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Decentralized from decision-making processes, women have been placed at the periphery. Their silencing has been fundamental and intentional on the part of patriarchal institutions, for the sake of keeping them behind the discursive scene. To this effect, this paper examines the rebirth of women from prior states whereby they used to be denied the right to sprout the wings towards language within a 'logocentric' society. A deep dive into Helen Cixous's "The Laugh of the Medusa" provides grassroots for allowing a woman to transform silence into articulation. The poetry of Anne Sexton is a case study to witness the drastic change from a crippling fear of speaking into an audacity of a number of speakers in "Lullaby", "Music Swims Back to Me" and "The Exorcists" to acquire language with which every female orator will be equipped to conquer the masculinist world without anxiety.

Visual manifestations of an object that moves from one place to another are common in sign languages. Here, we offer an overview of techniques for conveying motion of an entity based on an examination of storytelling and poetry in seven sign languages. The signer can use embodiment and/or classifiers to show translocating movement of an object, or they can adjust the dynamic properties of signs themselves, including the size of the signing space, rate of movement, trilled motion of manuals and nonmanuals, repetition, and adding a zigzag component to the movement path. Additionally, we found one technique in German Sign Language (DGS) that uses a manual sign to indicate great speed or movement covering a large distance.

The pedagogies that are currently being put forward within a broad multilingual paradigm in languages education endorse the general principle that learning is a collaborative and dialogic process engaging learners and teachers as partners that bring diverse linguistic, cultural and other knowledge into the classroom. The plurilingual approach to modern languages education adopted by the Council of Europe at the turn of the century is in line with the multilingual orientation embraced by educational linguists in the wake of migration and displacement on a global scale. This article deals with the implementation of the plurilingual approach in higher education, by focusing on the use of a particular type of cross-linguistic mediation in language teaching, namely written translation. Firstly, the article investigates how pedagogic translation is conceived of in applied linguistics. Secondly, it gives two examples of how translation is becoming an integral part of language teaching and testing in European universities. The concluding section contains some recommendations for future research.

This study aimed at examining the pedagogical needs and challenges of children and young adults living in a refugee camp in France known as the "Calais Jungle." Through the researchers' observations and interviews with volunteer teachers and workers at the camp, insights into their perspectives shed light on the pedagogical needs of refugees. Also, utilizing Paulo Freire's philosophical stance, this study provides a contextual approach to the educational practices and ideological viewpoints represented within unregulated refugee camp settings.

This article explores the carefully managed semiotic complex found in the Corsican village of Pigna with respect to the themes of pride and profit in the valuation of minority languages. This complex includes the careful coordination of color, graphics, the use of the Corsican language, as well as high-tech soundscaping of place through QR codes that tie specific locales to Corsican music and multilingual texts. This display, labeled the "poeticizing of the economy" by a key social actor, is directed both at the many tourists who visit the village as well as Corsican visitors and locals. It is linked to an effort to embed Corsican linguistic and musical heritage in new practices that both create place and integrate tradition and modernity. On the one hand, these practices can be linked to discourses of both "pride" and "profit" (Duchêne and Heller 2012) attested in many minority language contexts. On the other hand, I argue that the Pigna esthetic indexes a shift in the framework for cultural and linguistic revitalization from one that emphasizes a return to past native speaker communicative practice to one that focuses on the collective agency and identity associated with style and stylization and "transactional," or situated authenticities.

This is a compilation of reports on international literacy research. The report includes 3 separate reports on France, United Kingdom and Brazil. In the first report, research correspondent Jacques Fijalkow presents research into variations of reading motivation related to students' socioeconomic status (SES), age, and gender. Three of these studies were presented at an international colloquium in Huy, Belgium, in 2002 and later published in a special issue of "Caractere" in 2003. In the second report, Marketa Caravolas reports on a growing body of research involving comparisons of literacy development in English-speaking populations as compared with populations speaking other languages. In the third, and final, report, Renata Junqueira de Souza reports on research carried out by members of the Faculty of Science and Technology of the Department of Education at Sao Paulo State University. They examined the teaching of poetry in Brazil's elementary schools (Departamento de Educacao da Faculdade de Ciencias e Technologia, Universidade Estadual Paulista, 2000), interviewing 53 teachers of third-, fourth-, and fifth-grade students.

Taped interview in which Appalachian Indian poet Marilou Awiakta examines her own life and work. Discusses effects of rural upbringing, Cherokee culture, modern science, and life abroad on writing. Examines themes of feminism and technology in life and work. Includes six poems. (TES)

Describes the collection of Perse's literary works, manuscripts, archives, and documents given by the author himself to the city of Aix-en-Provence. In addition to primary sources, the collection contains works on Saint-John Perse, many annotated by him. Grants are available from the foundation for doctoral research. (AMH)

Leslie Kaplan's Excess – The Factory (1982, translated in 2018 by Julie Carr and Jennifer Pap) and Joseph Ponthus's On the Line: Notes from a Factory (2019, translated in 2021 by Stephanie Smee) are rare poetic depictions of industrial environments. Kaplan dwells on the manufacturing setting as exemplifying overproduction, whereas Ponthus attends to how precarious work in globalized supply chains gives rise to localized pressures. The two from-within stagings of labor offer testimony of dehumanizing infrastructure by pointing up intensities and ruptures in the margins of everyday capitalist cycles. They thereby demonstrate how poetry can perform a "critical unsiting" of the factory-site. In the light of this out-of-the-ordinary concept, our article identifies key aspects of (a) absence, (b) dispersal, and (c) density so as to show how poetic language can spark collective awakening and resistance to dehumanizing conditions. [ABSTRACT FROM AUTHOR]

For over a century, historians and literary critics appear to have been at odds regarding the poetry of the First World War. This schism owes itself to processes of canonization which restrict (in Britain) or completely ignore (in France) the full extent and diversity of wartime poetic practices. Investigating a new corpus of French poets of the First World War, and considering poetry as a social and cultural category and as a wartime practice whose functions go beyond literary value, this article argues that war poets can be read as ethnographers of wartime culture. In proposing this analogy, it aims to present the ethnographic conventions as a common ground where History and Poetics can establish a dialogue. For scholars aiming to investigate how cultural production shapes experiences of armed conflict, this ensures poets are seen as the producers of interpretive knowledge of war and poems as more than either transparent documents or hermetic lyrical creations. [ABSTRACT FROM AUTHOR]

Copyright of Cauriensia: Revista Anual de Ciencias Eclesiásticas is the property of Instituto Teologico San Pedro de Alcantara de Caceres 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.)

Later Stuart Britain is well known as an age of political satire. Scholars have generally approached this as an English-language phenomenon, but there was also a significant strand of satiric verse written in Latin, Britain's second literary language. This article examines the nature and significance of political satire in Latin in this period. Latin satire appeared in many forms and genres, including epigrammatic, lapidary, hexameter and rhyming verse. Like English-language satire, most Latin satire circulated in manuscript rather than print. Although it had elite authors and readers, some Latin satires reached a substantial audience, assisted by the prevalence of short poems and their circulation alongside English translations. As Latin was Europe's main international language, satires also flowed across borders, especially with France and the Dutch republic. Latin satires took diverse political perspectives, including royalist and oppositional, Tory and Whig, Jacobite and Williamite, and appeared throughout the later Stuart period. [ABSTRACT FROM AUTHOR]

Few historical sovereigns' political fate and posthumous image have been as influenced by creative literature as those of Marie, Queen of Scots, yet comparatively little attention has been paid to how she depicted herself in her own poetry. Most research devoted to her verse over the past two decades has been undertaken by scholars of English literature, despite the fact that Marie Stuart was neither English, nor did she write poetry in that language. Acknowledging that Marie considered France her homeland and French her mother tongue, this article examines the poems contained in Oxford MS. Add C.92, fol.22 as works of Francophone literature and situates them within a transnational historical context that has also been understudied: the intersection of the English Catholic exile cause in Paris with the politics and propaganda of France's Catholic League, led by Marie's cousin, Henri, Duke of Guise. It seeks to clarify not only the language and meaning of the poems themselves, but also to highlight how they draw from and contribute to a larger pool of French poetic and political discourse during the French Wars of Religion. [ABSTRACT FROM AUTHOR]

This article analyzes the theme of identity in the poetic work of one of the founding fathers of Afro-Caribbean letters Léon-Gontran Damas (1912-1978), whose works are still better known in English-speaking or Portuguese-speaking countries than in metropolitan France. Starting from the first cry of black revolt in poetry against the French presence in the overseas territories (Pigments, 1937), we will try to explain the originality of this multifaceted writer whose positions taken against the assimilationist policies of the French Republic and the disastrous consequences of the colonial enterprise have long irrigated the thought of Creole authors (Tirolien, Fanon, Glissant, Depestre) in their fight for a better consideration of the cultural and linguistic specificities of the French Antilles. In addition, the paper pays homage to his extraordinary literary work as well as his struggle for the freedom and the dignity of the colored people worldwide. What is more, the rise in power of racist and discriminatory attacks and the extremization of the discourse of many Western politicians prove that the author's literary work has never been so topical since it still constitutes a bulwark against the resurrection of European colonial thought and its imperialist excesses. After all, Damas' anti-racism invites us to fiercely resist a logic of scapegoating minorities in multicultural societies, especially in formerly colonizing and slaving countries where the followers of the exploitation of man by man occupy the center front of the media scene and whose hate speech against socially disadvantaged classes seriously undermine living together. [ABSTRACT FROM AUTHOR]

Few historical sovereigns' political fate and posthumous image have been as influenced by creative literature as those of Marie, Queen of Scots, yet comparatively little attention has been paid to how she depicted herself in her own poetry. Most research devoted to her verse over the past two decades has been undertaken by scholars of English literature, despite the fact that Marie Stuart was neither English, nor did she write poetry in that language. Acknowledging that Marie considered France her homeland and French her mother tongue, this article examines the poems contained in Oxford MS. Add C.92, fol.22 as works of Francophone literature and situates them within a transnational historical context that has also been understudied: the intersection of the English Catholic exile cause in Paris with the politics and propaganda of France's Catholic League, led by Marie's cousin, Henri, Duke of Guise. It seeks to clarify not only the language and meaning of the poems themselves, but also to highlight how they draw from and contribute to a larger pool of French poetic and political discourse during the French Wars of Religion. [ABSTRACT FROM AUTHOR]

Sound control policies already had a long history in the French-controlled settlements of the Senegalese coast by the time the prefect of Dakar issued a decree in 1953 prohibiting the use of loudspeakers on public roads and in the open-air courtyards of private residences. Such policies aimed at silencing the nighttime recitation of poems known in the Wolof language of Senegambia as xasida (and referred to by French administrators as chants religieux). Derived from the Arabic term for "ode" (qaṣīda), such poems formed a key component of the liturgy of Senegal's expanding Sufi orders. In this same period, the first Senegalese-owned printing presses began disseminating xasida in printed form more widely than ever, and at times against the wishes of the leadership of the Muridiyya, one of Senegal's leading sufi orders. By highlighting the intertwined nature of print, public recitation, and sound control in midcentury Senegal, this article seeks to illuminate the institutional and political contexts that shaped the production and reception of specific genres of Islamic scholarship in the late colonial period. [ABSTRACT FROM AUTHOR]

This article explores the poetry of François Jaffrennou, who published under the druidic pseudonym Taldir ab Hernin, as a case study in decolonized multilingualism. Close readings of Taldir's writing in Breton, Welsh and French reveal the pressures of negotiating a hybrid Celtic-French identity, as he affirms his Celticity while maintaining a careful relationship with France. Taldir criticizes the French state in his Welsh texts, whereas in French and Breton his critique is more guarded, subtly codified. The Celtic space which emerges here is full of tensions, as Taldir works both within and against the impulse to reconcile Celtic and French identities. I argue that being provincially Other in France requires a delicate balancing act, a special way of being French. I also contend that to work on the local is to work on the global, looking beyond regionalist and postcolonial approaches to Breton writing in an effort to dismantle the monolingualizing tendencies of French Studies. [ABSTRACT FROM AUTHOR]

This article examines the various constructions of Breton identity in twelve anthologies of poetry revealing three broad conceptual phases: celebration of an essential ethno-cultural otherness which nonetheless belongs within the French Republic (1830–1918), calls for independence which harness pan-Celtic or postcolonial discourses (1919–71), and a playful, performative notion of identity based on cultural affinity, inclusive of incomers (1976–2000). I focus on strategies of editorial framing which, in each phase, insist on the apartness, and the authenticity, of Breton expression. These anthological, quasi-anthropological projects both anticipate and encourage the reader's touristic gaze, betraying anxieties about Brittany's relationship to the nation within which it must negotiate a place. These negotiations are played out in texts which, in their use of the French language and French poetic forms, operate a constant dialogue with the national tradition, a mode of self-questioning to which the poem is particularly well suited. [ABSTRACT FROM AUTHOR]

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc 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 Stéphane Mallarmé is the property of Classiques Garnier 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.)

When Bertrand Tavernier discussed his project to make a film adaptation of Madame de Lafayette’s novel La Princesse de Montpensier, he explained the contradictory nature of his project. On the one hand, he wanted to attempt a true account of both the events and the exotic nature of France in the 1550s, but on the other hand, he then added a potentially contradictory challenge to his project, proposing that his camera become ‘contemporary’ to the historical events and feelings depicted while at the same time convincing us that these historical events could be taking place in today’s Paris, and seem completely modern. This ‘chronological contradiction’ between what can be termed the exotic flavour of the Renaissance versus an injection of a flavour of contemporaneity – the endotic – will be examined in the way Tavernier develops the portrayal of the spirit of the Renaissance in language that is particularly resonant with the very terms that both Du Bellay and Ronsard employed to capture the epistemology of their times. This exotic level of the film will then be contrasted with the way Tavernier manages to give us an endotic representation of the Paris of the twenty-first century. [ABSTRACT FROM AUTHOR]

The aim of this article is two-folded. First, I wish to situate Baudelaire in the midst of 19th-century media, bring attention to the way he explored the new media of his day, and suggest that he developed his own media aesthetics. Second, I wish to examine Baudelaire’s relation to photography more specifically, emphasizing his love of commonplaces and clichés. I begin by contextualizing Baudelaire’s notorious attack on photography in the Salon de 1859 and then examine three poems in light of the photographic culture of Baudelaire’s day. Central here is the experiment on the notion of identity that was carried out with the spread of portrait photography: the notation of a unique identity was undermined, processes of multiplication were explored, and the poetic discourse of the “soul” was radically changed. [ABSTRACT FROM AUTHOR]

The poet François Maynard is remembered as a disciple of Malherbe, a one-time member of Théophile de Viau’s libertin entourage, and a master of the epigram. Yet he is also known for having abandoned Théophile during the latter’s trial in order to focus his efforts on his political career and on perfecting his poetry. The purpose of this article is to suggest that, contrary to the popular notion of a linear progression in Maynard’s life from a libertin to a devout statesman, Maynard was interested in pursuing political alliances before Théophile’s trial and fond of composing obscene and irreligious poetry long after Théophile’s death. Beginning with a description of the dominant discourse surrounding Maynard’s biography at the time of Théophile’s trial, this article presents neglected archival evidence attesting to Maynard’s earlier moves to ally himself with powerful families of Toulouse’s legal classes. It then explores Maynard’s apparently libertin poems, appearing in manuscripts unpublished during his lifetime, that were composed after Théophile’s trial. The article concludes by suggesting that Théophile’s trial may have led Maynard to restrict the dissemination of his libertin verse to manuscripts shared between trusted friends, but that it did not cause him to cease composing such poems entirely. [ABSTRACT FROM AUTHOR]

Copyright of Scripta is the property of Scripta 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 offers a transcription and discussion of two sixteenth-century French poetical fragments preserved at the Arnhem City Library in the Netherlands. These texts, which so far had not been identified or studied, turn out to be excerpts from the contemporary literary anthology known as the Blasons anatomiques du corps femenin. Although limited in size, they show some clear signs of reworking by the copyist, thus offering an interesting glimpse into the circulation and reception of the poetical blason in the sixteenth century. [ABSTRACT FROM AUTHOR]

In the article “Antonin Artaud et la surréa-liste,” the author studies in two unpublished texts Artaud's use of the list and its link to the Surrealist writing techniques. Through the détournement of psychiatric discourse, the “surrea-list” enables the poet to develop an alternative conception of the body contesting the practice of anatomy. [ABSTRACT FROM AUTHOR]

Taking as stimulus some key ideas of the French philosopher, Gilles Deleuze. and his collaborator the psychoanalyst, Felix Guattari, I demonstrate an alternative interpretative engagement with poetry. In this approach, a poem is seen as an invitation to the reader to be creative via a web-based, interpretative journey which is individual, edifying and refreshing. This approach allows a poem's obliqueness and suggestiveness to trigger, randomly, knowledge and resources on the world-wide-web that are new for the reader; in turn, these can be used as fresh perspectives on the poem in order to perform it in individual ways, to 'fill in' creatively personas and scenarios in the poem. This web-based engagement with a poem involves stylistic analysis. The web-based element of performance stylistics is centrifugal, taking the reader outside of the poem, travelling from website to website. This centrifugal movement is balanced by a centripetal one which takes the reader into the patterns of the poem. Stylistic analysis meets this centripetal need effectively. Traditionally, stylistic analysis has been used to provide linguistic evidence for interpretation of a literary work. However, influenced by ideas in the work of Deleuze and Guattari, I also use stylistic analysis in a non-traditional way - to mobilise interpretation of a poem. In this article, the poem I use to demonstrate performance stylistics is Robert Frost's, 'Putting in the Seed'. Performance stylistics can draw on corpus analysis too. [ABSTRACT FROM AUTHOR]

The author Jan van der Noot was heavily involved in the editorial process of his work. He was familiar with printing and was aware of the technical features. He adapted individual copies of his work to meet the wishes of the addressee of the book. At the same time, he paid attention to the possibilities of reusing illustrations and typographical elements he had ordered for one specific project. [ABSTRACT FROM AUTHOR]

The 1940s in France were marked by a constant tension between notions of ‘self and other’. While during the war, all enemies of fascist ideology were constructed as threatening ‘others’, at the liberation, ex-collaborators were subjected to the excesses of the épuration which further divided the French population. It is argued in this essay that Dubuffet and Fautrier — and Ponge, one of the Resistance intellectuals with whom both artists were closely affiliated during that time — transgressed this dualistic categorisation by making an explicitly experimental use of their respective media. To illustrate this point, a comparison is drawn between Fautrier’s Objets series (1942—9), Dubuffet’s Mirobolus, Macadam et Cie: hautes pâtes series (1945—6), and the poetry collection of Ponge’s Parti pris des choses (1942). In these works, it is contended, the artistic matter became the recipient for the active intellectual and sensitive engagement of the beholder, which, in the historical and political context of the period, came to signify the ‘other’ in all its forms. Such a recognition would become an essential component of the discourse of the Resistance intellectual network around Dubuffet and Fautrier for the democratic reconstruction of French society after the war. [ABSTRACT FROM PUBLISHER]

This article contextualizes Quevedo's reception in France within the general French interest for Spanish literature during 16th-17th centuries and beyond, with its ups and downs. For each period, both the specific works and the way they were known are taken into account; the author studies the original Spanish editions or translations, as well as the interest for Quevedo (mentions, imitations) and the type of people that got to know Quevedo the man, the writer and his works (his oeuvre or specific tides) [ABSTRACT FROM AUTHOR]

A book containing Alexandru Macedonski's poems in French was published for the first time in 2007 by the French publishing house Rafael de Surtis. Written in a very musical French, these poems have rarely been studied in Romania and have been ignored in France. An inner motivation seems to have inspired the genesis of these writings, produced between 1880 and 1918. Their inspiration is variegated. Macedonski aimed at discovering the path for a "poetry of the future". The influence of the French authors on his poems was important. He also had a great admiration for the classical Greek and Latin cultural inheritance and many of his poems show a fascination with the distant past, pre-Chrisitian and pagan. He also assumed the identity of a foreign author, who expresses hid "dor", the longing and nostalgia for the homeland. [ABSTRACT FROM AUTHOR]

Theories of colonialism, and a people's sense of themselves as having been colonized, derive from analogies. Here the use made of the African American experience in Breton literature is explored, making comparison with other international reference points in Breton literature. First I trace what I call an 'international outlook' in Breton culture, before turning to translation, and the specific example of translations into Breton of poems by Langston Hughes. This leads to a discussion of the Parisian reception of Harlem writing, of négritude, and of the issue of poetic language in its connection with political oppression. Finally I suggest some ways in which Brittany's relationship with African American writing might be considered distinctive. [ABSTRACT FROM AUTHOR]

For Vigny, fire serves as a vehicle of destruction and transformation. He destroys hackneyed romantic approaches to love and the divine and reinvigorates the relationship between the world and the poetic act. Moreover, in Vigny there is a shift in the representation of fire, from the amorous or divine to the technological, a measure that reflects the imaginative reconfiguring of poetic modernity. [ABSTRACT FROM AUTHOR]

Amongst the contemporary French-Caribbean writers who appear to see themselves as heirs to the Martiniquan poet/politician Aimé Césaire, certain writers of the younger generation – Patrick Chamoiseau and Raphaël Confiant in particular – tend to base their reservations, if not their outright hostility towards the figure of Césaire on a negative view of the political tenor of Césaire's poetics. Whereas Édouard Glissant seems to hold to the middle ground, expressing respectful distance from his precursor's vision, the writers of the créolité movement reject Césaire's poetics, no less than his politics. Their negative perspective on Césaire's writing is based not just on a certain view of the French language as inherently exclusive and oppressive, but also on a certain conceptualization of poetry as a genre. More specifically, their representation (and rejection) of poetry, and of Césaire's poetry in particular, is motivated by a commitment to the Creole language and to oraliture, and above all by their determination to give voice to the highly differentiated collective Caribbean experience. However, the question concerning the different way that Césaire's poetry (as opposed to Glissant's, or Confiant's or Chamoiseau's novels) mediates the relation between the singular self and the collective voice is a highly complex one, as is the question concerning the political value of that mediation and, indeed, of that relation. At the heart of that difficult question, which is partly a question of genre, lies the politically and ethically sensitive matter of the relation between writing and the subject. Les réserves, pour ne pas dire l'hostilité exprimées à l'égard de leur aïeul littéraire par certains auteurs contemporains des Antilles françaises qui sembleraient se considérer malgré tout comme étant les héritiers du poète martiniquais Aimé Césaire, et surtout par la génération des ‘petit-fils’ (Patrick Chamoiseau et Raphaël Confiant) sembleraient être fondées sur un jugement foncièrement négatif de la teneur politique de la poétique césairienne. Alors que Édouard Glissant semblerait adopter pour sa part une perspective bien nuancée, se limitant à exprimer une certaine distance par rapport à la vision afrocentrique de l'estimé précurseur, les auteurs de la créolité rejettent non seulement la politique mais aussi la poétique de Césaire. Leur critique de l'écriture césairienne semblerait être fondée non seulement sur une certaine vision de la langue française comme instance hautement exclusive et opprimante, mais aussi sur une certaine appréciation de la spécificité générique de la poésie. En effet, leur représentation de la poésie et leur rejet de ce genre sembleraient se justifier par leur projet littéraire, lequel consisterait essentiellement à donner à entendre la voix antillaise en tant que voix collective. Et pourtant la notion selon laquelle le roman serait, prétendument à l'encontre de la poésie, à même de médier une conscience soi-disant collective, ainsi que la valeur politique attribuée à une telle médiation, soulèvent bien des questions, entre autres la question bien opaque de savoir quelle est la part d'identification collective dans la constitution du sujet à travers l'écriture de tel ou tel genre. [ABSTRACT FROM AUTHOR]

The article examines the impact of Gaston Bachelard's studies of poetic and material imagination on social theorists in France. Social theorists Henri Lefebvre, Jean Baudrillard, and Roland Barthes had used Bachelard's concept in the analyses of the advent post-war modernization in the country. Bachelard's work in narratives of post-war modernization was more on the effects of modern, post-Einsteinian science on the human mind. Thus, his concepts were considered as powerful tool for the prevalence of mass-produced commodities during the era.