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Copyright of XVIIe Siècle 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.)

The labyrinth motif appears regularly in Christian Grenier's novels. In diegesis, it is always linked to myth and the fates of Daedalus, Theseus and Ariadne. It is also a diegetic motif that structures the setting, organizes the characters' quest and generates suspense. But this motif is above all a metadiscursive metaphor that theorizes the author's writing. In particular, he evokes the meandering construction of police intrigues. It also represents the referential games developed by Christian Grenier: By mixing the words of other writers with his own, offers his readers the opportunity to enter a kind of intertextual labyrinth. [ABSTRACT FROM AUTHOR]

This article builds on a powerful statement by Hans Joas regarding creativity, with which he claims 'the self escapes its bounds and loses itself in pursuit of the forces of sociality that make it up'. To develop this argument, we propose a hermeneutic approach that centres on myths and rituals that narrate how subjective and collective orders are dissolved within the indeterminate (apeiron). Although this question has been further explored within theoretical frameworks that discuss the death drive, the body without organs, the inoperative community and so on, these approaches do not refer to the subsequent rebirths, which the logos seems incapable of tackling but which traditional wisdom manages to address. The lesson that this ancient wisdom can pass on to sociology is that the communitas can act as the apeiron of the social from which the self and society itself escape their bounds to be reborn. [ABSTRACT FROM AUTHOR]

Copyright of Accounting Auditing Control / Comptabilité Contrôle Audit (English Edition) is the property of Association Francophone de Comptabilite c/o Solle 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.)

In Une femme (1987; A Woman's Story), Annie Ernaux declared that she wished to remain "au-dessous de la littérature" ("below literature"). To what extent is this position, which she has maintained over the last decades, compatible with her consecration as a writer? This article considers the publication of Les Années (2008; The Years) as a turning point followed by the publication of several collaborative and dialogic texts that call into question established literary forms and make visible the process of creation, that it to say the poiesis of the œuvre. By revealing the act of writing, Ernaux contributes to establishing a genealogy of her work, even showing it to have a mythical dimension which is nevertheless tied to socio-political concerns. Exploring the resonance between Ernaux's literary pieces and her paratextual interventions highlights the complex network on which Ernaux's conception of writing, and position towards the idea of literature, are built. [ABSTRACT FROM AUTHOR]

Cet article propose une analyse approfondie des réflexions de Friedrich Nietzsche sur les notions de vérité et de mensonge en lien avec le mythe et d’autres formes symboliques, à la lumière de la théorie de la véridiction. Il s’attache d’abord à mieux cerner les problématiques soulevées par Nietzsche concernant le rôle du mythe dans la culture. Ensuite, il met à profit les observations de Nietzsche et les recherches sémiotiques contemporaines sur le mythe afin d’explorer l’enjeu de la problématique sémiotique de la véridiction. Cette dernière s’inscrit dans le cadre plus large des modalités épistémiques et est à lire en relation avec les problématiques épistémiques de la philosophie du langage et de la philosophie générale.

Les mondes de la pêche de loisir se partageant dans la plupart des cas les mêmes espaces maritimes et littoraux que ceux de la pêche professionnelle, certaines pratiques entrent en concurrence. Le monde de la pêche de loisir est pluriel, des pratiques sociales se distinguent de par leurs représentations de la mer, les ressources pêchées ou les techniques de pêche, mais surtout, de par les intérêts qu'ils défendent respectivement. C'est dans ce contexte des Hauts-de-France que le concept de « mythe » est exploré à partir d'analyses des discours de pêcheurs et de leurs pratiques récoltées au plus près des acteurs locaux interrogés. Cet article met en exergue les divergences existantes entre les mondes de la pêche de loisir et professionnelle et leurs légitimités respectives à occuper le Domaine Public Maritime, tout particulièrement dans ce que cela implique du point de vue normatif (quotas, pratiques tolérées, etc.). The worlds of recreational fishing (on foot, on board, etc.) share the same maritime and coastal areas as those of professional fishing. Some practices compete in a context of resource scarcity. In this plural world of recreational fishing, social practices are differentiated by their representations of the sea, the resources fished, or the fishing techniques, and by the interests they defend respectively. In the context of the Hauts-de-France (côte d'Opale), the concept of myth is explored based on analyses of the discourse of fishermen and their practices;. This article highlights the existing differences between the worlds of recreational and professional fishing and their respective legitimacy to occupy the maritime areas, particularly in what this implies from the normative point of view (quotas, tolerated practices, prohibited practices, etc.). [ABSTRACT FROM AUTHOR]

The Oedipus myth is foundational to depth psychology due to Freud's use of Sophocles' play Oedipus Rex in the creation of psychoanalysis. But analytical psychology's engagement with the myth has been limited despite the importance Jung also places upon it. The absence of a developed Jungian response to Oedipus means the myth's psychologically constructive elements have been overlooked in favour of reductive Freudian interpretations. I examine whether analytical psychology can fruitfully re‐engage with Oedipus by reinterpreting his story as a paternal rebirth. This is achieved by reincorporating those parts of the myth that occur before and after the period portrayed in Oedipus Rex. Such a move reintegrates Oedipus' father, King Laius, into the story and unveils important parallels with the alchemical trope of the king's renewal by his son. Using Jung's method of amplification, Oedipus is recast as Laius' redeemer and identified with the archetype of psychological wholeness, the Self. The contention is that such an understanding of Oedipus supports a clearer recognition of the potentially generative quality of human suffering, restoring to the myth the quality of moral instruction it possessed in antiquity. [ABSTRACT FROM AUTHOR]

In the manner of Oedipus Rex, the myth of Myrrha—a story about a daughter's initiation of sex with her father—promises to divulge insights about feminine development. Given parallels between these two myths, the author asks why Jung identified Electra rather than Myrrha as the feminine counterpart to Oedipus, and revisits Freud's and Jung's differing interpretations of the incest theme in personality development. To break open the metaphor of Myrrha's incest, the author analyzes a similar account of incest in the Old Testament story of Lot and his wife and finds that they share a theme of female bitterness related to wounding of the mother and its arresting effect on the daughter's maturation. The article then considers the Demeter‐Persephone myth, a tale not of incest but rape in Persephone's initiation into womanhood. In contrast to Myrrha, Persephone's development unfolds with strong maternal support tempered by the opposing claims on her by the masculine. The article draws these stories together to illuminate the archetypal forces that drive feminine development as well as the human affairs that resist and complicate them. The article concludes with a case study of a client whose developmental "stuckness" follows the contours of the Myrrha myth. [ABSTRACT FROM AUTHOR]

L’article propose une analyse de la fonction des lieux biographiques dans le recueil poétique de Cesare Pavese Lavorare stanca. Il sera notamment question de la manière dont l’auteur exploite ces lieux en tant qu’objets symboliques à travers un processus d’abstraction obtenu grâce à des stratégies dont on donnera plusieurs exemples. Les lieux biographiques de la région des Langhe, la colline en particulier, deviennent la clef d’accès au mythe, point de mire de l’écriture et de la poétique de Pavese. Ainsi, en approfondissant le thème du paysage, on cherche à mettre en évidence la démarche mythopoïétique de l’écriture de l’auteur piémontais.

if the professionalization of the social professions is increasingly based on the model of professionalization engineering, what are the imaginaries underlying this movement? How can we understand that the profession of engineer, the one who, at least in the imagination, invents and designs machines with a magically predictable functioning, can be the model for designing training systems for the helping professions? This contribution proposes to explore these questions through two mythological figures often summoned when it comes to engineering and technology: Prometheus and Hephaestus. These two figures will help us to move from the model of professionalization engineering to ingenium. [ABSTRACT FROM AUTHOR]

This paper examines the symbolism of the cultural image Sun Wukong (the Monkey King), a Chinese legendary hero, and how it influenced an eight‐year‐old boy's psychic development. Through an analysis of Sun Wukong's life from his birth to attaining Buddhahood, a three‐phase healing process is identified in Sun Wukong's tale and the psychotherapeutic process: "naming and initiating," "nurturing and taming," and "transforming and transcending," proposed by Dr. Heyong Shen. Sandplay visually highlighted these key clinical changes in conscious awareness and developmental behaviour influencing the boy's individuation process. Images found either in cultural traditions or spontaneously emerging from the unconscious in individuals are of significance in human life, offering pathways to psychic healing and development. Further, myths and cultural resources used in clinical work demonstrate that having cultural competency is invaluable in Jungian analysis. Pathogenic and health‐maintenance factors of culture can be explored in future clinical practice and research. [ABSTRACT FROM AUTHOR]

In this letter to the editor, we respond to the article by Dodier, Lynn and Otgaar entitled " Analyse critique des mythes sur les troubles dissociatifs de l'identité " ("A Critical Analysis of the Myths about Dissociative Identity Disorders"). Their article presents a critique of our article published in French in the same journal entitled " Trouble dissociatif de l'identité : les mythes à l'épreuve des recherches scientifiques " ("Dissociative Identity Disorders: Myths Put to the Test by Scientific Research") [11]. Our article reviews several beliefs about dissociative identity disorders that are widespread in the French-speaking clinical field. The criticisms of Dodier et al. are used to present their socio-cognitive model of dissociation. We take up their criticisms and develop various arguments to conclude with the observation that there are many areas of agreement. Nevertheless, conceptual and clinical aspects make it difficult to further reconcile them. We conclude that there is an urgent need for research in the field of dissociative identity disorders. [ABSTRACT FROM AUTHOR]

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities 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.)

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Copyright of Akofena is the property of Universite Felix Houphouet Boigny 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 Akofena is the property of Universite Felix Houphouet Boigny 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.)

In the fourth decade of the last century, the most important synthesis studies about Eminescu appeared: Tudor Vianu - Eminescu's Poetry (1930), G. Călinescu - Mihai Eminescu's Life (1932) and Mihai Eminescu's Opera (1934-1936). After Călinescu's biography and E. Lovinescu's novels - Mite (1934) and Bălăuca (1935), the true Eminescu biographical image is born, "the true myth of the poet's life" (Simuţ). How was the epic image of Eminescu's biography formed in the narratives of the two literary critics and historians? How did they manage to mix fiction and documentary in the writings about Eminescu? What does the epic image of the Eminescu biography look like, as it emerges from the novels of the two critical authorities?. [ABSTRACT FROM AUTHOR]

La banda Cavallero était un groupe de braqueurs composée par Pietro Cavallero, Adriano Rovoletto et Sante Notarnicola qui a réalisé dix-huit braquages en cinq ans, blessant plusieurs personnes et en en tuant cinq autres, entre Turin et Milan. Ils font la une des journaux pendant la deuxième moitié des années 1960 en Italie, au point de diviser l’opinion publique. Sont-ils des simples criminels, ou des Robin des Bois dans une Italie qui se réveille du miracle économique en comptant ses blessures, économiques et sociales ? Si leur but initial était celui de recueillir de l’argent pour financer la guérilla à l’étranger et la lutte armée insurrectionnelle en Italie alors que les Brigades rouges étaient loin de voir le jour, au fil du temps, Cavallero et Rovoletto, à l’insu de Notarnicola, dépenseront tout l’argent pour leurs propres intérêts en trahissant le pacte social et politique établi entre eux. Et pourtant, leur mythe ne fait que s’accroitre, même quand ils seront capturés de façon rocambolesque et qu’ils passeront des décennies derrière les barreaux.

Le roman Desmoronamiento (2006) de l’écrivain salvadorien Horacio Castellanos Moya met en scène la famille à l’épreuve de ses divisions et des circonstances historiques. Il décrit « l’effondrement » des relations familiales au sein de la famille Aragón, dont l’évolution s’entremêle avec l’histoire salvadorienne de la deuxième moitié du XXe siècle. Au-delà du simple portrait de famille, le roman explore les liens entre le particulier et le collectif, l’intime et le politique, ce qui rapproche cette famille d’un archétype. Les récits du conflit avec le Honduras de 1969, mal connu comme « guerre du football », et de la tentative de coup d’État du 25 mars 1972 occupent plus qu’une fonction contextuelle. Notre hypothèse est que le roman est traversé par la tension entre irréversibilité et répétition de l’histoire, fondement du récit et, peut-être, d’une mythologie de l’effondrement.

De nature et à tous les niveaux, l’école à toujours été un milieu de garde, de protection des enfants contre tout accident, toute mauvaise influence ; lieu de puisement des connaissances par l’instruction et de socialisation par excellence à travers l’éducation, après la famille. Des parents envoient leurs enfants à l’école dans ces buts-là. Cependant, à Oïcha, dans leur cursus scolaire, prises au piège des enseignants ou de leurs condisciples de classe, des apprenants filles sont une proie à l’immoralité sexuelle à l’école : acte odieux et criminel. Cette réalité phénoménale fini parfois par des négociations, des arrangements, des couvertures ; défiant le droit et l’éthique sociale dans leur rigueur, aux conséquences fâcheusement directes et indirectes sur la scolarité et la vie des victimes. L’étude est réalisée sur les filles victimes des écoles secondaires d’Oïcha afin de les influencer à rompre avec la peur de dénoncer, la honte et le silence.

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 Akofena is the property of Universite Felix Houphouet Boigny 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.)

Au centre du roman « Attentat » d’Amélie Nothomb, il y deux personnages construits en antithèse du point de vue de leur apparence physique qui sont décrits comme le Quasimodo et son Esmeralda. A travers cet article, nous nous proposons d’analyser le roman en tenant compte du mythe de la Belle et la Bête et l’influence que l’œuvre de Jérôme Bosch a sur la construction des personnages et du récit. Nous voulons voir si le mythe est achevé et si, à la fin, la Bête devient le prince charmant à l’aide de l’amour de sa bien-aimée, la Belle.

This article studies the mytopoiesis and structural mythification (Guillén 2022b) of AI and technological advances in contemporary culture. It analyses the mythemes, mythologemes and mythical characters of a corpus of contemporary media texts. More specifically, we ask how the study of the particularities of the discourses contributing to the emergence of contemporary myths about technological development enables us to better grasp some of the mechanisms of our semiosphere and current cultural dynamics. But also: in what way, through the semiotic particularities of the mythical, does the study of contemporary receptions of ancient myths and contemporary mytopoiesis and structural mythification allow us to question the semiotic and discursive dynamics within cultures between retrospective and prospective views, between cultural constructions and (re)presentations of the past, present and future, in other words of identity, proximality and distality (Rastier, 2001)? To answer these questions we first look at the philological aspects, before conducting a corpus analysis and finally turning to a general theoretical elaboration on contemporary myths in embryo. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Ágora: Estudos Clássicos em Debate is the property of Agora: Estudos Classicos em Debate 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 Versants: Revista Suiza de Literaturas Románicas is the property of University Library of Bern 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.)

In this letter to the editor, we respond to the article by Dodier, Lynn and Otgaar entitled " Analyse critique des mythes sur les troubles dissociatifs de l'identité " ("A Critical Analysis Of The Myths About Dissociative Identity Disorders"). Their article presents a critique of our article published in French in the same journal entitled " Trouble dissociatif de l'identité: les mythes à l'épreuve des recherches scientifiques " ("Dissociative Identity Disorders: Myths Put To The Test By Scientific Research") [11]. Our article reviews several beliefs about dissociative identity disorders that are widespread in the French-speaking clinical field. The criticisms of Dodier et al. are used to present their socio-cognitive model of dissociation. We take up their criticisms and develop various arguments to conclude with the observation that there are many areas of agreement. Nevertheless, conceptual and clinical aspects make it difficult to further reconcile them. We conclude that there is an urgent need for research in the field of dissociative identity disorders. [ABSTRACT FROM AUTHOR]

Copyright of Philological Research & Studies. Romance Languages Series / Studii şi Cercetări Filologice. Seria Limbi Romanice is the property of Philological Research & Studies. Romance Languages Series 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.)

Eremitic Practices and Metaphysical Quest at the Heart of the Sociogonic Myth of Cursed Poets ABSTRACT: In a XIXth century of great democratization of the poetic work, which dilutes its quality of superior art and makes it enter the frenzy of the market economy, crystallized the sociogonic myth of cursed poets, talented, practicing of a pure art but despised and projected on the periphery of a mercantile society. Victims of a system that rejects them, these cursed poets create a sort of self-legitimation syndicate based on the argumentative schemes of the myth of Christ "Son of God" and ancient traditions that predestine exceptional men to misfortune by the crowd, whose “ineptitude of taste and nullity of imagination” (N. O. Lübecker, 2003: p 112) are known. Their austere and almost sacred practice of poetic language, which they consider to be the sole guarantee of a metaphysical quest, completes the thickening and amplification of this myth. RÉSUMÉ : Dans un XIXème siècle de grande démocratisation de l’œuvre poétique, qui en dilue la qualité d’art supérieur et la fait entrer dans la frénésie de l’économie du marché, s’est cristallisé le mythe sociogonique des poètes dits maudits ; talentueux, pratiquants d’un art pur mais incompris et projetés à la périphérie d’une société mercantile. Victimes d’un système qui les rejette, ces poètes maudits créent une sorte de syndicat d’autolégitimation en se fondant sur les schémas argumentatifs du mythe du Christ ‘‘Fils de Dieu’’ et des traditions antiques qui prédestinent les Hommes exceptionnels au malheur impulsé par la foule dont « l’ineptie du goût et la nullité de l’imagination » (N. O. Lübecker, 2003 : p 112) sont connues. Leur pratique austère et quasi sacrale du langage poétique qu’ils considèrent comme l’unique caution d’une quête métaphysique, achève d’épaissir et d’amplifier ce mythe hétéro-déterminé.

Copyright of Literature / Literatura is the property of Vilnius University 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 realization of the Self, although the absolute basis of Jungian psychology, has internal inconsistencies, is difficult to understand, and offers a promise of realization that cannot be fulfilled. This has weakened it, and its existence is now one of speculation. If this is the case, what is to be done with it in the consulting room? How should it be introduced and accounted for, if at all? This paper suggests some alternatives but concludes that the myth of the Self has gravitas in other established traditions, and it is those that offer a more coherent framework for the emergence of the Self., (© 2024 The Society of Analytical Psychology.)

L’histoire des traductions ukrainiennes et russes de l’œuvre de Maurice Maeterlinck est riche en noms célèbres comme Lessia Oukraïnka, Natalia Kobrynska, Valeriï Brioussov et Nikolaï Minskiï. Cependant plusieurs aspects dans la traduction font preuve du manque de connaissance des réalités du texte source, et notre but fut d’effectuer une analyse comparée des traductions russes et ukrainiennes de la pièce Ariane et Barbe-Bleue, un texte clé du théâtre maeterlinckien en nous basant sur la méthodologie de l’analyse traductologique et linguo-poétique. L’analyse a démontré que les traductions aussi bien russes qu’ukrainiennes ignorent le signe onomastique Ariane alors que les lettres de Maurice Maeterlinck à son traducteur allemand Friedrich von Oppeln-Bronikowski attestent l’utilisation du mythème antique, avec un souci de transvalorisation de l’intertexte mythologique. L’originalité de notre découverte oblige à une correction des textes existants ce qui fut effectué lorsque, avec le souci de garder les mythèmes antiques dans les traductions de Maurice Maeterlinck, nous avons donné une nouvelle version de la pièce Ariane et Barbe-Bleue au public ukrainien en 2007 avant de consacrer notre thèse de doctorat à l’Intertexte mythologique dans le premier théâtre de Maurice Maeterlick (2012) et un chapitre de notre thèse d’habilitation à l’étude de la mythologie grecque dans la poésie maeterlinckienne.

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]

Through various textual and iconographic supports (poems and other literary works, political and historical speeches, paintings, statues, films), this article analyses the process that led to the political and nationalist recovery of the figure of Simón Bolívar. It shows the extent to which the independence leader has been transformed into a hero, with its share of exaggerations, to the point that a form of mythification has sometimes taken place that is more akin to poetry and the sacred than to historical reality. [ABSTRACT FROM AUTHOR]

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La contribution se propose d’effectuer la présentation et l’analyse d’un texte de poésie, Penelope, écrit par l’italienne Rosaria Lo Russo et publié en 2003, chez l’éditeur D’if. Il s’agit d’un monologue en vers (ou “mélologueˮ), publié sous forme de plaquette, puis destiné à être récité par une soprano et mis en musique par Patrizia Montanaro, avant qu’un disque ne soit publié en 2017 (le chant dure vingt-et-une minutes). La contribution prend en examen le texte de poésie. Le texte évoque l’histoire de Pénélope, reine d’Ithaque, mais dans cette réécriture des chants XIX et XXIII de l’Odyssée la femme-épouse s’affirme comme un personnage qui se rebelle face au rôle que lui attribue le mythe. Ainsi voit-on l’épouse patiente et aimante changer, au retour d’Ulysse, pour devenir une femme qui revendique son autonomie et son statut de souveraine. La scène de retrouvailles devient une scène de rupture.

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The geocritical analysis of a place in literature allows us to extract the different aspects of that place and, more importantly, shed light on the relationship it has with the characters of the novel. Katia Mounthault, in her novel Le Cri du fleuve, makes of the Congo river an unavoidable character, midway between myth and reality, and alternatively a dealer of both, life and death. [ABSTRACT FROM AUTHOR]

The fear of robots is recurrent in science fiction literature and cinema. However, I see the robotization of humans in contemporary society is increasing. Identity crisis, automation, dehumanization: what distinguishes human from android? The film Blade Runner, from Ridley Scott (1982), points out aspects of identity, memory, empathy and bond, escaping the Manichean dualism between humans and androids, provoking questions about society and the human condition. The work of art fulfills a visionary function when it captures and translates to the collective aspects of the spirit of the time, transposing into questions and new forms, anticipating and problematizing themes, foreseeing possible solutions, mobilizing the collective conscience. This article presents an analysis based on some thematic snippets from Blade Runner and tries to answer the questions: which mythical themes emerging from the collective consciousness take shape in this classic film? How does the work update the myth? [ABSTRACT FROM AUTHOR]