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Nauka o szatanie i demonach w ujęciu Sulpicjusza Sewera

Author(s): Józef Pochwat / Language(s): Polish Issue: 2/2012

This article presents the teaching of Sulpicius Severus († ca 360–420) on the spirits’ wickedness on the basis of his literary works. The author takes for granted the existence of angels – good, pure spirits, and demons – evil, unclean spirits. He points out that both the pagan temples and other objects of worship as well as the cult associated with them are a dangerous thing and clearly indicate the worship of Satan by pagans. Convinced of the real presence of Satan, he warns against the smartness and deviousness of the spirit of iniquity, and presents the examples of their real impact on people. Looking at his statements on the devil we should pay attention to the fact that Sulpicius Severus tells of the coming of the Antichrist, and he inextricably links this fact with the persecution of Christians.

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To Yawp, Or Not To Yawp: French Translators and Whitman’s Distinctive Idiom

Author(s): Éric Athenot / Language(s): English Issue: 4/2013

The French editions of Whitman’s “Song of Myself ” have had from the start to contend with two difficulties—the “yawp” and the choice between a static or a more dynamic rendering of the poet’s cry. From the trail-blazing Bazalgette text (1909) to the latest Darras volume (2002), the history of Whitman’s signature line in France maps the route travelled by the various translators on the way to appropriate a poetic idiom that turns out to be not so “untranslatable” after all.

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L’enseignement /apprentissage du FOU pour les étudiants de la première année Licence en Langue, Littérature et Civilisation françaises en Tunisie, et le nouveau module optionnel d’Autoformation

Author(s): Fatma Fakhfakh / Language(s): French Issue: 5/2013

This article focuses on the situation of FOU (Français sur Objectifs Universitaires – academic French) in Tunisia, in case of first-years students in French Language, Literature and Civilization. Special attention is paid to the education reforms and to the Self-training module. We formulate several teaching techniques that may be applied by the personnel teaching French as a Foreign Language in Tunisia.

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Flaubert nasuprot stoljeću ili “nešto bijelo”

Author(s): Claude Duchet / Language(s): Croatian Issue: 67-68/2017

Najavljujući početak modernizma, Flaubert se odlučno postavlja protiv svojeg stoljeća. On pretvara negativitet u načelo, prazninu u oblik, tišinu u krik. “Grmjeti protiv” ili pisac u procesu otvorenog odcjepljenja.

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Osjećaj praznine u poeziji Pierrea Reverdyja

Author(s): Adriana Katavić / Language(s): Croatian Issue: 67-68/2017

Smatran pretečom nadrealizma poglavito zbog velikog utjecaja na nadrealiste, moderni francuski pjesnik Pierre Reverdy svojom je koncepcijom pjesničkih slika utjecao i na mnoge avangardne pjesnike. Sam André Breton priznao je njegovu važnost kao pjesnika: “Ništa, dakle, nije imalo veću važnost od njegovih postavki o pjesničkoj slici” (“Rienne devait, par la suite, avoir plus d’importance que ses thèses sur l’image poétique”).

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L’évolution du discours poétique français: du paradigme littéraire classique au paradigme littéraire moderne

Author(s): Ana-Elena Costandache / Language(s): French Issue: 1/2016

Toute époque culturelle, période ou paradigme littéraire essaye d’imposer et de consolider « un modèle fictionnel » du monde réel qui se veut toujours meilleur par rapport aux modèles déjà consacrés. En fait, chaque oeuvre littéraire s’inscrit dans les repères de la réalité que l’écrivain veut créer conformément à son modèle (ou « pattern ») scriptural. Lorsqu’on caractérise, en grandes lignes, la littérature moderne, on parle de la littérature « euristique » qui tente d’expliquer le réel. Dès le XIXe siècle (plus précisément, à partir des oeuvres poétiques de Mallarmé et Rimbaud), cette idée incite les esprits des écrivains européens, jusqu’à l’avant-garde du XXe siècle, qui vient s’y ajouter d’une manière spectaculaire. Les tentatives nombreuses d’imposer le nouveau discours commencent avec le modèle classique, chargé et rigoureux, qui est remplacé par le paradigme moderne, elliptique, libre de toute contrainte formelle. Par voie de conséquence, nous nous proposons une petite incursion dans l’évolution du discours lyrique français, afin d’observer les différences formelles et l’utilisation quantitative et qualitative des figures de style.

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Male-female opposition in translating (pro)nouns of address. A case study: Adela by Garabet Ibrăileanu

Author(s): Elena Croitoru / Language(s): English Issue: 4-II/2010

The paper aims at pointing out differences in using (pro)nouns of address in Romanian and English, and at discussing difficulties in transferring them across linguistic and cultural borders.

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Rhinocéros entre absurde et optimisme

Author(s): Amraoui Abdelaziz / Language(s): French Issue: 1/2011

The theater of the absurd is the antithesis of drama created and institutionalized by the Aristotelian poetics. If before the action is centered around a story, by the diegesis mimetic turns idle not focusing on the mechanisms that will make the speech a weapon against the person who utters it. It is a sterile word, wave surfing on the absence and emptiness. Rhinocéros belongs to this movement.The twentieth century is said to be the century of all changes: philosophical, ideological, political, literary. The universal equilibrium is lost. It is a world falling apart, and the foundations that have ordered are violated. A new world where he set up his foundation is no question of opposing a system that wants to globalizing and "rhinocérique" calling the massive and without equivocation.

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La condition humaine entre les miroirs symboliques de la féminité et l’autospécularité – Eugène Ionesco, Le Roi se meurt

Author(s): Simona Antofi / Language(s): French Issue: 1/2011

The human dimension of death, focused on as a radical form of rebellion from the absurd theatre perspective or an acute protest of man subjected to the macrocosmic laws, as both a weapon fighting against destiny and specific type of writing exorcising the anguish of immanent disappearance, turns into a fundamental theme of Eugen Ionescu’s drama. Covertly doubled by the creator-creation theme, the death obsession is the key-word of Ionescu’s writing, being enhanced especially by the texts coined around the character named Bérenger who displays obvious autobiographic features. In The King dies (Regele moare), Bérenger I together with other two important feminine characters – queen Marguerite and queen Marie - travels within the great life-death labyrinth, while the whole world is inexorably slipping down to death. Unable to adapt to death, Bérenger I’s failure actually displays a tragic experience – in its tormenting agony, the frail human nature fights time down by the power of its own thoughts.

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La figure de la sorcière dans la littérature du XIXe siècle (Jules Michelet, George Sand, Eliza Orzeszkowa)

Author(s): Corinne Fournier Kiss / Language(s): French Issue: 1/2012

The nineteenth century uncovered and analysed the tragic episodes of witch-hunting and ‘witch’ trials common in Renaissance Europe. Fascinating not only to historians, this subject also inspired men of letters who popularized the image of the witch as an old, ugly and evil person, who thus deserved her lot. Jules Michelet’s "La sorciere" of 1862 takes a very different approach. Simultaneously a literary and historical work, the book proved scandalous as it rehabilitated the figure of the witch, shedding favourable light on her image: it was the witch who was able to save a last spark of humanity in moments of despair; it was she who acted as comforter and healer to the people. In the context of nineteenth-century literature, certain works by female authors that focused on ‘witches,’ stand out. Whilst certain male authors (Michelet included) presented the witch as a figure from the past, who had finally perished in the 17th century, texts such as George Sand’s "La petite Fadette" (1848) or Eliza Orzeszkowa’s "Dziurdziowie" (1885), suggest that the end of witch trials did not imply an end to accusations, persecutions, and even executions of ‘witches’ – and, that in terms of culture, witchcraft or sorcery had not disappeared from the societies they knew.

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Tout comprendre, c’est tout pardonner – Borzsák István és a francia civilizáció

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Tout comprendre, c’est tout pardonner – Borzsák István és a francia civilizáció

Author(s): Elvira Pataki / Language(s): Hungarian Issue: 2/2011

L’objectif de l’article est de rendre un dernier hommage au professeur Borzsák par une esquisse de sa francophilie. Dans un premier temps nous souhaitons nous concentrer sur sa formation francophone, sur des ateliers intellectuels des années de l’avant-guerre hongrois, qui lui auraient pu transmettre cette attachement à la culture française. Dans la suite, nous essayerons de découvrir l’homme par ses lectures, c’est-à-dire retrouver les oeuvres francophones qui l’ont considérablement marqué, particulièrement celles de Stendhal, son auteur fétiche.

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Traduire Rabelais: Choix et Dilemmes

Author(s): Adrienn Gulyás / Language(s): French Issue: 1/2011

Cet article propose une réflexion sur une récente traduction en hongrois du Pantagruel de Rabelais (Budapest, Osiris, 2010). Il dresse d’abord un historique des traductions ou réécritures existant à ce jour en hongrois des oeuvres de l’écrivain français puis explique la raison d’être de la nouvelle traduction dont la méthode a été l’attention à la précision philologique et à la transcription authentique des archaïsmes grammaticaux et lexicaux. L’article traite également des difficultés de traduire les multiples formes de l’humour rabelaisien telles les contrepèteries, les noms parlants et autres jeux de mot.

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KONCEPT AUTORA U KNJIŽEVNOSTI FRANCUSKOG SREDNJOVJEKOVLJA

Author(s): Dijana Kapetanović-Ljubas / Language(s): Croatian Issue: 10/2017

This paper examines the evolution of the concept of the author in the context of French literature, with special regard to the literary production of the Middle Ages. It further explores the extent to which contemporary literary theory and meditations on the status of the author and literary works are pertinent to the study of medieval literature. Drawing a parallel between the anonymity of medieval literary productions and the symbolic death of the author in the 20th century, the paper points to the ways in which medieval studies exploit contemporary literary theory in the analysis of auctorial ‘I’ of the medieval era.

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Воспоминание о невозвратном, или попытка взрослого осмысления мира детства

Author(s): Elena Ludvigovna Iakovleva / Language(s): Russian Issue: 6/2016

The research object is the world of childhood represented in a philosophical parable “The Little Prince” by Antoine de Saint-Exupery. The autobiographical nature of the work and the crystal of childhood, retained through the whole life, helped the French aviator to perfectly capture the child’s life in dynamics, reveal the wide range of problems and feelings and emotions connected with them. The world of childhood typically has its own attitude to the events, which is based on immediatism, intuitivism, dreaminess, alogism and wish to understand. In the world of childhood, there is no exact knowledge and there are no calculations, probably that’s why there is place for fantastic and unusual things. A child, despite his small life experience and little knowledge, is able to feel the complexity and inconsistency of metaphysical symbols. Adult’s reference to the world of childhood as a sort of retrospection helps bring back balance and harmony, value life and treat it morally.

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Поетика другорядного в координатах сповідальної модальності французького роману першої половини ХХ століття

Author(s): Anastasia Stetsenko / Language(s): Ukrainian Issue: 95/2017

Ontological background of the twentieth-century contributed the conditions which made a French novel strive for the genre of confession. One of the main features which denotes the renewal of confessional poetics in French novel is the intensification of “secondary” elements semantics. The markers of the “secondary” within the coordinates of literary text are narrative techniques that carry the semantic load on the structural elements of the text, which are traditionally considered less important: words in brackets, parentheses, “superfluous” words or even the whole chapters etc. Therefore, due to these narrative techniques the “secondary” elements of a text (which previously could be read faster than the main text or even could be thrown out of it without loss for content) transform into the ideological core of a novel. The reasons of this phenomenon lie through examination both of the confession as a Christian Sacrament and the specialties of new external grounding which modified the poetics of confession in the twentieth century. The research focuses on the novels of French Catholic writers G. Bernanos, F. Mauriac, J. Green. The analysis of their novels allows explaining epistemological value of “secondary” elements in the twentieth-century art and clarifying the narrative strategies of modeling the confessional image of the twentieth-century French literature.

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JOBAH ХРИСТИЋ И ФРAНЦУСКA МОРAЛИСТИЧКA МИСAО: CAPTP, КAМИ, М. ЈУРСЕНЛР, Ж. ГРEНИЈE

Author(s): Jelena Novaković / Language(s): Serbian Issue: 2/2010

У овом раду ce истражује дијалог који Јован Христић успоставља са представницима француске моралистичке мисли ХХ века, Сартром, Камијем, Маргеритом Јурсенар, којима се придружују драмски писац С. Бекет и филозоф Жан Греније.

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Igre stranaca. Julija Kristeva u utopijskoj perspektivi

Author(s): Miglena Nikolchina / Language(s): Serbian Issue: 59.5/2000

Pored istraživanja različitih vidova problema "materinskog" u jeziku, Julija Kristeva bavi se i problemom "oca". Međutim, tu nije reč o simboličkom ocu nego o jednoj formaciji imaginarnog: o "imaginarnom ocu". Imaginarni otac je fantazam o ocu koji može da voli kao majka. Upravo izostankom (ideje) oca koji voli, a ne, kao što se ponekad tvrdi, odsustvom strogog nepopustljivog patrijarha, može se, po Kristevoj, objasniti kriza moderne duše. Intelektualno izveden iz Hegela, Frojda i Lakana, a imaginativno iz (nostalgičnog) presađivanja materinske aure Istočne pravoslavne crkve pod prazno nebo moderne duše, pojam imaginarnog oca usmerava neke postojane utopijske osobine pisanja Julije Kristeve tražeći od nas da ponovo posetimo Narcisova jezerca da bismo se zagledali u sliku, ali oslobođeni Narcisovih iluzija i sa izoštrenom svešću o nestalnosti slike — i o pravoj prirodi svoje ljubavi prema krivotvorenom, prema sablasnoj ljupkosti sopstvenih tvorevina koje su nekad proizvele prostor zapadne psihe, a danas bi, po Kristevoj, mogle postati zalog jednog novog čovečanstva. [...]

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Strangers’ games. Julia Kristeva in Utopian perspective

Author(s): Miglena Nikolchina / Language(s): English Issue: 59.5/2000

Apart from exploring different aspects of the problem of the "maternal" presence in language, Julia Kristeva also treats the problem of the "father." Not so much as a symbolic father, however, but rather as a formation of the imaginary: an "imaginary father". The imaginary father is the phantasm of a father who can love like a mother. It is precisely the lack of (an idea of) a loving father that can explain, according to Kristeva, the crisis of the modern soul, and not the lack of a stern and relentless patriarch as it is sometimes claimed. Intellectually derived from Hegel, Freud and Lacan but imaginatively drawn from the (nostalgic) transplantation of the maternal aura of the Eastern Orthodox Trinity under the empty skies of the modern soul, the concept of the imaginary father focuses some persistent Utopian traits of Kristeva's writing into the solicitation for us to revisit the watery settings of Narcissus in order to gaze at the image. Free of Narcissus's illusions, however, and with a lucid awareness of the irreality of the image - and of the reality of our love for the fake, for the phantom loveliness of our own creations which once produced the space of the Western psyche and today, according to Kristeva, could become the wager for a new humanity.

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ЛИТЕРАТУРНЫЙ ДИАЛОГ ЕКАТЕРИНЫ II И Г.Р. ДЕРЖАВИНА («СКАЗКА О ЦАРЕВИЧЕ ФЕВЕЕ» И ОДА «РЕШЕМЫСЛУ»)

Author(s): Tatiana Akimova / Language(s): Russian Issue: 07/2013

Article is devoted to a problem of functioning of a genre of the literary fairy tale in the period of Ekaterina's II board. Making a start in the Russian Education from the French literature, including the salonny fairy tale, the empress develops hedonistic and heroic model of behavior court. It presents this model in "The fairy tale on tsarevitch Fevey" which finds reflection in the ode Derzhavin about G.A. Potyomkin.

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Rewriting Chaucer’s Wife of Bath’s Tale from Dryden, through Voltaire, to Niemcewicz: Medievalism or Modernisation?

Author(s): Monika Coghen / Language(s): English Issue: 3/2017

The aim of this paper is to track down the fortunes of cross-cultural transmission of The Wife of Bath’s Tale in the course of the 18th century. The continental interest in the tale was sparked off by Dryden’s adaptation in his Fables, Ancient and Modern (1700). Dryden’s version was rewritten by Voltaire as Ce qui plait aux dames (1764), which in turn was translated into Polish by Julian Ursyn Niemcewicz, and appeared in his collection Pisma różne wierszem i prozą (Various Writings in Verse and Prose, vol. I, 1803) as Co się damom podoba (What Pleases the Ladies). This trajectory of the Polish reception of Chaucer’s tale confirms the characteristic pattern of adaptations and translations of English literary works into Polish – from English through French into Polish, though it is not typical of Niemcewicz’s practice as a translator as he was one of the very few Polish translators translating directly from the English at the time. Thus, paradoxically to the 21st-century reader, the first, to my knowledge, Polish adaptation of The Wife of Bath’s Tale does not reveal an interest in Chaucer but rather confi rms the dependence of late 18th- and early 19th-century Polish writers on French literary models. Likewise, differences in the representation of gender relationships between Chaucer’s romance and its eighteenthcentury versions reveal that the agenda of the eighteenth-century adapters was rather catering to the taste of their contemporaneous readers than engaging with medieval English culture.

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