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The article presents the discussion on translations standing as a testament to the art of fidelity and creativity. Topics include world of translation has seen a flourishing of talent, as exemplified by the quality and ingenuity found in the translated works; and translators behind these works, often poets, novelists, or writers themselves, bringing a unique perspective to their craft.

The present article is an attempt at understanding the various stages of artistic expressions through which Indian mystic poetry has passed and argues that this art form has not become stagnant or dead. It aims to show that it continues to flourish and evolve. It also focuses on a period of transition where a new poetry seems to appear against the background of conventional poetry. This article deals with the concerned question from a critical point of view and clearly marks the various phases of its development, divided into three different stages. It explains that each phase, though complete in itself, serves as a link to the following one. The utmost care has been taken to present the arguments related to mystic poetry in as clear a manner as possible so as to remove the misperceptions that prevails about it. Some important poets like Maithili Sharan Gupt, Mahadevi Verma and Harivansh Rai Bachchan have been discussed in this article in order to have a synoptic view of growth and evolution of Indian mystic poetry. In short, an attempt has been made to present a journey of Indian mystic poetry from the 19th century to the post-Independence period. [ABSTRACT FROM AUTHOR]

The present article is an attempt at understanding the various stages of artistic expressions through which Indian mystic poetry has passed and argues that this art form has not become stagnant or dead. It aims to show that it continues to flourish and evolve. It also focuses on a period of transition where a new poetry seems to appear against the background of conventional poetry. This article deals with the concerned question from a critical point of view and clearly marks the various phases of its development, divided into three different stages. It explains that each phase, though complete in itself, serves as a link to the following one. The utmost care has been taken to present the arguments related to mystic poetry in as clear a manner as possible so as to remove the misperceptions that prevails about it. Some important poets like Maithili Sharan Gupt, Mahadevi Verma and Harivansh Rai Bachchan have been discussed in this article in order to have a synoptic view of growth and evolution of Indian mystic poetry. In short, an attempt has been made to present a journey of Indian mystic poetry from the 19th century to the post-Independence period. [ABSTRACT FROM AUTHOR]

Unlike numerous traditions, poetic inspiration of Moorish poets is not spiritual but carnal because it takes root in the desire for a woman, who taste like Baudelaire's Fleurs du mal. Love poems find their reason in the context of their production. In this case, the decisive moment of the meeting and the long-lasting impression it leaves on the poet. Love poems are not the privilege of a handful, they are primarly composed in the specific Arabic dialect (assāniyya), with the aim of reaching the woman's heart, like Bedouin Arabic pre-islamic poetry. So her first name, her body, her qualities and defects, from erotised become poetised. [ABSTRACT FROM AUTHOR]

During World War II in France some poets considered themselves to have a significant social role and became porte-paroles of the oppressed. They took part in hand-to-hand fight, but also with a pencil in hand, raising their voices to declare their faith in freedom and show that their patriotic verses could become a deadly weapon against the Nazi occupation and the suffering of the people. The poets therefore became messengers of peace and hope, and the fighters memorized their poems or distributed them legally or secretly. But it's possible to look at things from a different angle: there were a number of poets who refused any literary engagement, as was the case with the former Surrealists, then there were poets engaged on the side of the Collaboration, and there were those who refused to or even they couldn't publish their works under the Occupation for various reasons: material, moral or other. This paper deals with this topic, which is in fact very large and complex, taking into account the limitations of the article. [ABSTRACT FROM AUTHOR]

The article informs about works and life of Paul Claudel, a French poet, who was nominated for the Nobel Prize in Literature. Topics include working on Rue de Constantinein the Documentation Service of the Peace Conference with mention of the diplomatic profession with an international commission; and tenderness for Poland and for a Polish woman, Rosalie Lintner, at war with Bolshevik Russia, of the West's defense against the Revolution, and France sent a military mission in German empire.

The article discusses Les Lettres de Corse: un texte inconnu to be returned to Glatigny, which includes the best known episode and the most tragic of the poet's life, his arrest and incarceration in Bocognano in January 1869 - episode which will form the material of his platelet Le Day of the Year of a Vagabond, the attachment he had at once felt disappear Glatigny for Corsica, its landscapes and history.

The article explores French author, Jean Cocteau's creative process in crafting the screenplay for "L'Éternel Retour." It focuses on his annotated cover and technical breakdown, the document, once owned by the poet, reveals the playful interplay of poetic verses and cinematic instructions. It is reported that the visual elements, including a sketch of the film's protagonists, offer insights into the narrative.

The article reports on an unpublished letter from French poet Raoul Ponchon to his friend and wine broker Gerard-Charles Archbold-Aspol. For years, Ponchon spent the summer in Brittany, near Dinard, in the small fishing village of Saint-Jacut-de-la-Mer in France. Archbold-Aspol was not only a wine merchant, but also a bibliophile and art lover.

The article presents a brief note on the works of Tristan Dereme, born Philippe Huc, who was a French poet and writer. Between 1915 and 1917, in two satirical newspapers in Toulouse, France, Dereme signed humorous chronicles inhabited by characters with wacky patronyms under his official pseudonym and under pseudonyms crazy.

The article presents a brief note on the career of Charles Cros, who was a French poet and inventor. At the age of 37, Cros commanded respect from often younger companions around the age of thirty. He deposited in April 1877 at the Academy of Sciences in France a sealed envelope that exposed the operation of the paleophone that will later be called "phonograph."

The article sheds insights on some episodes of the complicated existence of Laurent Tailhade, who was a French satirical poet, anarchist polemicist, essayist and translator, active in Paris, France, in the 1890s and early 1900s. It presents some of the letters concerning Tailhade. He developed an anarchist and anticlerical attitude in his poems and polemic essays.

The article delves into the friendship between Guillaume Apollinaire and the Chilean poet Vicente Huidobro, examining a confident and relaxed dedication by Apollinaire dated June 3, 1917. It mentions that the dedication, found in a cherished collection, serves as a token of friendship to Huidobro, who, like Apollinaire, was a foreign poet choosing French as his writing language during the same period.

Force ennemie, a novel by John-Antoine Nau published in 1903, was the first recipient of the Prix Goncourt. The story's main character, Philippe Veuly, wakes up one morning to discover that he is in an unfamiliar bedroom. He then learns that, in fact, he has been in an asylum for two weeks, but he doesn't know why. Gradually, he feels inhabited by a strange force beyond his control: a force that appears to be an extraterrestrial who has taken refuge in him. Veuly escapes from the asylum and looks for a woman with whom he fell in love, all the while still carrying the creature. Is it really an alien force? Or is Veuly's mind deeply disturbed? Nau's novel occupies an uncertain and evocative state, at once a work of science fiction, a tale of the fantastic, a psychological investigation, and a sociological commentary. [ABSTRACT FROM AUTHOR]

This paper explores the ways some of Stéphane Mallarmé's famous sayings - "the world was created to end in a wonderful book", "the blank sheet, best protected by its whiteness", are used in various literary and artistic contexts in the works of some authors referring, directly or indirectly, to this Symbolist poet, either with the idea of praising him or distancing themselves from him (André Malraux, Édouard Manet, Claude Monet, André Gide, René Magritte, Michel Butor, Georges Perec, Roland Barthes, Gaétan Brulotte). The destiny of these sayings which reflect the attitude to literary and artistic creation as a quest for the absolute but which also expose all the difficulties in the way to such an endeavor, outline the history of French literature and art in their development from Symbolism to Postmodernism: they step away from the concrete object (suppression of emotions in poetry, rejection of the plot and the characters in the novel, domination of the interior over the exterior model in painting), in order to explore their own resources and capacities, which will be in turn also brought into question and reduced to the "zero point." [ABSTRACT FROM AUTHOR]

The article proposes a literary criticism of the work of French poet Emmanuel Hocquard. It is argued that Hocquard is a writer who interweaves poetry and grammar. Examples of works by Hocquard that include an interweavng of grammar, include "Dix leçons de grammaire," "Jeu de cartes à Tanger," and "Une grammar de Tanger."

In his Kitāb al-Ši'r wa-l-šu'arā', Ibn Qutayba devotes to Imru' al-Qays a notice in two parts, each of which tells a partly different version of the pre-islamic poet's "biography". This article analyses and compares these two parts in order to reveal that they form a structure and to show that this structure became the basis of the poet's legend over the centuries. [ABSTRACT FROM AUTHOR]

Explores the interfacing of oral and written literature, as displayed and infused with meaning in the genre of Yorùbá neotraditional media poetry. Impact of the rise of media technologies on poets; Link between oral traditions and Yorùbá neotraditional media poetry; Implications of incorporating songs in poems.

Focuses on Tanzanian writer and poet Shaaban Robert and his narrative writing. Description of characters in the tales of Robert; Information on his novel "Kusadikika"; Comments on the educational aim of Robert's works.

This article analyses the concept of territory in Aimé Césaire's poetry specifically in his late books Cadastre and Ferrements. By definition, the concept of territory implies the ideas of identity and nation which are essential for a Caribbean poet. Aimé Césaire always combined political conscience with poetical conscience. By invoking the four elements, he invented a real cosmony with flora and fauna. He also created a new poetical territory where images art, subversive and political. This territory is not only re-created geographically but also linguistically. Aimé Césaire did not only reshape his own country, the island of Martinique, he also reshaped his adoptive language, metropolitan French. Therefore the poet disorients the occidental reader with his exotic subversion of French, and he succeeds in appropriating his country and his actual identity. [ABSTRACT FROM AUTHOR]

The article presents a brief note on Frederic-Louis Sauser, better known as Blaise Cendrars, who was a Swiss-born novelist and poet who became a naturalized French citizen in 1916. In November 1917, Cendrars became the literary adviser of the Sirene Editions. Paul Laffitte, the banker and industrial founder of the editions, proposed to him to occupy this position.