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Copyright of Cahiers d'Études Africaines is the property of Editions EHESS 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.)

Saul or Shaul Yeroham Mezan is a doctor with specialization in surgery and urology, Doctor of Medicine, officer, public figure, Zionist, anti-fascist, publicist, journalist, poet, historian, and folklorist – researcher of Sephardism, political scientist and current political analyst. He was born in the city of TatarPazardjik (today Pazardjik, Bulgaria) in 1893, and died far from his homeland, as a victim of Nazism, probably around 1943. Nowadays his name is known to a few researchers, as the predominant writings about him and his work are episodic in time and fragmentary in their subject matter. His literary and journalistic works, as well as his socio-political views, remain almost unknown to the general public, including, unfortunately, to the Jewish community in Bulgaria. The objective of the paper is the French-speaking environment in which S. Mezan was formed, and his works in French in various fields of the knowledge, which prevail over the ones in Bulgarian both in quantity and in terms of scientific and social significance. The author also pays special attention to the numerous yet scattered references for the French influence on the language, the way of life and the culture of the Sephardim in Bulgaria in the book by S. Mezan dedicated to them. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin de la Societe Zoologique de France is the property of Societe Zoologique de France 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 Histoire des Sciences Médicales is the property of Societe Francaise d'Histoire de la Medecine 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 Histoire des Sciences Médicales is the property of Societe Francaise d'Histoire de la Medecine 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.)

While poststructuralist attacks against structured forms freed literature from the dominance of Aristotle's canon, twentieth-century evolutions in physics and cosmology brought about a new world vision which also deeply influenced modern authors. If the universe was no longer Newtonian, linear and predictable, and if literature was to "imitate" this new reality, world-texts were also supposed to explore anarchical and complex landscapes. To be able to investigate these antistructure texts, literary and art critics adapted analytical tools from mathematical and physical theories - modern literature was associated mainly with the theory of quanta, and postmodern literature with chaos theory. In this paper, I engage with some of the main mathematical and physical concepts used as instruments in literary analysis, such as non-Euclidian geometries, the field concept, relativity, entropy, uncertainty principles, fractals, chaos, strange attractors, etc. [ABSTRACT FROM AUTHOR]

The first classifications of the novel date back to the early 18th century. Then, the novel was still a new genre and was defined in relation to ancient Latin or Hellenistic models and to their narrative variations from the 17th century. By analyzing the first works that try to trace a history of the new genre and a taxonomy of the various types of novels, penned by authors such as Nicolas Lenglet Du Fresnoy, James Beattie and Clara Reeve, this paper argues that the works seen as peripheral in relation to a canonical, archetypal narration, which is typical of the novel, are in themselves illustrative of a wider phenomenon - the marginalization of those narratives which do not fit a current and implicit definition of a genre. Using Corin Braga's concept of "anarchetypal narrative", this paper discusses the works to be found at the peripheries of the novel in the 18th century and the explicit and implicit reasons for their theoretical dismissal. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Learning & Technology is the property of Canadian Network for Innovation in Education 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.)

This paper is meant to trace the Romain Gary's experience like diplomat in Sofia, 1946 - 1948. The writer is testifying to methods of communist Dictatorship during the Stalinist period of Bulgarian History and to country's transformation on satellite of U.R.S.S. My Research is based on Gary's novels "La nuit sera calme" and "Le sens de ma vie", and on movie "Le Libraire" ("The Bookseller") of Catherine Bernstein and Assen Vladimirov. [ABSTRACT FROM AUTHOR]

Copyright of Ethnologie Française is the property of Presses Universitaires de France 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 Ethnologie Française is the property of Presses Universitaires de France 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.)

A singular Romanian writer, often considered a precursor of the avant-garde, Urmuz (1883-1923) left a complex representation of time in his work. Alongside chronological temporality, we find the elements of a more complex temporal imaginary, which is essentially critical of notions of progress. The paper proposes a close reading of the prose endings, to underline the particular aspects of the representation of time: the integration of destruction, its indefinite continuity, its positioning in relation to the future. Drawing on Giorgio Agamben's reading of the Epistle to the Romans, we highlight the messianic character of the time represented in Urmuz's prose. Through an analysis of the linguistic dimensions of temporal expressions, as well as an analysis of the relationship between time and the imaginary of filiation, we attempt to discuss the possibility of a critique of modernity and what we might call, with a notion borrowed from François Hartog, an alternative regime of historicity. [ABSTRACT FROM AUTHOR]

Copyright of Actes de la Recherche en Sciences Sociales is the property of Actes de la Recherche en Sciences Sociales 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 Recherches en Sciences de Gestion is the property of ISEOR 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 Recherches en Sciences de Gestion is the property of ISEOR 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.)

The paper discusses the representation of Lizzie Borden in true-crime and crime-fiction prose texts, as well as in a stage production. It centers on the hypothesis of sociocultural aspects which constitute the accounts written about her and feminist readings. Regardless of genre, these narratives portray Lizzie Borden in various ways--from a female tormenter to a guilt-free spinster. Both true-crime books and crime-fiction novels, together with the ballet, are modified by sociocultural factors and are also subject to intertextuality. In addition, the lines between fiction and non-fiction literary works of primary concern are blurred. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal for the Study of Adult Education is the property of Canadian Journal for the Study of Adult Education 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 Forestry Chronicle is the property of Canadian Institute of Forestry 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 Archives de Sciences Sociales des Religions is the property of Editions EHESS 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 Cahiers d'Études Africaines is the property of Editions EHESS 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 Cahiers d'Études Africaines is the property of Editions EHESS 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 French Journal of British Studies / Revue Française de Civilisation Britannique is the property of Centre de Recherches et d'Etudes en Civilisation Britannique 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 Recherches en Sciences de Gestion is the property of ISEOR 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 Recherches en Sciences de Gestion is the property of ISEOR 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 Revue d'Histoire Moderne & Contemporaine is the property of Societe d'Histoire Moderne et Contemporaine 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 Ethnologie Française is the property of Presses Universitaires de France 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 Ethnologie Française is the property of Presses Universitaires de France 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 Quebec Studies is the property of Liverpool University Press / Journals 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 Bar Review is the property of Canadian Bar Association 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 Recherches en Sciences de Gestion is the property of ISEOR 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.)

Studies concerning the first reception of Molière's comedies in Italy need to be updated, due to the renewal of research methodologies. In this paper we present and analyse an unknown manuscript conserved in Florence National Library (Capponi viii): probably dated of the 18th century, and accomplished for stage performances, this manuscript shows how L'Avare, influenced by Commedia dell'Arte and not very respectful of classical theatrical aesthetic, was perceived in Italian theatres in that century, when Italian comedy was in search of renewal, to overpass the clichés of masks and the invraisemblances of the commedia all'improvviso. [ABSTRACT FROM AUTHOR]

The paper analyses the relationship established by Eugène Ionesco, one of the foremost figures of twentieth-century theatrical neo-avant-garde, with Molière, through the act of remaking his Impromptu de Versailles into Impromptu de l'Alma. A remake that was not meant as a rewriting but as a way to find in Molière's play a concept of theatre shared by Ionesco himself: an attack on the stereotype in the name of the archetype. Outside of an oppositional logic between tradition and innovation in which the critics had attempted to enclose Ionesco's theatre, failing then to demonstrate their thesis. [ABSTRACT FROM AUTHOR]

This paper examines the shared conceptions and current uses of Molière in Western Switzerland (or "Suisse romande"). It aims not only to analyze the reception of his theatre in a Frenchspeaking theatrical field, but also to describe the way in which artists themselves conceive the heritage of this "héros national français". Based on a series of interviews conducted in the spring of 2021 with seventeen directors based in the region, the contribution first shows that their interest with this playwright mainly lies in the "playfulness" that his theatre allows on stage, beyond any memorial or political question. By looking at some of their recent productions, it then examines how a large number of directors are inspired by the farcical and Italian heritages transmitted by his work in order to anchor their artistic research on the side of theatricality, or even a form of metatheatricality. [ABSTRACT FROM AUTHOR]

In this paper I propose to question the way in which coloniality and Western hegemony affect Francophone theatrical creation as an example of issues which, historically constructed through the prism of a Eurocentric ideology, go beyond the artistic dimension. This focus makes it possible to frame the analysis on aspects of representation, and thus to question the political and cultural aspects of the artistic practices taking place within the dynamics of Franco-African relations. I will show these issues starting with Baâda, le malade imaginaire by the Burkinabe company Marbayassa, a cooperative adaptation with an intercultural vocation. By turning to the theatre to rethink the whole range of cultural products from the point of view of performance and forms of domination, the analysis shows the relationships between theatrical creation, cultural institutions, and economic and political logics. The analysis highlights the ways in which artistic productions convey representations that can favour the fabrication of an aestheticization of difference and the risks of ethnocentric representation, notably in the forms of exoticism of the body and of the imagination. In the conflict between hybridisation and cultural homogenisation that interculturality brings about, this allows to keep in mind the imposition of a knowledge/power that is both marginalising and phagocytising. [ABSTRACT FROM AUTHOR]

Copyright of Archives de Sciences Sociales des Religions is the property of Editions EHESS 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.)

This paper discusses perceptions of alterity on the Greek island of Kos and analyses border crossing practices at the Greek-Turkish border in the Aegean. The paper differentiates between different categories of locals according to their ethnic and religious belonging (Greek Orthodox and Muslim Turks in Kos, and “mainland” Turks and Kos Turks in Turkey). In Kos, distancing strategies can be explained by competition for limited resources, as well as identity and visibility politics. Perceptions of Turkey and border crossing practices also differ according to ethnic lines. For ethnic Turks, Turkey represents a second homeland; for Greek Orthodox, a powerful neighbouring country with whom historical and political relations are difficult. As this paper shows, lived and shared experiences can, however, nuance the perception of others. The paper is based on ethnographic field research and interviews conducted by the author on the Greek island of Kos, and in Bodrum, Izmir and Ceşme in Western Turkey. [ABSTRACT FROM AUTHOR]

The paper is focused on Kremna, a village in Western Serbia close to the Serbian-Bosnian border where a series of prophetic pronouncements, recorded and publicized in the early 20th century, gained momentum during the demise of Yugoslavia and are undergoing a process of heritage-making. It builds on two kinds of ethnography: visits of the field “site” which is the Museum/Memorial of the Prophecy”, and an ethnography of a main road which crosses the state border and relates two former Yugoslav countries. The first and longer part of the paper is dedicated to Kremna, its prophets, the prophecies and to those promoting it as the “Serbian Delphi”. It first outlines the local context and the history of the purportedly prophetic pronouncements subsequently known by the name of the village. It uncovers the logic and the circumstances in which the Kremna prophecies have been brought to public knowledge, to become a banner of Serbian national aspirations and during the last decades, of nationalism. A special section is dedicated to the legitimation of local prophets and the inscription of their work in the longue durée history as well as in cosmic processes. The second part evolves around the ethnography of the road Užice-Višegrad, Kremna being half way from both. It helps to grasp the overall landscape of history- memory- and heritage sites, the dynamics of their intertwining, and the creation of a kind of symbolic grammar of events, personae and cultural items which impacts the historical imagination. Throughout the paper, attention is paid to the importance of border and of boundaries broadly speaking in the microareas where outspoken national prophets are born and have lived. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers d'Études Africaines is the property of Editions EHESS 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.)