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The article celebrates the resurgence of interest in the works of René-Guy Cadou, a French poet whose writings exude a profound connection with nature and love. It highlights Cadou's enduring impact on contemporary readers and poets alike, emphasizing his ability to evoke deep emotions through his verses, particularly in renowned collections like "Hélène ou le règne végétal."

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.

If Mariana Marin’s tragic posture was largely built posthumously by her friends, the ethical one is assumed by the author herself and entitled by a collective ethos in terms of Meizoz. Interdependent, yet with distinct effects, the two categories mentioned – the tragic and the ethical – certify at least two wrong pathways regarding the author's reception. Firstly, the woman poet becomes a romanticized-heroic fiction. Secondly, the ethical posture, is ambiguous because of a misreading: Mariana Marin's so-called dissidence – a fake posture that is constructed for her from outside the country (by the two exiled personalities: Monica Lovinescu and Virgil Ierunca, as well as by the American translator Adam J. Sorkin) – versus a social-political engagement, perfectly valid, but which ends up diverting the hermeneutics of the texts towards the univocality of moral strands. So, being a study of the author and tangentially of her poems, I will also discuss the fictionalization of Mariana Marin within some poems by others. [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]

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 French poet Valérie Rouzeau's work can be considered an example of writing beyond the text thanks to its "extensive" speech and its versatile rhythm, whether sung, played or danced. Both collective and interactive, Rouzeau's poetry sinks into experience and goes off the beaten paths. This article aims not to separate what engages the body and the language for some remarks and analyses as close as possible to the linguistic, artistic and social practices by which Rouzeau's living poems are promoted. [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]

In this paper we will consider the presence of poetics and aesthetics of the evil and damnation respectively, typical for the French « damned poets », as well as the presence of the modern, avant-guard spirit in the Companions of Isidora Sekulić. By carrying out a comparative and intertextual analysis, firstly we will gradually discover a whole series of harmful but creative poetic images in Isidora Sekulić's work; these images draw their origins from black and grotesque romanticism (Hugo, Nodier, Sue, Nerval), then from Baudelaire and his « terrible » successors like Rimbaud and Lautréamont. In addition to this funeral imagery, we will also recognize plastic images of a physical illness, worthy of the realism or « clinical » naturalism of Zola and his successors. Secondly, we highlight the modern spirit of the Companions. This collection was published in 1913, the same year in which Guillaume Apollinare's Alcools appeared. The collection of prose fragments is the first work of the Serbian writer and at the same time represents a real breath of modernity just like the famous collection of poems by Apollinaire. It is in the context of antitradition and the modern spirit that we bring close the poetry of the French poet and the prose fragments of the Serbian writer. In her « short prose poems » Isidora Sekulić was able to recreate, poetically, her own experience of physical and moral pain. The end goal is to show the depth of Isidora Sekulić's poetic genius communicating, in an underlying but intense way, the earlier spirits who lived and died under the evil sign of the « Black Sun ». [ABSTRACT FROM AUTHOR]

The article informs about relationship of Jules Romains with Georges Chennevière or André Cuisinier, that of Vercors with Diego Brosset. Topics include links between Jules Romains and the designer Jean Bruller of the interwar period who is the famous author of Silence de la mer; and intellectual influence on Bruller family and Jules Romains met in the 14th arrondissement of Paris, near the Parc Montsouris, as Louis Bruller settled in this much-loved land of Enlightenment.

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 focuses on interest of French poet Edmond Rostand in the art of the film. It highlights his efforts in reviewing a film script in the year 1917. It also shares the experiences of French actor Charles Le Bargy on working with Rostand and becoming a member of the French theatre company Comedie-Francaise in the year 1887.

The article provides information on the unpublished letter from French poet, Charles Baudelaire to French writer, journalist and politician, Eugène Pelletan on remarkable, defending his work on American writer, Edgar Poe. Topics discussed includes Short story by Edgar Allan Poe "Mystery of Marie Roget", short stories and French authors.

The article delves into the intriguing story behind an autograph dedication by Aragon in the book "Le Libertinage" to Gala. It is reported that this dedication, seemingly unrelated to the offered work, is connected to one of the most emblematic events in Éluard's life and the birth of Surrealism. It explores the mysterious departure of French poet, Paul Éluard and Aragon's role, suggesting a hidden narrative within the dedication that goes beyond the presented literary piece.

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 discusses French poet, Francis Ponge's life during 1940-1942, emphasizing his experiences in Roanne, France the challenges of provincial life, and the intimate connection between his writing and a drawing by his daughter Armande. It is reported that the drawing, featuring a "rat," symbolizes familial support during the Occupation period, showcasing the intertwining of personal life and Ponge's literary pursuits.

The article explores French poet, Blaise Cendrars unexpected interest in the works of the Comtesse de Ségur, particularly his annotated copy of "La Soeur de Gribouille." It delves into Cendrars' dual fascination with Raymone Duchâteau, his androgynous muse, and his passion for cinematography during the 1910-1920 period. It discusses Cendrars' envisioned film adaptation of "Gribouille," his collaboration with Raymone, and the fictionalized account in "Les Confessions de Dan Yack."

The article provides information on the assimilation of the paternal aesthetic heritage on Theophile Gautier including more independence of judgment, anthologies of classical chinese poetry by French poets and difficult language translation. Topics include studies on the literature, literary criticism and contemporary critical instruments.

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.

Ioannes (John) Tzetzes was a poet and a scholar of the twelfth century Byzantium. He was born in 1110 of our era and died after 1180. He belongs to the historians, philosophers, poets and other intellectuals who thrived after the reestablishment of the Byzantine empire during the reign of the Comneni. A poet and a commentator of Homer, Tzetzes was also an important letter-writer. In what follows we shall translate one of his letters, which we have considered to be particularly interesting. The article ends with a brief comparison with Theodore Prodromus, another contemporary poet. [ABSTRACT FROM AUTHOR]

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]

The article presents a hypothesis in which the author asserts that French poet Arthur Rimbaud belonged to post-baudelairienne, or post French poet Charles Baudelaire, poetic modernity but that one can detect a certain contra-modernism ethos articulated through poetic space. It discusses how poetic modernism, including Rimbaud's, produced from 1870 to 1871 conceals aesthetics and ethics, a critical contra-modern conceptualization from French literature and French society at the end of the 19th century. The author examines various texts which represent the historical and political context of that time period and aims to capture the time during which Rimbaud comes face-to-face with modernity, represented in the form of war and revolution.

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."

The article discuses the symbolism in the writings of 19th century French poet Stéphane Mallarmé. It describes the poetics of Mallarmé's writing, the musicality, idealism, and Romanticism in his poems, and his relationship to his editors and his readers. The poems “La Fin de Villiers,” "L'après-midi d'un faune," and "Un coup de dés jamais n'abolira le hasard" are discussed, along with the reactions of literary critics such as Remy de Gourmont, Jules Huret, and H. de Régnier to Mallarmé's poetry. Other subjects under discussion include the relationship between the idea of modernity and poetry, the rise of positivism and its influence on French poetry, and the poem “Sonnet en yx.”

The author introduces the work of the contemporary French poet Jacques Roubaud and comments on her Brazilian translation of his Quelque chose noir. [ABSTRACT FROM AUTHOR]

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]

The article presents lectures by Russian Symbolist poet Konstantin Bal'mont, delivered at Oxford University in June 1897, in which he discussed Russian poets including Fedor Tiutchev, Afanasii Fet, and Konstantin Fofanov.

This article looks at the use of rhetoric in the writings of two French poets, Alain Chartier and Octavien de Saint-Gelais, at the end of the Middle Ages. The author examines the influence these two authors had on the evolution of language and the relationship this change had to the centralization of power in medieval France.

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.