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This paper presents the importance of art in Metin Arditi's life and work and examines if his novel Le Turquetto can be considered an example of pictural writing. First, we present the context of writing and the role of art in the writer's personal experience. Then, we describe different thematic and formal manifestations of the pictural in his text, based on Liliane Louvel's typology, to verify how intermedial references between literature and painting influence the reader's reception. [ABSTRACT FROM AUTHOR]

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In his short stories from De l'autre côté d'Alice, Georges-Olivier Châteaureynaud chooses three classics belonging to children's literature in order to rewrite them for adults. First, the intertextual principle, which is constituted by Alice's Adventures in Wonderland, Peter Pan, or The Boy Who Wouldn't Grow Up and The Adventures of Pinocchio, can be easily identified through elements of the paratext. Then, the analysis of references to the models shows that the French writer modifies mainly themes, and theses transformations are of two types: diegetic (changes within protagonists and the chronotope) and pragmatic (changes in narrative sequences). The meeting of the past texts and the present ideas leads to an original rewriting example, demanding a ludic and hermeneutic reading. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Pologne 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.)

Limited by the principles of brevity and conciseness, all short fictions pay attention to the choice of the time and the space. The uncanny tale, transgressing fantastic and marvelous poetics, appropriates some places and moments reserved to these two categories but it uses them in an original way. In order to describe the uncanny chronotope we examine some of short fictions of Marcel Aymé, Jean-Baptiste Baronian, Georges-Olivier Châteaureynaud, Philippe Dumas et Boris Moissard, Pierre Gripari, Marcel Schneider, Jules Supervielle and Marguerite Yourcenar. In our study we take in consideration the definition of the uncanny proposed by Michel Guiomar in 1957. According to the critic, the uncanny is based on the derogation to fixed norms, customs, rules or laws. We present the uncanny tale as the transgression of traditional fantastic and marvellous. First of all, we study the realistic space which conserves some marks of the fantastic but rejects its essential features like the irruption of the supernatural element and the play with fear. Then, we observe the time and the space oscillating between the reality and the unreality, with examples of the garden and of the Christmas Eve’s night. Finally, we consider the space entirely imaginary, situated in the other worlds (the underwater spaces, village suspended on the ocean, the air populated with shadows) where the time becomes eternal. [ABSTRACT FROM AUTHOR]