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Sacrum et profanum dans Yonec de Marie de France (XIIe siècle)

Sacrum et profanum dans Yonec de Marie de France (XIIe siècle)

Author(s): Anna Gęsicka / Language(s): French Issue: 3/2013

In Breton lais, we regard a brilliant marriage of Celtic and Christian « marvel » (merveilleux), which is revealed on various semiotic levels. The zones of sacrum and profanum interpenetrate and provoke the reader’s afterthoughts on abundant and profound imagery. In Yonec of Marie de France, at the moment when the coming from Autre Monde protagonist is receiving the Eucharist he represents with his beloved one body. In this paper, I have a try to arrive at a spiritual meaning/message underlying the text characters-symbols. The clue to this analysis is the idea of transition: from one status to another, from one figure to another, or from one meaning to another.

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Les crucifix comiques dans quelques textes du Moyen Âge français

Les crucifix comiques dans quelques textes du Moyen Âge français

Author(s): Agata Sobczyk / Language(s): French Issue: 3/2013

The presence of the crucifix in the comical literature is a special case of an encounter of the sacred and the profane. It appears in several French medieval texts, where it is associated with sexuality or with food, it is treated with familiarity and even faces insult, which does not mean to outrage the public, but to make people laugh. The profanation with which we are dealing here has many aspects, depending on whether it can be assigned or to a concrete personage, or to the author, since it is included in the story itself. In the first case, a lot can be justified by the simplicity, but the intentions of the personage do not always seem pure. In the second case, contrary to expectation, the sacrilege is not necessarily associated with the anticlericalism. However, what is the most interesting is the question of the reception of this kind of texts in a profoundly Christian society.

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Le syncrétisme de Du Bartas

Le syncrétisme de Du Bartas

Author(s): Steeve Taïlamé / Language(s): French Issue: 3/2013

The works of the humanist Du Bartas has been considered religious with the aim to present a calvinist conception of the world conform to dogmas. However, the presence of paganism and the effects of dissonances shows that Du Bartas belongs to a spiritual tradition beyond the dogmas. The poet indeed writes in the heritage of Marsil Ficin and his vision of the profane and the sacred is totally in accordance with the hermeticist philosopher. Under the superficial meaning and the topical speech about religious subjects, there is hidden a signification and a much higher truth not to be express clearly to profanes, those unable to understand the unity of traditions.

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Jean-Pierre Camus :  la moralisation d’un genre immoral est-elle possible ?

Jean-Pierre Camus : la moralisation d’un genre immoral est-elle possible ?

Author(s): Maja Pawłowska / Language(s): French Issue: 3/2013

Camus complements his novels with long peritexts, thus using his ecclesiastic authority to legitimise their moral and didactic value. In these peritexts he opposes the licentious novels to his own devout works of fiction, which are, in his own words, not only valuable and worth recommending, but also capable of saving the readers’ souls, put in danger by other texts. In any case, a close reading of these peritexts reveals a view which challenges the idea of the novel’s insidiousness and which bears witness to Camus’s great fascination with this officially condemned literary genre.

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Comment le rapport au texte biblique transforme le rapport au texte littéraire au XVIIIe siècle : le cas Rousseau

Comment le rapport au texte biblique transforme le rapport au texte littéraire au XVIIIe siècle : le cas Rousseau

Author(s): Geneviève Di Rosa / Language(s): French Issue: 3/2013

In the 18th century, the Bible felt the full force of criticism by radical Enlightenment thinkers who read it piece by piece and denounced its making as an imposture - thus extending the break initiated by moral and historical critiques of the previous century. In doing so, they nevertheless did not grant it the literary status of a “profane work”. Yet, Rousseau, who produced a literary rewriting of the Book of Judges with his Levite of Ephraim, pondered over the violence inflicted to biblical intertextuality during his exile in Môtiers: in his Letters Written from the Mountain, he thus made it an analogon of the violence caused to his own literary works. By drawing this parallel, he opened a reflection on the different manners to read a text, as well as the possibility of regulating the reader’s violence through proposing an ethics of literary reception. Analogy might not work as a substitute; however, it enabled Rousseau to go beyond the mistreatment which anti-philosophers or philosophers inflicted to his works, by giving, among other things, an autobiographical orientation to his writing: one in which the author is ready to take responsibility for giving himself to the reader. The ambivalence of the sacred and the profane, the perception of a common essence of religion – defined either by sacrifice or gift – were thus what helped Rousseau invent the autobiographical pact.

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Le mélange du sacré et du profane dans les livrets de tragédies lyriques du librettiste Nicolas-François Guillard (1752-1814)

Le mélange du sacré et du profane dans les livrets de tragédies lyriques du librettiste Nicolas-François Guillard (1752-1814)

Author(s): Cécile Champonnois / Language(s): French Issue: 3/2013

Nicolas François Guillard (1752-1814) was one of the best librettists of the Tournant des Lumières. The libretto of Proserpine by Quinault, set to music by Lully at the end of the seventeenth century, was adapted by Guillard and once again set to music by Giovanni Paisiello in 1803. Six years later, in 1809, La Mort d’Adam, adapted by Guillard from Friedrich Gottlieb Klopstock’ Der Tod Adams (1757), was set to music by Jean-François Lesueur. These rewritings, with religious or sacred topics staged for a secular theatre by Guillard, are very different from the original works and tend to be family dramas: he then transforms them into secular works with secular content. Human sacrifices are present in these works but seem to feature here for family reasons and not only for religious purposes. Divinities are presented by the librettist as human beings, whose family roles are predominant. The sacred and the profane are mixed in these two librettos, changed into hybrid works. Guillard seems to use the same model to adapt historical, mythological or religious works, which means that the role and the importance of the religious in the works staged at the Académie Impériale de Musique in the period of the Tournant des Lumièreshas to be examined.

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La toile et le voile : l’art, la littérature et le sacré dans trois récits romantiques

La toile et le voile : l’art, la littérature et le sacré dans trois récits romantiques

Author(s): Esther Pinon / Language(s): French Issue: 3/2013

The literature of the Romantics, in the first part of the 19th century, is steeped in religious doubt. Moreover, the sacred was a taboo yet unavoidable subject especially in novels and short stories that were considered at the time profane genres. Romantic writers exploited certain covert strategies in order to speak of the unspeakable and touch the untouchable. They resort, for instance, to their artistic culture with its centuries of pictorial tradition that render religious figures and events more familiar and accessible. Musset’s Le Tableau d’église, Vigny’s Daphné, and Gauthier’s La Toison d’or, all bear witness to a striking (meeting) harmony between iconoclastic and / or cavalier characters and sacred works of art that focus on Passion. All three writers interweave aesthetic contemplation with mystical communion thus revealing a new sense of the sacred that is often ambiguous, nay, subversive. And since sacred art is not in itself sacred, it allows writers to come very close to sacrilege in order to examine the fine line between the profane and the sacred.

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Décomposition et recomposition : Présence et absence des corps noyés dans Lélia (1833) de George Sand et L’Éducation sentimentale (1845) de Gustave Flaubert

Décomposition et recomposition : Présence et absence des corps noyés dans Lélia (1833) de George Sand et L’Éducation sentimentale (1845) de Gustave Flaubert

Author(s): Abbey Carrico / Language(s): French Issue: 2/2012

In Romantic literature, water often serves as a symbol of death and of the dissolution of the individual, representing a passage from presence to absence. In order to show this transformation, writers frequently rely on scenes of drowning. However, in these depictions drowning does not always lead to an absence, but rather, it reveals a physical presence: that of the cadavers themselves. Through a detailed analysis of two romantic texts whose treatment of drowning sheds light on the relationship between absence and presence, Lélia by George Sand and L’Éducation sentimentale by Gustave Flaubert, this study engages the following questions on thematic and structural levels: Does drowning undeniably bring about an annihilation of the individual? Are the boundaries between absence and presence, disappearing and (re)appearing, decomposition and (re)composition, clearly defined? Or, is there another interpretation? One that is specific to textual portrayals of immersion? From an eco-critical perspective, it is clear that water represents an ideal space to portray the tension of life and death. As presented by Sand and Flaubert, drowned bodies inspire images of life rather than death and therefore cause the reader to question these boundaries on an imaginative and symbolic level.

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Des œuvres décentes qui font rougir : la métaphore véhiculant la sexualité (apparemment) absente dans quelques romans zoliens

Des œuvres décentes qui font rougir : la métaphore véhiculant la sexualité (apparemment) absente dans quelques romans zoliens

Author(s): Anna Kaczmarek / Language(s): French Issue: 2/2012

Sex and sexuality are two obsessions of the 19th century. As the literature of this time, influenced by the Victorian hypocritical morality, rejects these subjects, considered as “immoral”, the relation of any form of sexual act is consequently absent in the works of 19th century writers, even of those who consider themselves as realists.However, the work of a writer like Emile Zola can’t pass over this problem, so important for the naturalism. For Zola, sex is a vital activity and should be shown by the works of art. Therefore, to give his writings the appearance of decency, Zola uses metaphors that “sexualise” some elements of the world of his novels, like plants, animals, things, places and everyday occupations. This lets him show, in an imaginary way, the aspects of life that can’t be displayed openly and directly. His poetic talent makes these images become one of the greatest literary values of his Rougon-Macquart series.

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Les marques » de l’absence dans le théâtre de Maurice Maeterlinck

Les marques » de l’absence dans le théâtre de Maurice Maeterlinck

Author(s): Eugenia Enache / Language(s): French Issue: 2/2012

Our approach is focused on the issue of the “markers” of absence as well as on the expression and materialization of that absence in a corpus of works formed of the following plays: L’Intruse, Les Aveugles, Intérieur by Maurice Maeterlinck. The acceptions the concept of “absence” may receive throughout our analysis are parts of the phenomenon of progressive alienation seen, for instance, as separation (stressing the idea of distance and departure), or as solitude, then omission (in the sense of forgetting), and culminating with the inability of perception that anticipates isolation, physical imprisonment and announces death (designated through a privative prefix) as an absence that is always present and obscurity. We attempt to reveal the “markers” of absence on the level of certain constituents of the play: the character, formed of a discursive feature, infinitely simple and repetitive, much more diminished and developing without individuality, like a silent, mysterious ghost; and the action where it is rather inaction that represents our primary direction of research. As a secondary direction, we consider the markers of absence in a language that, in the case of Maeterlinck, is remarkably pure and lacks any syntactic or lexical complication, from lexical structures (the reassessment of short expressions makes the utterances seem captivatingly strange, revealing, beyond words, unutterable, unspeakable) and the grammar, especially the Semantics of its forms – the 3rd person pronouns, a form we may consider as deprived of referential content, the indefinite pronouns which indicate absence -, the Semantics of punctuation, especially that of the suspension points.

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Le vide dans le théâtre camusien

Le vide dans le théâtre camusien

Author(s): Renata Jakubczuk / Language(s): French Issue: 2/2012

This article is an analysis of two plays by a great French literature writer, Albert Camus : Caligula (1945) and Le Malentendu (The Misunderstanding sometimes published as Cross Purpose, 1944). After a careful presentation of the plots of the play, we are proposing a definition of the following terms: the absence and the void. Afterwards, we examine the nature of the absences presented and we offer a classification of such absences. We establish four categories of the void: philosophical, spiritual, physical, and the absence of the closest kin. A re-reading of the dramaturgical texts serves to appreciate the manner in which these texts are presented to the reader/spectator and to prove that the Camusian void is in a strict relation with an existential pain associated with the absence of God in people’s life.

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L’absence chez Michel Butor. L’Emploi du temps et Degrés

L’absence chez Michel Butor. L’Emploi du temps et Degrés

Author(s): Michał Piotr Mrozowicki / Language(s): French Issue: 2/2012

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) - 1960. The theme of absence is crucial in both of them. In the first case, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in double – spatial and temporal – labyrinth. The first one, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and its strange labyrinth – strange because without any centre – at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, on the contrary, more and more dense and complex, what is reflected by the more and more complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at the school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

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Cher Antoine ou l’amour raté  de Jean Anouilh – de l’absence à la présence de personnage

Cher Antoine ou l’amour raté de Jean Anouilh – de l’absence à la présence de personnage

Author(s): Sylwia Kucharuk / Language(s): French Issue: 2/2012

The title hero of this little-known play by Jean Anouilh is perceived by other protagonists as absent. Nevertheless, his presence is becoming more and more vivid with the development of the plot, which is illustrated by the analysis included in the article. It shows the process in which the absent hero transforms into a character fully present in the text. The detailed analysis of the character’s presence in particular space-time dimensions as well as actant analysis allow to state definitely that the main character from the beginning of the play simulates his absence in order to achieve a definite goal.

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Le silence de la personne présente dans le théâtre français du XXe siècle

Le silence de la personne présente dans le théâtre français du XXe siècle

Author(s): Krystyna Modrzejewska / Language(s): French Issue: 2/2012

In the French theatre of the 20th century, the silence of the present, as if an absent presence, has various faces. In the character of Eurydice, Anouilh depicts it as a limitation of an individual. In Beckett, an interlocutor’s silence would be unbearable. In Lagarce’s play, the presence of the prodigal son leads the mother and sisters to lamentation over their ruined lives. Sarraute exhibits the consequences of silence as it paralyses the friends who accuse themselves each other more and more intensely. The presence of silence in the stage, which also underscores the significance of the word, is hardly bearable in interpersonal relationships. On the one hand, it unveils the need for communication and the necessity of adhering to the rules of conduct. On the other hand, it displays the consequences of transgressing the culturally accepted norms that regulate human behaviour.

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La poésie de Philippe Jaccottet : réparer l’absence, « à la frontière de Dieu »

La poésie de Philippe Jaccottet : réparer l’absence, « à la frontière de Dieu »

Author(s): Sophie Guermès / Language(s): French Issue: 2/2012

In 1961 Philippe Jaccottet wrote : « The best answer to all kinds of questions is the poem’s very absence of a response ». In keeping with the elusive nature of the world, abandoned by the gods and by God, the poem remains mysterious, thus translating as well as preserving the inexhaustible richness of Nature and human beings. So the poet not only accepts such a precarious situation, but learns from it. Nevertheless, when someone dear dies, the poet tends to deny the absence of the loved one and revolts against it, since there no longer are any signs of presence : merely incomprehensible absence. Yet he chooses to bear witness, even if he remains ignorant and weak. In effect this is a duty : poetry provides a link which enables separation to avoid becoming definitive absence. Words are repairing shuttles.

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Se perdre afin de se retrouver : l'importance du  passage entre l’absence et la présence dans Oedipe sur la route de Henry Bauchau

Se perdre afin de se retrouver : l'importance du passage entre l’absence et la présence dans Oedipe sur la route de Henry Bauchau

Author(s): Alicja Ślusarska / Language(s): French Issue: 2/2012

Retracing in his novel the labyrinthine journey that leads Oedipus from place of his abomination (Thebes) to the city of his future glory (Colonus), Henry Bauchau fills the emptiness between the Sophocles’s Oedipus the King and Oedipus at Colonus.Bauchau’s hero, powerful king, loses everything and stabs his eyes out when the cruel truth about his real identity is revealed. Blind, homeless, devoid of meaning of life, Oedipus leaves on a journey to pass away anywhere. However, his way to death turns out to be, thanks to benevolent presence of others and art’s liberating power, the road to personal elucidation. The story of Bauchau’s Oedipus, who finally recognizes himself as a truly human, is based therefore on the passage between absence and presence, between darkness and lucidity, on the union of contradictions which symbolize the complexity of human nature. This paper tries then to analyze different representations of absence in Bauchau’s novel. Afterwards, the article focuses on the ways which facilitate the Oedipus’s road leading from depersonalization to rediscovery of his own identity.

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Novecento, celui qui n’existait pas

Novecento, celui qui n’existait pas

Author(s): Krystyna Miazga / Language(s): French Issue: 2/2012

The division of the article into three parts represents the three phenomena of absence present in Novecento,a work of Alessandro Baricco. First, the author discusses the peculiar existence of a main character, which, on the internal level of the story told in the book, is full of absence. On the external level, the author focuses on the manner of narration and stage performance (didalscalia). His second scope of interest is the lack of author’s unanimous statement concerning the text genre, as well as the interspersion of important elements of drama, theatre and both, pure narrative and music forms. This, recently quite popular phenomenon, has been called hybridity. It allows the juxtaposing of contrasts, joining of contradictions and departures from the accepted specific rules in favour of artistic generic disarray. Moreover, this part of the paper stresses the difference between the original title and its French translation. The extra information added in the French version highlights the lack of precision in the original title. This significantly influences the readers’ choice. The third phenomenon discussed in the article is music. It has its special place among Baricco’s works. In Novecento, music is the second, after the pianist, protagonist. It can be even treated as equally important. However, the lack of a musical code (a proper way of communication) reduces the domination of music. By using a linguistic sign, the author gave music an important function – being the catalyst and medium between what exists but cannot be seen and what can be felt but cannot be expressed in words. Absence, perceived by human senses and the inadequacy of verbal expression, is elicited through music and, paradoxically, it becomes present.

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L’absence d’un frère dans Le Dicôlon de Yannis Kiourtsaki

L’absence d’un frère dans Le Dicôlon de Yannis Kiourtsaki

Author(s): Christophe Premat / Language(s): French Issue: 2/2012

Yannis Kiourtsakis wrote Le Dicôlon, an autobiographical novel which describes all the important events for the Kiourtsakis family throughout the twentieth century. The novel is written under the spell of the author’s brother’s absences as he committed suicide. The experience of an irremediable loss echoes the collective destiny of Greece. The article focuses on the conditions of the staging of this loss with an analysis of different types of narration. In which way is the autobiographical genre affected by the writing of the death?

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Les tourments de l’absence dans Gazole de Bertrand Gervais

Les tourments de l’absence dans Gazole de Bertrand Gervais

Author(s): Karolina Kapołka / Language(s): French Issue: 2/2012

In his novel entitled Gazole (2001), Bertrand Gervais, a Quebec writer, takes up the issue of suicide and its psychological and social impact. The main character, Lancelot Tremblay, whose job is to write lyrics for a rock band Le Livre des Morts (Eng. The Book of the Dead), hangs himself in his apartment. His naked body with an erect penis is discovered by the other members of the band Gazole and Pyramide. Their reactions to this deadly act are, however, different. Submerging himself in mourning, Pyramide withdraws emotionally from his relationship with his girlfriend Gazole, who, deeply touched by her partner’s newly developed indifference to her, delves into an investigation into the causes of Lancelot’s suicide. Being increasingly fascinated by the figure of Lancelot, Gazole reconstructs an new picture of him. Pieces of memories conjured up by those who knew Lancelot, like incomplete pieces of a puzzle, make Gazole form a romantic image of his absence. The mysterious and tragic figure of the young poet who chose to extinguish himself fires the woman’s imagination, who fantasizes about a sentimental and erotic relationship with him. An emptiness created by the suicide forces the woman to ponder over the nature of death, an eternal absence. Obsessed with this imaginary presence of Lanelot, Gazole has to set herself free from its influence, which causes her to flirt with a razorblade in a bathtub. The foray into Lancelot’s suicide gives Gazole an insight into her own true identity. Gazole discovers her internal feminine strength and frees herself from the shackles of Lancelot’s mental and sexual hold.

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Poésie et absence

Poésie et absence

Author(s): Maria Litsardaki / Language(s): French Issue: 2/2012

Considering poetry as a literary genre in close relation with absence and scarcity, this paper deals with some of the most frequent and significant forms of absence that appear in poetic texts. The physical absence of the other, due either to death or to the distance between the two individuals, is the most common kind in the lyric poetry. Modern poetry often deals with gods’ absence, which represents an important loss for the contemporary human being, trying to understand or face it. There is also the lack of inspiration and words with efficient expressive capacity that make poets suffer. However, poetry the only way they express their situation and create a meaningful poetic language through poetry. Finally, absence in poetry is also a fundamental sign of its generic specificity in connection with the means that it uses, as well as with its printed representation on paper, especially in the contemporary production. In all cases, poetry, based on the dialectic of being-not being, operates as a material, sensible and intellectual presence, which like the primordial logos fills the vacuum, eliminates absence and scarcity, generates and animates the human world and enriches it with presence and meaning.

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