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Discusses the notion of "authentic materials" (i.e., not designed for pedagogical use) and the problems of using them in a French-as-a-second-language classroom. Methods for using these materials are suggested. (AM)

The Korean War was a crucial event at the beginning of Czechoslovakian Cold War ideology and propaganda, when, in the duel between the two worlds, culture was involved. The present article focuses on the formative era of the Korean War narrative through Cold War fictions and nonfictions in 1950s Czechoslovakia. It presents the most influential books in the Czechoslovakia of the time: Han Hǔngsu’s Korea včera a dnes (Korea Yesterday and Today), the Soviet publication Viděli jsme Koreu (We Saw Korea), and the North Korean anthology of pamphlets Jak byla připravena válka v Koreji (How the Korean War was prepared). The article then analyses two anthologies of poetry written by the famous Soviet Korean poet Cho Kich’ŏn, the novel Sešit nalezený v Sunčchonu (The Notebook Found in Sunchŏn) by Roman Kim, and the booklet Čeští spisovatelé korejským dětem (Czech Writers to Korean Children). The conclusion summarises the ways in which the Korean War was depicted and the pivots of its narrative.

The article explores the reception of Sidonie-Gabreille Colette's works "Les Vrilles de la Vigne" and "Sido" among high school students, examining their engagement with the author's prose and the challenges of teaching her complex narratives. It discusses the perception of Colette's literary legacy within educational contexts, addressing the tendency to focus on her non-fictional writings and the need to appreciate her fiction for its richness and complexity.

Contemporary narrative features a number of investigative authors who are part of a dynamic of inquiry : investigations in archives, both genealogical and judicial, field research, testimony gathering, trial chronicles. The labyrinth motif not only blurs the lines of enquiry, demonstrating how difficult it is to grasp reality, but also renews the territories of fiction and non-fiction. In this article, we show how contemporary authors engaged in a quest for missing persons or the unveiling of a truth, use the labyrinth motif in their investigative narratives. The labyrinth motif expresses the complexity of the investigations carried out by the authors in their role as investigators. In this way, the labyrinth becomes a metaphor for the authors' creative work, in contact with past and present time. [ABSTRACT FROM AUTHOR]

In the summer of 1939, Tom “Tennessee” Williams painted his first of several self-portraits. The year is significant because it also marked his entrance into the New York theatre world. Though there was little question that Williams would become a playwright, he never abandoned his painting entirely – or his obsession with self-portraiture. For Williams, traces of his lived experiences can be found in nearly every one of his works, textual and graphic alike. Drawing on Barthes’s theory of the (auto)biographeme and Hall’s sociological study of the self-portrait, this article studies that first graphic self-portrait alongside the many textual self-portraits (memoirs, essays, letters and private notebook entries) that Williams produced in or about 1939 in the aim of demonstrating how, in complementing each other, the graphic and the textual self-portraits document his transformation from Tom into Tennessee.

Following the coup d'etat of 1953 and the trauma caused by it gradually in the 60s and 70s in Iran a new subjectivity, a new vision for the Iranian subject of modernity emerged. Iranians were called by their intellectuals to overcome the trauma, which was called "occidentosis", a state in which everything that they try to create and produce is "stilborn". They were asked to no longer accept predestination and quietism, developing courage instead, becoming militant and finding their own, authentic way of encountering technologies and the West. This paper systematically demonstrates that the new subjectivity, which can be seen in the Iranian prose and non-fiction in the 60s and 70s is heavily influenced by European intellectual ideas. [ABSTRACT FROM AUTHOR]