bluuebunny/crossref_metadata_2025 huggingface dataset:
Mrs Dalloway ou le discours comme mobile
Authors: Huglo Marie-Pascale , Méchoulan Éric
Published: January 2012

Mrs Dalloway : discourse's motive power.

Figures of movement are the hinges in "Mrs. Dalloway" between the different spatial and temporal modalities of utterance, thus signalling the fundamental mobility of discourses while demonstrating its nature as event grounded in contingency. At the same time, these figures connect to the characterisation of life as perpetual mobility, while discourse's task is to seize the artirculation where differences originate or merge.
Signer l'ellipse ou le cercle et son double
Authors: Issacharoff Michael
Published: January 2012

Signing the ellipse: the circle and its double.

Different narrative techniques — repetitivity, circularity, instability of the referential processes — allow a story to hinder the hermeneutic function and to defer meaning indefinitely. Mérimée' s "Venus of Ille", usually read either as a fantastic novel or as a precursor of the detective novel, is exemplary of this genre of narration — the « récit-ellipse » : the uncertainty concerning its genre reflects its being a story programming uncertainty.
Le hasard vaincu : Manuscrit trouvé dans une poche
Authors: Rojtman Betty
Published: January 2012

Chance conquered manuscript found in a pocket.

Framing an object by lifting it out of its context displaces it into another semiotic order. A narrative framework also displaces its material, and the order it imposes on the chance events of life creates aesthetic meaning. Cortzar's Manuscript tells the

story of the obsession to structure the anarchy of existence, thus showing how fiction is made out of life, while the title signals the element of chance involved in readership itself.
Question de moule
Authors: Dällenbach Lucien
Published: January 2012

« Moule » in French designates, when feminine, the female genitalia, when masculine, a mold. This article explores how literary forms relate to « molds » through a variety of texts : Gautier' s Arria Marcella and Jensen's Gradiva. Proust's shell-shaped Madeleine, or Corinne' s vulva in La Route des Flandres. hiterary forms are as alive as their desire to se If -engender themselves from their own mold — to encounter la moule, be it called ptyx and engendered by form.
« ...et la forme se perd »
Authors: Jeanneret Michel
Published: January 2012

Notwithstanding the cliché of its Platonic conception of form as dominating matter, the Renaissance is fascinated with the instability of the forms matter takes. Vinci is obsessed by chaos : Montaigne with inconstancy. These themes give rise to «forms » : the metamorphoses in Ronsard' s poems parallel the lability of the architecture of his works. Or Montaigne's Essays, in perpetual flux : his writing inscribes time and mutability.
L'oxymore entre la forme et le chaos dans Délie de Maurice Scève
Authors: Dragonetti Roger
Published: January 2012

The oxymoronic form of Scève's Délie demonstrates how the destructive confrontation of contrary forces can liberate the creative energy of words. The oxymoron enacts stupor and silence, themselves contradicted by the movement of the text and theuse of words, in anoxy moron which reveals the secret of the form. The figure of Délie, or the work of language to catch l'Idée, lost in that movement, and music in Scève's poetry, redouble the structure.
Roger Caillois : esthétique généralisée ou esthétique fantôme ?
Authors: Jenny Laurent
Published: January 2012

The principle of Caillois's Esthétique généralisée is that all in nature is beautiful, in the subject's absence ; but the system is haunted by the ghost of the excluded subject. Caillois's fascination, in his texts on minerals, with the « quarte-fantôme », which carries its own image en abyme within itself, is symptomatic of the fantasm at the heart of his generalised aesthetics — and at the heart of the modern extension of the aesthetic relation.
L'apprentissage de la cécité
Authors: Lecercle François
Published: January 2012

In an unfinished article, Proust makes two striking and parallel mistakes in describing Chardin' s The Skate and The Buffet. Both involve mis-recognition : Proust, mesmerised by the disgusting skate or the colourful peaches, cannot see that the animals included in Chardin' s paintings, themselves blinded by other painted objects, are not even looking at the objects of his fascination. Thus Proust unwittingly reveals the aim of Chardin' s work, to show that painting is an art whose aim is to give the viewer something not to see.
Présentation d'un chaos, Eugène Savitzkaya
Authors: Richard Jean-Pierre
Published: January 2012

Savitskaya's novels and poetry meticulously describe a physical world where figures of desagtregation or dispersion are relayed by figures of wholeness or continuity, through the figure of viscosity. His fantasmatic bestiary reflects this poetics of time and space.
Que brise Le livre brisé de Serge Doubrovsky ?
Authors: Jaccomard Hélène
Published: January 2012

Doubrovsky's non-critical work has always admitted to its « autofictional » character.

This neologism also serves to reflect upon the nature of autobiography. His fifth novel, sundered by the death of his wife, may well have broken, among other things, the limits of that distinction, or pushed reflexion fu rther.
Les confiseries d'un enfant du siècle (note sur André Gide)
Authors: Patron Sylvie
Published: January 2012

The preserves in The Thousand and One Nights marked the young Gide, who was given the expurgated Galland edition by his father while his mother had him read the Bible. He was to insist on the founding nature of sensual experience and wonder how to translate sensual experience in writing.
Les sources de la jouissance et de l'art selon Proust
Authors: Willemart Philippe
Published: January 2012

Swann's pleasure in listening to Vinteuil's musical phrase is in fact the jouissance of a divided subject who hears fj'ouïs in Lacan' s phrase) music on the one hand, on the other the jouissance of its soul in contact with the music. It is the paradigm for the j'ou'issance (listening) of the creative artist in Proust, in resonance with God's jouissance — the jouissance of the Other — rather than a rival to God as Creator.
Écriture et réparation dans l'œuvre de Supervielle
Authors: Collot Michel
Published: January 2012

We can see the poet's work of reparation (in Melame Klein's sense) in his revising

of Gravitations. By softening violence and loss in his poetry , he is responding to the fantasy that his agressions have caused destruction - placating re ta la t ion, and creating harmony.
Sur les traces de Vigny
Authors: Jarry André
Published: January 2012

One must distinguish the author in the text from the "author" : texts are simultaneously solutions and symptoms. The distinction between reader in the text and "reader" follows. If the text is where the unconscious of reader and writer meet, psychoanalytic criticism is ultimately about the truth of relations.
La clinique littéraire de Céline. Mort à crédit
Authors: Huchet Jean-Charles
Published: January 2012

Psychoanalysis has furthered a knowledge of authors rather than an understanding of texts. "Literary clinic" is a concept derived from and applied to Celine's most "interprétable" novel, Death on the Installment Plan, and that concept as well as psychoanalysis reading may be used to show that writing is not analysis but the quest and creation of jouissance in the very impossibility of the subject's relation to sexual difference.
Vers et prose chez Breton
Authors: Gasarian Gérard
Published: January 2012

A fruitful method of exploring the relationship between prose and poetry in Breton 's work is to start with verse as spoken. Poetry must first turn the prosaisms of this world into miracles. But prose — or with « Tournesol », the insertion into a « real » story of the poem by means of later exegesis — will then show that « real » poetry announces what will come to pass «prosaically ». Thus prose and poetry revert into each other by means of changes in reality.
Économie de l'intermittence : vers et prose chez Jacques Réda
Authors: Cardonne-Arlyck Elisabeth
Published: January 2012

Réda practises poetry and prose intermittently — in a biographical sense and in his texts. In writing prose he finds new verse ; in writing verse he speaks of prose, and vice versa ; when he mixes verse and prose, he differentiates them so strongly that the reader must see the artificiality of both. Thus Réda 's textual politics refuse the prose/verse polemic where prose is supposed to challenge poetry's idealism, in favour of a materialistic practice that recovers the play of both forms and their connivence as language.
Note sur le fonctionnement du Trilogue
Authors: Kerbrat-Orecchioni Catherine
Published: January 2012

The models of interaction in use in the analysis of conversation are usually based on a dyadic structure — whereas a three-person structure of interaction is probably as important. How do trilogues differ from « dilogues » ? This note focuses on one of five problems : the construction of interpersonal relations.
Ceci n'est pas un conte, la rhétorique du conversationnel
Authors: Stempel Wolf-Dieter
Published: January 2012

The constitution in the Middle Ages of a vernacular literature, through Chrétien de Troyes, to the structure of the modern novel shows the influence of orality and particularly of the rhetorics of discursive speech — any non-narrative organization of language — on narration. As Diderot's exemplary story, whose status the title denies, shows, narrative is part of sociability — or of the art of conversation.
La double interlocution chez Ghelderode et Crommelynck
Authors: Angelet Christian
Published: January 2012

Theatre re-presents — theatralises — dialogue, and therefore, since it presents a dialogue to spectators, it relies not only on double enunciation (like all literature) but on a double reception. Modern Belgian theatre reduplicates this procedure on the stage itself raising the issue of the relation between a rhetoric of discourse and its pragmatics.
Maître ou esclave ? Benito Cereno ou les chausse-trappes d'un récit truqué
Authors: Meitinger Serge
Published: January 2012

Melville twists his tale, which hinges on the revelation that Cereno has been pretending to be the master of his mutinying slaves, beyond the necessities of suspense. This excess brings home the horror of Cereno' s plight, condemned to act out what his reality ought to be, and implies that all power — and all story-telling — of necessity mimes legitimacy — or truth -telling, suggesting that power can never be legitimate. Had Delano, or the reader, been able to think this way, they might not have believed the show — but might not have been democrats either.
Décrire des actions : raconter ou relater ?
Authors: Adam Jean-Michel
Published: January 2012

It is necessary to redefine the criteria involved for a text to ,be telling a story, rather than recounting events or actions, or drawing a dynamic portrait. Contemporary difficulties with narration then appear symptomatic not of an ambition to tell stories better, but as disguised poetic constructions.
Figure et style : concepts esthétiques dans la théorie du discours de Gérard Genette
Authors: Poiana Peter
Published: January 2012

Genette's theory of the conditions of production of literariness slips into an aesthetics, concerned by effects on readers. Nowhere is this clearer than in his use of the concepts of figuration and style — suggesting that no poetics can be independent of a reader-informed aesthetics.
L'écriture hypertextuelle : pratique et théorie. À partir d'une recherche sur Rigodon de Céline
Authors: Laufer Roger
Published: January 2012

Hypertext writing : practice into theory. From an experiment on Celine's Rigodon.

The making of a sizable hypertext on Celine's Rigodon

exemplifies the ressources and ensuing constraints of the medium. Issues, particularly controversial ones such as the author's racism, must be

ported but not resolved, enabling the reader to form his/her own judgement. Granular writing exacts clarity and explicitness. It may offer scholars in the humanities a middle-way between belles-lettres and expert systems.
Paratextes et journal non intime : le Journal d'une époque de Denis de Rougemont
Authors: Ackermann Bruno
Published: January 2012

Paratextsand the unintimate diary : Denis de Rougemont's "Journal d'une époque".

The diary as a genre keeps the distinctive characteristics of regular entries ans focus on the writer. That the genre does not exist in a pure form induces the study of Rougemont's "Journal", a reedition of other diaries whose quasi-oxymoronic titles combine the generic (Journal) with the thematic (d'Allemagne, etc). Other paratextuel elements show the conscious creation of a hybrid to inscribe the interaction between the individual and the collective, in harmony with Rougemont's personalism.
Au bord de L'Asphyxie : remarques sur l'autobiographie chez Violette Leduc
Authors: Marson Susan
Published: January 2012

Looking in the prison of her skin. notes on a utobiography in "Violette Leduc"

The impossibility of autobiography is the genre's problematic — constantly confronted with its productivity. The issue is that of the opposition between a life and a text: thus the study of an author who has systematically been read as essentially autobiographical in inspiration, at the junction between text an « off-text » : for signature, manuscript, autocitation tell the (literary) biography.
Sur une biographie attendue de Genet : la vérité de la littérature
Authors: Héron Pierre-Marie
Published: January 2012

On Genets much-awaited biography: of truth in literature.

Not the first biography since Genet's death, Edmund White's is the most interesting begging the comparison with Sartre's. It first differs by its scope slightfy marred by tual errors whose impact, however, is to distort the relationship between an artist's life and work, wich Sartre dialecticised — if excessively. White's project reconstructs the man from the work, an misses the work.
Renaud Camus, romancier barthésien ?
Authors: Baetens Jan
Published: January 2012

Renaud Camus, Barthesian novelist ?

The issue of Barthes' heritage, if any, raises that of his teaching-neither dogmatic nor immediately liberal, but fluid. Renaud Camus' work continues its spirit, despite its novelistic aspect, because it nurtures networks, of writings, of writers, and of writing.
Du Seigneur à la chasse au Seigneur chassé, lecture d'un fragment barthésien
Authors: Gratton Johnnie
Published: January 2012

From « Hunting Lord » to « Hunted Lord » : a reading of a Barthesian fragment.

A paragraph, fragment of Roland Barthes by Roland Barthes, collection of fragments, describes how his rendition of a Persian painting, « Hunting Lord » — title echoed by another,

« Hunted Woman » — came out as fragments. The anecdote synthétises different Barthesian concepts.
L'Hypothèse de Robert Pinget ou la littérature émet des doutes
Authors: Patron Sylvie
Published: January 2012

Robert Pingets hypothesis : or literature expresses doubt.

Written in the conditional tense, the play doubts, with the Nouveau Roman, character, plot, literary discourse and representation. But Pinget creates a literary world, and centres on authorial utterance — for the « success « of a conditional failure ?
L'image et l'imaginaire chez Maurice Blanchot
Authors: Wang Lun-Yue Frédéric
Published: January 2012

Image and imagery in Maurice Blanchot's writings.

Blanchot's writings assume the discrepancy between things and their representation. In the narrative disposal. « I ». « He » and « Someone » are the instances between which any identity is undetermined. Fictional images show the neutral prospect of reality.
L'érotisme spirituel dans La Chartreuse de Parme : Fabrice et saint Jérôme
Authors: Jullien Dominique
Published: January 2012

Spiritual eroticism in the charterhouse of Parma : Fabrice and Saint Jérome.

When Fabrice sends Clelia's uncle a fine edition of Saint Jerome's Works (his anotations have ned the chaplain 's copy) she asks to compare the copies, and reads Fabrice's love in his pious glosses. However, Saint Jerome is in himself important to the novel.
Nommer
Authors: Issacharoff Michael , Madrid Lelia
Published: January 2012

Lelia Madrid to name

Exploring the difference between proper names and nouns suggests

that proper names are « out of language » while the processes by which proper names do become nouns is paradigmatic of the creation of nouns. Such an approach renews our understanding of the link between thought and language.
Textes mobiles, images motrices
Authors: Nichols Stephen G.
Published: January 2012

Mobile tests, motor images. Textual instability in the medieval text.

Medieval textual mobility is not only a matter of material production of manuscripts : it is also, in particular through the development of a multiple textuality through enluminures occasioned by Plotinu's

influence,intentional-thus justifying an understanding of the medieval manuscript through Wittgenstein's aesthetics.
Le renversement du texte
Authors: Böschenstein Bernard
Published: January 2012

Text counter-text. Hölderlin interprets Pindar.

Hölderlin's translations of nine fragments of Pindar's poetry are usually very faithful - but followed by comments whose relation to the fragment is difficult to interpret, and often related to Hôlderlin's psychological illness (although dates are still being debated). Indeed, the commentary to the text entitled Das Bele- bende is a reversal : but the issue is why ?
Métamorphoses du verbe
Authors: Jackson John E.
Published: January 2012

Verbal metamorphoses, poetic differenciations In the second half of the 19th century .

Poetry's self-consciousness is nowhere so manifest as in 19th century France- but it takes on a dialogical form with the most important authors, as Nerval's Vers dorés, Baudelaire's Correspondances, Rimbaud's Voyelles and Mallarmé 's sonnet in -yx, where the fixed form of the sonnet is dynamised by a reflection on the very limits of verbal power, demonstrate.
Effets hétérolingues dans le roman québécois du XIXe siècle
Authors: Gruthan Rainier
Published: January 2012

Heterolinguistic effects in the 19th Century Quebec Novel.

The debate about textual plurilinguism-heterolinguism-can mire itself in the issue of verisimilitude ; in fact, 19th century Quebec novelistic practice shows the absence of expected languages (amerindian, québécois except indeed for realistic purposes) while both French and English serve as literary references

and it is church Latin which connotes French Québécois identity.
« Maghreb » en texte : la parole giratoire de Nabile Farès
Authors: Boualit Farida
Published: January 2012

Textual « Maghreb » : The Girating Language of Nabile Fares

The willed unreadability of Farès's work is linked to the impossible Maghreb

—which means West — he writes from, as three writers' (from Algeria, Morocco, and Tunisia) independent but echoing descriptions of circumci-

sion's failure to give access to the Symbolic, show. « Maghreb » texts are

written deconstructively, reflecting reading practices at their source : a proce-

dure concomittent to their existence.
Langue et littérature en Suisse romande : paradoxes et fécondités
Authors: Pasquali Adrien
Published: January 2012

ADRIEN PASQUALI

Language and literature in Francophone Switzerland : Paradoxes and Riches

A massive fact, this literature seems invisible : sign of a false problem ? Writers, whether marginal or central, are solitary, and their identity has to do with reading ; Ramuz' trajectory has been to speak from a place out of which his writing then came, which it can be said to have constructed. No different is the state of the — vital — contemporary Swiss scene.
Langues et littératures : éléments de bibliographie
Authors: Gauvin Lise , Grutman Rainier
Published: January 2012

Languages and Literatures : Elements For a Bibliography

This bibliography proposes four fields : the issue of the specificity of a literary language, that of external and internal language variety, historical perspectives, and monographs centered on language(s).
Silences et échos chez Marguerite Duras
Authors: Ricatte Robert
Published: January 2012

Marguerite Duras : Silences and Echoes in Le Ravissement de Loi V. Stein and Le Vice-Consul.

The two novels, which date from 1964 and 1965, are linked by characters in common, but also by a parallel esthetic of silences and echoes, or suspension and repetition, within each novel, and from novel to novel. The texts thus woven hang between madness and death, alluded to but never reached, webs of suspended ennui.
Quand la lèpre fleurit...
Authors: Gérard Michèle
Published: January 2012

When Leprosy Blooms... Body and Writing in Jean Bodel's and Baude Fastoul's Congés.

Both these poets left the world for leper-houses, writing farewells similar to those of poets — Hélinand de Froidmont, Adam de la Halle — leaving for a spiritual retreat or for study, but with the added dimension of a careful linguistic exploration of the link between bodily dégénérescence and renewal of the heart and soul — in last words.
L'équivoque dans l'arène
Authors: Watroba Maria
Published: January 2012

The Equivocal Arena : about Michel Leiris.

The sacrificial vision of the corrida implies its gendering : the virile torero, confronted with a feminine bull ? Leiris in Miroir de la tauromachie develops the analogy, in particular with the use of the Maussian concepts of « right » and « left » sacred, beyond a phallic specularity of the bull-fight into the reversibility and undecidability of its sexual agon.
Mise en discours d'une analyse de texte
Authors: Dion Robert
Published: January 2012

Discursive Strategies of Textual Analysis : About an Article of Jakobson

Textual analysis, contrary to exegesis, aims at interpretation, and as such cannot really be repeated ; thus the interest of analysing its rhetorical practice, which pretends to science but ultimately develops a rhetoric of (hidden) persuasion, through argumentation and narrativisation of the text under study — here, Baudelaire's Spleen.
La vision prise de vitesse par l'écriture.
Authors: Calle-Gruber Mireille
Published: January 2012

Vision Outstripped by Writing : On Cixous' la Fiancée juive

The title suggests a stranger to French, poised on the brink of the realisation of a promise, and refers to Rembrandt while exploiting in particular the Song of Songs ; indeed Cixous writes the in-between of past and future, here and there, where life takes place, and creates the mobility proper to a painting.
Avons-nous commencé d'écrire ? Penser l'art et l'écriture selon Jacques Dupin
Authors: Viart Dominique
Published: January 2012

« Have we begun to write ? » Thinking Art and Writing according to Jacques Dupin

Dupin's comments on Giacometti, Miró or Tapies illuminate the birthing and re-birthing of his own poetry, which, like the art he admires, is concerned to forever bring forth what is already there, rather than think it through.
Philippe Jaccottet, une écriture de l'événement : « Le passage »
Authors: Sourdillon Jean-Marc
Published: January 2012

Philippe Jaccottet, or Writing the Event : « the Passage »

Jaccottet uses the term « passage » to describe the event his poetry is about : a transcendental encounter with the world which leads to its transcription — or translation — with the objective of giving the reader, in its own passing, light, or joy.
Cynthie ou la réécriture de l'élégie dans les Mémoires d'outre-tombe
Authors: Jullien Dominique
Published: January 2012

Cynthie : Rewriting Elegy in "Memoirs from Beyond the Grave".

Chateaubriand, displacing this invocation from the time of its composition (his tenure as embassador in Rome), to his return to Paris from a failed mission in Prague in 1833, points to a reading beyond the pastiche of elegy to its deep affinity with death — an epitome of the "Memoirs".
« Au pays des Kobolds » : Walter Benjamin traducteur de Marcel Proust
Authors: Kahn Robert
Published: January 2012

"In the country of the Kobolds": Walter Benjamin as Proust's Translator

How does Benjamin's unfinished translation of "Remembrance" (partly with Franz Hessel) clarify "The Task of the Translator" ? Comparison with the only other-complete-German version does justice to both Benjamin's work and theoretical coherence.
Roman Jakobson et la relance de l'Opojaz (1928-1930)
Authors: Depretto Catherine
Published: January 2012

Jakobson and the Revival of Opojaz

The Russian formalist Tynjanov and Jakobson co-signed in 1928 "Problems in literary and linguistic studies" in now well-known circumstances. A reappraisal shows that Russian formalism was then much closer to the Prague school and nascent structuralism than has been thought: the failure of Opojaz must be attributed to politics.
La stylistique littéraire et son objet
Authors: Schaeffer Jean-Marie
Published: January 2012

The Object of Stylistics in Literature

Stylistics in literature has tended to distinguish itself from the stylistics of language, leading to a perception of literary style as idiosyncratic. As Goodman reminds us, style implies choosing between differentiated but similar linguistic or literary alternatives.
Vers une stylistique politique
Authors: Gaitet Pascale
Published: January 2012

Towards a Politics of Style

A political stylistic analysis, here presented in relation to Zola, Celine, and Queneau, needs to relate the study of the formal textual caracteristics of a

work to the manner in which the power relations of a given social world

organise and make legible any kind of linguistic production.
Alois Riegl (1858-1905) et l'analyse du style des arts plastiques
Authors: Frank Isabelle
Published: January 2012

Alois Riegl and the Analysis of Style in the Figurative Arts

The syncronic and diachronic facets of the notion of style in art history, when dovetailed, convert the descriptive concept into a dynamic historical force. Seductive in Heinrich Wölffin's work, the amalgamation, as Riegl's Late Roman Art Industry exemplifies, is nonetheless a fallacy.
Principes fondamentaux de l'histoire de l'art de Wölfflin et L'Architecture du drame shakespearien de Walzel
Authors: Guillemin Anne
Published: January 2012

Heinrich Wolfflin's Principles of Art History (1915) and Oskar Walzel's Shakespeare's Dramatic Structure (1916)

Walzel's essay is one of the first to transfer Wölfflin's visual concepts into literature, allowing him to see Shakespearean art as baroque.
L'image fixe dans l'image animée
Authors: Jost François
Published: January 2012

Static Images in Motion Pictures

The narrative theory of cinema understood as analogical to vision, depends on distinguishing the image within which nothing moves from that showing motion ; we find it difficult to catch narrative utterance in the former because we replace it in a continuity. Digitalisation shifts the pertinent distinction to one between mechanical and anthropological reproduction. (414)
Récits, visuel et verbal, en quête d'atemporalité
Authors: Young-Hae Kim
Published: January 2012

Narratives, Visual and Verbal, In Search of Atemporality (about a Painting by An Kyun)

The complex history of the 1447 multi-media Dream of a Visit to the Country of the Peach-Trees, itself hinges on interplay between temporality and atemporality as enacted by the relations between orality, calligraphy, and painting. (332)
Narrativité et médium dans la peinture
Authors: Chateau Dominique
Published: January 2012

NarratMty and Medium in Painting (about a short treatise of Lord Shaftesbury's)

Classical theories of painting asked, not if paintings told stories, but how, in a manner grounded in extensive analysis of the medium, as Shaftesbury's A Notion of the Historical Draught or Tablature of the Judgement of Hercules, according to Prodicus, written in French for the Italian painter de Mattei in guidance to his 1712 Hercules, shows. (447)
L'enjeu de la prostitution : Véra Baxter de Marguerite Duras
Authors: Brown Llewellyn
Published: January 2012

The Stakes in Prostitution : Marguerite Duras' Vera Baxter

The Baxters, locked in passionate silence, are closed to desire, when Jean offers a friend a « million » to seduce his wife ; this does unhinge her from him, but not into desire-into availability and meaninglessness, figured by prostitution, haunts of Duras' writing.
Des « fatrasies » surréalistes ?
Authors: Randall Michael
Published: January 2012

Surrealist Medieval Poetry ?

Bataille's 1926 translations of medieval poems for La Révolution Surréaliste erase formal caracteristics, thus accentuating non-sense. To create a surrealist poetics from medieval sources, or to suggest, with a little help, the perenniality of such a poetics ?
La savinienne Introduction à une vie de Mercure ou les prestiges du surréalisme
Authors: Isotti-Rosowsky Giuditta
Published: January 2012

Alberto Savinio's Introduction à la vie de Mercure or the Prestige of Surrealism

Savinio's text (1929) parodies early surrealist aesthetic, to Paulhan's displeasure ; but the story also gratingly inscribes Savinio's reinvidication of primacy, a hypothesis supported by a 1919 text.
Le furet furtif. Une figure du jeu chez Proust
Authors: Houppermans Sjef
Published: January 2012

Passing a (Slippery) Slipper : a Figure of Play in Proust

Figures of play, related to fiction and art, which determine the narrator's quest, stake Remembrance. Pass-the-slipper at Balbec shows how « I » accedes to desire while the game is another epitome of the book's structure and of its author's desire.
Forme et roman
Authors: Ropars-Wuilleumier Marie-Claire
Published: January 2012

Form and Novel

Comparison with the visual arts unveils the aesthetic constraint at work in the novel : the dismantlement of its driving force, narrative, by reflexivity and figuration — the visual. Art, ultimately, is about resemblances which rupture the unicity of composition or plot.
Le saut de Nijinski. La danse en littérature, représentation de l'irreprésentable
Authors: Brandstetter Gabriele
Published: January 2012

Nijinsky's Leap. Dance in Literature, Representation of the Unrepresentable.

Nijinsky's leaps, and quintessential leap off stage in "The Spectre of the Rose", challenge verbal description, revealing the essence of dance itself as physical miracle.
Robert Walser, le danseur du quotidien, ou : l'affinité du feuilletoniste avec la danse
Authors: Utz Peter
Published: January 2012

Robert Walser, Choreographer of Daily Life, or The Serial Writer's Affinity With Dance.

Walser 's daily columns of commentary and anecdote, whose freedom of

style depends on these constraints, frequently metaphorised writing as

dance, and wrote about modern dance, inseparable from the rise of the

genre.
L'ascension de l'écriture. Pas de danse, danse de l'écriture : A-libi, a-topie et ressemblance dans l'œuvre de Jan Fabre
Authors: Siegmund Gerald
Published: January 2012

The Raising of Writing. Dance Step and Writerly Dance: Alibi and A-topia in Jan Fabre's Work.

Derrida's écriture is the key to Jan Fabre's choreography, which takes his work as a plastician fascinated with mannerism to their logical conclusion in positing a subject constructed by representation.
La narration du mouvement en vidéodanse. Modes narratifs d'une forme artistique intermédiatique
Authors: Rosiny Claudia
Published: January 2012

Motion Told in Videodance. Narrative Modes in a Multimedia Artform.

Videodance has origins in numerous multimedia works. Its narratives draw on cinema, but the absence of words and its basis in body language leave great freedom of interpretation to the viewer, and openness to the stories.
Écriture littéraire, écriture chorégraphique au XXe siècle : une double révolution
Authors: Louppe Laurence
Published: January 2012

Twentieth Century Literary and Choreographic Writing: a Double Revolution.

Modern dance and modern poetry trace their birth to the same revolution, the concentration on medium, rhythm, and materiality as opposed to word and meaning.
Moments du sujet
Authors: Viart Dominique
Published: January 2012

The Subject's Hour

Next to the present debate confronting lyricism and subjective poetry which puts the subject in question but does not empty it of meaning : Antoine Emaz, Gérard Titus-Carmel and Yves Peyré.
« Où vont les chiens ? »
Authors: Gleize Jean-Marie
Published: January 2012

Where Are the Dogs Going ?

Thus wondered Baudelaire at the end of a prose poem for urban settings. And there we are still. In fact, the present generation, whose dynamism is considerable, is the product of the communications developed between the main poles of the 60s an 70s.

Poets on Poets

John E Jackson recounts an original poetic itinerary in "Philippe Denis : An Insect in the Darkness of Wood". Gérard Farasse goes to the origins of Gil Jouanard's poetry in "Boulangerie Jouanard, Father and Son" ; the latter has chosen to describe the work of "Ludovic Janvier : La mer à boire (1987) and Entre jour et sommeil (1992)". Marc-Ange Graf traces "Gabrielle Althen's 'Surcroît'", a word indicating the necessity of ecstasy. Antoine Raybaud captures the mallarmean project behind signs of Islam in " Abdelwahab Meddeb : Palimpsest Illumination" ; Hedi Kaddour traces plays on clichés day-to-day or poetic-in "On Claude Mouchard, 'canard lune'", while Daniel Guillaume describes Kaddour : "The Wasp and the Shadow : Hedi Kaddour". Pierre Vilar 's "Jean-Louis Giovan- noni, Between the Tree and the Bark" echoes the poet, and Christian Doumet s considers the pneuma in "Little Stands Up to the Wind : Jean-Baptiste de Seynes"
La Part maudite, de Georges Bataille. Pour une lecture du paradoxe
Authors: Dandurand Guy
Published: January 2012

Georges Bataille's The Accursed Share : For a Reading of Paradox

Batailles 1949 Accursed Share extended his 1933 intuitions about the sociopolitical functions of loss into a « general economy » ; one of its paradoxes is to insist from the political left on the individual's ultimate sovereignty, by demonstrating the agonistic nature of many relations to the world.
Le chant du virtuel
Authors: Peinaud Michel
Published: January 2012

The Song of the Virtual (Kafka's «Josephine the Singer, or the Mouse Folk »)

Josephine and her people's language a) is not quite a language b) is anyway inaccessible to us. How does Kafka relate this ? Well, Josephine the Singer doesn't speak — but nor does she so much « sing » as « have an effect » « as if she sung ». Thus does Kafka write of the artist's words in relation to the language of the people.
Les Lettres d'avant la Lettre : double naissance et fondation
Authors: Andrès Bernard
Published: January 2012

Literature before Literature : A Double Birth and Foundation.

A French Canadian cultural field emerged during the Union, from 1840. It was a double birth — of history and of literature; this double birth is itself a re-birth, if one retells the story and sociology of writing between the 1760 British Conquest and the 1837-38 Rebellion.
Référence et post-modernité : Jacques Poulin
Authors: Samoyault Thiphaine
Published: January 2012

Reference and Postmodernism: Jacques Poulin.

Reference, defined as actual mention of a cultural artefact rather than as allusion and un-attributed citation, functions in Poulin's fiction to remind us that cultural objects are keys to the real world, not the signs of infinite cultural referentialities.
Poétique du « paralloïdre » ou les défis linguistiques d'André Martel
Authors: Jeandillou Jean-François
Published: January 2012

The Poetics of the "Paralloïdre" Challenges of André Martel.

Martel' s language, which he baptised "paralloïdre" to honour its parallelism to and distortion of French, is, in this study of his translation, "Le Moscacoche", of La Fontaine's "Le Coche et la Mouche", intelligible, pleasurable, and unpredictable — a challenge only a non-normative textual linguistics can take up.
Passage des Panoramas (poétique et fonctions des vues panoramiques dans Les Rougon-Macquart)
Authors: Lumbroso Olivier
Published: January 2012

"Passage des Panoramas" (Panorama Way) : Poetics and Functions of Panoramic Views in "The Rougon-Macquart".

During the 19th century, three types of panoramas as well as dioramas were widely developed as entertainment. Zola's descriptive work transfers into writing the technical characteristics of either system, which must be understood on a par with other aspects of the naturalistic method.
La « langue Françoise » dans À la recherche du temps perdu de Marcel Proust
Authors: Pierron Sylvie
Published: January 2012

Françoise's French Tongue in Proust's "Remenbrance of Things Past".

Proust recreates in Françoise' s speech the myth of the genius of the French language, a high point of 19th century apprehensions of language: clarity, purity, a combination of Medieval sources and Classical achievement, rural origins, and final corruption. Thus can one speak of "la langue Françoise" as both Françoise's and "la langue françoise" of myth.
La répétition dans L'Espoir, lieu de passage du sens
Authors: Loehr Joël
Published: January 2012

Repetition in Man 's Hope: A Signifying Process.

Repetition would seem to undermine the linear progress of a narration. In point of fact and somewhat paradoxically, in Malraux' s work it rums out to be the device par excellence for both the progression of the story, its passage from one stage to another, and the passage of its meaning or direction to the reader. Thus it appears as both a means and an outcome.
« Dans la lumière même de l'Apocalypse » : Science et poésie dans Les Chants de Maldoror
Authors: Perez Claude-Pierre
Published: January 2012

"In the Very Light of the Apocalypse": Science and Poetry in "The Songs of Maldoror".

Lautréamont uses scientific language in three ways: substituting scientific words for others, using qualifiers, and comparisons. All treat science on an ironic par with other modes of discourse; but also, are an analysis — scientific — of human nature as cause of science.
Baudelaire et ses sœurs
Authors: Gasarian Gérard
Published: January 2012

Baudelaire and His Sisters.

Baudelaire's treatment of Sand resembles his treatment of Mme Sabatier: mutual dissatisfaction and desire expressed through one ambivalent figure. Sand's writing inspires pity, an object of horror, so this pity she inspires is also his horror. His sharpness, aimed ultimately at himself, can reach him only through Sand, a sister.
Équipée de Victor Segalen, postulat et corollaires
Authors: Labatut Sophie
Published: January 2012

Victor Segalen's "Équipée", Postulate and Corollaries.

Segalen's travel writing puts in parallel the expedition and the literary venture, which questions the relationship between art and life. The book constructs itself and its meta-discourse, an "art poétique'" which reshapes enunciation in a refusal of the omniscient narrator, consistent with all Segalen's practice.
Sémiotiques d'avant, sémiotiques d'après : à propos de La parole littéraire de Jacques Geninasca
Authors: Quéré Henri
Published: January 2012

Jacques Geninasca's "La parole littéraire".

The work of a third generation semiotician, Geninasca's approach "makes the text make sense", a project mid-way between Greimas' subjectifying of objectivity and Coquet' s objectifying of subjectivity; his articles concentrate on the manner in which "literary speech" constructs the terms of belief in its existence.
Avant-propos
Authors: Asso Fançoise
Published: January 2012

On Nathalie Sarraute.

Sarraute made her public from book to book, drawing the reader in; thus, a collection of articles by readers writing as individuals, rather than specialists.
À celle qui me parle
Authors: Cixous Hélène
Published: January 2012

To She Who Speaks To Me.

With "Ouvrez" (Open!), Sarraute delivers the key to her work, a marvellous web of words in which the spectator, on or off guard, is caught, puppet on a string or in a hall of echoes.
Des choses sans objet
Authors: Samoyault Thiphaine
Published: January 2012

Things Without Object.

Furnishings in Sarraute — see "The Planetarium" — become things without their status as objects, forms given materiality, in a reversal of the realistic and historical perspective.
La parole en Enfance
Authors: Bompiani Ginevra
Published: January 2012

Speech in "Childhood".

Sarraute is of an age where characters are constructed entirely from their speech — and speech is born from survival in the warfare of childhood.
Théâtre. "Ce qui s'appelle rien"
Authors: Héliot Armelle
Published: January 2012

Theatre: "Nothing, Absolutely Nothing".

Sarraute came to theatre unwillingly; yet the medium, is one that has served her literary project — dialogue in conflict — best, despite — because of? — the freedom she left interpretation.
L'un et l'autre
Authors: Gleize Jean-Marie
Published: January 2012

The One and the Other.

Nathalie Sarraute and Francis Ponge both have an explorer's relationship to language, one to words, the other to their "Use"; which makes of both, writers engaged in a poetic enterprise.
Arrêt sur image dans La Princesse de Clèves
Authors: Montier Jean-Pierre
Published: January 2012

Still Frames in "The Princess of Cleves".

As is well known, the novel sets up a system of visual communication whose means include complex staging of the sense of sight, circulation of portraits — and descriptions. These, in subtle contradiction with reason's narrative discourse, enrich the novel's overall meaning.
Les huîtres gay de Monsieur Marcel
Authors: Schuerewegen Franc
Published: January 2012

Monsieur Marcel's Gay Oysters.

Oysters, jellyfish, asparagus, cross three narrative progressive series — food, visual arts, sex. Homosexuality appears an improvement in the narrator's development — if, unlike his learning to eat oysters and admire jellyfish, his acting out is never staged. Rather like his becoming a writer. . .
Le sens de l'incertain
Authors: Bouyer Sylvain
Published: January 2012

The Meaning of Uncertainty

Meaning, able to endlessly proliferate, has been granted an autonomy which is a main component of contemporary uncertainty, with the lack of control of the destructive process in the arts. Our societies glorify in uncertainty, see reason as collaborating with unreason. Why?
Serviteur de deux maîtres
Authors: Clément Bruno
Published: January 2012

Servant to Two Masters (Samuel Beckett's Bilingual Poetics)

Beckett's work-not so much its author-is bilingual: whatever its language, it feels written in it. The choice of such a strategy, grown more conscious over time, was set by reflections upon the misuse of language and languages which go beyond the normal literary sensitivity to the relationship between languages and literature: a choice of the best tactic for divergence.
Le tragique dans le cycle Nedjma de Kated Yacine
Authors: Boukhelouf Sabiha
Published: January 2012

The Tragic in Kateb Yacine's Nedjma Cycle.

Tragic heroes in Kateb Yacine's work live a double passion: desire for Nedjma, woman and figure of the nation, desire for revenge from the colonists. If the characters exist socially and historically, nonetheless they have no control over their destinies: fatality defines these, while death and life become interchangeable for them within the revolutionary logic.
Les fragments stagirites
Authors: Costantini Michel
Published: January 2012

The Stagirite Fragments

This fictive and abundantly annotated "translation" is a reconstruction from notes from a close reading of — mainly — the first four chapters of Aristotle's "Poetics" in the 1980 edition by Roselyne Dupont-Roc and Jean Lallot (Seuil, Paris). It purposes to demonstrate Aristotle's "modernity" — in particular his semiotic modernity.
Aristote contre Descartes : Ernesto Grassi et la tradition humaniste
Authors: Graziani Françoise
Published: January 2012

Aristotle vs Descartes: Ernesto Grassi and the Humanist Tradition

The mannerist treaties which furnish the German language philosopher Ernesto Grassi with his matter in "La mania ingegnosa" owe a great deal to Aristotle as defender of poetry and ingenious artistry. This reveals aspects of the mannerists, of Renaissance readings of Aristotle, and of Aristotle himself, usually forgotten within a French critical tradition dominated by Cartesianism.
Aristote, Cicéron et la Genèse: une lecture emblématique de la quinta natura au XVIe siècle
Authors: Rolet Anne
Published: January 2012

Aristotle, Cicero and Genesis: an Emblematic Reading of the "Quinta Natura" in the XVIth Century

Achille Bocchi is the author of the 1555 "Symbolicae Quaestiones" in the emblematic manner; his Symbolon 140, whose iconography and Cicero-derived text are characteristically complex, is an excellent document concerning Renaissance readings of Aristotle and their role in a philological dispute pertaining to the origins of the world.
Le genre comme œuvre
Authors: Genette Gérard
Published: January 2012

Genre as a Work of Art

Generic theory, as illustrated by Aristotle and Hegel, treats genre as a work of art and the work of art in terms of its genre, thereby showing a porosity between the categories of which French classical aesthetics is the best illustration — a fact rarely even seen, let alone understood.
Écriture, signes et sens dans La Chartreuse de Parme, ou le désenchantement du monde en 1839
Authors: Laforgue Pierre
Published: January 2012

Writing, Signs and Meaning in "The Charterhouse of Parma", or, The Disenchantment of the World in 1839

The socio-critique of this novel is justified by its scope — but especially by the fact that it is concerned with history, politics, and society in the very depths of its poetics, as an analysis of the relationships it establishes between writing, signs and meanings shows.
La fiction, ou l'image de personne
Authors: Perret Catherine
Published: January 2012

Fiction, or Nobody's Image

Fictions can be analysed using three propositions: their efficacy in the political, legal and psychic spheres, their relationship to images as approached by Wittgenstein (the little boy's blond hair), Kafka (the snake), and Kleist (the puppet), and a philological reading of Aristotle's description of mimesis.
Une reconstruction du champ littéraire. Faire œuvre « du désordre du siècle »
Authors: Cohen Margaret
Published: January 2012

Reconstruction of a Literary Field. Forging Works Out of "the World's Disorder"

Did Balzac and Stendhal invent realism as isolated responses to their century's disorder, or were they, in so doing, responding to other novels and novelists within the literary field of their time, a field obscured by the subsequent triumph of realism?
Sartre, « miroir critique » de Maupassant dans La Nausée : des « imaginations naturalistes » au fantastique en « trompe-l'œil »
Authors: Thumerel Fabrice
Published: January 2012

Sartre, "Critical Mirror" of Maupassant in Nausea

The literary histories writers implicitly build in their fictions are particularly interesting in what they tell us about the way in which literary fields can or do shift. Sartre's relationship to Maupassant is such an example: that of an author coming of age in the late 1930s, through the 19th century.
L'édition des textes du passé : enjeu théorique et marché editorial en l'an 2000
Authors: Vaillant Alain
Published: January 2012

Editing Historical Texts: Theoretical Issues and Editorial Market

Editing historical texts is now relaying school in transmitting a form of literary history ; but the lack of the contexts of these works, and the lack of a scientific knowledge of literary history, leads overall 1) more subtly than school, to the production of value without justification, and 2) to no new literary history.
Coup d'État et opérette-bouffe
Authors: Hasumi Shiguéhiko
Published: January 2012

Coups and Opera-Bouffe

In 1 85 1 , the self-named comte de Morny, illegitimate half-brother of Napoleon Buonaparte, signed the decree which led to Empire; in 1861, he co- signed an opera-bouffe which mirrors issues crucial to his former act.
L'œuvre poétique entre traduction et création
Authors: Nakaji Yoshikazu
Published: January 2012

The Work of Poetry Between Translation and Creation

Translating poetry, such as Rimbaud's "Illuminations" into Japanese, is a limitless task - within or because of the limits of the requirement of faithfulness.
Au-delà de la mort - l'œuvre il-limitée de Marcel Duchamp
Authors: Kobayashi Yasuo
Published: January 2012

Beyond the Grave - Marcel Duchamp's Un-Limited Works

Duchamp's last and posthumous work, now in Philadelphia, shows his seeing and his desire, from within a boundless grave. As his epitaph says, «anyway it's only the others who die».