mirada del flâneur. Influjo y presencia en la poesía y narrativa de Louis Aragon

En Louis Aragon, la flânerie ­­no sólo se manifiesta en los paseos que el escritor francés por placer pudiera dar por París, sino que, además, supone un modo de emplazarse en la ciudad y en su propia literatura. Abordar el estudio del flâneur desde la producción poético-literaria de Aragon nos permite deambular por las líneas de sus versos y fragmentos de su prosa onírica, como si de calles y avenidas se tratase, para participar en esa actividad artística que contribuyó fehacientemente a su consagración como escritor. En el presente estudio, por lo tanto, podrá constatarse que la flânerie no sólo se dio en su período surrealista, especialmente en Le paysan de Paris, sino que fue una constante a lo largo de toda su producción literaria. Para demostrarlo, se profundizará en varias obras de la poesía y narrativa del autor francés, buscando, en este ejercicio analítico, la influencia y presencia de esa mirada creativa del flâneur sobre el texto escrito. In the work of Louis Aragon, flânerie ­­is not only present in the strolls the French writer took around Paris for pleasure, but also implies a way of locating oneself in the city and in his literature. Approaching the study of the flâneur from Aragon’s poetic and literary oeuvre allows us to wander through the lines of his verses and passages of oneiric prose as though through streets and avenues, to take part in this artistic activity that irrefutably contributed to establishing him as a writer. In the present study, flânerie is therefore shown to be present not only in his Surrealist period, especially in Le paysan de Paris, but that it was a constant factor throughout all his literary work. To demonstrate this, several poems and narrative works by the French author will be analysed in depth, seeking to pin down the presence and influence of the creative gaze of the flâneuron the written text. Chez Louis Aragon,la flânerie se manifeste non seulement par les promenades que l’écrivain français fait pour le plaisir à Paris, mais aussi par une façon de se situer dans la ville et dans sa propre littérature. Aborder l’étude du flâneur depuis la production poético-littéraire d’Aragon nous permet de déambuler dans les lignes de ses vers et les fragments de sa prose onirique, comme s’il s’agissait de rues et d’avenues, pour participer à cette activité artistique qui a contribué à sa consécration en tant qu’écrivain. Dans la présente étude, nous pourrons constater que la flânerie n’est pas seulement apparue dans la période surréaliste d’Aragon, notamment dans Le Paysan de Paris, mais qu’elle a été une constante tout au long de sa production littéraire. Pour cela, nous explorerons plusieurs œuvres poétiques et narratives de l’auteur français, en cherchant, dans cet exercice analytique, la présence et l’influence de ce regard créatif du flâneur sur le texte écrit.

Perlawanan Strategis Perempuan terhadap Eksploitasi Laki-laki dalam Novel Claudine en Menage (1902) Karya Gabriele Sidonie Colette

Kehidupan perempuan yang dianggap bergantung kepada laki-laki membuat perempuan diperlakukan semena-mena dan tidak adil. Claudine en Menage (1902) adalah novel karya seorang pengarang Prancis, Colette. Novel ini menceritakan tentang seorang perempuan yang hidup sebagai istri yang mengalami eksploitasi berlapis karena ras, budaya, dan seksualitasnya yang dilakukan oleh orang-orang terdekatnya, yaitu ayah dan suaminya. Tujuan penelitian ini adalah untuk mengeksplorasi ideologi dari novel terkait dengan perlawanan perempuan terhadap eksploitasi laki-laki dan mengajak pembaca untuk membuka paradigma baru yang lebih luas mengenai perlawanan perempuan tersebut. Penelitian ini menggunakan teori perlawanan perempuan dari Hélène Cixous, yang berpendapat bahwa perempuan dengan keahlian dan kemampuannya menulis mampu keluar dari belenggu penindasan yang mereka alami. Teori interseksionalitas dari Kimberlé Crénshaw, yang menerangkan tentang diskriminasi ganda perempuan yang bersifat interseksional yang memuat aspek ras, budaya, agama, serta seksualitas juga dijadikan lensa pendukung di dalam tulisan ini. Penelitian ini menggunakan metode analisis isi cerita dengan fokus pengumpulan data dan analisis data pada kemampuan perempuan keluar dari belenggu patriarki dan mampu menjadi perempuan independen dengan kemampuan yang mereka miliki.Women's lives are seen as dependent on men, and as such they are prone to abuse and unfair treatment. Claudine en Menage (1902) is a novel written by the French author Colette, which narrates a woman's experiences with racial, cultural, and sexual exploitation at the hands of her father and husband. This study seeks to explore the novel's ideology, as related to its depiction of women's resistance to male exploitation and its invitation to readers to explore broader paradigms about said resistance. This study employs Hélène Cixous' theory of struggle, which holds that women are able to penetrate the barriers of oppression through their writing skills and abilities, and Kimberlé Crénshaw's theory of intersectionality, which holds that sexual discrimination intersects with racial, cultural, religious, and sexuality discrimination. This study uses content analysis methode, with a particular focus on collecting and analyzing data that depict women's ability to shatter barriers of patriarchy and become independent through their own abilities.

Poetic Translation as a Trans-Cultural Process of Enrichment: When Julio Herrera y Reissig Translated Albert Samain

This work focuses on the unusual, poetic affinity between the Uruguayan poet, Julio Herrera y Reissig (1875–1910), and the French poet, Albert Samain (1858–1900), that took shape in Julio Herrera y Reissig’s Spanish translation of some of Samain’s poems from his 1898 volume of poems Aux flancs du vase. Our objective is not to write a critical review of Herrera y Reissig's translations. Instead, we aim to identify the similarities between the two poets. Thus, our contrastive analysis will demonstrate the affinities between the French author and his Uruguayan translator. In this collection, Samain was able to transpose the emotions aroused in him by the radiant landscapes and by certain moments in his daily life into terse, sensual and harmonious verse. Even though his style did not in any way conform with the poetic world of Modernism, full of exotic fragrances, colours, swans and characters from the classic world, it gave Herrera y Reissig the opportunity to creatively rework the original text and produce some truly remarkable transformations. These poems in Alexandrine verse place nature centre stage, and the sensations shared by both poets are evoked by their choice of colours and fragrances, by their combinations of sound and the profusion of images of rare intensity.

[Arabic medical literature in the nineteenth century]

The first Arabic medical publication was a book on smallpox written by a French author, translated by a Syrian translator and printed in Cairo around the year 1800. A few years later in 1827, a medical school, teaching in Arabic, was opened in Cairo, followed by a similar medical school in Beirut in 1867. The two schools triggered the production of a host of Arabic textbooks, dictionaries and medical journals. Despite the lack of available information, this paper endeavours to review the Arabic medical literature that appeared at the time of these two pioneer schools in the nineteenth century

Carte blanche to Travel Narrative

The “spatial turn” in the humanities has pointed out how space is produced and how it is affected by power relations, while critical geography has identified the impact of these relations on cartographic representation of space. The presence of maps in travel narratives thus carries certain ideologies and influences the narratives. In Un livre blanc: récit avec cartes [ A Blank Book: Narrative with Maps ] (2007), contemporary French author Philippe Vasset attempts to describe the fifty blank spaces that he has noticed on the topographic map of Paris and its suburbs and visited over a one-year period. This article analyzes the major impact of maps on this narrative and the representation of space that it creates. Despite a direct experience of these “blank spaces”, the narrator is affected by a “cartographic performativity” that prompts him to treat space as a map, and he aims to write as a disembodied cartographer.

R. GARY ON IDENTITY AND DIFFERENCE IN THE NOVEL «WHITE DOG»

Статья посвящена исследованию проблемам национальной идентичности, реализации авто/гетеростереотипов в межличностной коммуникации в романе французского писателя Р. Гари «Белая собака». Автор анализирует писательское представление о тождестве и различии, об истоках конфликта, который в XXI веке получил название «расизм наоборот». The article is devoted to the investigation of problems of national identity, realization of auto and getero stereotypes in interpersonal communication in the novel by the French author R. Gary «White Dog». The author analyses the writer’s idea on identity and difference, the beginnings of the conflict that is named «racism inversely» in the XXI century.

Queer Connections

This article examines the gay French author Jean Genet’s 1970 tour of the United States with the Black Panther Party, using Genet’s unusual relationship with the Panthers as a lens for analyzing the possibilities and pitfalls of radical coalition politics in the long sixties. I rely on mainstream and alternative media coverage of the tour, articles by Black Panthers and gay liberationists, and Genet’s own writings and interviews to argue that Genet’s connection with the Panthers provided a queer bridge between the Black Power and gay liberation movements. Their story challenges the neglect of such coalitions by historians of the decade and illuminates some of the reasons the Panthers decided to support gay liberation. At the same time, Genet distanced himself from the gay liberation movement, and his unusual connection with the Panthers highlights some of the difficulties activists faced in building and sustaining such alliances on a broad scale.

Vai viegli tulkot Sagānu?

Françoise Sagan’s (1935–2004) work is popular in France and Latvia for two reasons: the world of her characters that draws the reader into a vortex of life cravings and love surprises, and her writing which is classic, clear and seemingly light, but saturated with cultural references and quotes. If the plot and characters appear to be self-sufficient, the translator has a problem with the titles of Sagan’s novels. When comparing the original to a translation, the writer’s style setting (for example, “Bonjour tristesse” in the Latvian translation “Esiet sveicinātas, skumjas”) or symbolism (for example, “La laisse” in the Latvian translation “Akordi”) is often lost. Sagan’s novels include references to literature, cinema, art, popular in the French society of her time, that make up the intertextuality of the literary works and give an additional dimension and, at the same time, economises on means of artistic expression. A transfer into a cultural environment risks losing some multicoloured layers of the source text. Sagan’s language’s relatively rare findings also lose their originality in translation, turning them into standard phrases. Thus, it should be concluded that the apparently well-formed, seemingly easily-written works of the French author remain within the so-called “women’s literature” or “French novel” without any indication of the sharpness with which Sagan has seen the brilliance and misery of her environment.

Translation of the poem “Le parfum impérissable” by Leconte de Lisle as an intra-Acmeist dialogue

The subject of this research is the translations of the Russian poets conducted within the framework of various literary and translation paradigms. Translations of the poem by Leconte de Lisle "Le parfum impérissable" made by I. F. Annensky, N. S. Gumilyov and M. L. Lozinsky (the latter two feature cross corrections). The three translators admired the work of de Lisle; Annensky and Gumilyov borrowed the key images from the poetry of the French author in their original works. Research methodology employs comparative analysis of the original texts and translations, with the elements of hermeneutical and component analysis of the text. The main conclusions consists in determination of the conceptual difference between the creative translation paradigms of the early XX century and such in the context of the publisher “The World Literature”. The translation by I. F. Annensky conducted in 1904 presents liberal and symbolic interpretation of the original: the poet places emphasis on the symbol of the never-dying flavor of eternal love, enclosed in the heart as in a vessel. Translations by N. S. Gumilyov and M. L. Lozinsky are notable by adhering to the original form of the sonnet and conveyance of a broad cultural context: the oriental flavor and image of the aroma-genie-spirit of love enclosed in the heart-vessel described by de Lisle. Most accurate translation of the cultural context was carried out by M. L. Lozinsky, whose version is recognized as final in the manuscript revisions of Leconte de Lisle’s texts.

Entre jeu et nostalgie. Les topoï courtois dans Les Trois Aveugles de Compiègne de Jean Ott

The subject of this paper is an analysis of Jean Ott’s theater play Les Trois Aveugles de Compiègne. In his adaptation of a 13th-century famed “fabliau” Jean Ott (1878–1935), a lesser-known French author, offers its receiver an interesting intertextual play. In a manner that is both parodic and nostalgic he appeals to the courtly topoi, treating it as a signpost that defines the development of action and the semantic scope of his work.