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Scholastique Mukasonga: Témoignage littéraire et recherche d’identité culturelle dans l’entre-deux

Author(s): Julia Pfeiffer / Language(s): French Issue: 1/2014

Après avoir donné un bref aperçu de l’auteure Scholastique Mukasonga et son oeuvre, l’article suivant cherche à réaliser une analyse concernant la situation de publication de celle-ci et le statut en tant qu’écrivaine exilée en France. Il s’agit d’un positionnement dans le champ littéraire européen et cela peut être confirmé entre autre par le biais de la réponse aux questions importantes du lecteur qu’elle cible de son oeuvre ainsi que la fonction de son témoignage, notamment la transmission de sa mémoire et la recherche de son identité culturelle dans cette situation postcoloniale.

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L’exil comme espace d’une émancipation de l’écriture féminine : lecture de Femme nue, femme noire de Calixthe Beyala

Author(s): Léa Nyingone / Language(s): French Issue: 1/2013

Cet article tente d’examiner la question de l’exil comme espace d’émancipation de l’écriture féminine dans le roman Femme nue, femme noire de Calixthe Beyala. L’exil n’est plus simplement perçu comme un prétexte d’éloignement, mais devient l’espace dans lequel la plume féminine se déploie, se libère en essayant d’aspirer à la reconstruction d’une posture féminine déliée de la tutelle masculine. C’est le personnage d’Irène Fofo qui permet ici cette réalisation.

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Hybridités de l’écriture et subversions du sujet : enjeux du simulacre autour de Pierre Klossowski

Author(s): Thibaut Vaillancourt / Language(s): French Issue: 6/2016

What can be said of Pierre Klossowski’s works’ hybridism, he who, philosopher, writer, translator and painter, unabashedly claimed to be a « monomaniac » ? This gap brings about a tension between what we call « hybridism » in his writings (to talk about this sole medium) and a coherence in his « obsessions ». Furthermore, hybridism can be inferred from the variety from which his works take their source and the qualities which the remains of the notion of « subject » inherit. Klossowski’s work, itself a non-cartesian anthropology, calls upon theologians, latin classics, as much as so-called « transgressive » philosophers. Hence hybridism, once coupled with the simulacrum, becomes a guiding thread, kindling the word’s etymology (hybris and ibrida), in an « excessive » and « bastardised » style that does away with any form of identity, be that of the writer itself.

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Le crime et le châtiment d’un Raskolnikov raté en Afghanistan

Author(s): Gabriella Körömi / Language(s): French Issue: 6/2016

The second novel written directly in French by Atiq Rahimi, A Curse On Dostoevsky, calls on the masterpiece Crime and Punishment by Dostoevsky. This novel shows various aspects of the hybridization of the author. The Russian novel is manifest in the French novel in two ways: implicitly by the moral reflections on the divine justice and the human justice, and explicitly by many elements of the text (title, epigraph, paratexts, quotations, paraphrases etc.). Being a lot more than a simple pastiche, the French novel is indeed the rewriting of the famous crime committed by Raskolnikov. It is its intertextuality which makes the novel of Rahimi a kind of dialogue with the novel of Dostoevsky on the mode of the rewriting of the reflections and the reformulation of the questions developed in the work of the latter. What are the similarities and the fundamental differences between the character of Rassoul, main character of Rahimi, and that of Raskolnikov, protagonist of Dostoevsky? How has Rassoul become a failed pasticheur? What punishment are they to be subjected to in a country engulfed in an endless fratricidal war? These are the questions to which the present study will seek to find the answers.

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La poésie silencieuse d’Henri Michaux à René Magritte ou quand le poème se substitue en tableau

Author(s): Injazette Bouraoui Mabrouk / Language(s): French Issue: 5/2015

Henri Michaux, Paul Klee and René Magritte enroll in a interdisciplinary perspective where painting looks as poem and vice versa. Correspondence between writing and painting defies taxonomy of the pictorial and scriptural in order to establish a new trans-esthetic approach. Painting interpretations show that poetry writing and pictorial articulate two tactics for the same strategy: auscultate the problem of being.

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L’Homme-toupie. Le vagabond comme figure de la subversion dans Le Ventre de Paris d’Émile Zola

Author(s): Jolanta Rachwalska von Rejchwald / Language(s): French Issue: 4/2014

A vagrant Florent Quenu serves as a methaphor of social-political shift that strikes France in the late XIX-th century. Intimidated by the magnitude of change, upon his return Florent wanders the streets, meanders and strolls in circles which casts a horrendous contradiction with the austerity of Hausmann’s new Paris, aligned with omnipresent straight line forms. This geometrical collision of a straight line and a curve is symptomatic of ferocious conflict between the Second Empire and the alternative social model embodied in the Florent’s attitude.

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Le vagabond et ses avatars chez Apollinaire

Author(s): Olivia-Ioana Costaş / Language(s): French Issue: 4/2014

Passionate about mundane details and singular beings, Apollinaire deploys throughout his stories and novels quite a collection of mysterious and paradoxical characters. A central place in his collection is occupied by the wanderer which illustrates the propensity of the writer towards the occult and the picturesque, towards the anecdotal and the extraordinary. As a being always on the run he is sometimes associated with a bohemian spectator, jouisseur of the street and sometimes a marginal presence bordering on antisocial. Versatile character, the apollinarian wanderer does not refer to a specific social type. Wanderer, bohemian, chiffonnier, antique dealer, he has a rather metaphorical position that allows him to expose multiple identities at once. His multivalent nature makes it difficult for a true literary taxonomy. Always seeking innovation and surprise, Apollinaire was able to refine the ambivalence of the wanderer and often relates it to the image of the artist. Marginal and mystifying, the apollinarian wanderer is yet lacking any pejorative sense because its uniqueness is only a sign of originality. With its attractive heterogeneity, the apollinarian prose creates a vast and fine repertoire with a wanderer who is constantly redefining the concept of wandering. With its multiple facets, it actually becomes a living metaphor of a work that is looking through a hybrid and plural writing, mixing genres and composite images. Exploring the prose of Apollinaire, however, we can detect multiple lines of coherence that ultimately reveal a rich array of the wanderer. Despite the nature of the chameleonic apollinarian wanderer, our challenge is to analyze his literary metamorphoses and thus arrive at a definition that surprises in its many urban disguises.

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Le vagabondage moderne dans le théâtre de Henri-René Lenormand

Author(s): Tomasz Kaczmarek / Language(s): French Issue: 4/2014

The motif of the wanderer is not new in the French theatre, but in the first half of the twentieth century due to the general crisis of values, some authors refer to it in order to display the plight of modern man. One of them is H.-R. Lenormand, an author not very well-known to a wider audience nowadays, who under the influence of Strindberg writes plays which refer to the expressionist aesthetics. He creates a lot of works in which he employs the technique of the station drama.. It is this form that allows him to focus on the evolution of the character and his metamorphosis. While in Les Ratés he shows buffoons heading for the brink of despair and finally their certain death, in L'Homme et ses Fantômes he focuses on the inner journey of the main character, who is looking for the reason for his suffering in his own soul.

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Sur les traces du vagabond dans les textes beauvoiriens : exploration du monde et découverte de l’autre

Author(s): Anna Ledwina / Language(s): French Issue: 4/2014

Simone de Beauvoir – a writer, journalist, and philosopher, a pioneer of modern feminism, a collaborator and life partner of Jean-Paul Sartre, was also a tireless traveller, who embarked on numerous journeys described in her autobiographical accounts and correspondence. The author of The Second Sex invariably seeks new sensations and is attracted to other people. Memories of visits to foreign countries are characterized by detailed descriptions and exploration of the world. Each destination is presented from the viewpoint of aesthetics, avoiding interactions with the local population. Over time, under the influence of her trips, Beauvoir becomes aware of the complexity of "the Other" and the need to support people and reject own isolation. Her writing becomes involved, subjective, and empathetic, reflecting growing interest in the problems of other people and sensitivity to social injustice and ideological issues. The shrewd observer searches for the meaning of life and her own "self". The universal dimension of the human condition appears to be far more important than individual experiences of the previously egocentric woman.

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Du vagabondage à la sainteté – la quête de soi dans Becket ou l’honneur de Dieu de Jean Anouilh

Author(s): Sylwia Kucharuk / Language(s): French Issue: 4/2014

At first glance, the protagonist of the play has none of the characteristics of a vagabond. However, subjected to a more thorough analysis, he proves to be endowed with many features typical of a wanderer, such as alienation, unrest, loneliness, social isolation and individualism. In the text he is described as a man who is « in the search for himself, » his exile is, first and foremost, a metaphysical search for his own « self » and for the meaning of life. He is also a character undergoing a metamorphosis – from a lecher he becomes a saint. The shift seems to come as a consequence of being an exile from his own country. This exile, however, in its literal dimension, becomes too heavy a burden for him, and, be rid of the burden, he chooses to die a martyr. This article presents the evolution of the personality and the shift in the social standing of the character, as well as the reasons for, and consequence of, his exile.

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L’errance de l’artiste dans La Montagne secrète de Gabrielle Roy

Author(s): Anna Żurawska / Language(s): French Issue: 4/2014

The aim of the article is to examine the figure of a vagabond and an artist in the novel The Hidden Mountain (La Montagne secrète) by Gabrielle Roy which, according to Antoine Boisclair, is the first Quebec novel completely devoted to painting. It presents the wandering of the artist who does not perceive his vagabondage as movement from one place to another, but regards it as the essence of both his existence and his creation. First, the analysis explores the problem of wandering as narrative basis, examining the tension between the external reality and the inner experience of the painter. Then, the aim of the artist’s journey, symbolically delineated by the Hidden Mountain, is analyzed. The final part of the article is devoted to the concept of art presented in the novel, with particular emphasis on the humanistic dimension of artistic creation.

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Vagabondage dans Le Mont Damion d’André Dhôtel

Author(s): Aleksandra Komandera / Language(s): French Issue: 4/2014

The paper discusses the theme of wandering in the novel by French author André Dhôtel. The protagonist of Le Mont Damion, Fabien Gort, is not a typical vagrant, as he is a member of an intellectual and quite rich family. However, because of his strong absent-mindedness and strangeness, Fabien is unable to find a place in social structures. People’s hostility leads him to many wanderings and unexpected encounters which influence his existence. The novel seems to be also a generic wandering, as it possesses some features of picaresque novel, adventure novel, initiation story and fairytale fantasy.

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L’errance du cœur et l’oubli des injustices chez Panaït Istrati

Author(s): Anca Porumb / Language(s): French Issue: 4/2014

Using a simple narrative technique, Panaït Istrati is an excellent painter of the Balkans and, above all, he is the friendship seeker. Our study starts from an interrogation: What makes the main character, Adrien Zograffi, wander from one place to another? Is there his taste of adventure or any ideal? The two parts of the work describe several important moments from the volume The Youth of Adrien Zograffi, where Romanians, Greeks and other nations from a Romanian town near the Danube share their happiness and their sadness.

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La Figure de l’enfant viator chez Le Clézio, un nouveau type de pícaro

Author(s): Diana Presadă / Language(s): French Issue: 4/2014

The first short story in the volume Mondo and Other Stories serves as a model for the other stories in the collection in terms of the themes, the representation of the child’s portrait and the stylistic peculiarities of the text. More exactly, the story describes the world of “children seen as kings” (Brée, 1990: 100) where everything is dominated by goodness, purity, beauty and magic. As the reference to Sinbad the Sailor at the beginning of the book suggests, the story depicts a moving journey in pursuit of a dream. This is the journey of a child who, refusing the adult world from which he feels alienated, is in search of himself and the unknown. As an image of the viator child, can we consider Mondo a new type of vagabond? Why is he emblematic of the author’s fictional universe and of universal literature? By answering these questions, the purpose of the paper is to demonstrate the originality and uniqueness of Le Clézio’s writing.

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La légende du Juif errant dans La Mémoire d’Abraham de Marek Halter

Author(s): Paweł Kamiński / Language(s): French Issue: 4/2014

In the very beginning of the 17th century appears a famous legend of the Wandering Jew named Ahasverus, who is characterised by some immutable features. Since then, the story has inspired various artists and despite the passage of time it keeps on arousing a great interest among both writers and readers. The main goal of the present study is to compare the collective protagonist from The Book of Abraham, a twentieth century novel by Marek Halter, to the legendary figure. Therefore, we present a vast and accurate picture of the interactions between the Jewish protagonists from Halter’s novel to the features typical of Ahasuerus.

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En quête de soi, enquête sur soi. Représentations du vagabond dans Fuir (1988) de Linda Lê

Author(s): Julie Assier / Language(s): French Issue: 4/2014

In Fuir, Linda Lê features two characters – a vagrant nicknamed “Le Japonais” and the narrator, exiled to an unnamed Asian country – that seem to be re-cognized for what they are : lonely beings in search of an alter ego. Their improbable than astonishing meeting marks the beginning of a wandering both geographical and mental; the reader follows through the streets, alleys, driveways, sidepaths, pedestrian streets of indeterminate city symbolizing the maze of life whose meaning is to be decoded. The figure of the vagabond reflects the obsessions and concerns of the writer on his anguish of living. It also crystallizes its founding and formative reading, including the Romanian philosopher Emil Cioran and the Swedish writer Stig Dagerman who greatly influenced in the writing and the construction of her novel. Fuir is both a question about the absurdity of life and a metaphor for the condition of the exiled writer.

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D’une hétérotopie à l’autre où le vagabondage au féminin (Jean Echenoz, Un an)

Author(s): Simona Jisa / Language(s): French Issue: 4/2014

Jean Echenoz’s text presents Victoria’s story who runs away from Paris, believing that she has killed her lover. Her straying (that embraces the form of a relative deterritorialization in a Deleuzian sense) lasts one year and it is built up geographically upon a descent (more or less symbolical) to the South of France and, after that, she comes back to Paris and encloses the spatial and textual curl. From a spatial point of view, she turns into a heterotopia (Foucault) every place where she is located, fact that reflects her incapability of constituting a personal, intimate space. The railway stations, the trains, the hotels, the improvised houses of those with no fixed abode are turning, according to Marc Augé’s terminology, into a « non-lieux » that excludes human being. Her vagrancy is characterized through a continuous flight from police and people and through a continuous decrease of her standard of living and dignity. It’s not about a quest of oneself, but about a loss of oneself. Urged by a strong feeling of culpability, her vagrancy is a self-punishment that comes to an end when the concerns of her problems disappear and she finds out that her lover is alive.

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Intertekstualni susreti: splin i njegove manifestacije u Disovoj i Bodlerovoj poeziji

Author(s): Jovana Golubović / Language(s): Serbian Issue: 01/2018

This paper examines the intertextual encounters between poetry of a Serbian poet, Vladislav Petković Dis, and French poet, Charles Baudelaire from a thematic and a lexical perspective. What Dis did was to liberate the Serbian poetry of the 20th century from its shackles of tradition and formalism by instilling it with a novel poetic impulse: gruesome pessimism, melancholy, sorrow, transience, pain, disintegration and death. Around the middle of the 19th century, with his volume The Flowers of Evil, Baudelaire had already defined the modern understanding of poetry and beauty as something that springs out of the ugly and the hideous (aesthetics of ugliness). The motif of the spleen being ubiquitous in the poetry of Dis and Baudelaire, we dedicate particular attention to intertextual relations of the spleen’s different manifestations that are based on pessimism and the conversion of poetry into a reflection of a poet's soul. Therefore, the intention of this work is to show the similarities and, above all, the differences between the manifestations of the spleen in the poetry of these two poets.

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РЕЦЕПЦИЯ ФРАНЦУЗСКОЙ ВЕРСИИ ТРАДИЦИОННОГО СЮЖЕТА ОБ АМУРЕ И ПСИХЕЕ В ПОЭМЕ И. Ф. БОГДАНОВИЧА «ДУШЕНЬКА» (1783)

Author(s): Yuliya Kotaridi / Language(s): Russian Issue: 1/2019

The subject of this paper is the transformation of poetics of Cupid and Psyche plot in its national and historical modifications in French and Russian literatures of the 17th–18th centuries. The methodology of the analysis is based on mythological studies (K. Lévi-Strauss, J. Frazer, A. N. Veselovsky, A. F. Losev) and genre studies (M. M. Bakhtin, S. S. Averintsev, E. M. Meletinsky, etc.). This paper examines the genre of J. de La Fontaine’s and his follower Ippolit Bogdanovich’s versions of the plot and the interrelation of various literary styles in their poetics. The genre of the French and Russian versions absorbs the elements of Classicism, Baroque and Rococo which are combined in syncretic unity. The transformation of the tale of Cupid and Psyche leads La Fontaine and Bogdanovich to the creation of a hybrid genre in which the initial version of the plot is exposed to travesty and revaluation.

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LES ADAPTATIONS MÉLODRAMATIQUES DES ROMANS DE FRANÇOIS GUILLAUME DUCRAYDUMINIL

Author(s): Łukasz Szkopiński / Language(s): French Issue: 4/2018

The aim of the present paper is to examine the relations between the novels, published by François Guillaume Ducray-Duminil (1761–1819), and their melodramatic adaptations, w ith a particular emphasis being set on the works of René-Charles Guilbert de Pixerécourt (1773–1844). After comparing fragments of the novels with certain extracts of the melodramas, the article focuses on the similarities between the two sets of texts as well as on Ducray-Duminil’s attitude towards the fact that countless playwrights used to draw on his works in order to create their melodramas. The paper concludes with a short analysis of reasons why Ducray-Duminil’s novels were so popular amongst the dramatic writers of his times.

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