the university level. The subjects of the study were literary texts appearing in textbooks for teaching French phonetics. The comparative study covered textbooks published in France and Poland in the years 1971–2010. As a result of the conducted research, the following questions were answered: Are literary texts used in phonetics textbooks? What genres and types of literary texts are used in phonetics textbooks? Which authors are used in phonetics textbooks? What are the texts that are most often the subject of didactic studies? What are literary texts used for in phonetics textbooks?
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The current article – focused on two plays about the killing of a son by his family – has a double objective: firstly, it questions the probable source of a folkloric story of the prodigal son, and secondly, it places side by side theater plays based on a legendary theme. After presenting the playwrights, Karol Hubert Rostworowski and Albert Camus, as well as the terminological propositions of Eric Durnez, the article analyses the convergences and divergences that we find in using the subjects from chronicles quasi mythical.
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This paper presents the importance of art in Metin Arditi’s life and work and examines if his novel Le Turquetto can be considered an example of pictural writing. First, we present the context of writing and the role of art in the writer’s personal experience. Then, we describe different thematic and formal manifestations of the pictural in his text, based on Liliane Louvel’s typology, to verify how intermedial references between literature and painting influence the reader’s reception.
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The present article aims to analyse Vera Feyder’s text Règlement de contes by placing it in a vast French literary context and by highlighting the links that attach it to its praetexts - works on which it draws and which precede it. The examination carried out reveals that the play presented to the public in 1984 was written after the increased theoretical and literary interest in the tales of the 70s. On the other hand, its original form of radio broadcast revives the care to cultivate the oral tradition. The analysis of the work itself reveals the mix of sources with different generic membership as well as multiple levels of hypertextuality. The transformations introduced at the level of the constituent elements of the action make it possible to speak of the change in the motivations of the protagonists while the ideological and aesthetic scope of the story is focused on the spirit of resourcefulness and the universality of the genre. Consequently, the adaptation of tales proposed by Vera Feyder (Puss in Boots, Little Red Riding Hood and Sleeping Beauty by Charles Perrault and “Bon conseil aux amants” by Victor Hugo) falls under the art of palimpsest and makes it possible to classify it among the dramatic parodies of tales (according to Béatrice Ferrier’s typology).
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The aim of the article is to examine the relationship between the literary layer and the documentary paratext in Hélène Gaudy’s novel Un monde sans rivage (2019), which describes the catastrophic expedition to the North Pole of three Swedish travelers in 1897. Authentic documents present the flow of events, the growing struggle between the waning power of travelers and nature, the entropy of resilience and motivation, which is visible in the laconic and incompleteness of the quoted materials (interrupted or illegible sentences), destroyed in the middle of the photo. The manner of presenting these documents reveals the writer’s method of work, which does not hide their progressive degradation, but on the contrary, treats them as a trigger for the imagination, because her story seems to draw narrative momentum and strength from this lack and incompleteness. Gaudy’s way of working with a documentary allows us to understand why the author needs this formal heterogeneity, why she has not decided on a documentary account or fictional novel. The skillful intertwining of these two formats generates a synergistic dynamic of forces that makes literature better embody life, and the documentary comes to life in contact with the literary imaginary.
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My point in the present article is to come back once again to the question that seems to me fundamental both for the theoretical reflection and for the interpretative practice of literary discourses. This is certainly the case in my studies and articles. As the title of my article announces, in the present article I intend to discuss the confrontation between a traditional approach, proposed at the end of the nineteenth century by Maksymilian Kawczyński, and the modern approach of Henri Meschonnic’s theory of the rhythm-sense-subject.
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As Alexandre Dumas himself admitted on several occasions, his novel The Count of Monte Cristo was inspired by “Le Diamant et la Vengeance”, a short story included in Mémoires tirés des archives de la police de Paris, pour servir à l’histoire de la morale et de la police, depuis Louis XIV jusqu’à nos jours (6 vol., Paris, Levavasseur, 1838), published under the name of Jacques Peuchet (1758–1830). It is also worth noting that yet another story from the same book, “Un crime de famille”, was used by Dumas in his novel. The aim of this article is to show the extent of the influence of Mémoires tirés des archives de la police de Paris on The Count of Monte Cristo as well as the reactions of the French press concerning this fact. Furthermore, the paper examines the theory according to which the memoirs in question, although attributed to Peuchet, were in fact partially, if not entirely, written by Étienne-Léon de Lamothe-Langon (1786–1864), novelist and author of countless apocryphal memoirs published under the names of various notable Frenchmen and women.
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One of the most important authors of the [French] New Novel, Claude Simon, perceives scriptural work as being in correlation with mathematical concepts, such as symmetry and geo- metrics, which manifest themselves both structurally and thematically. The motif of the circle provides the best representation of repetition, which is reflected in the diegetic composition of the novel — looped or spiraled — as well as in the non-linear conception of time, forming a Möbius strip. Thanks to such plasticity of geometric and textual matter, Simon circumvents the ontological problematic of finitude, inherent in the existence of beings and the duration of things.
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How can we study the making of a poet-translator’s identity, of one who was born in a colony and decided to settle in Metropolitan France, especially when his ethnic and social backgrounds set him apart? Individual or literary identity is built on a person’s relation to others, as established by Paul Ricœur’s and Édouard Glissant’s works. This is how Lacaussade tried to approach the matter; while being a budding poet, he turned to foreign, and in particular, anglophone poets. Beyond mere imitation, translation facilitates creative writing, so being acknowledged as a creator in his own right helped him.
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In her compelling writings, Quebecoise writer Anne Hébert vividly depicts her characters' vigorous pursuit of life, their journeys towards self-discovery, and their battles to unveil their identities. Through a detailed mythoanalytical exploration, our study has unveiled the dynamics and challenges encountered among Hébert's characters, analyzing their actions and roles through the lens of three iconic mythical figures: Theseus, Ariadne, and the Minotaur. Yet, we acknowledge the necessity of a closer examination of Ariadne's role, consistently portrayed as a female figure representing the Other in the identity explorations of Hébert's protagonist, her version of Theseus. To uncover Ariadne's influence and manifestations within the evolving identities of Hébert's Theseus, we will first delve into the identity quest before exploring the blending or triadic nature of the Hébertian persona, ultimately focusing on Ariadne, the pivotal character in this analysis.
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