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Although very famous, some key moments of the novel "In Search of Lost Time", such as those of the madeleine or the uneven pavement, often remain enigmatic for the reader. Our article attempts to formulate a possible philosophical interpretation of the narrator's experiences during these scenes, through a confrontation of the Proustian text with the ideas found in the "System of Transcendental Idealism" (1800) of the German philosopher F. W. J. Schelling. We thus try to highlight the essential role of the self in Marcel Proust's aesthetic thinking, by showing that the mysterious happiness felt by the narrator, and from which the project of creating a work of art is ultimately born, is similar to the experiences of pure self-consciousness evoked and analyzed by Schellingian philosophy of art.
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After a long metamorphosis dedicated to transparency, passage and opening, the window becomes obscure and, under the grip of the opacity announced by Andreea Del Lungo, we propose to articulate a study of the imaginary of the window – a spectral window – as we can find in two novels by Tanguy Viel, while exploiting several occurrences intimately related to this topos that has become a palimpsest object. By recurrence, we will try to analyze a device that we identify as renewed and multiplied in postmodernism, folded to the twists and turns of the individual, a device that can be imagined in the form of different scopic objects, such as the car window, the binoculars, the television. For an outraged character whose life has changed from one moment to the next, the window seems to be deprived of its modern functions linked to the gaze. This spectral window does not open on a landscape, a natural topography (external reality), but on the existential void resulting from a painful retrospection. After all consideration, the window misted by the Viel’s character is part of an enclosed space, even a cloister, condemning the inhabitant to loneliness and seclusion.
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In his works, Valère Novarina has proven an acute taste for the discursive reinventions and for the violent restructuration of classical dramatic or poetic forms. The purpose of this paper is to analyze the expression and the construction strategies of the poetical experience in Valère Novarina’s poetical theatre. In this behalf, we will investigate how the genesis of literary creation, as it is conceived and used by Valère Novarina, depends on a profound interrogation and a perpetual reinvention of the language’s limits. The perspective presented by the author leads to a dissolution of the common structures of literary genre and reveals the poetical exercise as a gateway from theatre. On another level, our work interrogates the simultaneous reinvention of the literary expression and the conceptual or technical limits of the literary categories.
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This paper aims to analyze the nature of time as identified in the narrative structure built by the French writer, Jean-Michel Espitallier, in his novel, "La première année". We are considering how the author perceives the relationship between time and mourning through the ability of literary space to provide a compensatory universe. We are looking to observe recent activity in French mourning literature through the lens of this particularly novel, namely its perspective on processing mourning and trauma. This paper also highlights a prominent feature of French mourning literature: how the narrator’s literary discourse is used to fight against the passing of time. The fight against time is an implicit denial of death and mourning.
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Proceedings of the Goncourt Jury – the Romanian choice, 2020
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This article proposes to analyse the novels “L’Interdite” by Malika Mokeddem, “Des pierres dans ma poche” and “L’Envers des autres” by Kaouther Adimi from the perspective of presence of exile and expatriation themes and, corollary, of identity construction. By trying to shed light on the different characters, both female and male, and by drawing parallels and comparisons between the two novelists, we will strive to account for the way in which their characters experience both the distance from their country of origin, Algeria, and the difficult return to their roots. The question of identity thus arises twofold: on the one hand, the feeling of a certain extraneity in relation to others, on whichever side of the Mediterranean they may be, and on the other hand, an identity crisis with respect to oneself (one’s body, one’s gender, one’s psychological links with certain social and cultural constructions). These two aspects are not completely dichotomous, but maintain a very close relationship that is not at all unrelated to the characters’ malaise.
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We can often find in the works of Valère Novarina a momentous meditation on the dramatic arts, along with an elaborate interrogation of the creativity (as inspiration) and creation (as respiration). While we can translate his approach in a poetical and respiratory manner, Novarina is constantly developing a logodynamic and respiratory perspective, simultaneously based on a particular poetical inquiry and a renewal regarding the Derridean concept of “parole soufflée”. The present article was written to analyze how Novarina conceives the narrow relation between poetics and both symbolic and concrete acts of breathing. Through the writings and performances of Valère Novarina, the breathing emerges as the catalyst for the poetical force, but also as an expression of the body and space interactions in contemporary theatre. Furthermore, we will examine the novarinian perspective on the poetical embodiment of the creation as a work in progress.
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Book review: Nathan Devers, “Les Liens artificiels”, Paris, Albin Michel, 2022
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Proceedings of the Goncourt Jury – the Romanian choice, 2022
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Book review: Cloé Korman, “Les Presque Sœurs”, Paris, Seuil, 2022
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Book review: Makenzy Orcel, “Une somme humaine”, Rivages, 2022
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Book review: Muriel Barbery, “Une heure de ferveur”, Paris, Actes Sud, 2022
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