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Since the mid-1980s, "experience" has become a central object of reflection for marketing as well as for semiotics, to the extent that meaning is always created during an experience. However, English and French literatures on experiential marketing often approach the concept of experience differently. This article argues that these divergences concern the thematic of the experience (i.e. shopping vs consuming), and that, more essentially, experience should be conceived as the common denominator of all marketing offerings, no matter if it is a product, a service, an event, a place ... Using the post-structural semiotic frameworks of the "interactional regimes" theory, the author proposes to consider four fundamental consumer experiences (domination, cooperation, emancipation, and harmonization), each of these related to the logic of a specific type of offering: "goods," "play," "work" and "existence." In considering these four macro-offerings, this paper aims to better grasp the interactional and semiotic stakes of consumer experiences. [ABSTRACT FROM AUTHOR]

This paper examines the persistent, growing popularity of Canadian French immersion (FI) programmes. Critics charge that FI programmes are elitist, diverting already limited resources from other areas of the education system. We begin with a brief overview of the benefits of FI in Canada and enrolment trends. Next, sources of FI-related inequality – lack of access, transportation costs, funding issues and types of learners most likely to enrol in FI – are scrutinised. Then, available evidence is weighed for and against the charges of FI elitism. Lastly, demand for FI is viewed through a Bourdieusian social reproduction lens to understand the persistence of socio-economic status (SES) inequalities. The paper concludes that higher SES parents are more likely to have the inclination (parentocratic habitus) and resources (economic, social, and cultural capital) to enrol their children in, and benefit from, FI. The paradox of publicly funded FI education in Canada is that as long as demand outstrips supply the benefits will continue to be unequally distributed. The result is a stalemate between proponents and critics, with each camp's solution – whether it be making FI universally available or removing it completely from the public purse – bound to meet with stiff opposition. [ABSTRACT FROM AUTHOR]

This article explores the distinctiveness of French and francophone approaches to environmental justice. While off to a slow start, environmental justice research has received increased attention in France in the last 15 years. But there has been little to no attention to the French debates and movements in the English-language academic literature, with both bodies of knowledge largely evolving in parallel, conceptually and politically. This article attends to this gap by first taking stock of the empirical evidence of environmental injustices and inequalities in France. We then introduce some of the theoretical origins and discuss some of the main insights from the French literature in light of contemporary environmental justice scholarship. In so doing, our aim with this paper is to contribute to current scholarly efforts on diversifying the meanings and understandings of environmental justice in different academic and political contexts. [ABSTRACT FROM AUTHOR]

The French novels produced in the last 30 years show a great interest in issues of the subject, from forms of lyricism up to biographies, autobiographies and autofictions. In this context we have Tigre en papier [Paper Tiger], by Olivier Rolin (2002a), one of the greatest writers of his generation, twice nominated for the Goncourt prize, who after serving as a militant communist during his youth turns to writing, being the author of a consistent literary production. We intend thus to make an analysis of Tigre en papier, addressing it as a romanticized autobiography of Olivier Rolin's years of revolutionary political commitment, through which the author reflects on his political activism by the memory of Martin, the narrator of the adventures, who seems to be his alter-ego. In fact, Martins memories lead to an individual past that harks back to a larger French historical past and the communist revolutionary struggles in general, in contrast to the current reality of French post-industrial society. [ABSTRACT FROM AUTHOR]

The paper provides empirical results on the part of grey literature in the French national open repository HAL. The results are based on a quantitative analysis of 973,968 deposits from 1,272 research laboratories affiliated the ten most important research universities in France (IDEX program). 35% of all deposits (documents and records) are grey literature. The main types of these items are conference papers (71%), PhD theses (11%) and preprints and working papers (8%). Their overall accessibility (degree of openness) is 37%, which is higher than commercial publications. Differences between document types, disciplines and institution are described. Further research is needed for a better understanding of how research laboratories are handling grey literature (licensing ...). A follow-up study in 2021 will provide this insight. [ABSTRACT FROM AUTHOR]

Maria Vodă Căpușan was a Romanian scholar specializing in French contemporary literature who worked all her life at Babes-Bolyai University Cluj. Between 1980-1990 she held the office of Head of French Department of BBU Cluj, but also that of Secretary of the Communist Party at Universities’ Center Cluj – an important political position, considering that the Center was the nucleus of ideological control for all the academic institutions of Cluj County. Furthermore, she was an original and peculiar theatre critic: she systematically refused to review theatre performances, offering instead a large horizon of research, articles and books dedicated to theatre theory, comparative studies, and the history of drama. Remarkably, nothing of this professional heritage is tainted by her political activities, even though the press archives reveal many of her occasional propagandistic/opportunistic contributions – in other words, she tried to keep her two social roles completely separate. This paper, a fragment of a larger collection of case studies dedicated to Romanian female theatre critics, tries to offer a fresh image of Maria Vodă Căpușan’s writings in the complex political, intellectual, and theatrical context of the last decades of the Romanian socialist era. [ABSTRACT FROM AUTHOR]

This paper theorizes a contemporary subgenre, the "antitrauma trauma novel," suggesting these texts raise questions about the tendency to explain character with reference to a traumatic backstory, even as they nonetheless struggle to move beyond this formulation. Taking Ottessa Moshfegh's My Year of Rest and Relaxation as exemplary, I draw on disability studies to argue that the novel's two lead characters both wield trauma as "narrative prosthesis" to (mis)read one another. As the protagonist-narrator deploys this inappropriate hermeneutic, she incorporates formal features associated with traumatic subjectivity; nonetheless, rather than generate psychological realism, they produce a paradoxically flat character depth. [ABSTRACT FROM AUTHOR]

The concept of literary posture, defined as "the unique way of occupying a 'position' in the literary field" (Meizoz 2007, 18), proves to be a valuable tool for observing the different strategies that translingual writers adopt in the French literary space, while facing some common constraints. Proposing the hypothesis of a correlation between translingual French writers' posture and linguistic imaginary, this paper distinguishes four frequent configurations, admitting of course border zones and intersections: the "defector" posture, often correlated with the critique of the country of origin; the "facilitator" posture, by which the author poses as a mediator and often a translator between the culture of origin and French; the "wandering" posture, one of reciprocal questioning of the two linguistic and national spaces, that of origin and that of arrival; finally, the posture of the "uprooted," including the refusal of a role of "ambassador" of the country of origin, advocating an "absolute" literature, free from any political constraint. The study of a few emblematic cases—Chahdortt Djavann, Simonetta Greggio, Michela Marzano, Velibor Čolić, Akira Mizubayashi—will also show that a posture can be constant or change over time and that reception plays an important role in the implementation of a postural strategy and its modifications. [ABSTRACT FROM AUTHOR]

The paper is drafted as an analysis and interpretation of a specific French travelogue of the 19th century. The main aim is to analyse work in the first part at the level of genre poetics and clarify its expressive qualities and their origin, in the second part the interpretation will focus on specific content in the form of representation of the Danube landscape and of sailing on the Danube. In the study, we focus on images of topographic objects, such as the town of Komárno, the town of Pressbourg and the Danube and the landscape in its catchment area between the towns of Pest and Pressbourg. In conclusion, we summarize the author's poetics at the divide of the Enlightenment and Romanticism and the most important topographic images involved in the creation of stereotypes. The findings presented in the paper form part of the dissertation research in the field of comparative literature. [ABSTRACT FROM AUTHOR]

The paper provides empirical results on the part of grey literature in the French national open repository HAL. The results are based on a quantitative analysis of 973,968 deposits from 1,272 research laboratories affiliated the ten most important research universities in France (IDEX program). 35% of all deposits (documents and records) are grey literature. The main types of these items are conference papers (71%), PhD theses (11%) and preprints and working papers (8%). Their overall accessibility (degree of openness) is 37%, which is higher than commercial publications. Differences between document types, disciplines and institution are described. Further research is needed for a better understanding of how research laboratories are handling grey literature (licensing ...). A follow-up study in 2021 will provide this insight. [ABSTRACT FROM AUTHOR]

This paper aims to demonstrate that two previously unknown manuscript folios from Mircea Eliade’s youth, which emerged in 2022, are the drafted summaries of his unfinished editorial project Valkyries in the Library. The two folios are, in fact, two lists of article titles Eliade published in Cuvântul (22), Gândirea (2), and Sinteza (1), in 1926-1928. Arranged differently, the feuilletons address topics such the Romanian intellectual, the dependance towards French culture and literature, philology and synthesis, the lack of heroism in Romanian literature, Beatrice and Don Quixote, young writers, literary criticism, philosophy. The tone is polemical and radical, condemning the current state of Romanian literature, advancing the author's views, and urging his contemporaries to take action in order to create fundamental and authentic works. Just as Eliade recalls in his diary, the articles from Cuvântul mentioned in the two folios were a whirlwind, a cavalcade meant to take local culture and erudition by surprise and to change it forever. [ABSTRACT FROM AUTHOR]

The paper focuses on Lamy's reflections on literary fiction and theatre as displayed in his Nouvelles réflexions sur l'art poétique (1678). Bernard Lamy (1640-1715) was a prolific writer, a major Augustinian thinker and a member of the French Oratory. Today, he is mostly known for his La rhétorique ou l'Art de parler (1st edition dates back to 1675), and his numerous works continue to elicit contributions from specialists on rhetoric and literary fiction. Lamy's reflections on literature, theatre and aesthetics are based on rigorous moral and religious grounds, hence his overriding aim to dismantle and deconstruct the core of what some continue to call the "classical doctrine". Lamy systematically treats topics such as embellishment, respect for the unities (time, place, action), paradoxes of aesthetical pleasure, verisimilitude, morality of literary and theatrical fiction, etc., all to demonstrate their radical incompatibility with the principles and values of an exemplary pious person. Lamy's rigorist moral and religious views might well seem shocking to a modern reader, but we aim to show that his analysis of various creative strategies (especially intricacies of rhetorical adaptation and procedures of arousing an emotional/intellectual response) has a great potential to enrich our understanding of early modern fiction and theatre. [ABSTRACT FROM AUTHOR]

This paper attempts to cross-read the End of Art as it is conceptualized by Georg Wilhelm Friedrich Hegel, and André Gide's and Jean Lorrain's versions of the myth of Narcissus. The most relevant mythemes such as beauty, self-love, duplication, "specularity" and death are apprehended in their recovery by fin-de-siècle aesthetics. The hermeneutic back-and-forth movement between the two texts assesses the structural symbols carrying various models of the evolution of art and formulates what Hegel could have possibly understood by this concept. The results of our interpretation are then related to certain phenomena of the history of art, and particularly of literature in the 20th century. [ABSTRACT FROM AUTHOR]

In a period of global pandemic and confinement to our homes, the end of art is not only a philosophical hypothesis, it is a fact of society. We have experienced that modern societies, those that were able to make art an absolute at one point in their history, no longer need the arts, or the physical presence of artists and spectators, or have considered them inessential, and therefore contingent. Is this what G. W. F. Hegel prophesied with his thesis of the end of art? In this paper I aim to clarify this by referring to the sources of Hegel's lectures and by examining the reception by nineteenth-century French writers. 1) First, I give a reminder of the different ways in which Hegel's theme of the end of art can be interpreted. 2) Then, I give a second reminder concerning the reception of Hegel's Aesthetics in France, with a focus on the translations. 3) Finally, I propose to study three writers who determine three ways of conceiving the appropriation of Hegel in the 19th century and of the theme of the end of art: Théophile Gautier, Charles Baudelaire and Gustave Flaubert. [ABSTRACT FROM AUTHOR]

The paper focuses on Lamy's reflections on literary fiction and theatre as displayed in his Nouvelles réflexions sur l'art poétique (1678). Bernard Lamy (1640-1715) was a prolific writer, a major Augustinian thinker and a member of the French Oratory. Today, he is mostly known for his La rhétorique ou l'Art de parler (1st edition dates back to 1675), and his numerous works continue to elicit contributions from specialists on rhetoric and literary fiction. Lamy's reflections on literature, theatre and aesthetics are based on rigorous moral and religious grounds, hence his overriding aim to dismantle and deconstruct the core of what some continue to call the "classical doctrine". Lamy systematically treats topics such as embellishment, respect for the unities (time, place, action), paradoxes of aesthetical pleasure, verisimilitude, morality of literary and theatrical fiction, etc., all to demonstrate their radical incompatibility with the principles and values of an exemplary pious person. Lamy's rigorist moral and religious views might well seem shocking to a modern reader, but we aim to show that his analysis of various creative strategies (especially intricacies of rhetorical adaptation and procedures of arousing an emotional/intellectual response) has a great potential to enrich our understanding of early modern fiction and theatre. [ABSTRACT FROM AUTHOR]

This paper attempts to cross-read the End of Art as it is conceptualized by Georg Wilhelm Friedrich Hegel, and André Gide's and Jean Lorrain's versions of the myth of Narcissus. The most relevant mythemes such as beauty, self-love, duplication, "specularity" and death are apprehended in their recovery by fin-de-siècle aesthetics. The hermeneutic back-and-forth movement between the two texts assesses the structural symbols carrying various models of the evolution of art and formulates what Hegel could have possibly understood by this concept. The results of our interpretation are then related to certain phenomena of the history of art, and particularly of literature in the 20th century. [ABSTRACT FROM AUTHOR]

In a period of global pandemic and confinement to our homes, the end of art is not only a philosophical hypothesis, it is a fact of society. We have experienced that modern societies, those that were able to make art an absolute at one point in their history, no longer need the arts, or the physical presence of artists and spectators, or have considered them inessential, and therefore contingent. Is this what G. W. F. Hegel prophesied with his thesis of the end of art? In this paper I aim to clarify this by referring to the sources of Hegel's lectures and by examining the reception by nineteenth-century French writers. 1) First, I give a reminder of the different ways in which Hegel's theme of the end of art can be interpreted. 2) Then, I give a second reminder concerning the reception of Hegel's Aesthetics in France, with a focus on the translations. 3) Finally, I propose to study three writers who determine three ways of conceiving the appropriation of Hegel in the 19th century and of the theme of the end of art: Théophile Gautier, Charles Baudelaire and Gustave Flaubert. [ABSTRACT FROM AUTHOR]

This article discusses various reports published within the issue, including excerpts from various French books translated in English.

The objective of the following paper is to propose a metacritical reading, that is, a critique of criticism, of the thought on art and literature of the French philosopher Jacques Rancière. The hypothesis of a paradigmatic text will be overlapped and re-problematized under increasingly larger units (book, system of concepts, dialogues with other systems). Precisely, starting from the edges that reveal the controversy of Rancière with Jean-François Lyotard and Alain Badiou, we will proceed to a general evaluation of the limits and powers of the theory of art regimes. [ABSTRACT FROM AUTHOR]

This paper deals with the literary debate on the first experiments regarding blood transfusion on human beings between 1667 and 1668 in Europe, with particular attention to the less-known experimental research, carried out in Italy. The authors examine the details of the experimental developments, focusing on the techniques and instruments used by physicians involved in this new surgical approach, with special attention to the Italian debate and experimentations. The article suggests that transfusion was considered a part of what we could call “emergency surgery”. In this framework, Italian transfusional pioneers played a central role in the improvement and transmission of a discipline that was still in its dawning throughout Europe. Moreover, the manuscript highlights the contribution of the “chirurgia infusoria” as an innovative therapeutic system for an immediate and rapid recovery. From this perspective, blood transfusion represents a surgical practice for reanimation and resuscitation. The objective of this work was to analyze the importance of foreign literature and the English and French disputes presented by Davia in Italy, which made them known. Despite foreign prohibition in Italy, experiments with animal-to-human transfusions continued after 1648. A papal bull excommunicating scientists for conducting such research has never been found. [ABSTRACT FROM AUTHOR]

In the field of aesthetics, the expression formal constraint is most often used in non-problematic ways by critics, who tend to consider it as a convenient and even redundant category, whose constitution need not be questioned. On the contrary, this paper will closely examine the lexical and conceptual association of constraint and form, to try to understand under what conditions and modalities constraints can give rise to aesthetic forms. [ABSTRACT FROM AUTHOR]

If an author's influence can be measured by the number of quotations in a newspaper, then the Oulipo can now be considered rooted in the French cultural establishment. However, this sweeping statement hides a set of more fine-grained facts. Through the analysis of literary criticism as well as articles published in the weekly magazine Télérama, this paper highlights how much friction exists between the members of the group Oulipo and the Oulipo itself. Reviewers of collectively authored works prefer to highlight the names of well-known writers' such as Roubaud, Queneau and especially Perec, who, despite his death, remains an important member of the Oulipo. Some individual books (Le Tellier, Fournel, Jouet) are reviewed but most references concern the Oulipo's performances, public readings or writing workshops, valuing their comic verve and their skillful wordplay rather than their books. In the end, the Oulipo seems to serve as reservoir of constraints' that can be deployed elsewhere, in comics, radio or the visual arts. In recent years, referring to the group has become almost a lexicalized expression synonymous with constraint or an impossible exercise, even if at the same time, Perec's position as the most famous Oulipian is under challenge. [ABSTRACT FROM AUTHOR]

Medicine and the humanities have been exploring new ways to improve the quality of healthcare. One such collaboration is the practice of narrative medicine which uses literature to teach physicians to better meet their patients' needs. Narrative medicine, however, draws primarily from Anglophone literature, yet post-war French literature, philosophy and criticism have much to add to the theoretical and practical underpinnings of narrative medicine. As well, such scholarship provokes a number of questions that expose certain weaknesses in narrative medicine as it is practiced currently. As this paper demonstrates, drawing post-war French literature into narrative medicine opens new ways to think about life, narrative and the place of the patient in the modern healthcare system. [ABSTRACT FROM AUTHOR]

The article aims to show that in the second half of the XIXth Century the European Romantic trend in literature became even in Italy part of the launch pad for the first "Fanta-clinic" and "Medical-thriller" novels. According to the lesson of the coeval French literature it also baptized a kind of modern poetry turned to épater le bourgeois through the transfiguration of Anatomy and later through the use of the scientific method in composing verses and novels. This paper aims to focalize some links between Literature and Medicine by concerning literary inspirations felt by many coeval writers about Paolo Gorini (1813- 1881) and Efisio Marini (1835-1900). The paper tries to demonstrate that the dark suggestions offered by the two scientists to some well known names of the Italian Literature (from Carlo Dossi to Matilde Serao) grew up strong in the Northern part of Italy as well as they did in the Southern part. [ABSTRACT FROM AUTHOR]

This paper explores the reasons I wrote a "critical biography" of Maurice Blanchot, reflecting on the occasion of its recent translation. Moving from the epistolary to the institutional, I analyze a letter I received from Blanchot about my project, recall the testimonies I collected from contemporaries and friends, and discuss the editorial resistance the biography encountered. At the time, I also worked on a documentary about Blanchot, with Hugo Santiago, a filmmaker drawn to Blanchot's narratives, particularly The Most High and its questioning of state power. The novel emerges as one of the means that Blanchot invented to stage his political and literary life in the aftermath of the war. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyse the presence of sayings in the French grammars published in England and Spain between the Sixteenth and Eighteenth Centuries. This study will lead us to study the reception of the proverb in Europe as well as the didactic use of it in the teaching of French. Moreover, this paper allows to reach proverbs of Sixteenth, Seventeenth and Eighteenth Centuries and to analyse their diachronic evolution. [ABSTRACT FROM AUTHOR]

In the present study, the author focuses on the phenomenon of involuntary memory, as treated, most famously, in Marcel Proust's In Search of Lost Time. He, nonetheless, attempts to trace a "pre-history" of the notion in question by making reference to one particular passage to Rousseau's Confessions that perhaps does not name the phenomenon of involuntary memory in an explicit manner, but certainly does treat a concrete experience that seems strongly reminiscent of Proust's later and more sophisticated analyses. In the second part of the paper, he attempts to show that literature is not the exclusive domain in which involuntary memory becomes a crucial topic. He presents a "musical" analogy of involuntary memory by comparing Proust's writing to the Wagnerian notion of leitmotif. [ABSTRACT FROM AUTHOR]

Serious translation works from Western literature to Turkish literature began in the Tanzimat reform era. During this period, translations were mostly made from French literature, since we were engaged in more interaction with them. A pioneer in many fields of the new Turkish literature, Şinasi’s work, which was published in 1859 under the name Fransız Lisanından Tercüme Ettiğim Bazı Eş’âr [Selected Poems Translated from French Language), which then was changed as the Tercüme-i Manzume [Translation of Poem] in the second edition published in 1870, was a pioneer work, since it was the first translation made in the field of poetry from French literature. In the Tercüme-i Manzume, which included the translations made from Racine, Lamartine, La Fontaine, Gilbert and Fénelon, the French originals of the texts were also included, and thus the work was published bilingually. In this paper, after addressing the French education received by Şinasi and his relationship with French literature, his preferences in translation activity will be interpreted by focusing on the names chosen for the translations in the Tercüme-i Manzume. In addition to this, by examining the structural features of translations such as adherence to the original text, type of verse and meter, the path followed by Şinasi and the points he paid attention in his translation works will be clarified. [ABSTRACT FROM AUTHOR]

The study of a renowned work that can still offer researchers many paths of analysis and investigation proves to be a really challenging undertaking. It is well known that the work of Annie Ernaux has gained an important place in contemporary French literature and in the world literature through translations. This stems from its complex and innovative nature, lying outside the borders of literary genres. Annie Ernaux’s works touch upon the most sensitive spheres of human being. This article aims to highlight the most relevant perspectives expressed in literary criticism (academic, journalistic and media), but also to point out the thematic world of Ernaux’s work. Furthermore, the paper proposes new approaches of interpretation and research by questioning this act of creation at all its levels of manifestation, while highlighting the writer’s constant and conscious effort to orchestrate and harmonize them. [ABSTRACT FROM AUTHOR]

How could American students of intermediate French be the catalysts for a work of avant- garde French literature? This article centers on Le rendez- vous, an intermediate French- language textbook that combined a novel written by the French New Novelist Alain Robbe- Grillet with grammatical exercises written by Yvone Lenard, a prominent textbook author and instructor of French in the United States. Focusing on previously unexamined archives of this publication, from its release in America to the publication of Robbe- Grillet's novel in France under the title Djinn, the essay reveals an unknown literary history of transnational collaboration and exchange and places new emphasis on Robbe- Grillet's formative involvement with American higher education during his literary career. Through close reading of manuscript drafts and publishers' papers, the essay demonstrates how the dynamics of global publishing and shifting trends in language pedagogy aligned to condition the production of what would become Robbe- Grillet's most commercially successful novel. [ABSTRACT FROM AUTHOR]

The article presents an interview with French fiction author and popular literature or media literatures collector Matthieu Letourneux. Topics include his work on popular and media culture; his doctoral thesis in comparative literature on the adventure novel; rise in the number of digital documents and texts over paper documents; and number of novels and booklets that he had collected in physical format.

This paper examines the evolution of the concept of the author in the context of French literature, with special regard to the literary production of the Middle Ages. It further explores the extent to which contemporary literary theory and meditations on the status of the author and literary works are pertinent to the study of medieval literature. Drawing a parallel between the anonymity of medieval literary productions and the symbolic death of the author in the 20th century, the paper points to the ways in which medieval studies exploit contemporary literary theory in the analysis of auctorial ‘I' of the medieval era. [ABSTRACT FROM AUTHOR]

The goal of this research is to empirically analyze the constitution of the subsystem of French-Canadian literatures, its inscription in Canadian literature and its relations with the literatures of the world, particularly those geographically and linguistically related to it. Theoretically, it is based on Pierre Bourdieu's concept of a field (1992), on polysystems theory developed by Itamar Even-Zohar (1990) and on scientometrics (de Solla Price 1963). From the methodological viewpoint, we have retrieved from the most important literary database, the Modern Language Association International Bibliography, references that correspond to the different literatures analyzed. The compilation and the analysis of the metadata of these references allowed us, firstly, to map French-Canadian literatures and to describe the diffusion of the critical bibliography. Secondly, we elaborated several indicators in order to study the relations of French-Canadian literatures to, on the one hand, literatures of the Americas, and, on the other hand, francophone literatures. We observed that French-Canadian literatures are characterized by their vitality, their youth, and their relative independence from other systems. We consider that this paper constitutes an illustration of the potentiality of the new observable resources of the digital age, as they may increase our understanding of the configuration and the evolution of the literary systems. [ABSTRACT FROM AUTHOR]

Research on coproduction has tended to assume a coherence of conceptualizations of coproduction across borders, and little analysis of the framing and discourse of coproduction in different contexts has been undertaken. In the French language literature on citizen participation and the social and solidarity economy, the term coproduction is little used. This paper investigates the narratives of French academics, public, and third sector actors in order to identify what, if anything, is different about the French context that explains this gap. Drawing on semistructured interviews, I identify four key narratives that distinguish the French conceptualizations of coproduction and the third sector from the dominant English language coproduction literature: (a) a mainstreaming of coproduction as part of organizational purpose in the social and solidarity economy, (b) an emphasis on formalized involvement of citizens in organizational governance, (c) the motivation of citizen empowerment and democracy over cost and efficiency, and (d) the use of the term coconstruction rather than coproduction. I argue that these narratives are shaped by the governmental traditions of France, which emphasize formal rules, hierarchy, representative democracy, and a suspicion of particularistic interests. I conclude by questioning the universality of some of the axioms of coproduction theory in the English language literature. [ABSTRACT FROM AUTHOR]

The fracture between a sender's intent and a receiver's actuality in the communication process is the result of a radical singularism, which maintains that meaning is not communicable at the level of deep structure. This, in turn, is the result of idiosyncratic cognition, a function of the value orientation sets, qualia, and hypostatisations of reality inhabited by the parties to the communication. It is a platitude, however, to point out that humans do in fact communicate at some level. The question addressed in this paper is how radical singularism has been defeated in selected works of English, Russian and American authors, supported by works of other figures in literary history. The conclusion is that the singularist interpretation of a word, text (or indeed the universe), which results from knowledge by acquaintance, is strongly mediated by its mode of presentation and description. In particular, counterfactuals are ensured despite experience. In conclusion, persuasion -- the ancient method of successfully associating the systematised philosophical positions of speakers and hearers -- is shown to proceed by abandonment, explanation, or assumption. The latter process may lead to exploitation, as the American singer Bruce Springsteen reveals of US President, Donald Trump. [ABSTRACT FROM AUTHOR]

This paper is founded on the premise that, while banlieues and favelas do not share the same history, architecture or demography, their residents experience similar forms of stigmatization and these prompt comparable responses from writers. The comparison between French ‘banlieue narratives’ and Brazilian ‘marginal-peripheral literature’ offers an important insight into how literature produced inside vulnerable communities looks at itself and is perceived by the gatekeepers of literary institutions, and what strategies are available to writers who wish to destigmatize disadvantaged neighbourhoods. The article starts with a comparison of urban development in France and Brazil before it discusses both countries’ respective literary traditions and ways of conceiving urban and literary margins. Finally, a range of key strategies equally relevant to both contexts are discussed. The conclusion sheds light on what is universal about the experience and on the literary representation of urban disadvantage. [ABSTRACT FROM AUTHOR]

The paper examines Karel Čapek's translation of French poetry and, more specifically, the differences between the two editions of Francouzská poezie nové doby (1920, 1936). Whilst previous studies were primarily focused on the linguistic and artistic quality of the Czech translation, this analysis retraces the possible reasons behind Čapek's choice of texts. Reviews, essays and even personal correspondence are taken into consideration in order to reach a deeper understanding of Čapek's critical opinion of contemporary French literature. [ABSTRACT FROM AUTHOR]

Network big data analysis technology is a data mining system based on network propagation, which can effectively improve the efficiency of research. The paper focuses on the analysis of the narrative and rhetoric features in Their Eyes Were Watching God, such as the use of dialect, free indirect discourse, story-telling frame, folklore, metaphors and poetic language by applying French feminist theory, especially Julia Kristeva's theory of discourse diversity, poetic language and the idea of signifying process. By bringing many diverse elements into the writing and shattering the traditional discourse, Hurston aims to challenge the patriarchal society, especially the white-dominated society. This research would argue how Janie's journey to selfknowledge is revealed through these various discourses and signifying practices. [ABSTRACT FROM AUTHOR]

The paper discusses the polysemy of the categories of otherness and the Other in selected works of a Japanese contemporary writer, Endō Shūsaku (1923-1996). These categories, situated within Paul Ricoeur's interpretative framework differentiate three figures of otherness recognisable in Endo's texts: the physical otherness (termed by Endō as "white man" versus "yellow man"); the notion of the Other as the interlocutor on the level of the cross-cultural discourse; and the third figure of otherness, termed by Ricoeur the "otherness of conscience", that brings identity into question. This paper explores the significance of these categories in Endo's writing in two consecutive stages. First, in the writer's encounter with French literature and thought, and later by a transformed and expanded form of otherness found within his fictional works, particularly in his last novel, Deep River. Based on Endo's literary experience of encounters, exchanges and transformations, I argue that for Endō otherness is an important device in understanding of the self. Thus, the writer's approach to otherness echoes Ricoeur's words: "the self could return home only at the end of long journey. And it is 'as another' that the self returned." [ABSTRACT FROM AUTHOR]

The early modern dimension of francophone postcolonialism has yet to be fully explored. This paper adds historical depth to postcolonial studies by applying postcolonial theory to an early seventeenth-century French colonial text: Samuel de Champlain's Voyages de la Nouvelle France (1632). A postcolonial reading of Champlain's Voyages reveals the ambivalence latent in a text traditionally seen as a straightforward narrative of the coming of French civilization to the Americas. After evaluating the applicability of postcolonial theory to works such as Champlain's Voyages, discussion focuses on an episode from the text in which, on the eve of a battle against the Iroquois, Champlain has a dream predicting the defeat of the enemy by his Huron allies. As the author had previously dismissed, with sceptical superiority, the Amerindian faith in portentous dreams, this apparent shift in cultural allegiance raises interesting questions. Postcolonialism's insights into colonial power relations can shed new light on Champlain's complex relationship with his Amerindian allies and on the identity issues faced by colonizers in ‘white settler’ colonies. This paper traces Champlain's transformation from Frenchman in Canada to incipient French-Canadian, and ultimately tests the limits of taking a postcolonial perspective on the early modern. [ABSTRACT FROM PUBLISHER]

In the last decade sustainable cities have become a leading topic of urban scientific literature. But we wonder if this plethoric number of publications really brings the new and relevant knowledge that the sustainability's utopia requires. Do urban studies moved or are moving to affront the methodological problem of articulating (conciliating) the ecological and social dimensions of development? This paper and the following special issues presented to NSS readers are dedicated to the challenge of clarifying and attempting to answer to such interrogations. The state of art which sets the first section screens the French recent publications through the preceding questions with an epistemological point of view. We must obviously state that the sustainable development perspective did not strongly change the theoretical and conceptual background of the urban research. Most of the topics - urban sprawl, polycentric network, green and open space, compact town… - were yet present in the planning territorial preceding policy age. Few radical epistemological rupture and heuristic results can be found. That is why the second section of the paper objective aims at fetching and offering some young authors exploring unusual ways to approach the sustainable city problem. Though they differ by their research position and key concepts (social representation, inhabitancy mode, affective relation to town), this generation shares the same taste for methodological experimentation and in disciplinary, interdisciplinary practices looking for a cognitive path towards sustainable cities. [ABSTRACT FROM AUTHOR]

This paper deals with the way French language and literature teachers have addressed the question of social inequities at school in France from 1959 until today. Classical Humanities, which had constituted the basis of elite education for many centuries, were harshly questioned from the eighteenth century on as being inadequate to a modern world. During the twentieth century, a new criticism was expressed against classical education: it was considered as a way of reproducing the domination of the bourgeoisie by setting up a barrier against the popular pupils, who frequented the so-called primary schools, and were thus excluded from this classical culture. The democratisation of the French school system, through the transformation of primary and secondary systems from parallel systems (for lower-class pupils and upper-class pupils) into sequent degrees, was therefore accompanied by the extension of a new subject: French literature. French authors, read, studied, commented on from the lowest grades of primary schools to the last grades of secondary schools, seemed to offer the common cultural references needed by a democratic society. The creation of the “Agregation de lettres modernes” in 1959 crowned this controversial evolution, a few months after the Berthoin reform had theoretically opened the secondary schools to every pupil whatever his or her social background. However, far from being a triumphal decade for the French literary studies, the end of the 1960s witnessed violent attacks against this traditional teaching. Considered as a part of bourgeois culture, it was accused of dooming pupils from a popular background to inexorable failure. Just like the Classical Humanities earlier, French literature appeared as an instrument of ideological domination and social reproduction. At the same time, the success of structuralism in linguistics and literary studies opened alternative possibilities to the classical literary history and proposed new ways of analysing texts and literary works. In this context the transformation of the discipline itself appeared to some teachers as both an adequate and legitimate way to democratise secondary schools. This paper describes the rise, the extension, and the abandonment of this original attempt from the 1950s to today. The proposals made by the promoters of the reforms are considered, in this paper, as a complex construction where social experience, political engagement, praxis, and theory are inextricably intertwined, thus questioning the relationship between politics and school culture. This paper also examines how the emergence of didactics as a scientific field at the end of the 1970s, and the subsequent rejection of political considerations from its technical and pedagogical discourse, tended to prevent teachers from grappling directly and efficiently with the issue of social inequities in French literature and language courses. This “de-politicisation” of the curriculum debates may well have been the symptom of an inability to conceive how culture might be defined and what role it might play in a democratic society. [ABSTRACT FROM AUTHOR]

This paper presents the first Indo-French Prehistorical Mission in the Himalayan foothills, northwestern India, and introduces the results of the multidisciplinary research program “Siwaliks” under the patronage of Professor Yves Coppens, from the Collège de France and Académie des Sciences, France. This program is dedicated to the discovery of cut marks on mineralized bovid bones collected among vertebrate fossils in a fluviatile formation named “Quranwala zone” in the Chandigarh anticline, near the village Masol, and located just below the Gauss–Matuyama polarity reversal (2.58 Ma). Artefacts (simple choppers, flakes) have been collected in and on the colluviums. This important discovery questions the origins of the hominins which made the marks. [ABSTRACT FROM AUTHOR]

The Crimean War (1854–6) was, in the words of Eric Hobsbawn (2010), ‘the nearest thing to a general European war between 1815 and 1914’. Whereas it figures large in the national mythologies of Britain and Russia, in France it remains very much a footnote. This is despite the fact that it is the only nineteenth-century war the French ultimately won. But in the view of many, to quote Jules Michelet (1857), ‘La conquête du lama est dix fois plus importante que la conquête de Crimée.’ It would seem that the Crimean War has no place in the canon of culturally retained historical events that define modern French identity. Though news of the war in the contemporary press and popular literature was ubiquitous, it does not figure in the canonical literature of time. This paper considers how the Crimean War was and was not represented in French literature in the second half of the nineteenth-century. [ABSTRACT FROM AUTHOR]

The episode of "Tristan and Isolt in the Forest of Morrois" in the anglonormand Beroul's Roman de Tristan (XII c.) is one of the most complex and controverse of the entire work. In this paper the author proposes a new reading, pointing out possible biblical and theological references. [ABSTRACT FROM AUTHOR]

This paper analyzes Tancrède de Visan's early views on Symbolism as they appear in his foreword to the poetry collection Paysages introspectifs (1904). We put a special emphasis on some Bergsonian key notions, such as intuition or élan vital, and the way Visan uses them in order to distinguish the Parnass' methods from those used by the Symbolists. [ABSTRACT FROM AUTHOR]

Patrick Modiano, the recent Nobel winner, depicts in his writings - more than any other French contemporary novelist - the space of France seen as a "terre d'accueil" for many persons, especially Jews who had to leave their homelands during the Second World War. The very heart of France, Paris is not only the "ville-lumière" much praised by artists of all times and cultures, but also a space where memory is present at any street corner, especially the sad and painful remembrance of anti-Semitism. This is why our paper will deal with some of the most outstanding aspects concerning France during the 20th century, which are related in Modiano's writings (Ronde de nuit, Livret de famille, Une jeunesse) with memory, especially the Holocaust and the Vichy collaboration experience. [ABSTRACT FROM AUTHOR]