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ABSTRAIT: Michel Houellebecq, souvent présenté comme un écrivain du réel, héritier de Balzac et scribe des travers de nos sociétés contemporaines, donne aussi libre cours à une veine spéculative, proposant des anticipations plus ou moins radicales dans plusieurs de ses romans et usant de procédés propres à la distanciation cognitive. Néanmoins, cette distanciation cognitive se trouve réinvestie dans une entreprise réaliste, reçue comme telle malgré les divergences parfois manifestes entre la réalité du roman et le réel du lecteur. À partir de quatre récits (Les Particules élémentaires, La Possibilité d'une île, La Carte et le territoire, Soumission), cet article se propose d'identifier les techniques propres à cette démarche du 'roman d'hypothèses' de Michel Houellebecq, dont la logique d'ensemble serait, non de démontrer une thèse spécifique, mais de donner corps et vraisemblance à une nouvelle réalité, que l'art de l'écrivain rend assez crédible pour que ses lecteurs croient pouvoir la reconnaître: il semble nommer et mettre au jour des réalités inaperçues ou non dites, quand au contraire il les institue par ses fictions. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 Akofena is the property of Universite Felix Houphouet Boigny 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

In the fourth decade of the last century, the most important synthesis studies about Eminescu appeared: Tudor Vianu - Eminescu's Poetry (1930), G. Călinescu - Mihai Eminescu's Life (1932) and Mihai Eminescu's Opera (1934-1936). After Călinescu's biography and E. Lovinescu's novels - Mite (1934) and Bălăuca (1935), the true Eminescu biographical image is born, "the true myth of the poet's life" (Simuţ). How was the epic image of Eminescu's biography formed in the narratives of the two literary critics and historians? How did they manage to mix fiction and documentary in the writings about Eminescu? What does the epic image of the Eminescu biography look like, as it emerges from the novels of the two critical authorities?. [ABSTRACT FROM AUTHOR]

The Beckettian theatre describes the agony of the modern world. His character as shown in the phenomenon of his perception, even when limited to four aspects: body, items, time and the Other, let us confirm the validity of Beckett's reflections about a man who is lost, terrified and resigned to our world. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny 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.)

Constantly in performance mode, the characters of L’Éducation sentimentale are above all meant to be heard. But their speeches, which are those of Flaubert, knit and unknit communities. Communities based on certain effects of insider understanding and recognition, that call to and stimulate the reader’s critical spirit. Irony is the cause of it, in its own manner, incidental and furtive, central but diffuse. As delicate as it may be, a stylistics of ironic enunciation must thus be undertaken : the present contribution would like to invite to it...

Après avoir défini le fantastique comme une littérature de l’effet destinée à faire réagir le lecteur à travers les incontournables manifestations de l’incertitude, de l’effroi et de la transgression, nous nous proposons d’étudier d’abord comment ces aspects sont mis en œuvre dans la production brève dite “fantastique” de Javier Marías, pour ensuite montrer leur permanence dans des récits “réalistes” qui finalement interrogent le monde selon les mêmes procédés, confirmant l’hypothèse que chez Javier Marías aussi, le fantastique est dans l’écriture et le regard.

Copyright of FLAMME is the property of Universite de Limoges 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 Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 CECIL Cahiers d'etudes des cultures ibériques et latino-américaines is the property of Revue Cahiers d'etudes des cultures iberiques et latino-americaines (CECIL) 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 Imaginaires is the property of Universitaires de Reims 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.)

Resumen: Este artículo trata sobre la construcción de la identidad del personaje de la emperatriz Carlota en la novela histórica Noticias del Imperio, del escritor mexicano Fernando del Paso. Publicada en 1987, la obra está basada en la efímera época de Maximiliano de Habsburgo, emperador de México de 1864 a 1867. Se toman en cuenta para este acercamiento los factores textuales de la auto-representación y la intervención del mito (en el sentido discursivo de Roland Barthes), así como las reglas de auto-enunciación que el texto evidencia como más relevantes. Igualmente, se consideran los procesos textuales que generan un posible sentido regulador, es decir, los elementos que intervienen en la propia construcción de la identidad de la protagonista. Résumé : Cet article porte sur la construction de l’identité du personnage de l’impératrice Charlotte dans le roman historique Noticias del Imperio, de l’écrivain mexicain Fernando del Paso. Publié en 1987, l’ouvrage repose sur la fugace période de Maximilien Ier comme empereur du Mexique entre 1864 et 1867. Cette approche prend en considération les facteurs textuels de représentation du soi et l’intervention du mythe (dans le sens discursif de Roland Barthes), ainsi que les règles d’auto énonciation que ce texte met en évidence d’une manière significative. De même, les processus textuels qui génèrent un possible sens régulateur sont pris en compte, c’est-à-dire, les éléments qui interviennent dans la construction identitaire de la protagoniste. Abstract: A close look at the identity construction of the character Empress Carlota in the historical novel, Noticias del Imperio, by the Mexican author Fernando del Paso. Published in 1987, the novel is based on the ephemeral era of Maximilian of Habsburg, Emperor of Mexico from 1864 to 1867. This article takes into account both textual self-representations and the intervention of myth (in the discursive sense found in the work of Roland Barthes), as well as the rules of self-utterance, evidenced in the text as most relevant. Also under consideration are the textual processes which generate possible regulating meanings (elements which take part in the construction, properly speaking, of the protagonist’s identity).

Copyright of Journal of Al-Frahids Arts is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

ABSTRACT: Our study focuses on the subversion of the traditional notion of the character through his vision of the world which is omnipresent in the novel Le village de l'allemand by Boualem Sansal. With this in mind, we immersed ourselves in the socio-historical aspect of the character, where we emphasized that Spatio-temporal clues build the novel while writing strategies manifest their factuality. By referring to the actual toponymies that constitute the novel structure, the author places his narrative de facto in the interdependence of the realistic novel. Indeed, the author deliberately inserts throughout the story a temporality evoking or even provoking a fiction-reality (con) fusion, this subversion manifests itself both at the thematic and scriptural level. At the end of this reflection, we concluded that this intermediary of history and memory manifests an intimately linked history of conflict. RÉSUMÉ : Notre étude porte sur la subversion de la notion traditionnelle du personnage à travers sa vision du monde qui est omniprésente dans le roman Le village de l’allemand de Boualem Sansal. Dans cette optique, nous avons fait une immersion dans l’aspect sociohistorique du personnage, ou nous avons souligné que les indices spatio-temporels édifient le roman alors que les stratégies d’écriture manifestent leur factualité. En faisant référence à des toponymies réelles qui constituent la structure romanesque, l’auteur place de facto son récit dans l’interdépendance du roman réaliste. En effet, l’auteur insère délibérément tout au long du récit une temporalité évoquant voir provoquant une (con)fusion fiction-réalité, cette subversion se manifeste tant au niveau thématique que scriptural. Au terme de cette réflexion, nous avons conclu que ce truchement de l’Histoire et de la mémoire manifeste une histoire conflictuelle intimement liée.

The problem of the character of a novel has marked literary theories for a long time. Because of its status in the novel and its amphibological character, it still continues to occupy literary thought. The character is the most important element in the formation of a narrative. Being at the base of any novelistic creation as a motor of history, it contributes to the evolution of events in the novel. The purpose of this research is to investigate the psycho-social and onomastic dimension of the character, as a textual category in ‘Les Hirondelles de Kaboul’ by the Algerian writer Yasmina Khadra. We rely on the semiotic approach of character developed by Philippe Hamon and we try, through an analytical approach based on bibliographical data, to understand whether the semiological analysis or the model proposed by Philippe Hamon for the study of the character is applicable to the categories of the characters of this novel. In addition to determining the physical and psychological portrait of the protagonists, the objective fixed within the framework of this study consists of knowing how the characters reproduce reality. What role does each character play in the novel? What is his contribution to the formation of meaning? And do the characters of Khadra, by their physical and psychological and onomastic aspects, reflect the Afghan reality? A brief overview of this work allows us to understand that the characters of the novel contribute to the formation of the meaning that the text gradually constructs. [ABSTRACT FROM AUTHOR]

The texts of Leslie Kaplan question the irreducible opposition between the real and the non-real. Her characters and their intentional absence confuse the repository and fictional worlds, not only to point out the thin margin between reality and fiction, but to underline the impossible delimitation between the real and the fictional, or even between the text and the world. This article studies the characters of Kaplan and aims to demonstrate their identity crisis through the study of their literary onomastic and the use of the neutral pronoun 'it' and allegoric expressions. In addition, the objective of this article is to shed light on the Kaplanian characters as Kunderian models, while stressing the particularity of their physionomy, which consists to present 'fuzzy' characters that are present and absent at the same time, engaging the reader in the fictional process as a try to complete the missing details. This article concludes that the Kaplanian characters are not only the prototypes of the postmodern being, but they are also introverted, psychopaths and a demonstration of different facets of the unconscious. [ABSTRACT FROM AUTHOR]

Le présent travail établit la corrélation entre l’esthétique du fragment et la crise identitaire du personnage postcolonial dans la prose romanesque de Tahar Ben Jelloun et celle de Fatou Diome. En partant de la sémiologie narrative et de la théorie postcoloniale, l’article démontre la fragmentation de l’identité par des procédés narratifs et discursifs de l’esthétique fragmentaire. L’étude de la composante narrative conduit au résultat selon lequel la représentation spatiale dans l’écriture fragmentaire se particularise par la brisure et l’hétérogénéité. Quant à la réflexion sur la structure discursive, il en ressort une déstructuration du langage. La réappropriation des fragments relevant des arts du spectacle met en déroute l’homogénéité du texte littéraire. En clair, la dislocation des structures narrative et discursive illustre la crise identitaire du personnage postcolonial. L’identité racine de celui-ci s’effrite au contact de l’altérité. - The present work establishes the correlation between the aesthetics of the fragment and the identity crisis of the postcolonial character in the romantic prose of Tahar Ben Jelloun and that of Fatou Diome. Starting from narrative semiology and postcolonial theory, the article demonstrates the fragmentation of identity through narrative and discursive processes of fragmentary aesthetics. The study of the narrative component leads to the result that spatial representation in fragmentary writing is characterized by disruption and heterogeneity. As for the reflection on the discursive structure, it emerges a destructuring of the language. The reappropriation of fragments relating to the performing arts routs the homogeneity of the literary text. Clearly, the dislocation of narrative and discursive structures illustrates the identity crisis of the postcolonial character. His root identity crumbles upon contact with otherness.

Dans les années cinquante le sociologue canadien Erving Goffman a publié un livre sur la vie quotidienne comme représentation, soutenant l’idée que dans les différents contextes de la vie quotidienne, chaque personne agit comme acteur jouant sur une scène et représentant un personnage. Cette approche, appelée dramaturgique, semble dissoudre l’identité de la personne dans la pluralité des selfs. Le présent travail veut problématiser cette interprétation de l’approche dramaturgique de Goffman, en posant au centre de l’analyse la relation entre personne et personnage, avec l’objectif de focaliser les processus correspondants d’espacement et de réunification en considérant, d’une part, la routine de la vie quotidienne, d’autre part, l’interpolation spatio-temporelle mise en acte par la fiction littéraire. Cette analyse adopte deux registres d’écriture : le premier définit un cadre théorique de référence, prenant en considération quelques représentants de la sociologie contemporaine, en particulier Goffman et Boltanski ; le deuxième s’intègre au premier pour focaliser l’attention sur les procédés activés par la fiction littéraire, se rapportant à quelques textes d’écrivains célèbres, comme Pirandello et Camilleri.

Personage is one of the main elements of literary works; as a result, it has entered the field of literary studies and research. The semantic-semiotic analysis, which seeks to study the process of meaning formation, considers personage as an evoked sign indicated by several physical and psychological features such as a specific noun. Mahmoud Dowlatabadi is an Iranian realist author that certain features of his works, like the creation of the characters, are comparable with some great realists such as Balzac. In addition, despite his poetic language and pompous text, silence has a remarkable status in his works. Most of Dowlatabadi’s characters are silent, even dumb, due to the inability to speak, the refusal to communicate, the suffering, the panic, etc. Based on the character semiotics, the present study aims to investigate the silence in the characters of Solouk, written by Mahmoud Dowlatabadi. To this end, we seek to refer to the principles of tensive semiotics and the theories that consider the character as a sign. This study, therefore, shows how the character/sign contributes to the formation of silence/sign in Dowlatabadi. As a result, we see how Dowlatabadi’s silence is linked to dysphoric affects and to various small units (semes), and then in profound generative ways, it is linked to the isotopic base of life/death. [ABSTRACT FROM AUTHOR]

The relative stability characteristic of classic novels favors the identification of characters who have a clear lineage and psychology, which results in a coherent language. In contrast, the neo-romantic works inherent in the war because the novelists of that time lived it, reflect this painful experience. Claude Simon's Route des Flandres (1960) is the breeding ground for degraded characters, depersonalized, disintegrated and disintegrated by the terror they have experienced. As such, the novelist reflects this dehumanization by various processes. Also, the evil is such that it affects the neo-romantic language fallen into crisis to the point of being incoherent, because of its destructuring, in part linked to the jumps of memory, to dreams and to hallucinations which exclude the protagonists of the novel of their immediate surroundings. [ABSTRACT FROM AUTHOR]

Copyright of Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) 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 Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) 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 Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) 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 Synergies Mexique is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Présence Francophone is the property of College of Holy Cross, Department of Modern Languages & Literatures 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 Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

Une chose étonne le lecteur de La Recherche de l'Absolu d'Honoré de Balzac: les deux principaux protagonistes y vivent une transfiguration. Le premier, Balthazar Claës, chimiste fou, s'enlaidit à mesure qu'il s'enfonce dans sa recherche de 'l'Absolu'. Sa femme, Joséphine Claës, au contraire s'embellit progressivement au rythme de ses souffrances. Qui plus est, leur plastique corporelle tient toute entière entre deux pôles étonnants: ceux de la perfection et de l'imperfection. Leur prosopographie et leur lutte respective contre l'Absolu, désiré par l'un, honni par l'autre, métaphorise la poétique romanesque de Balzac, un mode d'écriture informé par la pratique de l'imperfection. One thing intrigues the reader of The Quest for the Absolute by Honoré de Balzac: the two main characters undergo a transfiguration. Balthazar Claës, a crazy chemist, physically deteriorates and becomes uglier with every weeks passed in his quest for the Absolute. Joséphine Claës, his devoted wife, to the contrary blossoms and beautifies progressively as she suffers. More so, their physical features entirely hold between two binary oppositions: perfection and imperfection. Their description, their respective struggle against the Absolute, desired by one, cursed by the other, metaphorically exemplifies Balzac poetic, a creative mode informed by the practice of imperfection. [ABSTRACT FROM AUTHOR]

Copyright of Studii şi Cercetări de Onomastică şi Lexicologie is the property of University of Craiova, Faculty of Letters 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.)