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|Abstract||The subject of this study is Médua, a short story by Maurice Carême that incorporates all kinds of features one can encounter in fantastic literature: unexpected, supernatural elements, madness, duplication, metamorphosis. The short story is analyzed from the point of view of how physical interactions and their representations appear in it, especially the face and the eyes. The desire to understand the inconceivable leads us to the question of artistic identification, the profession of writing. Artistic responsibility does not only entail joy but also fear. To illustrate this, the writer uses the mythological story of Medusa as an allegory for the transfixing and cathartic force of writing.|
|Category||Le français dans le miroir des langues|
|Keywords||Maurice Carême; Bruges; relationship of text and image; photographic image in poetry|
|Abstract||Bruges by Maurice Carême is a work in collaboration with the Italian photographer, Fulvio Roiter, and contains 60 poems by Carême and 65 photos by Roiter. Since its first publication in 1963, the book has seen three editions. It aims to be a photoraphic image of the city of Bruges, it provides a visible and readable reflection of it — it can be “seen” and “read” at the same time. In this paper, I intend to show the iconicity of writing, the photographic image in poetry, the relationship of text and image, and the rhythms in the relationship between text and photos. The photoes can be watched and read, and thus the books brings our eyes to the images from the writing and to the writing from the images, from the great plane to details and vice versa. It helps to integrate into a whole the proximity, the intimacy, the interiority and the distance.|
|Keywords||Maurice Carême, space experience, in-out dialectics, up-down dialectics|
|Abstract||Geometrical spaces are saturated with experiences and emotions, their metaphorical meanings are supported by individual and collective experiences. The spaces created and wandered by the poet's imagination are places of our spiritual space experience. In the poems of Maurice Carême, a 20th century Belgian poet, we can walk along such objective-spiritual spaces. These emblematic fields are not only sceneries but also places of poetical self-search: poetic life, childhood, losing and finding, which can be interpreted from a space–poetic-self relationship. In the present paper, I have classified and interpreted the spatial emblems appearing in Carême's poetic works along horizontal and vertical lines. These spaces—space emblems—embody ambitions, desire, different ways of behaviour, namely representations of relations. At horizontal level, this relationship is represented by an in-out dialectics: house, castle, nest, garden (inwardness), walls (protects but separates), window, threshold, door, bridge, path are toposes which provide spatial transition. The spatial emblems supporting the vertical motion, the up-down dialectics: ladder, stairs, tower, well. These spatial toposes create a transition between the three levels of the world: Underworld, Earth, Heaven. Their presence in the poetic imagery indicates the primeval desire of people for transcendent experience.|
|Keywords||masculine narration, first person narration, rhetorics, indirect and direct discourse, failure of self-expression|
|Abstract||The first-person narrator of Prévost abbé's Histoire d'une Grecque moderne tells the story of his relationship with a beautiful Greek woman. The relation starts with a dialogue realized in a seraglio and this type of reported communication will dominate the whole narration. Most of these dialogues take place as part of a persuasion process: the actors try to persuade each other, and on his turn, the narrator tries to persuade the reader. The letter - the written communication par excellence - substitutes the dialogue between the actors only once, at a crucial moment of the story. This situation emphasizes one of the central problems raised by the novel: the failure of self-expression and mutual understanding.|