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Translation of Anatole France’s L’Étui de nacre in Russia: Reception and Perception

Author(s): Natalia Nikitina,Natalia Tuliakova / Language(s): English Issue: 1/2016

The paper analyzes and compares the numerous translations of L’Étui de nacre by Anatole France into Russian. The undertaken research aims at establishing the tendencies in the long series of translations, taking into account the possible reasons for the translators’ long-lasting interest in the text. We first analyze the translational theories of the time and highlight their evolution during the first half of the 20th century. Then, we suggest an analysis of France’s cycle, and consider the motives behind its appeal to the translators. Finally, we compare the strategies chosen by the translators and the way they may affect the perception of the text. We argue that the flow of translations may be explained by the complexity of France’s text, which has resulted in a constant search for a perfect translation. The complexity comprised both linguistic difficulties, such as France’s balance of natural speech and elevated objects of description, and extralinguistic hurdles, for instance, the abundance of realias belonging to different epochs and countries. It is obvious that translations done in different years from 1890 to 1959 reflect the development of translation theory and also the political and social changes which Russia underwent during this period. Another conclusion that we are coming to is that the existing translations tend to demonstrate a significant decrease in ambiguity, inherent in France’s cycle.

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Quelle littérature pour l’évaluation des professeurs de français dans la Roumanie communiste ? Canon scolaire, savoirs disciplinaires et interactions institutionnelles

Author(s): Dragos Jipa / Language(s): French Issue: 1/2020

Drawing on a series of original sources (the tenure exam syllabi for the teachers in the Romanian system of secondary education), the article aims to analyze the ways in which literature was employed in the assessment and ranking of teachers who wanted to become tenured in this discipline. The development of the syllabi in question represents an instance of codifying and standardizing knowledge about literature (authors, works, and critical metadiscourses), a process whereby a literary canon made up of inclusions and exclusions becomes the mandatory reference point for the teachers working in this field. The first part describes the evolution of the canon of French literature by comparing the syllabi from 1960 and 1983, tracing a shift from an understanding of French literature through a Marxist lens (as illustrated by the choice of authors, bibliography, and critical commentary) to a discursive perspective on literature aiming to depart from the instrumentalization of the previous decade via references to French literary theory. The second part focuses on the “construction” of the 1989 syllabus, showing the various stages of its development and the institutions involved in it (the University of Bucharest, other Romanian universities, etc.). As such, it shows that what might have seemed, in the eyes of the teachers taking the tenure exam, a universally valid discourse on French literature (authors, works, concepts) was in fact the result of previous negotiations among various decision-making factors. The article thus captures the interactions among the producers of meta-discourse who try to assert their own perspectives in defining a canon of French literature in accordance with their respective positions in the national academic field. The University of Bucharest seems to have monopolized the legitimate discourse on literature, as it emerges from the process of accepting and especially refusing the suggestions made by the other universities. If, during the communist regime, French literature – as constructed in Bucharest – occupied an important place in the training and assessment of teachers of French, thus continuing an inter-war tradition, in the post-communist age, the teaching of French evolved towards a communicative approach, thus losing the patrimonial and normative dimension in which literature held an essential place.

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Panait Istrati şi literatura rusă

Author(s): Adriana Uliu / Language(s): Romanian Issue: 2/2010

Panaït Istrati (1884-1935) est entré en littérature comme un auteur roumain d’expression française. Surnommé Gorki des Balkans, c’est ainsi qu’il a été présenté par Romain Rolland dans sa première publication en France. Dans toute la prose, dans les essais publicistiques et dans la correspondance de P. Istrati on rencontre plusieurs références à la personnalité et à l’œuvre de M. Gorki, aussi bien qu’à d’autres écrivains russes et soviétiques comme L.N. Tolstoï, F.M. Dostoïevski, B. Pilniak, S. Essenine, V. Maïakovski, etc. Les commentaires de Panaït Istrati sont sincères et de bonne volonté, peut-être parfois injustes, conséquence de son tempérament impulsif et passionnel. Mais l’appréciation que Panait Istrati donne à un créateur d’art est toujours faite de la perspective d’être au service de la vérité et du respect pour le lecteur.

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Rusia lui Voltaire

Author(s): Irina Vlăşcianu / Language(s): Romanian Issue: 1/2009

La Russie a commencé à exister en tant qu`Etat sur la carte philosophique et politique de l`Europe, à l’époque de l’affirmation des principes des Lumières Françaises. L’Occident a découvert la Russie grâce aux oeuvres historiques de Voltaire, L’Histoire de Charles XII, L’Histoire de Russie sous Pierre le Grand, et grâce à la correspondence du roi philosophe avec Catherine la Grande. Chacune des oeuvres historiques de Voltaire représente un tableau des réalités de la société russe au XVIII-ème siècle. En fait, il s’agit aussi d’une illustration de la théorie voltairienne sur Le Grand Homme, l’homme qui crée des nations comme l’ont fait Pierre le Grand et Catherine la Grande. Voltaire n’a jamais voyagé en Russie et c’est pourquoi il n’a pas connu la vraie Russie: la Russie de l’illettrisme, du servage et de l’autocratie. La Russie des Lumières françaises est une Russie européenne, une Russie qui n’appartient plus aux moeurs barbares, une Russie qui se trouve sur la voie du progrès et de la civilisation. La Russie voltairienne est le royaume des plus grands réformateurs et monarques que l’Europe a jamais connus: Pierre le Grand et Catherine la Grande.

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Impresionismul în literatură

Author(s): Adriana Cristian / Language(s): Romanian Issue: 1/2007

Having as a starting point the existence of similar tendencies in the evolution of arts, I will try to demonstrate that the impressionistic methods were used not only in painting, but also in literature, in Turgenev’s and Flaubert’s novels. The above-mentioned novelists used the fragmental event descriptions, and the result was a sequence of unlinked scenes, of instant sketches, corresponding to preliminary drawings in fine arts. In Turgenev’s and Flaubert’s works, in scenery descriptions, the shadow is not always black, but it is often coloured (blue, grey, green etc.), as Delacroix painted it. Turgenev and Flaubert did not render precise outlines of the described objects as in the paintings of the impressionists. They used the imperfect tense in order to extend the duration of the events. The basic aesthetic principle of the impressionistic art is called discontinuity and Turgenev’s and Flaubert’s methods are in accordance with it.

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Archiwum Derridy – „archiwum” Derridy. Połączenia i konflikty

Author(s): Łukasz Żurek / Language(s): Polish Issue: 1 (19)/2022

At the starting point of Łukasz Żurek’s article is the insight that so far the reception of Jacques Derrida’s Archive Fever – the work inaugurating the socalled archival turn in the humanities – has not raised the problem of the relationship between Derrida’s private archive and the idea of “archive” as he presents it in this book. Żurek’s goal is to show that Archive Fever can be treated as a quasior crypto-autographical statement. Inspired by the paradigm of Carl Ginzburg’s tropes, Żurek examines facts from Derrida’s life as described in his biography by Benoît Peeters. He also analyses scenes in two documentaries about Derrida in which the author of Of Grammatology shows the film crew around his apartment and statements from interviews in which Derrida shares his ideas on the collection of archival materials. In the concluding section of the article, by referring to the letter sent by Derrida to the president of the University of California, Żurek reflects on the unexpected conflict between Derrida’s critique of the “archontic” management of archives, developed in Archive Fever, and his practice.

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Les soldats de l’Oncle Sam : stéréotypes des combattants américains dans la littérature de jeunesse de la Grande Guerre en France (1917-1920)

Author(s): Joceline Chabot,Noémie Haché-Chiasson / Language(s): French Issue: 4/2021

During World War I, the ongoing conflict became the main subject of published stories for French youth. Children’s literature beginning to focus on short and educational stories while sharing these with adult literature themes like the exaltation of France and its allies as well as the demonization of the enemy. This article analyses stereotypical representations of the American ally (entry into the war in 1917) through two collections of French youth literature. Because of their function of reductive simplification, stereotypes serve as an effective tool for filtering reality by exploiting existing cultural representations.

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Soigner la mélancolie au Moyen Âge : conseils et remèdes tirés des romans arthuriens français des XIIe –XIIIe siècles

Author(s): Katarzyna Dybeł / Language(s): French Issue: 1/2022

The author analyses the selected 12th and 13th-century French Arthurian romances as an example of locus medicinalis, i.e., the meeting place of literature and the medical knowledge of the time, where literary fiction intersects with the medical reality, for which melancholy was one of the major challenges. Like medicine, literature takes up the challenge, by seeking to describe the symptoms of melancholy, to define its causes and above all to propose an effective treatment to relieve it. In the romances analyzed, the concept of melancholy is similar to that of acedia, the vice of the soul manifested by boredom, indifference, fatigue, and exhaustion of the heart. The condition was attributed to the activity of the demon of acedia, called daemon meridianus by Cassian and Evagrius of Pontus. In the Arthurian romances analyzed in the article, in which acts of psychological and spiritual nature are of main importance, the treatment of melancholy is based on the holistic Christian vision of man, according to which the state of mind, soul, and body influence each other. Cathartic tears, memory healing, friends’ support, the presence of the beloved, joy that chases away sadness, prayer, conversion, confession, and pilgrimage prove to be more efficient than theriac, electuary, or any medicine.

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De la mélancolie et son expression stylistique dans quelques Chansons spirituelles de Marguerite de Navarre

Author(s): Brenda Dunn-Lardeau / Language(s): French Issue: 2/2022

This article examines melancholia and its stylistic rendering in three of Marguerite de Navarre’s Chansons spirituelles that do not deal with bereavement, namely Songs 29, 45, and especially 34. The Queen uses various medical, philosophical, and literary sources to describe melancholy, although she never quotes Aristotle or humoral medicine. The same applies to literary borrowings from the Imitation of Christ, which enable her to give a willful Christian response to life’s sufferings. Most of all, Marguerite spiritualises love motifs used by Petrarch in his Canzoniere, especially the dolce pena concetto. This is achieved thanks to the interpenetration of Petrarch’s amorous vocabulary with the inner life discourse of her characters’ souls, tossed between euphoria and suffering, in their quest for divine love. This study also reviews Marguerite’s use of melancholia in La Coche, la Comédie des quatre femmes and l’Heptaméron, where it remains in the realm of worldly concerns and raises moral and ethical questions.

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Différentes sources d’inspiration dans l’œuvre romanesque d’Ananda Devi

Author(s): Anna Szkonter-Bochniak / Language(s): French Issue: 21/2022

In the article the author analyses various sources of inspiration noticeable in the works of Ananda Devi. Considering the writer’s background, her native island of Mauritius, a multi-ethnic, multi-lingual and multi-cultural island, various cultural inspirations are noticeable in her works. The author of this article focuses on the novelist’s prose and analyses the cultural references rooted in Indian, European, African and Creole cultures. The aim of this analysis is also to describe the intertextual relations that exist between some of Ananda Devi’s texts and the works of Jean-Marie Gustave Le Clézio, Tahar Ben Jelloun, Arthur Rimbaud or Malcolm de Chazal, T. S. Eliot, Toni Morrison and J. M. Coetzee. In the analysis, the author draws on the research of Homi Bhabha and Gérard Genette.

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La traversée du Kala pani chez Ananda Devi : entre espace-temps tragique et renaissance symbolique

Author(s): Aïssatou Moukara / Language(s): French Issue: 21/2022

References to the notion of karma abound in the works of Ananda Devi, a major female figure in the literary Francophonie of the Indian Ocean. These references evoke a tragic fate in connection with the idea of exile for the Indian community installed in Mauritius through the crossing of the Great Ocean. However, this crossing of “dark waters” (Kala pani) is a taboo, a curse in Hinduism. Installed in the island area of Mauritius, the Indo-descendants presented by Devi’s works experience a sort of eternal return from this original curse, the community feeling chastened by a feeling of uprooting, which constantly recalls the indestructible link with the mother country the ancestral culture. Based on two novels from the so-called Hindu cycle of Ananda Devi, and drawing on the work of Mircea Eliade (2009) on mythical symbols and structures, this study aims at showing that death is a figure of reincarnation in a new life. The analysis thus leads to understand that the Kala pani is a tragic space-time, at the same time, that it is a space-time of purifying immersion and of symbolic rebirth in the imaginary of the exiles that the novelist stages.

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TEMA RĂZBOIULUI ÎN DRAMATURGIA ROMÂNEASCĂ ȘI FRANCEZĂ DIN PRIMA JUMĂTATE A SECOLULUI AL XX-LEA

Author(s): Emilia-Eliza Leotescu (Matei) / Language(s): Romanian Issue: 1/2022

The socio-political context of the first half of the twentieth century creates a favorable path for writings that promote the principles of the totalitarian system. Thus, the interest of playwrights for theater inspired by the reality of the time or recent history is growing, the theme of the plays being closely related to the fundamental aspects of life. A major theme that crossed the Romanian and French dramaturgy of the last century as a lait-motive was WAR. Wanting to give the population an impetus to fight, Romanian and French playwrights recall an armed conflict from antiquity that highlights the love of country, courage and sacrificial power of citizens. Thus, a parallel is drawn between the Europe of the first half of the last century, which, threatened by war, does not take any measures to annihilate the danger, and the similar situation from the ancient period of the Trojan War.

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Amin Maalouf’un “Béatrice’ten Sonra Birinci Yüzyıl” Adlı Yapıtında Kadın-Oluş

Author(s): Eylem Aksoy Alp / Language(s): Turkish Issue: 111/2022

Although Lebanese-French writer Amin Maalouf mostly deals with the issues of history, society, East-West dichotomy, cultural diversity, immigration, exile and identity in his works, he questions the future of all humanity through women endangered by scientific developments in The First Century After Beatrice. While emphasizing that the multiplicity and diversity of a world is destroyed without women, Maalouf indicates that with the deprivation of daughters to be born through Béatrice, not only women but all humanity gradually loses its hope of realizing the process of becoming-woman. The author, by constructing a world whose balance is deteriorated with the decrease of female population and the elimination of possibilities of becoming, first provides the necessary disorder for the reader to enter into becoming with the chaotic and dystopic World he constructs. In some way, with the image of the corrupted order it deterritorializes the reader, and paves the way for them to be critical of the idealized scientific development. This article aims to reveal how Amin Maalouf's writing on the inequality between women and men, by emphasizing the quantitative dimension and expressing his concerns about the future of women, adds a new dimension to the situation and future of women. To this end, we will first evaluate the technological and scientific developments affirmed by today's societies within the scope of the ecofeminist movement, which emphasizes the links between the exploitation of women and nature. On the other hand, this article emphasizes that a world losing its women will bring its own end and we will examine the loss of femininity within the framework of the concept of becoming-woman put forward by Deleuze and Guattari.

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Appanah’ın Göç ve Şiddet Temalı Çoksesli Romanı: Tropique de la Violence

Author(s): Tülin Kartal Güngör / Language(s): Turkish Issue: 111/2022

Mauritian author Nathacha Appanah, one of the important representatives of contemporary Francophone literature, often deals with themes that reflect the complex and polyphonic world of our age, such as identity, alienation, exile, immigration, and violence. His novel Tropique de la Violence, published in 2016, draws the reader into the criminal world of the Gaza Strip on the Island of Mayot. In the work, which has a polyphonic narrative structure where the themes of migration, violence, and alienation are covered, five different narrators address the reader with their own consciousness. The novel’s characters effectively use the elements that activate the social and cultural memory of violence and migration through their descriptions of senses, objects, and universal space. In the novel, which also draws attention to the historical dimension of the concept of migration and immigrant, different semantic connotations of migration in social memory are included. The author, who pushes the reader to think about the psycho-social factors that lead to crime rather than the crime itself, draws attention to the cultural and structural dimensions of violence. Appanah shows the illusions in the perception of reality with this narrative universe that he builds with contrasts. In this study, we draw attention to the elements that provide polyphony in the text within the framework of Bakhtin and Kristeva’s theory of polyphony, and we examined how the themes of migration, identity, alienation and violence are handled by the narrative characters.

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Introduction: ‘Make It New’ Once Again: Experimental Trends in 21st-Century Poetry in English

Author(s): Laurent Milesi,Radu Vancu / Language(s): English Issue: 1/2022

One hundred years ago T. S. Eliot published The Waste Land, the acme of High Modernism (along with Rainer Maria Rilke’s Duino Elegies and, for fiction, James Joyce’s Ulysses, Marcel Proust’s In Search of Lost Time and Franz Kafka’s composition of The Castle, to nam but these), in which the poet articulated his response to post-WW1 disillusionment.

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‘A Certain Noise’: Approaching the ‘Music of Poetry’

Author(s): Jed Rasula / Language(s): English Issue: 1/2022

This article considers T. S. Eliot’s preoccupation with ‘the music of poetry’, a subject he addressed throughout his career. It was a certain ‘music’ to which the first readers of The Waste Land responded in the poem. This music, I argue, is not a matter of melodious sounds or acoustic mimicry. Rather, it is to be discerned in ‘a certain noise’ (Joseph Brodsky’s phrase), an underlying pulse. In order to examine this rhythmic prompt, I look at the graphic manifestations of another poet, Henri Michaux, who wrote lines of poetry and, in equal abundance, drew and painted maelstroms of lines that often share the page with the poems. These graffiti-like emanations provide us with a visual rendering of the ‘music of poetry’.

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LE « DON DU COEUR » ET SES MÉTAMORPHOSES. DU PARADIGME
COURTOIS À L’ICONOGRAPHIE MÉDIÉVALE

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LE « DON DU COEUR » ET SES MÉTAMORPHOSES. DU PARADIGME COURTOIS À L’ICONOGRAPHIE MÉDIÉVALE

Author(s): Luminiţa Diaconu / Language(s): French Issue: 32/2022

Story in verses of Picardy origin, preserved in two manuscripts from the 14th century, Le Roman du Castelain de Couci et de la Dame de Fayel is part of a larger corpus of texts centered around an adulterous relationship that a jealous husband cruelly chastises by a cardiophage meal. However, if the Franco-Provençal corpus consists of several brief narratives dating from the 13th century, prior to the novel (The Lai of Ignaure, the vidas and the razós of the troubadour Guillem de Cabestany), only the novel, which also proposes the courteous version of this story, presents the love tokens exchange between the lovers. Our analysis will focus initially on these gifts and their symbolical functions: the letters exchanged by the lovers, literary objects valued in courteous literature in the 12th-13th centuries, as well as a sleeve and braids that the lady offers to the knight before his departure in106crusade; finally, a coffer sent by the latter to his lady, which contains a letter and the lover’s heart, extracted just after his death by the valet. In the second part of our study, we have emphasized the influence of this literary motif on medieval sensitivities, given the success that it enjoyed in medieval iconography until the 15th century. Indeed, in the area of diffusion of this novel - namely the North and East of the Kingdom of France, Flanders, as well as the Parisian region and the Rhine Valley - the gift of the heart was represented in particular on objects such as mirrors in ivory or the caskets, objects clearly connected to the feminine universe, but also on the tapestry.

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PERFORMING IRONY: EUGÈNE IONESCO'S BATTLES WITH HIS CRITICS

Author(s): Arleen Ionescu / Language(s): English Issue: 1/2022

My article endeavours to investigate playwright Eugène Ionesco’s irony, following two critical debates: the first was mainly conducted by Roland Barthes and Bernard Dort, in the pages of the polemical journal Théâtre Populaire, which found Ionesco’s ironic response not only in numerous interviews and theoretical texts, but also in the play Improvisation or The Shepherd’s Chameleon, where Barthes and Dort feature as characters. The second, known as the London Controversy, consisted of a series of articles written by Kenneth Tynan and Ionesco in The Observer and Cahiers des Saisons. The rationale behind these two analyses is to prove that, like his compatriot Emil Cioran’s Pe culmile disperării [On the Heights of Despair], which was the stylistic matrix of his French texts, Ionesco’s first book, Nu [No] can be traced back as the origin of Ionesco’s irony. Ionesco’s irony has an Eastern European descent, and perhaps this is why Barthes, Dort and Tynan could not relate properly to Ionesco’s playful remarks.

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La grande histoire au prisme de la petite histoire dans les Mémoires de Voltaire

Author(s): Stanisław Fiszer / Language(s): English,French Issue: 12/2022

Voltaire composed his Memoirs of the Life of Monsieur de Voltaire: Written by Himself at approximately the same time as his novel Candide, or Optimism published in 1759. For this reason, these Memoirs occupy a central place in the philosopher’s work. Combining ironic comment on the important historic events and salacious gossip of the world, they trace very briefly 25 years of Voltaire’s life. The author of this paper tries to analyse the relationship between the memorialist’s style, strongly coloured with the grotesque, and his vision of history. Next, he juxtaposes the Memoirs with Voltaire’s historical works. Finally, he demonstrates the close affinity between their non-linear representations of history, despite differences in their style.

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Mémoire et autobiographie dans l ’œuvre de Claude Simon

Author(s): Mokhtar Belarbi / Language(s): English,French Issue: 12/2022

Memory occupies a privileged place in works of Claude Simon. Through an analysis of Les Georgiques, L ’Acacia and Le Jardin des Plantes, our goal in this article is to show that Claude Simon did not seek to write an “autofiction” or a “historical novel”, but to write a literary autobiography. His ultimate goal was not to “recover lost time”, but to inscribe “lost time” in literature. This study demonstrates that the new form of autobiography initiated by Claude Simon is entirely distinct from a traditional autobiography. It is written by means of the writer’s tireless recourse to stimuli, that is to say by questioning texts written by people who have found themselves in similar situations. It is an auto-sensorio-graphy: the writing is essentially based on a description of sensations, not facts. It is also an auto-thanato-graphy since death is the central character.

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