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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]

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]

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In this article, it will be a question of a detailed and analytical reading of the incest, written by Ch. Angot, in order to explore the stigmas of "scriptural incest" by which the author expresses the torments of the past by transgressing the canonical rules of writing. The titular camera will be questioned and invested to show the tangled form of the novel. Moreover, the intertextuality will serve as theoretical support in order to examine the contribution of inter-intra-textual clashes for a good interpretation of this "scriptural incest". [ABSTRACT FROM AUTHOR]

Copyright of Circuit: Musiques Contemporaines is the property of Circuit: Musiques Contemporaines and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Présence Francophone is the property of College of Holy Cross, Department of Modern Languages & Literatures and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Widely regarded as Anouilh's first mature play and first critical success, Le voyageur sans bagage features Gaston, a World War I amnesia victim who, after almost two decades in an asylum, is pressured by a philanthropic Duchess to find his family. She escorts him to the family she prefers, whose missing member was an unsavoury character bearing no resemblance to the person Gaston believes himself to be. The plot centres on Gaston's struggles to come to terms with a past that horrifies him. The play has garnered little scholarly attention; the few existing studies look broadly at Anouilh's generic categories, the play's antiwar theme, or its final plot twist. What has not been explored is an element informing the play at every turn: mirroring or dédoublement. This article shows how the myriad instances of mirroring or doubling highlight the duality inherent in Anouilh's protagonist. [ABSTRACT FROM AUTHOR]

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Copyright of French Cultural Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How we read and interpret a map when it is presented alongside the text in a work of fiction is the central issue with which this paper is concerned. Although 'literary maps' can be found across a range of genres in literary studies, they are often treated as illustrative rather than being understood as integral to the meaning of the literary work. This article seeks to challenge such assumptions. The first half of the article is interdisciplinary, engaging with the work of J.B. Harley, Mark Monmonier, Franco Moretti, Christina Ljungberg, and Andrew Thacker in order to open up responses to literary maps in more complex ways. It draws on critical cartography to define core concerns for an emerging literary cartography, such as the nature of the analogy between map and text; the complexity of correspondence when a map and text occur alongside each other and the author is also the map-maker; and the difficulties created by naïve users of the literary map. The second half of the article grounds the prior discussion in analysis of Agatha Christie's house plans in The Mysterious Affair at Styles and The Murder of Roger Ackroyd. [ABSTRACT FROM AUTHOR]

Copyright of Neohelicon is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Canadian Journal of Chemistry is the property of Canadian Science Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Approximately 22 species of Passiflora are native to the Old World. All of these species are placed in subgenus Decaloba, supersection Disemma. Within Disemma, three species vary in stamen and carpel number (≤ eight stamens and five carpels). The mode of development was determined for two of the anomalous species, P. moluccana var. glaberrima and P. siamica. Ontogenetic patterns were compared to normal development in P. perakensis and P. holosericea. Passiflora siamica develops additional stamens through d6doublement of a single widened stamen primordium, while P. moluccana var. glaberrhna exhibits congenital d6doublement where stamens emerge already doubled. Phylogenetic analysis using ITS and the trnL-F intron and spacer resolve the anomalous species as monophyletic and sister to P. perakensis. This signifies a single loss of genetic regulation in stamen and carpel number within Disemma. Floral whorls were examined across the Passifloraceae, Malesherbiaceae, Turneraceae, and Flacourtiaceae s.l., Similar doubling in these families suggests that this Eurosid lineage may have a genetic propensity for variability in floral whorl number. [ABSTRACT FROM AUTHOR]

Floral development and androecium structure were studied in eight genera of the Malvoideae (Malvaceae s.l.). All core Malvoideae (Malvaceae s.s.) share a uniform pattern of floral development and have several characteristic androecium structures in common. A corolla/androecium ring wall is formed and subsequently differentiated into five androecial sectors (=primary androecial primordia) that give rise to the androecium and corolla. Petals are developed at the base of the androecial sectors and are shifted slightly clockwise or counterclockwise relative to the androecial sector. Secondary androecial primordia are initiated centrifugally in two rows on each sector in an alternate pattern. The first secondary androecial primordium is initiated on the opposite side of the androecial sector from the petal. The secondary androecial primordia later subdivide longitudinally and differentiate into functional androecial units, which each have a two-locular theca with a single longitudinal dehiscence zone. In some taxa, sterile tips are formed at the distal end of the androecial tube in an antepetalous position. In Matisieae, sister to core Malvoideae, the early floral development is nearly identical to that in core Malvoideae. In later development and at anthesis, Matisieae and core Malvoideae show more pronounced differences. In Matisieae, a subdivision of secondary androecial primordia occurs generally transversely as compared with longitudinally in core Malvoideae. While the androecium of core Malvoideae consists of a long tube with lateral stalked androecial units, the androecial tube of Matisieae is stouter and bears sessile androecial units mostly on lobes. These lobes, however, do not correspond to the androecial sectors, as do the sterile androecial tips of core Malvoideae. The sterile androecial tips of core Malvoideae have the same position as androecial units at the tip of androecial sectors in other Malvaceae and could be remnants of these structures. The androecial lobes in Matisieae are, however, positioned alternipetalously and might correspond to remnants of a second whorl of androecial structures found in other Malvaceae or Malvales. [ABSTRACT FROM AUTHOR]