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The article focuses on two particular aspects of the metamorphoses of space in Europe over Nineteenth century: the nocturnal urban space under the influence of new lighting techniques, then the awareness of the beginning of globalization of cultural spaces. The example are from Théophile Gautier’s works where he attributes the cause for these changes to the development of communications.
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Actual border between France and Belgium is not defined in the eighteenth-century yet. Belgium isn’t an independent State but a territory which belongs to different dominators who refer to it as “Southern Netherlands” controlled by Spain (1579-1713), later by Austria (1713-1794) and finally by France (1794-1815). This configuration includes actual Belgium, Luxembourg and region Nord-Pas-de-Calais. This study aims to focus on political situation concerning Southern Netherlands which are crushed by near France and independent Netherlands through François-Antoine Chevrier’s personal witness. The French writer catches contradictions which are inherent to an uncertain political context and pays with his own life the strong hostilities between these countries.
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In the nineteenth century, Paris was an uncertain place due to several causes. The middle‑class felt a threat to a society which was being redefined in an unexpected way and lost its traditional marks. Paris, as a mythical and symbolic city, offers then an ideal framework to the detective novel from its origins, kind of novels that spreads the insinuation of the danger in the city. Emile Gaboriau, father of the French detective novel, plays on the fear and the anxiety towards this changing world. The capital presents a dark and scary atmosphere convenient to the mystery and crime. Thus, the lower class is seen as wild and dangerous; the city which spreads out presents blurred and disturbing borders; finally, the night strengthens the dark face of Paris exciting the fantasies and emphasizing the fears.
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The purpose of this article is to present new sources of fear in short fantastic stories of Jean‑Pierre Andrevon. First, it is necessary to underscore the anxiogenic role of the Uncanny – the malaise born out of rupture in everyday life which was once reassuring. The paper discusses the discourses of space and body – both origins of the Uncanny penetrate each other, become in the indubitable report, follow the reciprocate, often regressive dynamic. The familiar space metamorphoses into the space of a scary and distended geometry; the healthy, normal body transforms into a strange and alien one; the fragmentation of the body designates the disintegration of the familiar space. In brief, short fantastic stories of Jean- Pierre Andrevon emphasize particularly the isotopic acuity of the fragmentation of the body and the fragmentation of the space. The topic is analyzed using psychoanalysis and, specially, psychoanalytic terms like the Uncanny, the return of the repressed and the mirror stage.
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Our article talk (once again) about the literary history; it calls into question the relationship, not very good, between the Emperor Napoleon Bonaparte and the French writer Madame de Staël in the early nineteenth century. Devoid of all civic and political rights, like all women at that time, Madame de Staël has established herself before the most important statesman of Europe by her intelligence and by the great power of her writings.
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No one remembers today the achievements of the Grand‑Guignol theatre, the French theatre of Horror, which scared the Parisians through the first decades of 19th century. The appearance of the slasher movie contributed to the collapse of the theatre which was unable to compete with the new means of expression. However, cinema adopted a lot of techniques, which aimed at raising fear and panic among the viewers. The Author undertook the task of analyzing three plays, nowadays forgotten, of the most fruitful writer André de Lorde who specialized in dramas concerning the pure themes of madness. In “L’Homme mystérieux” the playwright presents the story of a man suffering from persecution mania who strangles his saviour, while “La Petite Roque”, written on the basis of Guy de Maupassant’s novel, describes the case of a mayor of one town in Normandy who killed a young virgin out of lust. “Invisibles”, on the other hand, is devoted to the agony of an old lady who was kept in mental asylum for 20 years. In each of the plays the Author of the article analyzes the mechanism employed by the writer in order to create the gradation of fear which is brought with mastery to paroxysm.
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In this paper I analyze several contexts in which the phenomenon of fear appears in Roland Barthes’ thinking In the first place, I will point out that Fear (written in capital letter in “L’Image”) placed “at the origin of everything”, becomes the fundamental fear, inseparable from the human condition. After all, for “The Pleasure of the Text” Barthes chose as its epigraph a quote by Thomas Hobbes ‘The only true passion in my life has been fear’, before introducing the idea of the proximity (identity?) of bliss and fear. Secondly, I will show that when Barthes writes about fear, he often refers to Donald Woods Winnicott’s article “The Fear of Breakdown”. In conclusion, I will point to an ambivalent status of fear in Barthes’s analysis: its recognition and acceptance are accompanied by desire for its disappearance.
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Unlike Hitchcock, in Bataille there are no seagulls whose unusual behaviour would epitomize the inexplicable. And yet one may find countless birds in his texts. The aim of this article is to investigate what I call the “avian metaphor” in order to show that bird images are meant to convey fear originating from Bataille’s fantasized world and refer to the primal scene (“Urszene”) which represents his father with “huge, ever‑gaping eyes that flanked an eagle nose.” I also endeavour to reveal the autobiographical background of what Bataille defines, in a more philosophical language, as angoisse (anguish/anxiety).
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The problem of presenting the traumatic experience of deportation and detention in a concentration camp is still painfully topical, the more so that hitherto existing methods and linguistic strategies provide no useful tools for its investigation, being either frustratingly ineffective, or altogether useless. Over time, a certain regularity in handling the problem has become noticeable, i.e. a distinctive separation of the available accounts of the experience into those provided by women and those evidenced by men. The answer to the question of how to narrate has to be then preceded by an appropriate question on social, cultural and gender identity of the narrator. On the basis of the exemplary accounts by four former inmates of the concentration camp at Auschwitz-Birkenau it is possible to understand the specificity and uniqueness of feminine perception of the camp’s reality. The accounts provided by Charlotte Delbo, Liana Millu, Seweryna Szmaglewska and Krystyna Żywulska — all easily identifiable by the different adopted form of message conveyance — share the specificity of women’s subjects raised, aspects closely related to the structure of a woman and her existence in responding to extreme conditions, often omitted in accounts provided by male witnesses. Camp pregnancies, dramatic deliveries, pseudo-scientific experiments, rapes and prostitution — all these constitute additional themes related to by women, victims to the above.
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This article deals with silence in which one may see the main feature of friendship between Georges Bataille and Maurice Blanchot and the basis of literary friendship further developed by Jacques Derrida and Jean-Luc Nancy. Since silence is analysed here as something that one can keep but also pass over, friendship somehow appears as the effect of overcommenting and can be interpreted as mythologem. The shape of the latter largely results from comments by Blanchot and other commentators who invoke him. In consequence, taken from Bataille, the notion of friendship loses its significance and comes to assume different meanings, including contradictory ones. Friendship between Bataille and Blanchot starts when a biographical fact turns to a literary fact and then comes back as a as form of thought. This article aims at revising the philological value of the latter in order to reveal what silence may hide.
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There are considered the problems of the French enlightenment and its universal meaning in the given article. In essence superiority in enlightenment sphere belongs to French people. It is possible to call Frenchmen as the classics of enlightenment, and the French educational literature as the classics of the educational literature. The French enlightenment had also revolutionary character; therefore it has turned to the main ideological source in development of national cultures of all nations of the world.
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The objective of the article is a comparative analysis of the biblical epic La Judit (1574) by Calvinistic poet Guillaume Salluste Du Bartas and the Polish paraphrase written by Rafał Leszczyński (1620), who was the leader of Polish Protestants in Greater Poland. The current state of research on both poems is very modest: the works were discussed exclusively in introductions to the critical editions cited above. In the present article, the two versions have been compared on three aspects: epic poetics, confessional tinge and references to regicide, which was a contemporary issue in both countries in those times. The French poem is composed of six books and comprises 2,837 lines of 12 syllables each, rhyming AABB. The biblical narration was enriched with numerous allusions to contemporary events as well as digressions on both moral and political issues. It is written in a high style enriched with Homeric comparisons, characters’ speeches, descriptions and erudite catalogues. Leszczyński’s adaptation is shorter than the French original: it is composed of five books comprising 1,640 lines of 13 syllables each, rhyming AABB. This reduction owes to the removal of the digressions and contemporary allusions, without touching the qualities of the epic style.
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The paper points out a link between troubadour poetry and its reflexes in the poetic works of Dante and Petrarch. Also examines the phenomenon and the origin of Provencal lyric and variations of motifs in works of these two poets, considering theoretical perspectives of DeRougemont, Kristev and Todorov, theorist which among the other things deal with discourse of love.
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Selected works of Chris Marker will be interpreted with respect to the presence of animals in his projects. An idiosyncratic bestiary, which may be visible in a number of Marker’s works – from his 1960s documentaries and filmic haiku, to cats inhabiting Second Life and public spaces – triggers reflection on his relationship with animals in general, and cats in particular. Marker’s works are analyzed from three different perspectives: the relation of technology to animals, the relationship between humans and animals, and the author’s own attitude towards the bestiary. The interpretation of Marker’s versatile works leads to the conclusion that his artistic continuum is to some extent guaranteed by the presence of a cat, which appears in different forms depending on the technology and type of medium used in a film. By becoming the author’s alter ego, the cat allows him to explore politically and socially sensitive issues and to appear without restraint in Second Life as well as on Poptronic platforms.
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Assia Djebar is among the contemporary woman writers, who mark both Algerian and French literature through her works that deal with the changing station of Algerian woman during the history of colonialism. Djebar, who is also Algerian, turns towards authoring since she is troubled with the situation that Algerian woman are in. She aims to be the voice of silenced woman of her country by narrating the sensations and thoughts of Algerian women through the medium of her novels, short stories, poems and films.Algeria, which is characterized as a conventional society, is averse to becoming contemporary, urbanization, industrialization, individualization, technological advancements and innovations. This society that is attached to tradition blindly, enforces the individuals to live in the direction of determined boundaries. Hence the customs that are inherited from generation to generation, cause women to lapse into silence by defending that men are predominate to women. This situation of Algerian woman undergoes a drastic change with the arrival of French colonialists to their country. During the early times of colonialists’s settling into Algeria, Algerian women become more introverted because bad attitudes of the settlers frighten them. But then over time, the statuses of women who have the chance to observe the French and who take sides with men in Algeria’s resistance against colonialists, begin to improve positively. Consequently, Algerian women’s changing statuses in the processes of colonialism, revolt and Algeria’s independency will be scrutinized in this study through Assia Djebar’s novel named as La Femme Sans Sépulture and film called La Nouba Des Femmes Du Mont Chenoua.
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Seyfi Karabaş who studied on literature of English, French and Turkish comparatively, was interested in folklore when studying on his doctoral thesis titled Structure and Function in the Dede Korkut Narratives. He published some books and many articles on folklore when he was teaching English literature courses at the Department of Foreign Language Education in Middle East Technical University after he returned from United States of America. Seyfi Karabaş was the pioneer of psychoanalytic folklore in Türkiye with his works Bütüncül Türk Budunbilimine Doğru (1981) and Dede Korkut’ta Renkler (1996) in which Dede Korkut stories, traditional Turkish quatrains and folk songs were studied through structuralist method and analysed by psychoanalytic theory. This article tries to achieve two goals: the first one is to understand Karabaş’ personality which affects his academic performance with interviewing his fourteen colleagues and students; and the second one is to examine his books as initiating psychoanalitic approach in folklore studies in Türkiye.
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In the paper we are revising the communication between the foreword of La Comedie Humaine by Honore de Balzac, and the Lucien Goldmann’s theory of genetic structuralism from the perspective of the Robert Jauss’ theory of the expectancy horizon. The object of the paper is to indicate the significance of social-historical conscience in the writing which Balzac and Goldmann are representing, as well as the differences which are revealed in the comprehension of the interpretative structure of the writing. In the paper is being concluded that the reader, as a manufacturer of the interpretations, must not be excluded from the interpretative process, as well as that Balzac’s and Goldmann’s theory can be comprehended as one aspect in revealing of the meaning, though not as a possibility in accomplishing of the wholeness, neither substantial as Balzac had intended, nor structural as Goldmann did.
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This paper aims to demonstrate how music and its signification have been interpreted in literary works. Two texts by Balzac will be used as examples. They interpret meaning in music and present the mechanisms by which individual significance becomes attached to musical works. In the novel La Duchesse de Langeais, the author carefully reconstructs the process of connections arising between music, emotions, and memories, which turns a musical work into a memory sign in the minds and lives of individuals. In the short story Massimilla Doni Balzac analyses the score of Rossini’s Mosè in Egitto (1818)—elements such as instrument and musical key symbolism as well as the music’s impact on listeners. Both literary works present music as an aspect of human communication, consisting of signs, symbols, and codes that support verbal senses or operate beyond the limits of what words can convey.This paper aims to demonstrate how music and its signification have been interpreted in literary works. Two texts by Balzac will be used as examples. They interpret meaning in music and present the mechanisms by which individual significance becomes attached to musical works. In the novel La Duchesse de Langeais, the author carefully reconstructs the process of connections arising between music, emotions, and memories, which turns a musical work into a memory sign in the minds and lives of individuals. In the short story Massimilla Doni Balzac analyses the score of Rossini’s Mosè in Egitto (1818)—elements such as instrument and musical key symbolism as well as the music’s impact on listeners. Both literary works present music as an aspect of human communication, consisting of signs, symbols, and codes that support verbal senses or operate beyond the limits of what words can convey.This paper aims to demonstrate how music and its signification have been interpreted in literary works. Two texts by Balzac will be used as examples. They interpret meaning in music and present the mechanisms by which individual significance becomes attached to musical works. In the novel La Duchesse de Langeais, the author carefully reconstructs the process of connections arising between music, emotions, and memories, which turns a musical work into a memory sign in the minds and lives of individuals. In the short story Massimilla Doni Balzac analyses the score of Rossini’s Mosè in Egitto (1818)—elements such as instrument and musical key symbolism as well as the music’s impact on listeners. Both literary works present music as an aspect of human communication, consisting of signs, symbols, and codes that support verbal senses or operate beyond the limits of what words can convey.
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Review of: Brižit Žiro: Živeti brzo, preveo sa francuskog Bojan Savić Ostojić, Akademska knjiga, Novi Sad, 2023)
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Review of: Alen Segura: Jedna sezona s Marijanom: poslednja nadrealistkinja, preveo sa francuskog Aleksa Golijanin, anarhija / blok 45, Beograd, 2022
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