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Accused, on the one hand of the danger of scarcity, and, on the other, of the danger of marginalization, children’s literature in the interwar period is often associated with clichéd labels, such as “minor literature”, without the latter being understood in the direction proposed by Deleuze. On the contrary, the meaning of the term is strictly pejorative, and it marks the dissolution into mediocrity of the texts recovered from the above-mentioned category. So, the intention of the present paper is to propose a case study of the novel Europolis written by Jean Bart, aiming to identify some interpretative tools detected at the level of the text with the aim of reinstating the status of this literary genre on the canonical stage. The poporanist ideological direction assumed by the author in all his writings, the unusual linguistic images given by the nicknames attributed to the characters (Penelope, the American, etc.), their actions, enhanced and predictable like in a soap opera –all contribute to the generation of necessary aspects in the panorama of a motley community subjected to social criticism when read in a subversive key. The construction of the narrative context around the port of Sulina involves a metaphor of openness (to otherness, various cultural/social inflections, etc.), but is dismantled by the author by means of actors regulated by the preliminaries of a capitalist society, against which the writing is reactionary, given the final failure of the character (see the curiosity aroused by the return of the character called the American, suspected of possessing an enormous fortune, a situation debunked at the end of the novel). Thus, the novel Europolis written by Jean Bart creates a pre-text, through entertainment and an engaging tone, to highlight the shortcomings of a collective fascinated by all that the West can offer, but unable to solve its own social and cultural emergencies, because of an organic hypocrisy which is ultimately sufficient for the final decline of all the characters. [ABSTRACT FROM AUTHOR]

Translation has been a subject much debated along the centuries. The present paper is part of an extended study aimed at recording the origin and evolution of the concept of children's literature translation. This work has been conceived as a totalizing analysis of various theories of literary translation as well as of its essential characteristics and, in particular, the theories and traits of translation for youth. The article devises a classification of translation methods used to make the transfer between the source language and the target language which depends on the purpose of the translation. We also noticed the importance that images have in the intelligibility of children's books, and how Etienne Delessert's illustrations on Contes 1 2 3 4 favored the access of children into the creative universe of Eugene Ionesco. [ABSTRACT FROM AUTHOR]

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In this paper we intend to follow how Mircea Cărtărescu's discourse is built in a text written specifically for children and, at the same time, to identify whether there are elements of continuity between the type of writing which consecrated the author and such text intended for children. Thus, what interests us at the end of this work is the identification of the way the childhood universe is rebuilt and the analysis of the application of the postmodernist narrative techniques. As in the consecrated texts, Mircea Cărtărescu also gives a special attention to the structure of the text and discourse, managing to build a dense story with multiple levels of interpretation, even if it is a text dedicated to children. Built on the scheme of the story in the frame, Florin scrie un roman is a fine example of how a postmodern writer builds a text for children reader without indicating the used processes and without naming the features of postmodernism. [ABSTRACT FROM AUTHOR]

The paper presents Greimas' actantial pattern applied to Ion Creangă's fairy tale and tries to give a clear image of the hero's evolution, according to some peculiar aspect of this pattern, such as the modalities of the action. [ABSTRACT FROM AUTHOR]