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The article discusses the publication of various edition of the book "Fleurs du Mal" by Charles Baudelaire first published in 1857 ant then in 1861 is a collection of poems that deals with themes related to decadence and eroticism. Topics include it importance in symbolist and modernist movements and literary criticism of the poems.

The article looks at the history of Swiss-born French nobleman, thinker, writer and politician Henri-Benjamin Constant de Rebecque, commonly known as Benjamin Constant, with particular focus given to the diaries he wrote during the years 1808 and 1811. The author presents a comprehensive account of Constant's life, with attention given to the relationship between events he experienced in his life and his literary work, and makes reference to works such as "Cécile," "Ma vie," and "Cahier Rouge," and to people from his entourage including his father Juste de Constant.

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 Franco-Canadiens De L'Ouest is the property of Presses Universitaires de Saint-Boniface 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.)

Multilingual literary history writing neglects the 19th century due to the development of national and therefore dominantly monolingual literature at the time. In recent years, approaches to investigate multilingual literature historically have found it difficult to deal with the contradiction of multilingual authors within a monolingual literary market and mainly produced case studies on seemingly exceptional authors. This paper discusses different approaches and suggest a combined quantitative and qualitative method to use monolingual sources to mine information on hidden multilingual authors. Thus, unknown multilingual authors can be uncovered and the multilingual writings of authors who were thought to be monolingual are brought to light. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 Journal of College of Languages is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 use of a semiotic approach to foreign language literature appreciation and criticism at the college level is advocated as a means of analyzing texts. What is sought first of all is the meaning of the text with the semiotic-linguistic levels of organization that produce the meaning. (MSE)

Introduces a letter written by Eugene Ionesco in answer to questions on the interpretation of his plays. In his letter Ionesco discusses the creative process as a blend of ideological and emotional motifs, seen, respectively, as the expression of the conscious and the unconscious (or subconscious) mind. (MES)

It is proposed that the French press reflects and characterizes the variety of cultures of France and that sociological study can benefit from close examination of newspaper journalism. Two themes for study are proposed: current preoccupation with security, and the French portrayal of foreigners. (MSE)

A review of the article “Papelard, paper lard, avoir mangé lard (et la chair toute crue),” by Gilles Roques, which appeared in the issue titled "Du côté des langues romanes: mélanges en l'honneur de Juhani Härmä" of the periodical “Mémoires de la Société Néophilologique de Helsinki” in 2009 is presented.

Copyright of Dacoromania Litteraria is the property of ACADEMIA ROMANA Filiala Cluj-Napoca Institutul de Lingvistica si Istorie Literara "Sextil Puscariu" 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 Disability Studies is the property of Canadian Disability Studies 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 Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts 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 Zeitschrift für Kanada-Studien is the property of Gesellschaft fuer Kanada Studien e.V. 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 Dacoromania Litteraria is the property of ACADEMIA ROMANA Filiala Cluj-Napoca Institutul de Lingvistica si Istorie Literara "Sextil Puscariu" 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 article analyzes the origins of the Preface to the second volume, Religion, of Dmitry Merezhkovsky’s book L. Tolstoy and Dostoevsky (1900–1902). The first publication of the book in Mir iskusstva ended with a Conclusion. When preparing a separate publication of his work (1902), Merezhkovsky published the Conclusion of Religion as a Preface without changing the original text. He used the revised text of the Conclusion for a paper entitled “Leo Tolstoy and the Russian Church” (1903). The paper includes the key points of the talk; it is an almost exact copy of the Preface to the second and third editions of the book (1903, 1909), as well as to both editions of the author’s complete works (Vol. VIII, 1912; Vol. XI, 1914). The article attempts to show the evolution of the author’s original design, explain the motives that encouraged Merezhkovsky to publish the text, reconstruct the context of the heated arguments about his book as well as his reasons to give a talk “Fathers and children of Russian liberalism” (1901).

The paper examines early Soviet reception of Ernest Hemingway's works. The research is based on the readers’ letters to Goslitizdat (State Publishing House) from the funds of the Russian State Archive of Literature and Arts (RGALI). A small collection of letters (1935–1936) shows readers’ reaction to the first Hemingway’s Soviet book editions: a short story collection Death in the Afternoon (1934) and Fiesta (1935). The readers unanimously condemn Hemingway for his “decadent” prose and Goslitizdat for publishing such “absurd” and “harmful” books. The only exception is a short positive review of the novel A Farewell to Arms (1936) sent to Goslitizdat in 1937. To uncover the reasons for the negative readers’ reception one should turn to the literary criticism of the 1934–1935, especially the essays by Ivan Kashkin who introduced the new author to the Soviet reading audience. A comparative analysis of readers’ feedback and critical discourse shows that the ambivalent and even contradictory image of the writer created by the critics made the readers think of Hemingway’s works as “decadent”, “bourgeois” and alien to Soviet people. Another reason was the innovative nature of Hemingway’s modernist prose which seemed obscure, confusing and unintelligible; the Soviet reader obviously preferred “clarity” and “simplicity” of Erskine Caldwell’s or Theodore Dreiser’s realistic writings. The situation changed by the 1937, when Hemingway was praised by both Soviet critics and readers as an anti-fascist writer, a heroic defender of the Spanish Republic.

It was only in 2006, during my sabbatical in France, which was almost entirely dedicated to the translation of Mirbeau's Le Calvaire, that I read Traité de stylistique comparée. Analyse comparative de l'italien et du français (Paris, Didier, 1979) by Pierre Scavée and Pietro Intravaia. I did not immediately realise how this text could influence my work as a translator. It is only in hindsight that I recognise my debt to this enlightening text. I was not particularly convinced by its ontological and theoretical principles, which appeared to be slightly dated or debatable. On the other hand I found very fruitful its operational potentials and its pragmatic capacity of shedding light on how native languages work in their everyday, rather than literary use. Inspired by the work of Pierre Scavée and Pietro Intravaia, I will demonstrate in my paper how Italian language has the paradoxical potential to infuse with a stronger expressive dimension Mirbeau's «intimate» prose, which is so full of pathos in its constant struggle with the writer's inner demons. I am going to argue that the Italian translation of Mirbeau's pseudoautobiographical style is, in some ways, more evocative than its French original and of greater impact for the reader. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Afrique des Grands Lacs 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.)

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter Canada 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 reflection on Medieval language and literature is the source of recurrent remarks in many works by Pascal Quignard, and particularly in his Petits traités. The author's perspective on the Middle Ages takes different forms and his attention often focuses on the crucial moments of transition from Latin to French and, later, from verse to prose, as well as from the manuscript to the printed book. Several topics are frequently mentioned, such as one of the most famous passages from Chrétien de Troyes' Conte du Graal: the image of the three drops of blood within the trace left by a goose that has flown away on the ground covered in snow becomes an emblem of the songearts villants' complete absence from the outside world. This form of absorption leads to a comparison with Proust's Recherche, a comparison this paper further develops through references to Jean Renart's Guillaume de Dole. [ABSTRACT FROM AUTHOR]

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc 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.)

Paul Valéry and literary interpretation: form, history, diacrony. The paper aims to address the dialectic between morphology and diacrony canon based on the theoretical reflections of Paul Valéry. The paper will start by observing his project of generalized morphology – the premises of which recall the Goethian studies – which remained incomplete but carried forward in different works and forms through all his intellectual work and his reflections. Starting with a few examples, the paper will measure how the analysis of form, understood as Bildung, runs through all of Valéry's intellectual work from the Cahiers to his public speeches. Valéry’s reflections still offer interesting insights and open up to reflection on very lively issues in the current debate around literature.

Copyright of Revue Nerval is the property of Classiques Garnier 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 Études Françaises is the property of Presses de l'Universite de Montreal 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 Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS 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 focuses on three stories by Liviu Rebreanu: "Catastrofa" (The catastrophe), "Hora morpi" (The death hora), "Ific §trul, dezertor" (Ipc §trul, deserter)--all dedicated to the First World War. Unlike Padurea spînzurmpilor (Forest of the hanged), which helped lay the foundations of the modern Romanian literary canon, the short stories were disregarded by 20lh-century historical literary criticism, even if they presented important clues as to how the author structured the representation of a national identity vet to be defined. In particular, the analysis will focus on the process of building characters with plural identities, tracking the genesis of the author's first literary productions. [ABSTRACT FROM AUTHOR]

French literary history has been studied from a national perspective since the creation of the discipline in the late 19th century. But the focus on national literature has excluded literatures written in French outside France. Nowadays, important essays on French literary history are still centered on the literature of the Hexagon. Of course, 'Francophone' studies have been considering literatures of various Francophone areas, but they have often paid attention to the literary works and movements of specific territories, without placing them in relation with other literary works written in French. Studies of comparative literature and world literature have created models for studying interactions between different literatures. Some are focused on the diffusion of literature across the world; other examine how cultural phenomena in the colonial margins have influenced the metropoles or 'written back' to them; others analyze world literature in a relational or 'trans-area' perspective. After having reviewed such methodological approaches, this paper suggests a model based on the study of frontieres (i.e. "borders" and "boundaries") chosen as a "point of departure" (Auerbach) for setting up a fragmentary literary history which gives the same weight to the various literatures written in French in the 20th century. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Canadian Studies is the property of University of Toronto Press 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 Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 Études Françaises is the property of Presses de l'Universite de Montreal 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.)

Within the past nearly two decades or so, a number of festschrifts on African literary icons and other scholars have been published, suggesting a paradigm shift in the preferred choices of publication options open to critics of African literature. The front burner position which festschrifts now seem to occupy, the variegated nature of their structural configurations, the baggage of doubtful mix that we often get from their editors and the doubtful quality of a number of the papers published in them, are the main factors that have inspired the writing of this essay. We note that in spite of the usefulness of festschrifts as publication outlets which younger critics have often found handy, a number of inherent weaknesses have already manifested from the above-named factors, and we believe that these are portentous for African literature if they go on unchecked. Drawing analytical evidence from over twenty-five festschrifts published since 1994, this paper examines the implications of the festschrift tradition for the future of African literary criticism.

Amadis de Gaule is a chivalric romance adapted from the Spanish work of Garci Rodriguez de Montalvo by Nicolas Herberay des Essarts in 1540-1548. As the first bestselling novel in France, it initially generated enthusiastic reactions concerning the qualities of style and the pleasure of reading, then, with the progress of violence unleached by civil conflicts, more and more severe. François de La Noue, famous soldier sincerely devoted to the Protestant cause and author of Discours politiques et militaires, is one of the most intransigent censors of the French Amadis. In this paper we show the poisons that according to the Huguenot infect the fiction of this novel: tantalizing depictions of mages and witches, immoral conception of love relationships and fanciful military exploits of the characters. These three layers of the work risk perverting French youth, which plunges the moralist in deep concern.

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter Canada 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 Caravelle: Cahiers du Monde Hispanique et Luso-Bresilien is the property of Presses Universitaires du Mirail 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 examines gender and relational issues in the amorous and family context in Tre donne. Una storia d’amore e disamore of Dacia Maraini. Through mythological and literary antecedents, the author analyzes with a lively irony the male / female relationship, the mother-daughter bond, the generational conflict, the female genealogy, the sentimental ambivalence and she interprets the archetypes of the Feminine and the Great Mother, the antithesis life / death, the double, the birth, the female identity. The critical analysis, which also recognizes autobiographical motifs, makes use of psychoanalytic, psychological, theoretical and literary references.

The concept of intertextuality is a central notion in postmodern theory and an important model to describe the relation between literary texts. The central purpose of this paper is to scrutinize the idea of intertextuality in postmodern theory and how it is manifested by the British prolific novelist Peter Ackroyd `s selected novels. The English critic and novelist of more than a dozen of novels as well as the Booker Prize for Fiction. Ackroyd is a great example of English novelist who rewrites in his novels English literary history through using the notion of intertextuality. As a result, Ackroyd`s novels are significant of shoot of postmodern novel since they document the literary texts of earlier authors to become the subject of their plots which reflect the postmodern idea in which literary works are viewed to mirror other works . Therefore, Ackroyd`s novels can be regarded as unique versions of this trend of postmodern fiction as well as literary criticism. The concept of intertextuality becomes subject to adaptation and revision in postmodern literary theory.

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal 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 Études Françaises is the property of Presses de l'Universite de Montreal 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 examines identity, trauma, and writing in Ocean Vuong’s debut novel On Earth We’re Briefly Gorgeous. Written in the form of a letter the protagonist writes to his mother, the novel explores memory and language to give words and work through the narrator’s traumatic experiences related to the effects of the Vietnam War on the family members. The novel counters trauma’s resistance to representation through a highly metaphorical texture and creative acts that reconnect past and present and resist victimhood, apprehending vulnerability as a sign of our intrinsic relationality and beauty.

In this paper, we analyze the narrative ellipsis in the novel The Sand Child, by Tahar Ben Jelloun. After a short introduction in which our intention is to outline the basics of the ellipsis and the importance of choosing Ben Jelloun's novel, we focus on the ellipsis at three levels: the character, the narration and the narrator (type, multitude and voice). We also focus on the fact that The Sand Child is a never-ending narrative discourse, in which the completion of some gaps generates other gaps that can or cannot be completed. [ABSTRACT FROM AUTHOR]

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal 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.)