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Le néo-français de Raymond Queneau à l’épreuve de la traduction – défis et limites

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Le néo-français de Raymond Queneau à l’épreuve de la traduction – défis et limites

Author(s): Diana Dinică / Language(s): French Issue: 11/2022

The divorce between the written and the spoken French has been one of Raymond Queneau’s preoccupations for over thirty years. His literary project, the neo-French, was however abandoned in the late years of his activity, when the author admitted being in the wrong with regards to the evolution of French. Despite the project’s failure, the neo-French remains one of the central elements of Queneau’s thinking and its understanding is crucial not only for the exegesis of his works, but also for their correct translation.

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THE PSYCHOLOGICAL IDENTITY IN 20TH CENTURY DRAMA WORKS. THE CASE OF EUGEN IONESCU VS SAMUEL BECKETT

Author(s): Paul-Cristian Albu / Language(s): Romanian Issue: 35/2023

The purpose of my paper is to offer a panoramic view of the loss of psychological identity in the works of Eugene Ionesco and Samuel Beckett, by making constant reference to the main characteristics of the Theatre of the Absurd. I am interested in discussing the way in which psychological identity can be misplaced in the contemporary world, as well as the way in which this aforementioned experience is imagined in the dramatic space. I am equally interested in observing and analyzing the manner in which these writers manage to express the idea of the loss of the human condition, while at the same time giving a full description of states such as anxiety, depression, desolation and frustration, inherent to the human being. Moreover, I shall take into account personality disorders as symbol of the dismantling of the human psyché. In order to offer a consistent critical view of the aforementioned concepts, I shall employ the technique of close reading, focusing on the way in which language is used to convey the main dramatic ideas. The creative use of language and the exploitation of absurd and contradictory situations, in general, will be regarded as multiple means to making visible a new and revolutionary way of aesthetics, thus paving the way for a fresh approach to theatrical representation, as it came to be understood by both Beckett and Ionesco.

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L’entre-jeu agôn-aléa et la place du hasard dans la construction du tragique racinien

Author(s): Chandniée C. Tushar Iyengar / Language(s): French Issue: 13/2023

According to Roger Caillois’s social epistemology, agôn and alea are the first two principles of games which unfold between the arbitrary polarity of the play tendencies of paidia and ludus. The traditional view on tragedies strongly supported by Aristotelian authors is that, in its particular tragic universe, the stakes are determined by an implacable fatality directed by the probable and the necessary. However, in most of Racine’s plays, the course of events seems to revolve around fortune which ends up creating a sort of middle field of tragic action between agôn and alea. The article maintains that chance takes center stage in Racine’s theater, of which the tragic plot must be explored from a stochastic perspective. It uses the notion of “mid-field” borrowed from ball games meaning the mid-fielder position, a position which maximizes the potential for chance in these games.

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La pondération des mises de des Grieux et de Manon Lescaut

Author(s): Servanne Woodward / Language(s): French Issue: 13/2023

Spinoza considers how to even out wagers in a game of chance when the players have uneven means, compared to one another. It has already been observed by critics, that in the novel by Prévost, Manon Lescaut (1731, 1753), the hero and his lover do not play their games in the same manner, either in society or at the gambling house. They also do not weather the same losses. In fact, des Grieux wins even when he no longer cheats. Instead of following the logic of punishments, such as the Christian condemnation of gambling and promiscuity, or Prévost ’s own perspective of the abbot over his tale, it seems more relevant to consider that des Grieux attempts to pursue his case and correct chance to arrive at his desired outcome of earthly pleasure and fulfilment, by legal or illegal means. No matter the exhaustive efforts of des Grieux, their gamble to remain a couple backfires miserably. Manon dies; and he is left to follow the path devised by his family, and a role securing a suitable, comfortable happiness instead of blissful love.

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Diderot et Le Neveu de Rameau, un je(u) de rôle à l’issue incertaine

Author(s): Aude Lecimbre / Language(s): French Issue: 13/2023

By requiring us to think the notion of play in his dramaturgical aspect, the main purpose of this paper is to shed light on the question of the individuality of the character of the Nephew in Rameau’s Nephew. The field of the theatre and performing arts is of great importance in Diderot’s texts. Therefore, in Rameau’s Nephew, through the dialogue between Him and Me, the question of the theatrical space and the structure of the text are coupled with a questioning of the “I” of the characters. We want to observe, in this paper, the way in which the theme of play in Rameau’s Nephew illuminates the theatrical space and the structure. The character of the Nephew is only an actor. He laughs at the Philosopher and subverts the materialist point of view, as much as philosophical practice.

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Tirer son épingle du jeu : La Vie de Marianne ou le récit qui n’appartenait à personne

Author(s): Zeina Hakim / Language(s): French Issue: 13/2023

This paper examines the way in which Marivaux, in The Life of Marianne, plays at “making it true” by deploying a set of rhetorical and narrative devices: from the old trick of themanuscript found by chance to the call of prestigious witnesses ready to guarantee the authenticity of the episode, all means are good to produce the effect of veracity expected by the reader. However, in an opposite movement, Marivaux constantly violates the reading pact which he instituted: the reader ends up wondering about the composition of what he reads and realizes that the text exhibits too much negligence for the story to be true. Fiction is thus staged, and Marivaux underlines the processes which force the reader to question his own credulity. This paper examines the consequences of this double movement and offers a few theoretical hypotheses to account for this paradoxical poetics of play.

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« Une impression posthume des sensations d’autrefois » : le jeu nostalgique dans La Décadence latine de Joséphin Péladan

Author(s): Ryan Atticus Doherty / Language(s): French Issue: 13/2023

For the psychoanalyst Donald Winnicott, playing constitutes a “positive value of illusion” which, for the adult as well as the child, allows access to reality in a way that is gradual and bearable. Although better known for his concept of the transitional object for children, Winnicott makes the claim for an essential role played by transitional phenomena at all stages of life, particularly in artistic creation. This article seeks to read together the psychology of Winnicott, especially Playing and Reality (1971) and Joséphin Péladan’s La Décadence latine (1884 & seq.), a little-known and poorly studied work of decadent literature. Through his use of a nostalgic gaze on history, Péladan transforms it into a counter-cultural fantasy, an act of resistance to the present. He creates for himself an alternative to history which acts as an “illusory experience” – a half game, half remaking of reality – allowing him to overcome the moral decadence that he laments. Thus, Péladan opposes his new arc of history to the fears he has about the end of the Latin race, effectively rewriting the world à rebours.

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Le jeu déréglé du burlesque : du Roman comique (1651) à Molloy (1951)

Author(s): Joël Loehr / Language(s): French Issue: 13/2023

There is no fiction in narrative prose that testifies to a playful intentionality more manifest than a “comic story”: this article illustrates it by first analyzing the strategies of Scarron, master of the game, in the burlesque incipit of The Comic Novel. Spanning the three centuries that separate the publication of Scarron’s novel (1651) from that of Molloy (1951), not without underlining the impact that silent cinema has had on the means and effects of burlesque in a fiction in narrative prose, we then question Beckett’s strategies, more complex or more equivocal, not only because the author seems to hide his game, sheltered from a narrating voice, but also because fiction, understood as “shared playful pretense”, then opens up to the registral interference of pathos.

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Jeux et enjeux dans Le Cocu magnifique de Crommelynck

Author(s): Françoise Bombard / Language(s): French Issue: 13/2023

Without any reason or clue, the main character, Bruno, is convinced that he is cuckolded to the point where he actually wants it to be true, to remove any doubts. This delusion results in words and deeds which come to involve his reason and his relationship to others. But in Le Cocu magnifique, the status of the game is multivocal. It is present in diegesis, but it also related to dramaturgy. We will see how Crommelynck plays with mimesis, with regard to the very notion of the character, through games of masks and double-dealing. Moreover, at the aesthetic level, language games meet with the research into modern poetry. Intertextual games with poetic and theatrical references subvert them through pastiche, and the playwright, playing with registers, upsets aesthetic categories.

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Jeu de rôles : autofiction dans l’œuvre romanesque de Jean Genet

Author(s): Paweł Kamiński / Language(s): French Issue: 13/2023

This article seeks to analyze three novels by Jean Genet: Our Lady of the Flowers (1943), Miracle of the Rose (1946) and The Thief’s Journal (1949). Its main goal is to verify how the game with discursive techniques applied by Genet allows him to create a diegetic universe inspired by his private life and, therefore, to conduct a role-playing game, undertaken for ideological and ontological purposes. In order to carry out his plan, the author takes into account not only tools related to the poetics of a literary work but also selected aspects of an autobiographical pact aiming at persuading the reader of an “apparent truth” of the literary text. The study of these elements shows that the universe in Genet’s novels is, on the one hand, inspired to a certain degree by the reality, on the other hand, used to construct a narrative space where a continuous game with the truth and falsehood is located in the foreground.

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Le jeu du « je » : l’écriture poétique dans L’âge d’homme de Michel Leiris

Author(s): Wenjing Zhao / Language(s): French Issue: 13/2023

In this article we propose to explore the poetic features of Michel Leiris’ L’âge d’homme on the basis of a series of specific examples and attempt to inquire how the “I” is recorded in his autobiographical experimentation. Rejecting the classical model of autobiography, the author places the history of his personality within a framework formed by recurring images in which the games on lexicon, analogical connections and seemingly arbitrary associations intermingle. Aiming to erase himself, he pushes back the limits of conventional language and exploits a lyrical dimension within his narrative work, and in this process constitutes his genesis.

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Le jeu de la sémiose. L’humour comme opération sémiotique ludique dans Cent mille milliards de poèmes de Raymond Queneau

Author(s): Aristide James / Language(s): French Issue: 13/2023

What is the value of play for a reader when the literary text itself is radically conceived as a ludic device? The Ouvroir de Littérature Potentielle’s flagship product, Raymond Queneau’s Cent mille milliards de poèmes, a collection of combinatory poems, is an exemplary interrogation of reading, in view of the double problematic it raises: auctorial effacement and lectorial activity. The aim of this article is to pave the way for an epistemological re-qualification of the notion of humour, by approaching it as a (playful) practice of making sense, and more specifically here as an interpretative practice. Based on a dialectical conception of play, inherited from Kant’s “free play of the faculties”, it is intended as an opportunity for an unusual rapprochement between humour and literary reading. With the author’s ambivalent complicity, the reader’s own staging merges with the work’s semiosis.

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La tutelle de La Vie mode d’emploi de Georges Perec dans 209 rue Saint-Maur de Ruth Zylberman est-elle ludique ou existentielle ?

Author(s): Shuichiro Shiotsuka / Language(s): French Issue: 13/2023

In this paper, we examine the relationship between the Oulipian aspect of G. Perec’s Life A User’s Manual (1978) and R. Zylberman’s investigation in her book 209 Saint-Maur Street (2020). If we dwell on this comparison, it is because there is a twist between them: on the one hand, this reportage is certainly a fine example of ‘investigative literature’, but it is not, unlike Perecquian reportages, under the domination of ‘existential constraints’; on the other, it is set in collective housing, as is the case with Perec’s novel, but without resorting to linguistic constraints. In the end, we show that the tutelage of Life A User’s Manual in the book of Zylberman is existential in nature, but with a hint of Oulipian playfulness.

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Le jeu dans le roman Hors d’Atteinte ? d’Emmanuel Carrère : une réponse à l’angoisse existentielle ?

Author(s): Paméla Baës / Language(s): French Issue: 13/2023

At the casino, Frédérique abandons herself to the roulette wheel, which gives her a protective “out of reach” place. A moment of oblivion, gambling gives her intense vertigo and appears to be a form of abandonment, an act of revolt against the diktats of society. It is also defined as an ordalic practice, meaning that the character relies on chance. As a kind of pharmakon, the game provides a feeling of omnipotence, curbing the heroine’s anguish but also proving to be mortifying. Frédérique, the specular double of an author in the grip of ontological anguish, quickly slips into gambling madness. Is the game really beneficial? Does it have a cathartic effect on the character? Or, on the contrary, is it pure fantasy, an illusion incapable of fulfilling the heroine’s fantasies, except for a brief interlude outside reality?

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Thématisation et dimensions ludiques des pratiques de lecture dans les nouvelles d’Eric-Emmanuel Schmitt

Author(s): Antoaneta Robova / Language(s): French Issue: 13/2023

Play, in its many forms and categories, is a connecting thread running through Éric-Emmanuel Schmitt’s poetics. The aim of this article is to study the ludic modalities of reading practices represented in the writer-philosopher’s short stories. Analyses of the thematization of playing, game and reading experiences are conducted through the prism of theories of reception and play. The significant cases of readers with psychotic or (post)bovarian tendencies, experienced or beginners, reveal various effects and uses of ludic reading and its possible drifts. The practices of different types of readers in fabula, whether pathological or beneficial, are studied with the aim of identifying ludic and game devices of this novelistic art with a singular childhood spirit.

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Prolog kao privilegirano mjesto autorske individualizacije srednjovjekovne pjesnikinje Marie de France

Author(s): Dijana Kapetanović / Language(s): Bosnian Issue: 91-92/2023

The paper explores the importance and role of female writers in the process of authorial self‑individualization in medieval French literature. In this sense, particular attention is paid to the analysis of one of the most famous medieval female authors, Marie de France, highly educated and therefore excelling not only in translating and adapting Latin and Middle English texts, but also in creating a new literary genre. Namely, at a time when education and knowledge are a monopoly exclusive to the male part of the population, Marie de France, with her erudition and poetic talent, is a representative of women’s writing in the context of medieval literary production. By exploiting the themes and motifs of Celtic folklore and mythology, Marie de France creates les lais, short stories in verse with lyrical elements, thereby introducing an unknown literary form onto the literary stage of the twelfth century. The paper further analyses the prologues of her work, as a privileged place where Marie de France expresses her awareness of the significance of literary writing project in the Old French idiom at the time of the dominance of the Latin language. In this regard, in the period of author’s anonymity and the privileging of tradition and collectivism, Marie de France leaves in her prologues and epilogues a documented testimony of self‑awareness and self‑individualization as the female author, and in which she positioned herself with respect to the tradition and male authors of her time. Ultimately, through the prism of feminist readings, her literary legacy clearly demonstrates a skilled subversive technique of undermining of feudal patriarchal society so that a woman’s voice could finally be heard and understood.

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Razglednice iz pakla

Author(s): Ivan Radeljković / Language(s): Bosnian Issue: 91-92/2023

The collection of poems by the French author Sabi Mara, Cartes post‑ ales / Postcards, was published in France in a bilingual edition, with a translation of the poems by Dženana Salihović and a versification edited by the poet Asmir Kujović. In this paper, we examine the topic of genocide in this collection, especially through the question of why poetry was chosen as a literary genre, the questioning of language through poetic figures, forms and images, but above all the relationship between text and images. We interpret this relationship especially through the aesthetics of the postcard, more precisely through the question of why the author chose to call her poems from this collection that way, and then we explore different aspects of the strange metaphorical format of these texts and of the entire collection, which concern time and space, especially the relationship to distance in a travel situation, but also family and collective memory.

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Едно от лицата на Мопасановите Мадлени

Author(s): Sonya Aleksandrova-Koleva / Language(s): English,Bulgarian,French Issue: 2/2023

The text aims to present one of the aspects of Madеleine’s image in Maupassant’s novel “Bel-Ami” by focusing on her physical features. The ambiguous nature of the specific female character is analyzed as part of doubled image which also includes that of the Le Madеleine church in the light of the characteristic for the French fiction writer stylistic specifics of repetition, dispersal and multiplication on different textual levels. Different reasons for doing so presented are reported: scientific, contextual and biographical; toward the artistic work an approach is laid through linguistic and literature prism.

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LES ÉMOTIONS D’EMMA BOVARY

Author(s): Camelia Manolescu / Language(s): French Issue: 1/2022

For the nineteenth-century writer, and especially for the realist novelist Gustave Flaubert, so preoccupied with his writing and the fate of his characters, emotion drives the course of the action. Flaubert, well known for his special way of conceiving his novels, for his impersonality and impassibility as techniques that make his writing unique, was also tempted by the analysis of how Emma masters her emotions (in the novel Madame Bovary which created a stir at the time). Our study is, first of all, an analysis of the theory of emotions in general and, secondly, an analysis of Emma Bovary’s emotions, the main character of the novel Madame Bovary by Gustave Flaubert, namely, illusion, pleasure and desire.

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LA DOULEUR DANS MÉMORIAL POÉTIQUE (1945-1972) DE LUBOMIR GUENTCHEV

Author(s): Alain Vuillemin / Language(s): French Issue: 1/2022

In Mémorial poétique, Lubomir Guentchev, a French-speaking Bulgarian author, states that “poetry [...] has experienced much more pain than joy” (our translation). Pain could be said to be the main source of his inspiration. This collection has as dedication "In memory of V.", Valentina Dimitrova Guitcheva, a young woman with whom he was allegedly deeply in love and who had disappeared in 1946. This grief was overwhelming. In 1975, at the end of Mémorial poétique, Eucharistia, a prose poem, recalls the memory. A bond of sacred communion existed between Valentina's memory and the author's "inner self". He was convinced of that. He transposes this suffering into Mémorial poétique, turning it into art. How does he do that? How does he transform this pain? What literary models is he inspired by? What aesthetic research does he also engage in?

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