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The aim of this analysis is to examine the different narrative modes through which, in the novel Notre Dame de Paris, Victor Hugo evaluates and therefore criticises the judicial system in France in the XV century. The investigation develops on three different levels; firstly, the places of justice were examined: depicted in an extremely realistic way, these environments profoundly shape the author's narrative spaces. The following section has its focus on both the characters that, in the story, work as the embodiment of justice, and the ones that come into contact with it or that are somehow affected by it: their analysis adamantly shows Hugo’s aversion and intolerance towards the judicial institution itself. Lastly, the judicial apparatus is considered through a careful investigation of the trials, sentences and punishments that can be found in the novel, often working as the engine of the narrative machine. Moreover, an entire paragraph is dedicated to an in-depth investigation of the sources of law used by Hugo in the novel, sources that clearly prove quite a good legal knowledge on the part of the author.

The Birthday Party by Harold Pinter remains as a quintessential epitome of comedy of menace which substantially deals with the political themes within a seemingly mundane domestic settings. In fact the play is a subversive work that critiques authoritarian control, unraveling its political undercurrents through the characters' psychological confinement and existential apprehension. Pinter's drama not only operates as an intense portrayal of personal alienation under ambiguous authority but also serves as a profound commentary on the dangers facing artistic freedom. To further this analysis, comparisons are drawn with the personal struggles of celebrated writers such as Salman Rushdie, Victor Hugo, Boris Pasternak, and Antonio Gramsci, each persecuted for challenging dominant political narratives. Through their experiences, this study examines the personal and social consequences of artistic expression in the face of censorship, repression, and state-enforced silence. [ABSTRACT FROM AUTHOR]

The purpose of the article is to analyse the romanticised artistic image of Esmeralda in the works of nineteenthcentury artists - one of the key characters of Victor Hugo's novel Notre Dame de Paris (1831) as a typical example of French literature of the Romantic period. This work is characterised by grotesqueness, hyperbole, conflict, and a tendency to dramatic moments in the plot construction, which is embodied in the figure of Esmeralda, a freedom-loving and charismatic Roma dancer. As a symbol of the two fundamental vectors of social development, which consisted in the struggle between good and evil, she captured the imagination of nineteenth-century artists, encouraging them to develop creatively and convey their feelings through visual tools in a romantic and realistic way. To this end, the following research methods were used: the historical method, which allowed to conduct study in accordance with the period of writing the novel and the works of art; the comparative method for comparing works of art united by a common storyline; the art historical analysis for establishing a number of stylistic and compositional features of each work. The scientific novelty is that for the first time a number of nineteenth-century paintings depicting the heroine of Notre Dame de Paris, Esmeralda, has been classified. The criterion for this selection was visual poetisation of the image of Esmeralda. Conclusions. The analysis of works by William-Adolphe Bouguereau, William Gale, Eugene Henry, Friedrich Kraus, Joseph van Lerius, Lionel Royer, Carl Steuben proves the attention of these and other artists to the figure of Esmeralda from Victor Hugo's novel Notre Dame de Paris. In the analysed paintings, the image of Esmeralda reflects the key features of the romantic worldview: the cult of feelings, attention to inner experiences of an individual, fascination with demonic female images, among others. The pictorial interpretations of Esmeralda's image by Romantic artists allow us to better understand the plot trends inherent in the Romantic period, and also to depict the external and internal beauty of women in the trends of Realism. [ABSTRACT FROM AUTHOR]

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Heine was not only recognised as a German poet but also as a French author. This is already documented by Sainte-Beuve’s reviews of the 1830s, which are examined and contextualised more closely in this article. The focus is on the linguistic and stylistic observations made by Sainte-Beuve and the enormous impact of his famous literary reviews. This paper thus sheds light on Heine’s literary naturalisation by Sainte-Beuve but also on the limitations of his method.

O objetivo é seguir a evolução do próprio pensamento de Victor Hugo sobre a conceção da tradução e do tradutor. De facto, em 1819, Victor Hugo ficou indignado com uma tradução de Homero em verso em língua francesa: “É monstruoso e insustentável”, declarando que “uma tradução em verso de qualquer pessoa, por qualquer pessoa parece-[lhe] absurda, impossível e quimérica”, sugerindo a priori que Victor Hugo é um defensor da intraduzibilidade. Na sua juventude, Victor Hugo entendia que qualquer tradução era proibida, um tabu, dando toda a importância ao próprio autor. Mas o seu ponto de vista irá evoluir com o tempo. O trabalho desenvolvido pelo seu filho François-Victor Hugo, de 1858 a 1866, trar-lhe-á um novo horizonte no campo da tradução. Labor severo, revalorizando assim a tarefa do tradutor, percorrendo um caminho árduo, mas estimulante. Tributário da sua época, com Victor Hugo, é todo um processo de renovação de ideias do discurso francês sobre a tradução que nos é entregue. O objetivo deste artigo é mergulhar no universo de Victor Hugo a fim de clarificar esta sua perspetiva evolutiva ao longo do século XIX. Fá-lo-emos analisando os seus escritos cronologicamente, desde as obras da primeira juventude, até às obras do seu exílio.

After first establishing some general characteristics of nineteenth-century photographic albums, this article analyses one of the most exceptional and elaborate created during the Second Empire, namely the Album Allix (1856-60). Put together by the entourage of Victor Hugo during his time in exile on the Channel Islands, it brings together numerous portrait photographs of the poet, alongside images of his family and friends. The article focuses on the ways in which Hugo is represented as the national writer of France through iconography and pose (as well as posture), on the one hand, and the ornate framing of his portraits on the album pages, on the other. It demonstrates that in the album the personal biography of Hugo is closely aligned to the history of France through an intermedial, text and image dynamic specific to photo albums in the nineteenth century, as bringing together private and public, family and nation, memory and document.

The article deals with two reflections of the everyday life of Paris in 1817: in the vaudevilles “Living Calendar” and “Battle of the Mountains,” composed and staged exactly in this year, and in Victor Hugo’s novel Les Misérables, which was published in 1862. The whole chapter of the novel is devoted to listing the heterogeneous and petty facts of the daily life of Paris in 1817. It turns out that the optics of direct observers (half-forgotten vaudeville artists) and the famous novelist, who described events after four decades, differ very much. The everyday life of vaudeville and the everyday life of the novel present two different images, although they are dated by the same 1817. Hugo tries to simulate everyday trivia of 1817, but in fact he paints an extremely subjective and biased picture by increasing dates and facts blunders and diligently looking for such details that can compromise the Bourbon Restoration era as much as possible. We can hardly judge what trivia really interested the people of 1817 from the chapter “1817.” We could learn much more about it from the ephemeral vaudevilles, since they had captured a picture of everyday life in 1817 on fresh tracks. Hugo does not say a word about the clever dog Munito, the opening of the special storage chambers for canes in theatres, the appearing of new social type clerks-“calicos” etc., but forgotten vaudevilles remind of that.

The article examines how the topic of the Haitian Revolution resonated in the Czech literary scene in the first half of the 19th century. At the core of the study is Victor Hugo’s early work Bug-Jargal (1826). Based on colonial discourses, the story reflects the hierarchization of displaced Africans and their descendants through a detailed racial classification that 'scientifically' structures colonial society. The Czech version of the novel by Dalibor Kopecký (1839) contains significant changes, allowing racial imagery to be adopted and adapted to the aesthetic and extra-aesthetic goals of the text in its new context. Considering other literary echoes of the Haitian Revolution in the Czech lands and the cultural and political context that preceded the Spring of Nations, the translator’s rewriting emerges as a response to local emancipatory efforts.

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The objective of this essay is, from a survey of the reception of Victor Hugo's work by Monteiro Lobato and the similarities between the characters Negrinha, from the homonymous Monteiro Lobato's short story, and Cosette, from Les Misérables, by Victor Hugo, to emphasize their differences, taking into account, above all, the Brazilian reality, marked by prejudice and racism. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid 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.)

Dla świata literackiej wyobraźni Wiktora Hugo Hiszpania stała się tyglem, nieustannie dostarczającym pożywki także dla jego mitologii osobistej. Poznana w dzieciństwie Hiszpania (spędził tam około roku) miała okazać się fascynującym krajem „zza Pirenejów”, historycznie i geograficznie nieodległym, choć bardzo odmiennym, niemal egzotycznym, i tym silniej działającym na wyobraźnię twórcy: uwodzicielskim. W poetyckich strofach kolejnych zbiorów wierszy, w dialogach i monologach, w fabułach powieści, Hiszpania jest obecna jako słowo, dźwięk, obraz, miejsce akcji dramatycznej lub fikcji literackiej. Pojawiający się często efekt antropomorfizacji i personifikacji sprawia, że w imaginarium Hugo Hiszpania jawi się niby ukochana, bliska, choć utracona, żywa osoba. Artykuł śledzi dynamikę owej fascynacji, stale obecnej w twórczości Hugo, choć modyfikowanej także przez tragiczne zdarzenia w życiu pisarza.

Letters written over the course of 1859–60 tell of an effort on Charles Baudelaire's part to republish Charles Meryon's Vues sur Paris, augmented with descriptive texts by the poet. The collaboration failed and, ever since, readers have wondered what would have come of it. At the same time, Baudelaire was "courting" Victor Hugo, sending him new and not-quite-new poems dedicated to him. At the very end of 1859, Baudelaire includes his Salon description of Meryon's etchings in a letter to Hugo, one Walter Benjamin qualifies as among Baudelaire's best prose pieces. Further, Baudelaire cites Hugo in his description of Meryon's etchings, and declares that the etchings would certainly please him. Was the promise of more texts about the etchings nothing more than the tail end of an effort to please Hugo? Whatever the case, the project's failure is not simply to be laid to the account of Meryon, afflicted by "délire mélancolique compliqué d'hallucination," and dying at Charenton the year following Baudelaire's own death. Baudelaire's decisions are difficult to understand, and seem as influenced by Hugo as by other considerations. In particular, in his description of Meryon's etchings, Baudelaire seeks to "inscribe" something on them, much as Hugo sought to inscribe his father's name in his representation of the Arc de Triomphe. In fact, Baudelaire imposes the story of a dispute between father and son, or more exactly, God and man, on the etchings, a story modeled on his own relations to Hugo. Later accounts of Meryon follow the same pattern, insisting on finding narratives in images that they all acknowledge as monumental. This insistence on finding diachrony in synchronic images is the madness that afflicted Meryon. [ABSTRACT FROM AUTHOR]

Through a critical reading of Gisèle Pineau's La Grande Drive des esprits (1993) and Raphaël Confiant's Adèle et la pacotilleuse (2005), this article examines the practice of 'writing back' to the canon as a privileged mode of Caribbean literary and critical discourse. The study demonstrates that evoking the riotous spirit of carnival performance, Confiant's novel cannibalizes a historical drama, whose title character crumbles under the cultural, social and real weight of paternal legacy. The film's protagonist – Victor Hugo's daughter – famous for her mental health struggles, reappears in Confiant's novel as a means of encouraging reflection on the paradoxical play of absence and silence, as well as on the limitation and power of language. Confiant further makes deliberately strategic references to Hugo's first novel – set in the Caribbean – in a bid to appraise the corporeal and cultural exploitation of Caribbean peoples through (neo)-colonial designs. While less straightforward in its 'writing back' strategies, Pineau's novel references Victor Hugo to make a commentary on the intersections of colonialist and masculinist underpinnings of Caribbean cultures, and women's dislocation within them. The metaphor of madness as a marker of otherness in Pineau's novel draws attention to the implications of language as a site of conflict. [ABSTRACT FROM AUTHOR]

The differences existing between the first three editions of Le Dernier Jour d'un condamné make it impossible to speak of single work with a single message, and close examination of the text shows that it is following a repetitive, mechanical compulsion that has come to be known as overdetermination. This mechanism, just as capable of producing horror as it is of producing outrage, guides the novel itself, but also corrupts the prefaces, making them more emphatic than persuasive. [ABSTRACT FROM AUTHOR]

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Se analizan cuatro adaptaciones fílmicas de Notre Dame de Paris (1831), de Victor Hugo, como iconografías del imaginario del teatro medieval en la contemporaneidad. Si bien cada una de las versiones posee motivos singulares (como el traslado de la fiesta a la noche, la abismación escenográfica, la plasticidad guignolesca y la derivación hacia los “cartoons”), se establece como lugar común el entablado en el centro de la plaza y el traslado de las figuras de las moralités medievales, tal como las concibe Hugo, hacia las calles. De fondo, se propone una lectura en clave de rebelión política del fenómeno teatral sobre la denuncia religiosa y de la aristocracia con la que se ironiza en la novela.

Desde los inicios de la era Meiji (1868-1912), la novela Les Misérables de Victor Hugo tuvo una gran influencia en la literatura, el cine, y la política japonesa. Tras la publicación de la primera traducción en japonés, la obra llegó a ser tan popular que los estudios cinematográficos produjeron entre 1910 y 1931 cuatro películas mudas basadas en la novela. En este estudio se analizan estas adaptaciones interculturales, se examina la transformación cultural de elementos narrativos, y se describe de qué modo los intereses comerciales o estéticos de la industria, así como los cambios ideológicos y sociales experimentados por el país a lo largo de esas dos décadas determinaron la interpretación y la adaptación de la obra.

In the literary world of Victor Hugo's imagination, Spain served as a melting pot, continuously providing nourishment for both his personal mythology and creative endeavors. As a child, Hugo spent approximately a year in Spain and found the country to be fascinating "beyond the Pyrenees." Historically and geographically close, yet different and almost exotic, Spain became a powerful and seductive source of inspiration for the artist's imagination. In subsequent collections of poetry, dialogues, monologues, and novels, Spain is present as a word, sound, image, a place of dramatic action, or literary fiction. The frequent anthropomorphization and personification of Spain in Hugo's works create the impression of a beloved, close, yet lost, living person. This article examines the dynamics of this fascination, which is ever-present in Hugo's works, and how it was modified by tragic events in the writer's life. [ABSTRACT FROM AUTHOR]

If literature crosses the ages, the sudden irruption of a socio-political context of war makes certain texts particularly resonant and exposes the vital necessity of literature to transcend the trials of time. [ABSTRACT FROM AUTHOR]

From the nickname of Red Virgin, associated with Louise Michel, the objective of this article is to retrace the itineraries of the sexual question in the celebrity and posterity of this anarchist figure. Three images form the main thread : virgin because deviant, virgin because exceptional, virgin because grieving and mourning. These different representations of Louise Michel sexuality (and virginity) reveal the social stereotypes about the role of women and their place in political action.

The past two decades have seen a growing 'activist' turn in Translation Studies, whereby the translator is not considered a subservient mediator of the source text, but rather an engaged agent whose translation activity promotes particular political and social ends. The translation and adaptation into Chinese of an English version of Victor Hugo's Les Misérables in 1903 by a Buddhist monk, Su Manshu, illustrates the complex range of social and cultural factors that must be taken into account when considering a text of activist translation. Su Manshu radically edited a portion of Charles E. Wilbour's English translation of Hugo's novel, freely adding new elements, for serialization in a Chinese revolutionary newspaper. The present article traces the nature and impact of the changes made to the English bridging text by Su Manshu in the process of creating a polemical adaptation that would reframe Hugo's representation of the volatile events leading to the 1832 Paris Uprising as a work designed to encourage a contemporary Chinese audience to rise up against its rulers. [ABSTRACT FROM AUTHOR]

The aim of this study is to investigate the translation of emotive expressions in two poems of the French novelist and poet Victor Hugo. The study will examine the rendition of the French emotive expressions found in these two poems into Arabic and English as well trying to investigate the ability of both languages (Arabic and English) to express the same emotional effect of the French texts. This paper presents a comparative study for the ability of Arabic and English to translate such expressions from French. [ABSTRACT FROM AUTHOR]

Paris, “The Centre of All Centres”. Is It Still the Case? In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: “Paris is the Greenwich meridian for literature” for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading? The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to “La belle santé économique et la liberté” in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures. There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject.

Victor Hugo, homme de combat, a adopté à de nombreuses reprises la posture du « seul contre tous » dans sa vie politique comme dans sa vie littéraire. Le mépris, assorti de l’ironie et d’un sens féroce de la polémique, apparaît alors comme une arme de choix pour disqualifier l’adversaire et se construire simultanément une stature morale. Ce sont ces mécanismes que l’on tentera de cerner à travers les discours publics de Victor Hugo, son œuvre littéraire et ses dessins. On s’attachera à mettre en évidence les stratégies à l’œuvre dans ces combats : l’attaque ad hominem et l’atteinte physique ; les procédés de monstration et d’exhibition par lesquels le poète soumet ces cibles à l’opprobre public ; les procédés de reductio ad absurdum des raisonnements de l’adversaire, vidés de sens et ridiculisés.

Shakespeare did not go easily into French. Voltaire was ambivalent about him as he helped to introduce him into France, especially when he was in exile in England, but he also had reservations about Shakespeare not being neo-classical or, to put it another way, being "barbaric." This neo-classical ambivalence also occurred among the English during the Restoration, after 1660, when Charles II returned from France to England and was restored to the throne. John Dryden and Alexander Pope, for instance, were ambivalent about Shakespeare. With Romanticism, Shakespeare became more popular in France, and Victor Hugo and his son, François-Victor Hugo, were instrumental in establishing Shakespeare in France, with the father, the great writer, lending a preface to his son's work and the son undertaking the work of translating Shakespeare systematically in 18 volumes. This article will focus most on the father's preface in the first volume and on the son's translations of the Sonnets in volume 15. The reason for this choice and method is that the pioneering work in the first phases of literary translation needs close examination, what I call the establishment of translation or reputation. [ABSTRACT FROM AUTHOR]

In late 1855, thirty-nine European refugees were summarily expelled from the island of Jersey, a crown dependency of the United Kingdom. The only explicitly political deportations of foreign nationals from the British Isles in the Victorian era, these expulsions garnered much attention, partly because Victor Hugo numbered amongst the expelled. Though widely denounced as violations of Britain’s constitutional liberties, the expulsions were strikingly modest in their scope and sustainable only under a very particular set of political circumstances. Rescinded after four years, the Jersey expulsions did not represent the end of asylum rights in Britain so much as their resilience.

At the end of the nineteenth century, Najīb al-Ḥaddād adapted two dramas by Victor Hugo for The Egyptian Patriotic Troupe. Al-Ḥaddād rewrote Hugo's Hernani as Ḥamdān , transferring the story from the Spanish court of 1519 to Andalucía under 'Abd al-Raḥmān II. Les Burgraves became Tha'rāt al-'arab (Revenge of the Arabs), and transformed from a play about Barbarossa and the Holy Roman Empire into a play about a pre-Islamic Lakhmid king's struggle to restore unified Arab rule in the Arabian peninsula. I argue that Al-Ḥaddād's adaptations anachronistically placed modern ideas in the Arab past—characterizing shūrā as the election of leaders, using sha'b to mean a sovereign people, and calling for Arab cultural unity and revival. Al-Ḥaddād's adaptations transformed the nationalism of Hugo's drama into calls for Arab solidarity. In producing these plays, The Egyptian Patriotic Troupe embodied an Arab past overlaid with modern communal identities. [ABSTRACT FROM AUTHOR]

In the 19th century, Victor Hugo was one of the important names of the criticisms that rose in France against the destruction of historical monuments due to the demolition of the French Revolution and the transformation in cities initiated by the Industrial Revolution. Hugo, set the main theme of some of his works around his struggle against the destruction that took place at that time, as his contemporary John Ruskin in England. Historic monuments occupied a large place in Hugo’s texts, and he also made well written documentation of the monuments with his detailed descriptions, encouraging the sensitivity to history and culture at every opportunity to show the respect they deserve to artworks, while also contributing to the emergence of contemporary conservation idea. Using his literature as a means of documentation and struggle, Hugo attracted the attention of the masses with his novel The Hunchback of Notre Dame and also his essay War on Demolishers. In this study, Hugo’s ideas and contributions on architectural conservation in his works were discussed, his essay War on Demolishers was translated into Turkish, and it is correlated with today’s conservation debates and international conservation principles. [ABSTRACT FROM AUTHOR]

No período determinado entre 1871 e 1914, cerca de trinta e cinco jornais feministas foram publicados na França. O primeiro a ganhar vida, le Droit des femmes (1869), teve uma má recepção por parte da sociedade da época, o que fez com que o seu editor, Léon Richer, fosse hostilizado publicamente. O escritor, romancista e ativista político, Victor Hugo, reconhecido personagem pertencente ao movimento progressista, escreve uma carta a Léon Richer, em apoio à causa feminista. O presente artigo procura analisar os procedimentos argumentativos adotados pelo autor, cujo objetivo era o estabelecimento de um diálogo em uma sociedade contrária aos novos ideais propostos, entre elas a reformulação dos valores. Dentre os resultados, é possível inferir um domínio da arte da persuasão por parte de Victor Hugo, ao buscar o contato prévio com o auditório, como se valer, em determinados trechos, do gênero epidítico para lidar com um grupo específico. O resultado obtido pelo autor ajuda na compreensão do modelo de sociedade aberta, proposto por Danblon, onde o dissenso é enxergado como algo saudável.

Victor Hugo achète « Hauteville House » en 1856 grâce aux gains des Contemplations et c’est dans cette même demeure qu’il finit Les Misérables en 1862 : « Hauteville House » est donc intrinsèquement liée à sa création littéraire. C’est en outre la première maison dont il est propriétaire et dans laquelle il vivra pendant quinze ans. De 1857 à 1862, il façonne la décoration intérieure de la maison, pour laquelle il fabrique même certains meubles. Cet article démontre qu’Hugo transforme ce lieu de vie en « maison-musée » qui constitue une autre de ses œuvres d’art, la maison-livre de l’écrivain-architecte. Finalement, Hugo met en scène une véritable architecture du moi dans cette maison-miroir narcissique, car ses initiales et sa signature sont partout inscrites à « Hauteville House ».

Lorsqu’il s’agit d’évoquer les adaptations des Misérables, l’énoncé le plus évident et le plus attendu est le suivant : c’est le destin de Jean Valjean. Pourtant il existe une toute première tradition cinématographique dans laquelle Les Misérables, c’est l’histoire des «Chandeliers de l’Evêque». Dans cet article, nous allons essayer de retrouver cette tradition, d’exhumer quelques films-jalons, en commençant par l’une des toutes premières adaptations du roman réalisée par Albert Capellani en 1906 ou encore celle de Lewis Milestone en 1953. L’essentiel de notre analyse se concentrera sur ce film dont l’originalité tient au fait qu’il propose une lecture conservatrice -au sens nord-américain du terme- du roman et qu’il constitue l’avatar le plus tardif de la tradition des «Chandeliers de l’Evêque».

Since 1876 until his death in 1885, Victor Hugo, one of the most popular French authors of the 19th century, was member of the Senate. His mandate has, however, been rarely mentioned in biographies devoted to him. Far from being a self-effacing period in the life of Hugo, during his mandate he was fighting the last great battles of the republicans. After a difficult election, Victor Hugo became senator and started his fight against personal power, but in favor of the amnesty of the communards. In consideration of the republican victory, by the end of his life, Victor Hugo became a guardian figure of the Haute Assemblée.

In this short article, the author intends to study the relation between theme and myth, based on the theme of the sea in the poetry of Victor Hugo and Antero de Quental. He will focus on methodological subjects specifically connected with Comparative Literature, and based on his own creative and critical literary works, as well as on his vast teaching experience of Literature; The comparative relations between Portuguese Literature and French Literature of the XIX century will be his investigative field of study.

With the success of his novel Notre Dame de Paris (1831), Victor Hugo was responsible for the popularization of another type of historical narrative, different from the model created by Walter Scott. Among other characteristics, Notre Dame de Paris differs from the Scottish writer's work because it can be associated with the reactionary vogue of romanticism, which, according to Lukács, defended the nostalgia of the past and an averse look at the revolutions. Defined by Maria Helena Santana (2007) as a “heterodox historical novel”, Almeida Garrett’s O Arco de Sant’Ana (1845-1851) has many points of contact with Hugo’s work, recognized by the Portuguese writer himself. One of these points that strikes us is the representation of the experience of masses, apparently similar in the two novels, but profoundly different, which would show the distance in the political perspectives of the two authors. It is our objective, in this sense, to analyze the thematic and stylistic recovery that Garrett promotes from Hugo’s novel, in order to understand its specificities in the Portuguese context. --- DOI: http://dx.doi.org/10.22409/gragoata.2018n45a1046.

Soon after his move, in 1855, to the Channel island of Guernsey, Victor Hugo bought a large house, which he called Hauteville House after the quarter of Saint Peter Port in which it was located. Over the next six years, he led a massive decoration campaign, during which he transformed the interior of the house into what many contemporaries saw as an ultimate form of self-expression. One of the main characteristics of the Hauteville House interior was that it was furnished entirely with antiques and bric-à-brac that Hugo had acquired in Guernsey as well as on the European continent. The poet was a passionate collector who scoured the antique shops in Guernsey for old chests, furniture, fabrics, etc. These he brought home not to restore them to their former glory but to take them apart and make new pieces of furniture out of them. In this article I link Hugo's process of fragmentation and reformulation to his writing method, especially his historical novels and historical dramas, as well as to contemporary historiography. I also link his process to Claude Lévi-Strauss's concept of bricolage in an effort to show that Hugo's opportunistic strategy of using available fragments of earlier cultural epochs and remaking them into new forms is analogous to the process of mythical thought. Indeed, I argue that Hugo's bricolage process in Hauteville House was a conscious process of self-mythologizing. [ABSTRACT FROM AUTHOR]

In La République Mondiale des Lettres published in 1999 and 2008, Ms. Casanova wrote: "Paris is the Greenwich meridian for literature" for the 19th and 20th centuries. Writers and artists have come to the city in the past because it was extremely attractive for creative and economic reasons. But at the beginning of the 21st century, with the rise of the New Media for writing, publishing and diffusing, is it correct to say that Paris is still supreme? Is location more important than the time devoted to writing and reading? The claims on which Ms. Casanova builds her assertions are not supported by the facts of recent history and geography. She refers to "La belle santé économique et la liberté" in Paris but she forgot to mention why artists came from central Europe. It was just because the life was cheaper in Paris than in Berlin, as Walter Benjamin observed in 1926. She notes that Paris was the world centre for high fashion and that writers came together there to be inspired by the place and each other. But these things are no longer true: Paris is one of the most unaffordable cities in the world. Fashion in clothes is determined in many centres, with fashion weeks held in New York, Milan and China; aesthetics no longer depend on a single country. Literary creativity has spread across many continents and the internet and social media provide access to millions of people around the globe. Globalisation has unified the world, note Jean-Philippe Toussaint and Sylvain Tesson, and brought the standardization of cultures. There is also the matter of the dominant language today. The French language has not changed since Ms. Casanova was doing her research, but French writers now dream of being translated into English to reach the largest audience around the world. Publishers also favour English to make the most profit because literature and art are now worldwide commodities. Writers and researchers use the Internet, which connects them with documents, libraries and people all over the world. Newspapers such as Le Monde and Le Figaro in France provide literary reviews from around the world; for example, Histoire de la Traduction Littéraire en Europe Médiane, compiled by Antoine Chalvin, Marie Vrinat-Nikolov, Jean-Léon Muller and Katre Talviste, was written up in Cahiers Littéraires du Monde. What about the readership? If publishing and merchandizing are accelerating and globalizing because of how the Internet changes time and distance, the writer still has to follow the rhythm of the subject. [ABSTRACT FROM AUTHOR]

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If there is a work of fiction relevant to the document library and its contents directly to the delicate, the exquisite Notre-Dame de Paris by the French Writer Victor Hugo draws our attention to the density of signifiers and symbols that charging by the Office, in addition to poetic discourse and narrative in which the tyranny on this novel. So still many student critics, and even readers seeking to value-expressive, which has affected the spaces of this novel and their capitals with connotations and additional services the vision of the writer, which I use also elements of Islam from the narrative and dialogue characters specialized to read narrative dimensions of social, psychological, and religious. Proceeding from that, based on this research paper in their office, on the front four and the finale. Been in the show problematic search, relevance and product followed and then the most important previous studies the image of the office with a brief definition of the terms place and space. Came early the first is a study of the peculiarities of the historical place, while the second semantics space across the sub-headings of the facts of the novel, and in particular the third building to study the symbolism of the space of the streets of Paris and their referents, usually early treatment the fourth and final symbolic space of the Cathedral of Notre-Dame de Paris. Then outlined the conclusion the most important results of this study. [ABSTRACT FROM AUTHOR]

Italian architect Aldo Rossi's rise to fame, and recognition by professionals and public alike, was predicated on him putting across his personal passions and memories of life experience. Italian‐born, London‐based architect and tutor Robin Monotti Graziadei investigates how the intertwining of architecture with the personal imperatives of the architect produced some extraordinary work. [ABSTRACT FROM AUTHOR]

In 1965, the French choreographer Roland Petit set himself the task of making a ballet out of Victor Hugo's voluminous novel Notre-Dame de Paris. The result departed radically from earlier attempts to transpose the work into movement by choreographers who included Jules Perrot and Marius Petipa. Although the love plot (which revolves around a dancer), the wide range of emotions depicted, the stark contrasts, and alternation between crowd scenes and more intimate scenes favour its transposition into a ballet, the novel also presents numerous difficulties, such as the importance of politics, philosophy and architecture. Quasimodo, Frollo and the cathedral seem rather unsuitable protagonists for a ballet. This paper argues that Petit's adaptation of Notre-Dame de Paris engaged with the literary source on a much deeper level than its predecessors. Petit's innovative ballet does not merely illustrate the novel: it reveals underlying elements in the source and sheds new light on it. [ABSTRACT FROM AUTHOR]

What is a utopia's function other than as a platform upon which we reflect the reality we already live in? Jimenez Lai, founder of Los Angeles studio Bureau Spectacular, argues that in facilitating criticism, utopias can point the way to solutions for current or future challenges. Drawing parallels between utopian visions in literature and the cartoon caricatures of modern journalism, he presents a series of utopic graphic novels that he has produced which explore issues from hyper density to zero gravity. [ABSTRACT FROM AUTHOR]

The purpose of this study was to look at the grotesque characteristics of the preface to "Cromwell, 1827" by Victor Hugo and to identify the differences in the ancient Gris Tragedy. Also, Victor Hugo and Nietzsche were interested in the Middle Ages, and wanted to see if there were any differences. The main findings of the study are the grotesque phenomenon of Victor Hugo in the "Satirus" at Dionyson Theater in Nietzsche's Gris tragedy. When you classify them, first, the appearance of humans and animals mixed in. Second, Satyrus uses the mask as a grotesque material in a humorous and funny atmosphere. Although there were many ways to define grotesque aesthetics and philosophy, there was still a lack of research on grotesque. Future studies should be conducted in detail in social phenomena over time. [ABSTRACT FROM AUTHOR]