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Zakłamanie serca na przykładzie powieści Faryzeuszka Françoisa Mauriaca

Author(s): Dariusz Jastrząb / Language(s): Polish Issue: 2/2015

There has been more than seventy years by now since the first edition of the novel by François Mauriac Pharisee (first published in1941). It contains still alive and important truth about us, the truth which is marked by an important criterion of universality. It describes how important from the point of view of religion the heart is. The French Nobel Prize Winner touches – through the heroes of his novel – upon the biblical topic of a „heart of flesh” and a „petrified heart”. The literary analysis by Mauriac pertains one of the most solemn human sins – namely pride, described here by the phenomenon of „pharisaism”. For this reason a theologian will discover in the novel large opportunities for exploring the so-called locus theologicus. In this novel we will find neither vampirism nor will our curiosity fed with sensations nor there will be attempts the next moral taboo. Maybe that is why reaching out for this novel today is an act of prudence.

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Diversitatea stilistică în romanele lui Colette

Author(s): Adriana Ieremciuc / Language(s): Romanian Issue: 1/2023

Incorporating the procedures and techniques used for create a text, the style is meant to characterize an author, to differentiate him from others. Sidonie-Gabrielle Colette, a modernist writer from the French space, tried to differentiate herself from the male writers of the time, adopting a style that surprises the readers, urging them to the reverie. Asserting herself in literature, in the twentieth century, when male writers dominate the literature, Colette tried to show that women can also be endowed with the gift of writing, struggling for equal chances for men and women. This study will make an inventory of the predominant stylistic elements, supporting with concrete examples from the Romanian translations of her texts. The novels The Vagabond, Duo, Chéri and The End of Chéri are part of the corpus of texts translated into Romanian. Thus, we will exemplify a wide range of figures of speech, such as metaphor, epithet, inversion, simile, personification, rhetorical questions, metonymy, oxymoron, and others, while mentioning their occurrences in texts. At the same time, we will analyze how the key moments in the novels are introduced by innovative techniques at the time of writing such as flashback technique, involuntary memory, dedublation, lucid analysis, polyhedral reflection and others, these being realized with amazing professionalism, which determines Colette’s ranking among the leading representatives of French literary modernism.

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« Nous » vs. « les autres ». La diversité insurpassable dans la littérature des « intrangers »

Author(s): Ioana MARCU / Language(s): French Issue: 2/2023

Diversity is most often seen as an enrichment factor. When people from different cultures, languages or spaces are brought together, it is believed that they will accept each other, that they will be able to collaborate, to get along. Their interaction would in this case result in a strong stimulation of creativity. However, it is difficult to envisage such a situation when the bringing into contact of two different categories of individuals, even unassimilable, occurs in a very specific circumstance – immigration (known as “from the South”) – and in a space specific – the periphery. In their literary productions, “intrangers” authors illustrate the difficulty experienced by individuals (of all origins) in accepting otherness. Hostile reception of the “other”, exclusion of the strange stranger (even within the family), exclusion of the “intruder” who does not master the same know-how as the other members of the group, etc., here is a whole series of conjectures testifying to the rejection of the diversity which they inscribe in their romantic works. In our contribution, we propose to illustrate this perspective from the novels Ils dissent que je suis une beurette (1993) by Soraya Nini, Mon père, ce harki (2003) by Dalila Kerchouche, Un homme, ça ne pleure pas (2014) by Faïza Guène and Ma part de Gaulois (2016) by Magyd Cherfi.

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Derrida et la littérature : une relation passionnelle

Author(s): Jacqueline Hamrit / Language(s): French Issue: 1/2024

In the context of Derrida’ s writings on literature, this article reflects on the meaningand secret which he proposes to characterize literature. It also examines modifications of several concepts associated with literature (structure, genre, interpretation) in order to analyze the relationship between them and Derridean concepts related to the issue of literature/philosophy. According to Derrida, literature gives the right to say everything (anything) and is associated with a secret that is compatible only with the democracy to come. These concepts are then applied to a text by the postcolonial writer Kamel Daoud.

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L’infini s’abouchant avec le fini : Ela poétique labyrinthique d’Henri Michaux

Author(s): JUSTINE PRINCE / Language(s): French Issue: 37/2024

This paper examines how the figure of the labyrinth helps us to grasp the particular writing of Henri Michaux. Based on a reading of Déplacements, dégagements, it will show how the aesthetic experience of wandering arises from compositional processes of the multiple. This double perspective, both poetic and aesthetic, allows us to grasp the specificity of labyrinthine wandering, which suggests the infinite within a structure that is however finite. It is not the absence of any signification, but the multiplication and proliferation of significant data, that produces wandering. Confronted with this multiplicity, the reader is not confined to a passive state of reception, but actively projects a trajectory in order to give meaning on all his perceptual details, even if this meaning remains unstable.

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Święta ironia. Dwa oblicza parodii ekfrazy katedry w Pani Bovary Gustave’a Flauberta

Author(s): Piotr Shukla / Language(s): Polish Issue: 39/2023

This article aims to analyze the use of parodic ekphrasis of the cathedral in Gustave Flaubert’s Madame Bovary. This matter was first brought to attention by Małgorzata Czermińska, who pointed out the satirical nature of the literary description of the gothic church in Rouen. However, to truly understand the way in which the novelist transformed the traditional formula of ekphrasis in Madame Bovary one must consider two drastically different dimensions of this treatment. The inspiration for this division comes from the work of Renata Lis, who argued that Flaubert’s work is marked by a fundamental ambivalence concerning spirituality, resulting in a variety of representations of holiness in his novels. On one hand, the parody of ekphrasis in the novel serves the most obvious function – it’s a cause for the mockery of the bourgeoisie and its distorted spiritual and aesthetic sensibilities. On the other hand, the parodic aspect of the discussed fragment is reminiscent of Olga Freudenberg’s approach. According to this Russian scholar, the essence of parody is not expressed through comedy and ridicule but rather through tragedy and an inseparable connection to the sacred. Such an understanding of the parodic ekphrasis of the gothic temple in Madame Bovary highlights the remarkable consistency with which Flaubert reflected on the existential condition of the protagonist. Emma’s inability to grasp the aesthetic values and sanctity of the cathedral expresses her tragic tendency to misrecognize, which leads to the novel’s somber finale.

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Elena Prus. La Parisienne romanesque: mythe et modernité, Sherbrooke, Quebec-Canada

Author(s): Elena-Brândușa Steiciuc / Language(s): French Issue: 1/2023

Review of: Elena Prus. La Parisienne romanesque : mythe et modernité, Sherbrooke, Quebec-Canada : Editions Peisaj, 2022

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Widma i szczeliny. Próba lektury widmokrytycznej Tajemnicy Philippe’a Grimberta

Author(s): Łukasz Świercz / Language(s): Polish Issue: 58/2023

The article presents the possibilities of applying spectrality theories derived from the writings of Nicolas Abraham and Maria Torok as well as Jacques Derrida and Julian Wolfreys to literary research on the example of the post-memorial, auto-fictional novel of the French writer and psychoanalyst Philippe Grimbert titled The Secret. The aim of the novel analysis is to indicate the specific structural gaps occurring at its various levels (narrative, diegetic world, relationship between the author and the narrator, re- lationship between the content of the novel and the author’s actual biography) which are places where ghostly entities and forms appear. Discovering and exorcising them is the very essence of the work of (endless) interpretation, both in Grimbert’s novels and in all literary texts.

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CONSIDERATIONS ABOUT THE AESTHETICS OF ALAIN ROBBE-GRILLET’S AUTOBIOGRAPHY

Author(s): Alina-Cornelia Musat / Language(s): French Issue: 36/2024

Robbe-Grillet left the image of a subversive and provocative writer, initiator of an original and ambitious attempt to renew the novelistic genre and the autobiographical. Robbe-Grillet's “autobiographical” work is a personal story both “combined with” and “corrupted by” romantic fiction, the result of a double work on language and fragments of memory. After the New Roman, the "New Autobiography" - an original approach to the autobiographical exercise.

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THE NARRATIVE BREATHES LIFE INTO LIFE EVEN AS DEATH LIES IN WAIT. A STUDY ON ”OSCAR AND THE LADY IN PINK” BY ÉRIC - EMMANUEL SCHMITT

Author(s): Vivianne Urziceanu / Language(s): Romanian Issue: 36/2024

Death, often perceived as a fatal whole, constitutes a complex phenomenon with multifaceted subcomponents such as universality, finality, non-functionality, and causality, each harboring profound religious, spiritual, cultural or emotional implications. Given the impossibility of the human psyche to truly experience death firsthand, rendering it impervious to internal exploration, it frequently presents itself as an enigma of daunting complexity. The human brain, inherently adverse to enigmas, struggles to embrace what it cannot fully comprehend. Undeniably, death can be understood as a biological fact - as a complex process involving the cessation of all vital functions of a living organism. Rationally, death as a biological phenomenon can be grasped even by children around the age of 5. However, the coordinates of death, the circumstances in which it occurs, how it manifests, the uncertainty it instils, and especially the fact that it takes something away without the promise of replacing it engender unrest, fear and disgust. The brain loathes enigmas but thrives on narratives. The stories we are told structure us, while the stories we tell structure the world. Thus, the human being is nothing but a story within a story, akin to an endless narrative Matryoshka. Fear or the absence of it when facing death is dictated by the narrative through which death has presented itself to us from early on. The significance we attribute to death, profoundly ingrained and visceral, decisively shapes our subsequent encounters with mortality. Therefore, the aim of this study is to underscore the transformative power of narrative, capable of imbuing life with extraordinary vitality and substance even when confronted with the looming spectre of death. In instances where death encroaches prematurely, narrative intervenes to enlarge time through intensity, bestowing vitality upon life, as exemplified by Éric-Emmanuel Schmitt in "Oscar and the Lady in Pink."

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THE SEARCH FOR MODERN BEAUTY: FERNAND LÉGER AND BALLET MÉCANIQUE

Author(s): Ștefan Gaie / Language(s): English Issue: 1/2023

The artistic avant-garde of the first decades of the 20th century was a unique phenomenon in the history of art, decisive for its future evolution. If previous interpretations underlined its revolutionary nature, absolutizing the radicality of its break with the past, more recent approaches have proved to be much more nuanced, highlighting the complexity, sometimes contradictory, of the avant-garde and thus imposing the abandonment of any reductionist interpretation. Within this context, the present study focuses on an important creation of the period, Fernand Léger’s Ballet mécanique, arguing that it can be best understood as an expression of the tendency, essential for most avant-gardists, to resume a dialogue with artistic tradition and not radically reject it.

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CONFLICTE ÎN INTERIORUL MIȘCĂRII SUPRAREALISTE. CAZUL REVISTEI „MARELE JOC“

Author(s): Marius Cristian Ene / Language(s): Romanian Issue: 1/2023

The study examines the main challenges faced by the Surrealist movement in the decades of the 1920s, 1930s, and 1940s. Amid many disputes and controversies, some of which resulted in exclusions, the case of the emergence of "Le Grand Jeu" magazine between 1928 and 1930 is analyzed. Founded by a group of young individuals who referred to themselves as "Les Phrères simplistes," the magazine quickly attracted former Dadaists and even artists from André Breton's group, provoking a response from the writer who was derogatorily called the "Pope of Surrealism." When facing divergences within their own group, the surrealists took steps towards further demolition of the 'old' society rather than towards solidarity.

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L’IDENTITÉ BILINGUE DE SAMUEL BECKETT

Author(s): Paul-Cristian Albu / Language(s): French Issue: 1/2023

The purpose of the paper is to offer a panoramic view of the idea of bilingualism in Samuel Beckett’s works by making reference to the main characteristics of the Theatre of the Absurd. I am interested in discussing the way in which bilingual identity can be reflected in the empirical world, as it is imagined in the fictional space of the plays. I am equally interested in speaking about the manner in which this writer manages to express the idea of being bilingual, while at the same time giving a full description of facts such as this identity in the postmodern era. In order to offer a consistent critical view of the aforementioned concept, I will consider using the technique of close reading the texts of the plays, focusing on the way in which language is used to convey the idea of the absurd. The creative use of language and the exploitation of absurd and contradictory situations, in general, will be regarded as a means to make visible the new and revolutionary way in which theatre came to be understood by this playwright.

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Mały Książę Antoine’a de Saint Exupéry’ego w paradygmacie supersystemu rozrywkowego: sposób na promocję klasyki literackiej

Author(s): Anita Has-Tokarz / Language(s): Polish Issue: 21/2023

The purpose of this article is to analyze Antoine de Saint Exupéry’s The Little Prince from the perspective of marketing communication, i.e., the book’s implication for market mechanisms of production, distribution and promotion. These are reflected in conferring the book’s atypical publishing forms, literary and non-literary references, reproducing the classic tale in a variety of media, distributing it on multiple media platforms and generating cultural literary tourism around the text. Such an approach is based on the assumption that in the promotion of classic literature, which is represented by the book The Little Prince, contemporary strategies typical of the commercial segment of the book market are used, including the mechanism of the so-called “entertainment system”. These serve to revive public interest in the book and to reintroduce it into cultural circulation.

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UN BARRAGE CONTRE LE PACIFIQUE – LE RÉEL DISTORS OU LA POÉTIQUE DURASSIENNE

Author(s): Anna Ledwina / Language(s): French Issue: 3/2023

Marguerite Duras’s The Sea Wall is considered a novel with a traditional narrative. However, the struc- ture of the book, which refers to the writer’s childhood, turns out to be more complex. Considering the description of the literary characters, their behaviour, the way they express themselves, especially the dialogue form (the use of specific stylistic devices, i.e. diverse variations of reported speech), as well as the places where the action takes place and the time-space relations distort the model of a re- alistic novel. An insightful analysis of The Sea Wall allows us to understand Duras’ predilection for‘experimentation’ in terms of writing technique, which makes the novel - through a specific vision of reality – an extremely interesting melange of real and symbolic elements, highlighting the importance of the unconscious, i.e. instincts, obsessions, hidden desires, phantasms. These elements, modifying the novel structure, allow for a poetic reading of the prose text.

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TERRITOIRES DE L’ÉTRANGE. VOYAGE ET ÉCRITURE AUX LIMITES DE LA PASSION HUMAINE DANS UN MONDE SANS RIVAGE D’HÉLÈNE GAUDY

Author(s): Jolanta Rachwalska von Rejchwald / Language(s): French Issue: 3/2023

Hélène Gaudy’s story, Un monde sans rivage, was based on the authentic events of 1897. It is about the Swedish Andree’s balloon expedition to the North Pole, which ended in a catastrophe. The travelers’ remains were accidentally decanted in 1930 along with other items, including photos. Gaudy, taking historical facts as a starting point, translating visual into discursive ones, writes a story of an intrigu- ing, heterogeneous form, which is the subject of analysis. The analytical key becomes the adjective“strange”, used by Andrée himself, which thus describes this journey. The presented analysis, with the help of the concept of strangeness, attempts to understand the essence of Andrée’s expedition in terms of human experience of the world and otherness, of crossing the limits of the possible.

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ANDROGYNES CYBERSPACES DANS SPHINX D’ANNE GARRÉTA

Author(s): Małgorzata Zioło / Language(s): French Issue: 3/2023

The novel of Garréta refers to the figure of cyborg, creature emerging in collective imaginary due to unprecedented development of science. Hybrid, created from combination of men with highly devel- oped technology, forces to define modern forms of existence and other forms of social relations. This new ontological status of human beings abolishes previously known borders, traditional divisions and the way of thinking based on binary polarities. Characters from the novel of Garréta live in an urban agglomeration where it is difficult to distinguish physical spaces from illusory artificial reality. The most striking is the indeterminacy on language’s level – in the text, there are not any grammatical determinants attributes to male or female subject; the entire text of the novel does not contain a gram- matical clue to identify the character’s gender. In this way, cyborg shows as modern incarnation of the ancient myth of androgyne.

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The semantics of language in Eugène Ionesco’s plays

Author(s): Cristina Mirela Nicolaescu / Language(s): English Issue: 1/2024

The goal of this paper is to present the characteristics of Eugène Ionesco’s dramatic texts, a reason why the genre of avant-garde and theatre of the absurd are also considered, with a view to revealing their major ways of functioning. By pointing out the different dimensions of dramatic language, the emphasis is on those elements that differ from current oral and written language. Starting from the times of decadentism, a crisis of character can be noted in the theater around a type of individual who, as an alienated individual, cannot find his identity in a hostile surrounding world. One of the direct consequences of this crisis will be the impossibility of interpersonal communication, which will be best demonstrated with the concept and tenets of the theater of the absurd. In this context, the study of the theater of the 20th century is done from the perspective of cognitive semantics, as an autonomous level of language. The approach is organised around two notions: dramatic conventions and the actual language of the dramatic texts. The interpretative theory rooted in semantics is applied while analysing Ionesco’s short plays. The starting point is the linguistics of the text as described by Eugen Coşeriu. Capturing the meaning and the means by which it is constructed is one of the objectives in accord with the main principles of cognitive linguistics. The way of analysing the meaning in a text is given by the presence of some textual functions, as possibilities provided by language through relationships that the linguistic sign establishes in the discursive act. The specificity of the discourse comes from the combination of verbal and non-verbal elements, in order to highlight the playwright’s original style. The particularities of this type of language based on an ontological representation of the actional nature in human existence are also investigated. There are two dimensions recognisable in the language of literature: one is specific to the genre and the other one is particular, giving originality and uniqueness. The textual meaning in between these dimensions needs to be reconstructed from all their constituents identifiable at different levels of analysis. Ionesco distanced himself from the conventional and traditional theatre, finding a new formula for the dramatic genre in his own vision of what drama should be like. Ionesco’s dramatic work includes short plays and extensive plays in which the author expresses his adversity against totalitarian regimes. He is the representative of the theater of the absurd and anti-theater. The corpus for this research is composed mainly of the plays The Bald Soprano, The Lesson and The Chairs, the most representative plays for the avant-garde spirit, short plays on the theme of language emptied of meaning and non-communication. Language has an impact on thinking and the resulting actions, which relates it to the ontology of human existence. As dramatic language is preponderently structured on dialogical interactions (and less on monologues, soliloquies and asides), its essence can be revealed by decomposing and recomposing them, from the angle of the conventions specific to the dramatic genre. The analysis of the selected fragments from the corpus has the role to highlight their semantic features in terms of conceptual representations.

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Le temps fragmenté et la cohérence textuelle chez J. M. G. Le Clézio: l’exemple de Révolutions et de Ritournelle de la faim

Author(s): Diana Costea / Language(s): French Issue: 1-2/2023

Le Clézio reconfigures literary space through his ability to reconfigure time. In Révolutions and Ritournelle de la faim there is no longer a linearity of the text, because the games that Le Clézio makes with the verb tenses maintain a fragmented writing. However, the alternation of the stories and, implicitly, of the verb tenses does not cause cracks in the coherence and cohesion of the text, as the interruption of the linearity of time and of the narrative continuity participates in the dialogic structure of the two novels and in the plurality of points of view. Several temporalities coexist, overlap, follow each other, they are juxtaposed.

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Macrochamps sémantico-fonctionnels des énoncés mono-, bi- et polysynonymiques mono- et polytransformationnels dans la prose française contemporaine

Author(s): Anastasiia Lepetiukha / Language(s): French Issue: 1-2/2023

In this article mono-, bi- and polysynonymic utterances with different key lexemes are studied in the continuum language → discourse, based on the transformations of the virtual primary structure within the semantic-functional macrofield (SFM), which are actualized in the form of compressed, extended or quantitatively equacomponential grammaticalized and agrammaticalized co(n)textually pertinent preferential options. The processual, resultative, substantive, processual-characterizing, resultative-characterizing, non-processual-characterizing and non-resultative-characterizing microfields are distinguished. At the level of the SFM, on the one side, the intersection and the interpenetration of semantically and structurally nuanced microfields is realized; on the other side, SFM cross and interact in case it is about mono- or polytransformational bi- and polysynonymic structures with the immediate succession of synonymic constructions referring to the same action subject; the SFM of polytransformational bi- and polysynonymic preferential options with synonymic segments referring to different actants have no point of intersection.

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