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Pierre Michon’s work is an illustration of the contemporary generation of French writers, representing an original work, a mixture of erudition and imaginaton. The problematic perspective of this paper focuses on description, in some of his filiation novels and biographical fictions: Vies Minuscules [Small lives], Vie de Joseph Roulin [The life of Joseph Roulin], Abbés [Abbots], La Grande Beune [The origin of the world], Roi du bois [The King Of The Wood]. If traditionally, in the realistic novel for example, the description was a detachable piece in the text and this sparked a criticism of this textual strategy, in the modern novel, including Michon’s, the description is involved in the narrative process. We studied the interaction between the narrative sequence and the description, ‘two structural types in continuous interaction’ as describer by Philippe Hamon (Hamon, 1981, p. 97). We shall have a look at the description as means of designating things, to ensure the presence of knowledge on the world in the texts of fiction. A theoretical course on the description and the descriptive is necessary before setting out the means by which this ‘figure’ is accurate in the spatial and chronological construction of Pierre Michon’s writing. We shall analyze the technique of hypotypose and its role in the above-mentioned works. A subcategory of the description is the landscape. The experience of rural landscape enables to reach the depth of the countryside, the intimacy of the recall and the memory of the people who inhabit it. The integration of the character in the world, his attachment to nature offers him identity. The term ‘landscape’ is the subject of ekphrasis or description and in Michon’s work it is a recall or a memory place rather than a geographic location. The landscape brings into existence the space where one can find his origin. In fact, his entire work turns out to be a journey, a return to the History and in the past through rural, apocalyptic, religious, serene landscapes that arise the misgivings of those living in the rhythm of the seasons. The rural area encompasses a community described by the writer as having a ‘rudimentary nature’, situated far from the urban world and living from farming and agriculture. Despite all this, they preserve their customs and the popular and religious values. The evolution of Michon’s characters takes place in the world and the description brings the painting to life. The elements of the world provide some surprising images where reality and fantasy meet. In Michon’s work we identify some themes and motifs that contribute to a specific elementarium for the novelistic space. The spatial configuration is based on elementary forms (earth, water, air, fire) which function in symbiosis to sustain life on earth. Returning to the central theme, description is not just about describing, it is also about the search for immemorial time and self-discovery. Using portraiture in his work, as a form of description, Pierre Michon wants to bring tiny, modest beings out of anonymity and give them life and visibility. It comes as a recognition on his part for the memory of people who have contributed, on the one hand, to its becoming.

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Antonino Mongitore (1633-1743) was a scholar and bibliographer, who trained at the Jesuit College of Palermo then he was ordained a priest in 1687. Fellow and founder of numerous academies, he was involved, mainly, in city history and hagiography. His Bibliotheca Sicula is a well-known bio-bibliographical repertory published in two volumes, the former in 1707, the latter in 1714. This paper originated from the finding in the State Archives of Palermo of the inventory of its library, full of 2775 editions, examined according to the quantitative method. An initial analysis of this document and the study of further sources allow us to broaden this Sicilian priest's cultural profile and interests.

This article was first delivered as a paper at the PSA's Fifth International Edgar Allan Poe Conference in April 2022 in Boston. It recognizes the work of Palmer C. Holt, a little-known independent scholar who devoted over forty years to studying Poe's career-long displays of erudition and learning. Holt's research papers and the core of his collection of Poe sources, an archive preserved at Washington State University, constitute a largely untapped resource for tracing Poe's practice of lifting content from secondary sources as if he were quoting original texts. As have later scholars, Holt argued that Poe was seeking to create the persona of a deeply learned, classically educated gentleman. The article concludes with Holt's views on whether the author's borrowing practices constitute plagiarism; on how the always-impoverished Poe managed access to the literary works, ancient to contemporary in multiple languages, woven into his writing; and on why he pretended to possess a deep knowledge of Greek and Roman literature. [ABSTRACT FROM AUTHOR]

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Kierkegaard styled himself as a poet and Christian thinker, whose orientation is primarily philosophical and theological. He does not intend to interpret conceptually the truth of faith. He seeks rather spiritual edification. Making use of indirect communication, and adopting a language predominantly figural and metaphoric, challenges the reader to appropriate inwardly the religious truth with a view to its practical expression in the ethical existence. Kierkegaard’s critique of theology does not simply question some theological approaches. He shows an evident contempt for academic theology and the theologians who advance it. Kierkegaard resorts to the theologians of the patristic period to defend the existential character of faith. He finds in them important allies in his battle against the complacent and amorphous Christianity that prevailed in the nineteenth century Denmark. It is unlikely that any consensus concerning the importance of Kierkegaard for theology will ever be reached. The dialectic tension of his thought resists systematization and easy interpretative closure. Although some aspects of his theological approach move beyond the boundary line of Lutheran orthodoxy and come close to Catholicism, the main impetus of his thought is still protestant and predominantly Lutheran. For Kierkegaard the primary aim of theology lies not in reinterpreting and expounding doctrines but in spurring the experience and practice of faith in the concrete circumstances of the believer’s existence. [ABSTRACT FROM AUTHOR]

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"The subjective ["] surrounds the objective" This statement by G. Lanson (Lanson 1919: 113) seems to fit in perfectly with the line of argument of the present analysis, while remaining a valid indication for the university literature teacher in contemporary neo-philological studies. It should be noted that students often start learning French when they enter university. What is the place of literature studies, then? The choice is not obvious for teachers faced with the reserve of non-readers of literature, on the one hand, and the demands of academic excellence, on the other. In a socio-cultural context aimed primarily at the currently recognised horizontal dimension of knowledge, the question arises as to whether and to what extent it is possible to adopt a scientific reading perspective, such as that sought by neo-philological studies. It seems that the search for the personal engagement among FLE students, leading them to discover the similar experiences to their own that the fictional world presents, can be seen as a first step towards the appreciation of literary foreign language studies. [ABSTRACT FROM AUTHOR]

En 1628, la parution de la Historia apologética y descripción del reyno de Navarra d’un certain García Góngora y Torreblanca suscite la fureur des institutions aragonaises et au premier chef de son chroniqueur officiel garant de la mémoire du royaume, Bartolomé Leonardo Argensola. Le Navarrais Góngora critiquait la doxa aragonaise qui affirmait la supériorité de l’Aragon sur la Navarre, ravalée au rang d’appendice de son puissant voisin. Góngora signait la première histoire de la Navarre proprement dite, écrite au nom d’une réappropriation du passé navarrais et amorçait une confrontation multiple autour de l’Aragon et la Navarre, impliquant le Pays-Basque (la « Cantabrie ») et la Castille. Au-delà se posait la question du rapport des composantes au grand tout de la monarchie, qu’on l’envisage sous l’angle de la fidélité dynastique ou de l’appartenance à une « Espagne primitive » dont le tubalisme était une expression privilégiée.Si l’ouvrage de Góngora et sa place dans la formalisation d’une histoire navarraise d’une part et les affrontements historiographiques sur le long cours entre Aragon et Navarre de l’autre, ont retenu l’attention des chercheurs, la polémique ouverte en 1628 et dont on peut fixer le terme en 1630, reste encore à analyser. Dans le feu d’une polémique qui mêle attaque ad hominem, pièges rhétoriques, argument d’autorité, érudition, critique documentaire et tractations de couloir, certaines clarifications et reconfigurations s’opèrent sans que les rivaux ne s’accordent. La formalisation d’un irrémédiable dissensus semble contribuer à raffermir les liens de chacun des royaumes à son roi et à les faire se projeter plus clairement au sein d’une identité hispanique en cours de définition.

The present text narrates the didactic experience carried out in the Learning, Thought and Creativity Workshop taught in the Pedagogy career of the fes Aragón, it is a text analysis of the story of Augusto Monterroso "Obras completas". Among its objectives is the differentiation of concepts such as creativity, erudition and the study of teacher-student transfer. [ABSTRACT FROM AUTHOR]

In the presented thesis, we tried to point out selected questions from the history of the Lowland Slovaks. We took a closer look at the level of erudition and the formation of elementary education in the environment of Slovak emigrants in the period from the end of the 17th to approximately middle of the 19th centuries. Slovak evangelicals put great emphasis on school education and attached essential importance to erudition. In their new homeland they almost immediately after their settlement started building the first public institutions such as the church, parish house and school. In the presented thesis, we also referred to the importance of biblical Czech in the educational process and clarify the basic aspects of elementary education in the Lowland. [ABSTRACT FROM AUTHOR]

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The article examines the notion of erudition as a necessary resource for the functioning of the academic field and practices in the humanities. Erudition is understood as knowledge beyond the immediate functional and useful knowledge of a situation. The article is based on knowledge gained through autoethnography. The author posits that neoliberal reforms of science exhaust erudition as a resource, thereby undermining the academic field’s reproduction and university functioning. [ABSTRACT FROM AUTHOR]

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Árpád Ódry’s Art of Performance In 1896 the second-year academy student Árpád Ódry was already mentioned by critics as possessing the rare talent of being “able to speak”. The young journalist who first recognizes Ódry’s talent, Sándor Hevesi, will later become the director of the National Theatre. My research focuses on how Ódry’s methods represented an acting ideal and a new school at the beginning of the 20th century by introducing natural (but not naturalistic) performance methods. These methods have proved to have a lasting effect until the present. Ódry’s natural performance methods, however, can only be achieved with the special techniques of the acting profession.

Dada la importancia que adquiere la Esfinge en la detracción de la hegemonía erudita durante los comienzos del siglo xx español, este artículo piensa cómo esa metáfora funciona especialmente dentro del ensayismo unamuniano y cómo su legado resuena también en José Bergamín y María Zambrano. De este modo, la objeción al historicismo superficial y al academicismo filosófico dará lugar a propuestas variadas sobre la necesidad de fundar un nuevo saber ligado a la subjetividad y a la experiencia, en una continuidad intelectual antierudita, cuya clave cohesiva suele remitir a la metáfora de la Esfinge. Given the importance that the Sphinx acquires in attacking the erudite hegemony during the beginning of the Spanish twentieth century, this article thinks about the way in which this metaphor works especially within Unamuno’s essayism, and how its legacy also resonates in José Bergamín and María Zambrano. In this way, the objection to superficial historicism and philosophical academicism will provide a variety of proposals on the need to found a new knowledge linked to subjectivity and experience, in an anti-erudite intellectual continuity that usually refers to the metaphor of Sphinx.

By the middle of the twentieth century, a gastronomic discourse different of the kitchen literature was found, and the master of this kind of course is Al. О. Teodoreanu. The fame of this writing has been woven more and more around the reputation of good vіveur and tireless traveler legendary realms of the bоhemіa. Călіnescu considered him a good parodist, humоrіst and an excellent gastrоnоm and оenоlоgist. His moldovian style has an undefined flavor and betrays a literary culture which, without appearing extended, is thorough. The characterization, in essence appropriate, is beautiful and also in the color of the burlesque bоem. In Călіnescu's conception, Păstоrel's орera is a food and drink trail, a garden of the delіghts, оffered by feasts and big parties. Some of the lyrics are composed in an effervescent state of excitement, others are cheesy or betray surreal extravagances. [ABSTRACT FROM AUTHOR]

L’analyse a pour objet le Paradoxe III (Meglio è d’esser ignorante che dotto) dans la collection des Paradoxes d’Ortensio Lando (1543), dans le but d’en souligner la structure argumentative basée sur le paradigme de la sancta rusticitas, ainsi que le topos de la dévalorisation de la littérature et des écrivains. La cible polémique de l’auteur visait, de manière très radicale, à dénoncer l’illusion que le savoir – ancien et récent – symbolisé par la multitude de livres produits par le nouvel art de l’imprimerie à des vitesses vertigineuses pouvait permettre à l’homme d’atteindre une connaissance supérieure. Une illusion qui se révèle, même aujourd’hui, bien tenace et que nous proposons de contrecarrer avec l’utopie d’une lenteur renouvelée.

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This article presents the results of the study of the international loanwords’ functioning both in English and Russian languages as exemplified by their usage in learners’ written papers. The comparative analysis of “new words” presented in textbooks of English and their meanings in the Russian dictionaries of foreign words aims at finding similarities in structures of loanwords in both languages and using them in various exercises that will activate and broaden the leaners’ erudition if applying it to written works.

Three hundred years after the publication of the Lettres persanes in 1721, Montesquieu’s ecdotics, which includes also the translation, is indisputably a scientific work and therefore determines the value of reception, contradicting at the same time what Montesquieu himself thought of his first book: that it was not serious. Whether it was or not, and to what extent should also be reading —the reader could be perfectly satisfied with the taste of pleasant productions of the spirit, in accordance with what had hitherto been the traditional role of the belles lettres— is one of the first difficulties to know it and acknowledge its philosophic dimension.

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Noble sylva undoubtedly constitutes a special type of writing in the 17th and 18th centuries and is referred to by the researchers as the noble archive of memory. It preserves the most important traces that build the historical, state, family, cultural and literary (etc.) identityfor the community. At the same time, noble sylva, acting as a model, is for the then nobility a special erudite source of good style, understood as stabilised, conventional, and therefore typical and readable for the recipients of occasional literature.

The article deals with the concept of «creativity» in scientific conceptions and theories. The content of approaches according to the definition of the essence of creativity was outlined. The psychological mechanisms related to the activity of teenagers with poetry were singled out. Based on the results of our research, in this article the personal correlates of creativity of teenagers were singled out. The first group of correlates includes: integrity, synthetism, freshness, independence of perception, orientation in solving a problem or a task; high sensitivity to sub-sensory stimuli, the ability to perceive inaccuracies, deviations, unusualness and uniqueness of the characteristics of the object; the ability to notice the main things, see what was not even potentially discovered; the ability to be exempted from a fixed setting in the process of perception. The second group of correlates contains: erudition due to the orientation of interests, and a high level of «forgetfulness» according to «ordinary» perception of live facts; the ability to easily capture the main things and quickly forget the secondary ones, the ability to create associations, a remarkable memorization of multi-valued ideas, subtexts; special emotions of the person, brightness and vividness of his/her imagination, unusual perception of objects, a high degree of fantasy and imagery (if the person is elder there is a shift of figurative creativity in abstract, scientific areas); speed, flexibility, originality of thinking, its divergence; intuition, fiction, foresight; fantasy, skepticism, criticality, a high degree of thinking activity (for the realization of creativity we need intellectual initiative, but creativity itself is not absolutely necessary for carrying out intellectual activity with simple objects); a high emotional excitement, joy, passion, presence of different emotions, desire for dominance, risk, attraction to independence, violation of order, removal of feelings of fear, frustration. The third group of correlates includes personal characteristics of creativity: deviation from patterns in behavior, originality, initiative, persistence, dedication, extraordinary vigor, ingenuity, directness of judgments, honesty, spontaneity, agility, independence, liability, inner maturity, criticality, skepticism,courage, confidence in uncertainty and chaos, the ability to allegory, metaphorical, ambiguity, emphasizing the significance of oneself, high self-esteem, pride; motivational peculiarities of creativity: the desire to participate in the process of creativity, to get acquainted with the facts and new information, to provide discoveries, to the establishment of regularities, to generalizations, to spiritual growth, to cooperation, to self-expression and self-affirmation, the enthusiasm for the content of cognitive activity, the ability to analyze and synthesize, the desire to remain alone sometimes, “to deepen on one’s own thoughts, the desire to develop aesthetic feelings.

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Copyright of L'Année Rabelaisienne 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.)