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In January 2020, Vanessa Springora published Consent, an unusual memoir that discloses the elaborated version of a personal story. Springora was 14 years old when she met the 50-year-old Gabriel Matzneff, a well-known French writer. Thirty years later, she decided to take back the agency that she claims was taken from her, with the artilleries of literature. While closely following Springora's narrative, the paper focuses on the emergence of a new "memoir genre", which besides presenting a platform for personal redemption, instigated an important shift within the French public opinion regarding the nature of consent, and ignited significant legal reform in this regard. As will be elaborated, Consent and other works in similar spirit appositely demonstrate the power of law to stimulate certain narrative patterns, and the power of stories to influence cultural atmosphere which leads to legal changes. [ABSTRACT FROM AUTHOR]

Shulamit Almog examines the Homeric epics, the I Iliad i , and the I Odyssey i . To remedy this, Almog's discussion focuses on the epics as literary texts "that narrate myths that have cultivated notions pertaining to the naissance of law" (4). Yet, surprisingly and quiet brilliantly, Almog manages to construct a fresh perspective pertaining to the epics, thus building a new layer of legal scholarship on the ages-old scholarly infrastructure. [Extracted from the article]

Copyright of Synergies Mexique 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.)

The way an author individualizes his writing is expressed through voice, a feature of writing that is often overlooked, generally not analyzed. The phenomenon of voice is not easy to grasp and when we think of Patrick Modiano, an adjective comes to mind, one which makes it even less detectable: imperceptible. Is it possible to analyze a voice that fades, that allows the contents to be “carried on writing”? However, examining Modiano‟s work, we realize that his voice is not homogeneous. On the contrary, the loud shouting voice of the young writer of the seventies is no longer the one of the mature novelist of the nineties. It has undergone esthetic metamorphoses. It leaves deep traces in the contemporary novel, but no critic would think to connect that voice to a shout. This paper examines Modiano‟s voice during the period between 1968 and 1997, attempting to reveal its evolution from La Place de l‘Etoile, via Missing Person up to Dora Bruder, studying the tension between outcry and whisper that destabilizes the writing. Two main questions demand analysis: What is Modiano‟s voice at the beginning of his career? Which transformations or tendencies has it undergone along these years [ABSTRACT FROM AUTHOR]

Copyright of Faux Titre is the property of Brill / Rodopi 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.)