Search

Copyright of Australian Journal of French Studies (Liverpool University Press / Journals) is the property of Liverpool University Press / Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reflects on the significance of book reviews in the history of Annales, emphasizing their foundational role in promoting a new historiographical approach established by Marc Bloch and Lucien Febvre. Topics include the initial prominence of reviews as a means to articulate theoretical perspectives, the evolution of their format and placement within the journal, and their role in fostering methodological discussions.

The article focuses on Paul Claudel's engagement with the missionary world and his efforts to integrate a universal vision of Christianity into both his diplomatic career and literary works. Topics include Claudel's encounters with missionaries in China and their influence on his writing, his role in promoting a Catholic image of France during World War I, and his reflections on the cultural and religious relationship between the West and the East, particularly in Japan.

The article focuses on the mediating roles of Valery Larbaud and Alfonso Reyes as reflected in their correspondence, prefaces, and theoretical writings. Topics include their shared appreciation for beauty and the significance of engaging with foreign texts, the insights gained from their translation practices, and the challenges highlighted by their discussions on Larbaud's translation of Reyes's Yerbas del Tarahumara.

The article focuses on the stylistic analysis of formal cosmopolitanism in A.O. Barnabooth's Poésies and how metric structure corresponds with semantic content. Topics include the disruption of traditional alexandrine verse by non-European influences, the relationship between form and the themes of cosmopolitanism, and the balance between innovation and tradition in Larbaud's poetic style.

In the present article, we regard mediated translations of fairy tales as unique recreations, making the afterlife of the original text and contributing to its variability. Our attention has been focused not so much on the equivalence of the mediated translation to the original as on the nature and main characteristics of the mediated translation as a text. The goal of this study has been to rethink the very status of indirect translations involving intralingual and intersemiotic readings of the original in our research. The survey results have demonstrated the fascinating potential of the source text to modify and transform.

This study, after analyzing the various hypotheses on the authorship of the Poem of Alfonso Onceno (c. 1350), proposes Rodrigo Yáñez de Zamora as its creator. His biography is traced, especially his links with the Templars, with Portugal, with the Military Order of Christ and with King Denis of Portugal, as well as with María de Molina, being highlighted his condition as a freire, soldier and religious man. After studying the relationship of these vital circumstances with the work, it can be concluded that many of them coincide with the themes developed in the poetic composition.

The so called Wurstisen Lute Book (CH-Bu, Ms. F.IX.70) is a remarkable anthology containing a huge repertory that was written down in German lute tablature at the end of the sixteenth century. Serving most likely as a private music collection, it relatively infrequently contains names or indications of authors. The present article deals with what the scribe has left in the way of indications, shedding more light on, and interpreting, some of them. Additionally, the research suggests some sources that may have been at the disposal of the compiler, Emanuel Wurstisen, or were possibly related to his book when they came to be printed years later.

TNT’s short-lived biopic series Will (2017, created by Craig Pearce), although in many respects presenting itself as an innovative exploration of Shakespeare’s rise to fame, shares a surprising number of features with earlier Shakespearean biopics. Most importantly, the series relies on the familiar conventions of the genre, particularly the image of the solitary author at work, whose rich inner world is contrasted with the drab reality of his miserable daily existence. Apart from this generic legacy, the series also focuses on issues of paternal heritage, presenting the author both as father and son, who is often aware of his moral failures on both fronts. On the one hand, his filial duty to remain loyal to his father’s Catholic beliefs keeps landing him in mortal danger, but his religious obligations also come into conflict with his desire to make his mark in the theatrical world. At the same time, he is also painfully aware of his failure to be an exemplary father to his own son, and of the personal price to be paid for professional success. An often anachronistic combination of inherited and innovative elements adds a carnivalesque dynamic to the series, which, in spite of its short run, manifests television’s continued interest in the Shakespeare phenomenon.

A halo of mystery has long surrounded the figure of Salvat Etchart, an obscure writer in the French literary panorama of the 20th century. In 2001, Luce Mondor finally sheds some light on the author’s existence: her biographical work, Salvat Etchart: un «passant considérable», provides us with the intimate portrait of a solitary and tormented character. Rich in unpublished materials that illuminate Etchart’s poetic vision, this biography also allows us to read his work from a new perspective: it provides a better understanding of the autobiographical dimension of his texts, but it also illustrates the philosophical and literary influences that shaped his aesthetic project. This article aims to offer an analysis of his third novel, L’homme empêché (1977), which marks a true turning point in the author’s career, a transition from a poetics of engagement to a more introspective and self-focused mode of writing. By identifying the various elements contributing to the meta and autofictional discourse, the article will attempt to examine how this formal reflection fits into the broader philosophical speculation of the novelist, who, with L’homme empêché, sacrifices the activist fervor of his previous works to devote himself to the more intimate and subjective dimension of writing. [ABSTRACT FROM AUTHOR]

The aim of this article is to study the representations of simple folk’s speech (peasants), in a humorous novel: Noël Du Fail’s Propos rustiques, published in 1547. I shall examine the political implications of the creation of a homogeneous rustic language in the text, and therefore wonder to what extent does Du Fail create a paradoxical “collective idiolect” in order to promote an ideal sociological harmony in the Early Modern France society.

The article offers information on Annie Ernaux, the 2022 Nobel Prize in Literature laureate, and examines the significant impact of influential literary works on her life and worldview. Topics include the role of iconic novels like "Gone with the Wind," "The Grapes of Wrath," and "Anna Karenina" in shaping Ernaux's literary oeuvre.

The article offers information on a unique illustrated copy of the 1874 edition of "Les Chants de Maldoror," a rarity given its limited quantity, typically less than 150 copies. Topics include the exceptional sale of the illustrated copy at the Bubb Kuyper auction house, making it the only known illustrated edition of "Les Chants de Maldoror" from 1869/1874.

As an epitome of a transnational theatrical culture, the figure of Molière raises many questions at the crossroads of cultural theory and history, in connection with the notions of authorship, authenticity of the work, national theatre, etc. This contribution proposes a reflection on these questions from a geographically specific and chronologically broad perspective, that of the Russian imperial capitals between the first documented performance of a play by Molière in 1745 and the 1840s. The particularity of the Molière figure lies in the fact that it accompanies the institutionalisation of public performances from the beginning of their importation to the Russian court during the eighteenth century. The Molière reference is also constitutive of the theatrical life of the first 19th century examined in this article. [ABSTRACT FROM AUTHOR]

The Observations is a true poetics of comedy, here reconstructed in its most salient components, for example that of the sources from which Molière drew. Riccoboni reveals his deep knowledge of theatrical texts and also his past experience as a man of the stage. [ABSTRACT FROM AUTHOR]

In his Cours de littérature générale, Lemercier elaborates twenty-three rules for the creation of comic plays and demonstrates their effectiveness by analysing Tartuffe, presented as the "perfect comedy". For Lemercier, Tartuffe is not only the highest expression of the genre: it is above all a «picture, which represents in deep, indelible strokes, a universal illness of the human heart» (Cours). Already the author in 1795 of a Tartuffe révolutionnaire, he proposed a tragic re-elaboration composed under the Empire, printed in 1820 and performed at the Odéon in 1830, his tragedy Clovis, which Lemercier defines as a "tragic Tartuffe". Starting from the above-mentioned plays, which show a different use of the Molière intertext, I intend to analyse the avatars of Tartuffe in Lemercier's theatre and their relationship to the evolution of French drama. My attention will focus on the political meanings that the author attributes to his rewritings in the changing context of French institutions of the time, as well as on the experiences of contamination of dramatic genres operated by the playwright throughout his career and of which his relationship to Tartuffe offers significant examples. [ABSTRACT FROM AUTHOR]

In a post-modern world where selfhood is defined by diversity and multiplicity, Elif Shafak’s Black Milk outlines how women’s experiences depict a tragic fate. In this memoir Elif Shafak writes about motherhood and authorship and the many stereotypes women face in a patriarchal society. For many women writers, motherhood became a burden, because they had to choose between being a “good” mother and a “good” author. This article aims to explore the complexity of women’s identity in Black Milk through a feminist perspective and also to analyse Elif Shafak’s feminine discourse and its empowerment process. Elif Shafak questions the norms of the patriarchal society, because it enforces a “given” identity for both women and men. Black Milk also outlines the anxiety women face when it comes to writing, motherhood and many other experiences, describing an enormous pressure put on women to reflect an ideal.

Copyright of Revista Signos is the property of Pontificia Universidad Catolica de Valparaiso and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay aims to provide a brief summary of the most controversial restoration realized on four cases out of the eight Frank Lloyd Wright’s works listed as Unesco World Heritage (the Solomon R. Guggenheim Museum, the Unity Temple, the Robie House, Taliesin West), in a comparative view between the recurrent methods of the American approach to architectural restoration and the shared values of the Italian theory of conservation. In this way, the principles laid down by Unesco to list this valuable heritage (Integrity, Authenticity, Protection) are looked under a critical perspective, showing how liable they are in within the selected cases. Furthermore, the text will focus on the complex implications deriving from the design intent, the authorship, the architectural history and the use of photography in the restoration process, opposed to the principle of time and authenticity deriving from the Venice Charter and the Nara Document.

The article focuses on Henri Vincenot's novel "Walther, ce Boche mon ami" (1954), delving into the narrative of an encounter between a French teacher immersed in Celtic culture and a German officer sharing the same interest. Topics include Vincenot's novel featuring the interaction between a French teacher and a German officer, the use of literary devices like irony and dark humor, and the overarching pessimistic view portrayed by the author, devoid of any romanticization of the wartime period.

According to statements made by Yves Bonnefoy in different interviews, traces of what he calls “encounters” can be found in his poetic work. In his writing, which is often mixed with images and dreams, only a few poems seem realistic, almost descriptive of lived experience. The poem first published under the name Ales stenar, and then taken up again in the longer poem La longue chaîne de l’ancre, is one of them. As it combines an encounter with an art object, a reflection on its creator, and an encounter with nature, it can be considered an important example of a meditation on nature and man. Furthermore, this poem, although Bonnefoy has not explicitly indicated it to a wider audience, represents a response to what is one of the most significant series of occasional poetry organised in the contemporary period. I’m referring to the occasional poems collected by the Swedish translator Lasse Söderberg. This most impressive collection of poems written about Ale’s Stones, a megalithic monument, was collected during the visit he made every year with the poets invited to the festival of the Malmö International Poetry Days. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Europe is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Experiencing the Real at the Crossroads of Literature, Theatre and Performance. Édouard Louis on Stage The hotly debated performance of Thomas Ostermeier’s stage version of Edouard Louis’s History of Violence points to a confusion concerning the role of the author, the status of the text, of its performance and of the role played by theatre in today’s society. It raises a threefold question: what is the relationship between literature and reality, what defines an author (whether writer or stage director) and what does it mean that contemporary literature should be so intent on self-writing? E. Louis is particularly clear about using fiction to write about truth, but then truth all too often is construed as fact, and therefore as antithetic to fiction. He claims to explore a form of confrontational literature. In T. Ostermeier’s staging he becomes the actor of his own text which only compounds the text’s powerful ambiguities. Together, Louis and Ostermeier create a dynamic recomposition of the political and the intimate.

George Chapman’s translations of Homer at the beginning of the seventeenth century played a decisive role in the poet’s works. Tackling this colossal task could satisfy Chapman’s ambitious sense of poetic achievement and it also allowed him to display a genuine theoretical reflexion on translation itself. But it is worth looking for the deeper connexions between Chapman and Homer, as Chapman did more than just translate Homer. Particularly in the paratext that introduces his translations, the authorial figures of Homer and Chapman coalesced and sometimes even merged, as Homer’s poetic persona and literary trajectory echoed Chapman’s own career expectations and literary prospects. The Homeric model was absorbed by Chapman through aesthetic, editorial and ideological strategies, which reveal the features of his poetic identity, torn between his deliberate elitism and reception anxiety.

This article proposes the concept of transauthoriality applicable in shared universes of science fiction. To do so, it draws on Saint-Gelais’ concept of transfictionality (2011) and Wolf’s transauthor in Building Imaginary Worlds. This article anchors the concept of transauthoriality in a history of the sociability and collective dynamics of French and American Science Fiction. The aim is to demonstrate that SF authoriality is built on an accumulation of authorial functions (reader, fan, writer, critic, author, cultural passer-by, etc.), and in France it is built on a personal authorial world, in its mediatic extension from the 1970s. SF authoriality is thus above all an authoriality of world. This leads us to a classification of transauthoriality in shared SF worlds, based on Besson (2010), where the world more than the author is at the center of gravitational system, its fictional « veracity » mattering more to the fandom than the authorial figure, which sometimes leads to counter-authorialities or the empowerment of a part of the fandom. The concept of transauthoriality thus allows to reinvest the fan-author of an authorial status, from pseudonymity to authorialization.

Twin Peaks is often referred to as “David Lynch’s Twin Peaks,” to the detriment of screenwriter Mark Frost, the co-creator of the series. By singling out David Lynch as its author, the media coverage of Twin Peaks contributed to the emergence of a now prevalent authorship model centred on showrunners. Paradoxically, Lynch was in fact not Twin Peaks’ showrunner: studying how the series was produced qualifies the extent of his involvement and reveals the importance of other contributors. This article thus explores Twin Peaks’ authorship to convey its complexity and understand why Twin Peaks seems to nevertheless belong to “David Lynch’s world”.

This article focuses on the beginnings of the aphoristic writings of Austrian-Israeli Hebrew poet and rabbi Elazar Benyoëtz (*1937). It draws on two novel sources: his personal library, which is one of the last private book collections in Israel to contain the German-Jewish literary canon, and a first draft of his autobiography. This article follows the first-time analysis of reading traces from the library’s marginalia and paraphernalia; five case studies progressively trace Benyoëtz’s transformation in the 1960s and 1970s from solely a Hebrew poet into the most influential contemporary aphorist in the German language. In addition, the article presents points of departure for future research into the genesis of the Archiv Bibliographia Judaica, the largest encyclopaedia to date on Jewish authors writing in German.

Capdroits participatory action-research aims to reduce the inequalities of power inherent in epistemic injustices by proposing research methods that symmetrize the knowledge of people affected by situations of disability, illness or addiction, actors in the helping relationship and care (relatives or professionals), and research professionals in the social and le gal sciences. It is based on principles of reciprocity, empowerment, and identification of gains. In this article, we focus on one of the central stages of research practices, namely autor ship, which raise questions of scientific and political recognition. Our analyzes are based on a form of collective auto-ethnography. [ABSTRACT FROM AUTHOR]

The article focuses on an unpublished letter by Charles Cros to Suzon X, providing insights into its intimate content and potential historical significance. Topics include the letter's context, the enigmatic recipient Suzon, and the speculation about their relationship, revealing the letter's intriguing tone and possible connections to Cros's personal life and social circles at the time.

Copyright of Studies in Contrastive Grammar / Studii de Gramatica Contrastiva is the property of Universitatea din Pitesti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studies in Contrastive Grammar / Studii de Gramatica Contrastiva is the property of Universitatea din Pitesti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the process of including people deemed to have intellectual disabilities in the dissemination of knowledge through academic journals. It takes a self-ethnographic look at the experience of two researchers co-writing a scientific paper with two individuals deemed to have intellectual disabilities. After presenting current knowledge on research participation with a focus on issues of knowledge and power-sharing with people deemed to have intellectual disabilities, the authors explore the stages of writing, dissemination, and authorship in inclusive research practices.

The article explores the role of illustrations in Marcel Proust's early work, "Les Plaisirs et les Jours," focusing on the artist Madeleine Lemaire. It delves into the taboo surrounding illustrations in Proust's works, reconstructing the history of those who dared to provide visuals, despite the prevalent notion that Proust's genius negates the need for accompanying images. It emphasizes the contextual editorial backdrop of illustrated books and their co-authorship with publishing houses.

The article focuses on Verse writing is not reserved to the so called Laureate Poets, the ones generally celebrated by the critics. It mentions large number of 20th Century Italian prose writers published poetry collections, declaring they felt themselves poets more than prose writers. It also mentions others considered the title of Poets as too much involving and poetic adventure.