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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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Copyright of Studia Norwidiana is the property of Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego Jana Pawla II 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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.)

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]

This article aims to compare the Victor Hugo’s presentation, in his preface to Cromwell, on the grotesque element with Heinrich von Kleist’s ideas developed in Über das Marionettentheater (1810), emphasizing evidence of a transgression concerning the classical view of art, mainly highlighting Friedrich Schiller’s aesthetic theories. In addition, we propose a brief analysis of Kleist’s pieces Penthesilea and Die Hermannsschlacht, published in 1801, based on this dissolution of the classical ideal and the establishment of intertextuality among with the proposals of the Über das Marionettentheater.

The following article by Victor Hugo "Fight The Demounters" is a translation from the French original publication: Hugo V. Guerre aux démolisseurs // Revue des Deux Mondes. Période Initiale. Volume 5. 1832. pp. 607–622.

El drama Lucrèce Borgia de Victor Hugo confereix al personatge històric una sèrie d’atributs en sintonia amb el gust sensacionalista de l’època: en ser dona, poderosa, bella i formada. Lucrècia Borja és el millor exemple d’allò que Kristeva anomena «l’abjecte» en les Pouvoirs de l’horreur (1980). Una imatge de femme fatale lligada al verí o l’incest que es popularitzarà gràcies a les nombroses obres derivades del drama: de l’òpera de Donizetti als romanços populars de manera que les característiques del personatge de ficció s’imposaran a l’històric en l’imaginari col·lectiu. Lucrècia Borja, que fins aleshores havia estat considerada un instrument al servei de les polítiques familiars, entrarà a formar part per «mèrits» propis del triangle del mal junt amb l germà, Cèsar Borja, i son pare, el papa Alexandre VI. The Victor Hugo’s drama Lucrezia Borgia gives to the historical character some attributes in line with the sensationalist preferences of that time: being a female, powerful, beautiful and educated. Lucrezia Borgia is the best example of what Kristeva names «the abject» in Pouvoirs de l’horreur (1980). The character is a femme fatale image linked to poison or incest and it was popularized thanks to the many works resulting from this drama. So that, the features of the fictional character prevailed to the real historical character in the popular beliefs, this happened in Donizetti’s opera, but also in the chapbooks of that time. Lucrezia Borgia had previously been considered an instrument in the service for family policies, but she became part of an evil triangle, thanks to her own attitude, along with her brother, Cesare Borgia, and her father, the pope Alexander VI.

En tant que le chef de file du romantisme, Victor Hugo a énormément influencé le XIXe siècle par ses idées et sa philosophie. Comment pouvons-nous étudier l'Orient et ne pas parler des Orientales ? C'est en lisant Les Orientales de Hugo que nous avons aperçu à notre grand étonnement, en tête de ses poèmes, les épigraphes de poètes persans. Cet article illustre une étude sur Victor Hugo et la Perse et essaie de répondre aux questions suivantes : Que savait Hugo de la Perse ? Comment pouvait-il connaitre les poètes persans ? Qui étaient ses poètes persans préférés ? Ses informations sur la Perse étaient-elles seulement littéraires ou étaient-elles également inspirées par l'histoire et la religion de ce pays dans lequel n'avait jamais voyagé ? S'il connaissait la Perse ancienne, avait-il eu des idées sur Zoroastre et Mani ? [ABSTRACT FROM AUTHOR]