bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dédicataire maternel et création
Authors: Harel Simon 
Published: January 2012

The question of the body image pervades Michel Leiris' work, and its underlying narcissistic
elaboration often favors themes of confession or unmasking. In this respect, Le ruban au cou d'Olympia renders the pertinence of reparative activity (in a kleinian sense) ; a practice which associates the destruction and provisory configuration of a maternal dedicatory figure. In Le ruban au cou d'Olympia, corporeal fusion with the mother reveals an anxiety of nudity which must be immediately veiled through writing. Thus the novel's creation could be compared to the formation of a psychic container : maternal fusion, testifying to a fear of incest, where words might become so many affects laying bare the disquieting encounter with feminity.
La question de l'auteur dans les sciences modernes
Authors: Stengers Isabelle 
Published: January 2012

About author in modern sciences.
Sciences induce Literature and singularly the validity of this scientific literature is linked to the question of « author ». Beyond words like objectivity and method stands out this question : may we say that « nature » can operate in men's arguments? Up to what point does this intervention go? What is then the status of the one who represents, speaks for nature? To all answers given correspond distinctive literatures, some of which are still to come.
Entre science et littérature
Authors: Cahn Michael 
Published: January 2012

Between literature and science.
The two realms of literature and science have variously provoked attempts to distinguish and differentiate them. This essay argues that both should be studied as related modes of producing meaning. Rather than using the history of science as auxiliary science for the better interpreting of the literary text, it suggests that figures of thought, that are often characteristic of single sciences, offer a privileged object for the study of the inter-relationship of both realms.
"Pour clore nostre conte" : la comptabilité de Montaigne
Authors: Desan Philippe 
Published: January 2012

Montaigne's book-keeping.
We can't tell Montaigne was directly influenced by book-keeping writers as Benedetto Cotrugli, Jean Ympyn ou Pierre de Savonne. However we can find some analogies between double-entry book-keeping as developed at the end of Renaissance and Montaigne open form of essay. For instance in the Essais lays the idea of current account. Montaigne keeps records of credits and debits in one same page trying to keep the balance. The chapter « Des noms », is a good example.
Jeu du double ou double jeu : les Peintures de Victor Segalen
Authors: Formentelli Éliane 
Published: January 2012

The painter and the painting meet in Peintures with the feminine figure. Peintures has a new liberated form, essentially concerned
with attitude and directing in writing. This work verbally stands by itself. The reader, verbally seduced by the talk of the poem, becomes a spectator. Poetry makes him enter in a visionary space, where differences between image and imagination, writing and painting, visible and words melt. This way, Segalen, on the quiet, delegates the power of the Chinese painting to bare poetry.
Les voix du peuple
Authors: Saint-Germain Pierre 
Published: January 2012

The voices of the people.
This study traces the emergence in Sand's work, following her meeting with Pierre Leroux in 1835, of the problematics of the proletariat as subject or hero, as author (through Sand's defense of and friendship with worker-poets), as audience and as political agent. Sand doesn't solve « la question sociale » but explores in fiction modalities of access to « voices of our own » for the people.
Diaphonie et interaction dans le débat politique
Authors: Torck Danièle 
Published: January 2012

This study of a French March 1993 televised political debate analyses the
modalities of speech distribution — - theoretically, all participants have an equal amount of time — first in terms of classic concepts, then in terms of diaphony, a concept which designates the strategies by which an interlocutor takes a locutofs discourse into account in his own discourse (and vice-versa).
Fiction interactive et modernité
Authors: Clément Jean 
Published: January 2012

Interactive fiction and modernity.
Classical linear fiction directs narrative to a single final aim. Earlier attempts to write the reader into the fiction were foiled by the medium. Combinatorial works either support irratio- nalism or lack any serious purpose. The responsive technology of stand-alone hypertext, offering a degree of interaction with a set of fragments to be shaped into unending experiences, seems designed to support post-modern deconstructionism. Cooperative writing on networks may yet through the live exchange of thoughts and fancies lead to a new literary humanism.
Un roman inachevé — Dispositifs
Authors: Balpe Jean-Pierre 
Published: January 2012

An endless novel — Dispositifs
Literature is usually considered to be a frac-
tal work on language and text, all details being taken charge of and directed towards achieving the unique aim of translating the writer's intentions. That ideological point of view on literature is upset when the text is being written by an automatic generator. In which case there is no fractal point of view but on the contrary something like a chaotic one. To illustrate this statement, the article opens on an extract from an automatically generated Endless Novel.
La recherche plein texte. L'utilisation du CD-Rom de base de données textuelles DISCOTEX 1
Authors: de Biasi Pierre-Marc 
Published: January 2012

Textual research : using the discotext 1 CD-Rom textual data base.
The CD-rom DISCOTEXT 1, published by CNRS / Hachette, combines a data- base of 300 literary works with a amputer program for its analysis. The total
corpus consists of a representative selection of the French literary production between 1827 and 1923, resulting in 42 millions word- occurrences which DISCOTEXT 1 's program enables to explore in an original way. The user has access to a large number of criteria and tools to define his topic and corpus, and can use two to three parameters in his search for occurrences or co-occurrences. The program enables the user to accomplish in a few minutes and with no risk of error textual investigations which would require months of work using a traditional method (trad. : Géraldine Dériès).
Witold Gombrowicz : pour une théorie romantique de l'inachèvement
Authors: Deshoulières Valérie 
Published: January 2012

Witold Gombrowicz : towards a romantic theory of incompletion
Gombrowicz, whose works are often seen as a « conflict between man and Form », may be thus enacting a project of perpetual mutation : the vindication of the poet as chameleon » requires the creativity which Musil's man without qualities lacks.
L'échappée belle. Stratégies d'écriture et de lecture dans la littérature de la fin du Moyen Âge
Authors: Cerquiglini-Toulet Jacqueline 
Published: January 2012

Great escapes. Writing and reading strategies in late medieval litterature.
If traditions of complaining of copyists and their changes (Chrétien de Troyes), and even of «annotated» copying (Gui de Mori 's Roman de la Rose,) exist in medieval literature, yet various authors — Froissart, Régnier, and especially Villon — seem to have programmed the very mobility of subsequent copies, thus appropriating their own « great escapes ».
Entre lanterne sourde et lumière noire. Du style en critique
Authors: Bellemin-Noël Jean 
Published: January 2012

Between muffled lamp and black light. Of style in criticism.
If Barthes convinced us that literature can be found in modern literary criticism — although Benjamin Crémieux gave the idea first expression — what then is the style of this genre ? Dependant, as is any style, on a recognition ulterior to its existence, nevertheless critical textuality signals itself as a form : an indirect retranscription of an indirect listening-whose limit is the psychoanalytic relation.
Glissements de langues et poétiques romanesques : Poulin, Ducharme, Chamoiseau
Authors: Gauvin Lise 
Published: January 2012

The Sliding of Languages and the Poetics of the Novel.
The classic theory of literature by a minority in a dominant language sees its insecure practitioners constitute the latter as a « superconscience ». Yet, as three recent American francophone novels show, contemporary strategies exploit passages within a language, and from language to language, transcending or infirming this theory toward Bakhtin's plurilingualism.
L'aventure linguistique, une constante des lettres belges : le cas de Jean-Pierre Verheggen
Authors: Klinkenberg Jean-Marie 
Published: January 2012

Linguistic Adventure, a constant of Belgian Literature : the case of Jean-Pierre Verheggen.
Linguistic insecurity, as given for Belgian writers, produces, during a centri- petic period such as 1918-1960, neo-classicism and linguistic inventory (Le Bon usage), or « overwriting » (Michaux). But Verheggen's work since I960 — in Pubères, putains or Stabat Mater — shows a quest for a carnavalesque, inclusive and analogical language.
Jules Michelet : histoire nationale, biographie, autobiographie
Authors: Gossman Lionel 
Published: January 2012

Jules Michelet : National History, Biography, Autobiography.
If it is not difficult to pinpoint in the work of historians — Burckhart, for one — the echoes of a personal life, nevertheless Michelet is striking in his invention of the individual nation as subject of history, and in his consequent vindication of a personal, affective and quasi-erotic stake — both biographical and autobiographical — in this history.
L'homme divisé
Authors: Laroche Hughes 
Published: January 2012

The Divided Man

Jules Renard's work is seen as a purification of style from image-renouncing
poetry (1886), the short story (1888), the novel (1892), and perhaps, as in the collection of brief notes and dialogues published in 1908 as Ragotte, literature. But in as much as Ragotte — and the Journal — are caught between transparency and imagery, they create a distance which, inevitably, is literary.
Fernando Pessoa, le Juif-Grec
Authors: Perrone-Moisès Leyla 
Published: January 2012

Fernandoa Pessoa, Greek Jew
The heteronymy characteristic of Pessoa, object of much analysis, must also be read as the dramatic projection of a philosophical dilemna between the Greek and the Jewish heritage — with heteronyms ultimately often as hybrid as Pessoa himself, convinced only of the value and autonomy of poetry.
Céline, Elstir et le Christ
Authors: Cornille Jean-Louis 
Published: January 2012

Céline, Elstir, and Christ
Céline advertised his ignorance of painting, but his last works, which attack first Proust through Elstir, then Delacroix through the Crucifixion, are as painterly as Cobra — while his intertextualities may ultimately aim at Barbey d'Aurevilly, whose le "Chevalier Des Touches" imposed a pseudonym for Destouches' painterly name.
Pour une sociopoétique du chronotope : la scène de bal chez Théophile Gautier
Authors: Montandon Alain 
Published: January 2012

For a Sociopoetics of the Chronotope: Théophile Gautier's Ball Scenes.
Conceptualising Gautier's ball scenes as Bakhtinian chronotopes shows their diegetic function in focussing tensions-between representation and passion, society and individual, fact and fiction, life and death-before change.
Danses de l'écriture, courses dansantes et anthropologie de la kinesthésie
Authors: Leigh Foster Susan 
Published: January 2012

A Dance of Writing, a Dance of Running, and the Anthropology of Kinesthesia.
A practical knowledge of dance, which grounds socio-political reality in the identity and differences of bodies, enables the reinterpretation of two famous anthropological anecdotes from Levi-Strauss and Geertz.
Un œil à l'écoute : l'univers sonore d'Italo Calvino
Authors: Lefebvre Frédéric 
Published: January 2012

A Listening Eye: Italo Calvino's universe as Sound.
Calvino' s literary creation, except inasmuch as "Under the Jaguar Sun", on the five senses, lacks stories on sight and touch, seems all eye. Unless, as a re-reading of Calvino's work through the auditory prism of "A King All Ears" in that same work shows, such a perception is that of a hurried reader — who needs to take the time to hear Calvino's eye as a listening one.
Deux ou trois choses que l'on sait de lui
Authors: Perrone-Moisès Leyla 
Published: January 2012

Two or Three Things We Know About Him.
In 1977, Jacques Lefrere found an Iliad in Spanish which contained a statement of ownership by Isidore Ducasse, Count of Lautréamont, which reveals possession of another book. Its analysis, combined with a remarkable synthesis of the criticism, provides great insight in locating the work — and the author, to some degree.
L'esclave et le paralytique : Atar-Gull d'Eugène Sue
Authors: Mitterand Henri 
Published: January 2012

The Slave and the Paralytic: Eugène Sue's "Atar-Gull".
Sue uses the figures and conventions of novelistic and romantic pathos with distance to criticise colonial slavery. "Atar-Gull" avenges his father, put to death by the slave-owner Wil, by wiling his way into his goodwill, then wreicking havoc and telling him the story when he has become mute and paralysed.
Le Michelet de Roland Barthes
Authors: Petitier Paule 
Published: January 2012

Roland Barthes' "Michelet".
Barthes first concentrated on Michelet as a writing body. In his 1973 lecture, appreciating his attention to carnality as having led to the "Annales" school, but still did not assess his work as history. Given the specularity of Barthes' relation to Michelet, this opens paths of reflection — in Michelet, and in Barthes.
L'époque de la poésie
Authors: Beck Philippe 
Published: January 2012

The Contemporary Conflict
Seneca observed that many poets said what philosophers had already said or should have said. Poetry fills in for philosophy, in fact if not by right, necessarily so if one is to know and let know. The contemporary articulation of the relationship, given the historicity of the poetic act, is poetry's role in making philosophy consider the historicity of the concept, in other words be philosophy.
« Réserver la traduction », De Kant à Rimbaud
Authors: Dayre Éric 
Published: January 2012

"To Reserve Translation": From Kant to Rimbaud
The irreflexive, rapid, immediate act of poetry, constitutes by this act a reserve of language for translation and history, because the very immediacy of poetry preserves it from historicity and oblivion. This definition, which applies to romantic poetry, shows the genre to enact dialectical materialism in Benjamin's sense - and thus to be the allegory of philosophy.
La présence de l'anglais dans les poèmes de Rimbaud
Authors: Arouimi Michel 
Published: January 2012

The Impact of English in Rimbaud's Poems
Studies of Rimbaud's use of English terms tend to concentrate on their meaning, rather than on the immediate linguistic and thematic contexts in which they appear. Such a study reveals analogies configured around the notion of voyance, the diabolism of the arts, the expression of conflict, and the problem of the relation between singularity or unity and plurality.
Mallarmé, l'anglais à la lettre
Authors: Madou Jean-Pol 
Published: January 2012

Mallarmé: the Letter of English
With "Les Dieux antiques" and "Les Mots anglais", Mallarmé opposes decaying myth to linguistic vitality, a vitality one of whose sources is in the rejuvenating hymen of Latin and Germanic languages represented by the advent of English from French and Germanic dialects. The letter "s" silenced in Old French and revitalised in the new language symbolises the process and its meaning.
Nom et tressage : L'Acacia de Claude Simon
Authors: Brown Llewellyn 
Published: January 2012

Name and Braiding: Claude Simon's "The Acacia".
The novel's numerous autobiographical elements make its being written as a third-person narrative striking; the choice underscores the novel's dynamic between dispossession and fictional deployment, whose meaning is ultimately that of an (autobiographical) poetics of pursuit of the father's life and early death.
Fiction et abstraction
Authors: Samoyault Thiphaine 
Published: January 2012

Fiction and Abstraction
Fiction is best taken pragmatically; nonetheless a formal trait, intertextuality, sign of an authorial choice of literary model, often gives it away. In any case, fiction moves, like the other arts, towards abstraction; but concrete values such as duration, possibilities, amplification stay proper to stories — which implies dynamic typologies if any.
Le roman pictural d'Albertine
Authors: Bertho Sophie 
Published: January 2012

Albertine's Pictorial Romance
Painting in "Remembrance of Times Past" either transcends existence, or remains glued to its own materiality, often showing up different characters' "iconolatry"; but paintings are also systematically used to further the novelist's intentions, as the five paintings that accompany the Narrator's passion for Albertine show clearly.
L'autonomisation de la littérature (1760-1860)
Authors: Diaz José-Luis 
Published: January 2012

The Autonomisation of Literature (1760-1860)
The process whereby literature became autonomous has been neglected in the sense that it emerges, as process, between 1760 and 1860, and that particular emphasis needs to be put on the confused period of the first half of the 19th century. This because, by modernism, this autonomy is, as it were, already ours.
Albert Thibaudet : la dynamique du mémorable
Authors: Pradeau Christophe 
Published: January 2012

Albert Thibaudet: The Dynamics of the Memorable
Thibaudet's approach to literary history was suffused with the classical conceit linking value to duration, a conceit he brought to the difficult task of linking the literature of his time to literary history, through a dynamic and therefore potentially projective apprehension of the memorable.
L'histoire littéraire selon J.-L. Borges
Authors: Perrone-Moisès Leyla 
Published: January 2012

Literary History According to J.L.Borges
Borges taught English literature in 1957 in Buenos Aires, and his course allows us to better understand his relationship to literature - that of a hedonistic reader with a phenomenal memory - as well as reconsider the manner
in which Borges was understood in the 1960s, a slice of (critical) literary
history.
Les chantres de l'obscur. Réfexions sur le logos du monde esthétique selon Jacques Garelli
Authors: Meitinger Serge 
Published: January 2012

Bards of the Obscure. Reflexions on the Logos of Aesthetics According to Jacques Garelli
Jacques Garelli' s work as philosopher and poet concerns what, before reflection and reflexivity, nonetheless leads to language, action, and being ; a dimension of humanity whose existence the work of art manifests at the same time as it preserves it. (355)
Figures d'épreuves, Proust et la chirurgie
Authors: Watroba Maria 
Published: January 2012

Testing Figures: Proust and Surgery
"Remembrance of Things" Past is scattered with analogies from surgery, often linked to experiences with no immediate relationship to it except inasmuch as they relate, by their very intensity, to what cannot be withstood, or represented. These comparisons, furthermore, are often as not distorted or subtly impossible, which enacts a reflection upon surgery itself, ultimately a key to writing as the surgery of an artist both operating and operated on.
La Cuisine de Georges Perec
Authors: Jullien Dominique 
Published: January 2012

Cooking and Georges Perec
Beyond the importance of food and eating in Perec's works, appears an analogy, between the art of cooking and that of writing, which owes much to Proust — not so much to the edibility of Proust's work, which has to do with the melding together af many ingredients whereas Perec's work is about lists and separate elements, as to the figure of the artist as ascetic, even anorexic, cook.
La pensée du sommeil dans À la Recherche du temps perdu
Authors: Yu Cécile 
Published: January 2012

The Rustle of Sleep in "Remembrance of Times Past"
The narrator in "Remembrance" both lives his sleeping and observes it, in a perpetually intermediary space between sleep and wakefulness, past and present, where he looks at himself asleep but also at the way he used to look at himself asleep; he thus describes states which, like the carafes in the water of the Vivonne, have some of each other' s properties but are not — quite — alike.
Perec : une poétique de la photographie
Authors: Reggiani Christelle 
Published: January 2012

Perec: A Poetics of Photography
Photography and photographs are extremely and willfully present in Perec's works — and treated with suspicion and disdain. Photographs, whether taken by Perec, commented or written "around" by him, or either real or fictitious points of departure for his narratives, dovetail with his writing proper, based on uncertainty and incompleteness, because of their fundamentally truncated nature.
Food for Thought : ethnographie et rhétorique selon Jean Paulhan
Authors: Milne Anna-Louise 
Published: January 2012

"Food for Thought": Ethnography and Rhetoric According to Jean Paulhan
In "Heart of Darkness" Conrad both uses this expression literally and inverts it — thereby doing to a cliché within an end of the 19th century novel concerned with colonial relations precisely what Paulhan, in a move both individual and modern, recommends doing to clichés in "Les Fleurs de Tarbes", whose context is the critique of 19th century ethnographic thought.
Du rôle de la phantasia au théâtre et dans le roman
Authors: Richir Marc 
Published: January 2012

Of the Role of Phantasia in Theatre and in the Novel
Husserl distinguishes clearly between imagination (Einbilfung) and Phantasie, for which we will use the Greek phantasia; the former involves an intentionally represented (either concretely or in the mind) object, which therefore has a kind of presence, whereas the latter is diverse, changing, and above all exists without any kind of presence. The way the public understands the actor to represent a character therefore depends on phantasia (because the actor is not an imagined character, nor is he himself when acting badly); and the reading of novels, even more so.
Phénoménologie et fiction
Authors: Clémens Éric 
Published: January 2012

Phenomenology and Fiction
The quest for "the thing itself cannot avoid battling against the metaphysical tendency of language. Fiction is a way to avoid this lure of language — but not any fiction: to open onto the real, a work of fiction cannot aim to lie, cannot be unreal, and must be either of a hypothetical nature, which opens up its temporal dimension, or of a comparative nature, which opens it up spatially.
Poétique et phénoménologie : le point de vue et la perception
Authors: de Chalonge Florence 
Published: January 2012

Poetics and Phenomenology: Point of View and Perception
Point of view can be understood either as a form of access to consciousness, in which case it stays a manifestation of the subject at work in story-telling and as such underpins Genette's narratological reflection; or it is the way in which a subject inserts him/herself in the world, in which case point of view links phenomenology and language as perception.
En mémoire de la poésie
Authors: Rey Jean-Michel 
Published: January 2012

In Memory of Poetry
The Vita Nuova is based on the principle that writing calls forth further writing, which calls forth further writing. . . Among writers deeply influenced by Dante, Mi- chelet stands out for understanding that Dante's poetry depended on his listening to all the voices before and around him; while Osip Mandelstam brings out Dante's relationship to painting.
Cosí figurando il Paradiso : paraphrase du peintre
Authors: Marcheschi Jean-Paul 
Published: January 2012

Cosi figurando il Paradiso: Paraphrase of the Painter
How to paint paradise? Dante's quest leads from the darkness and heaviness, beyond despair, beyond even the gay despair reached y other great writers into a form of luminous grief, which is what painting Paradise is about - and which some
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painters - Cezanne, Matisse at Vence - achieve.