The article is devoted to the analysis of the relationship between the program and the actual
achievements of Italian Futurism. The Futurists introduce in literature the themes of the new urban,
industrial, dynamic, technological, and tumultuous civilization, through a poetic which, without
inhibitions, breaks linguistic, pictorial, rhetorical, and metric rules. The “words-in-freedom”
program leads to the “liberation” of various forms of energy and vitality, and opens the way for
a revolution in the perception of reality. The principle of mimesis gives way to free creation,
which breaks down the boundaries between the fine arts and engineering, between artistic
disciplines and life experience. The futurists seek not only the natural sublime as their predecessors,
but also produce and glorify the artificial sublime, made through science and technology

The present article seeks to analyse the narrator’s role in Nancy Huston’s novel published in
1998, The Mark of the Angel. What is particular about the narrator in question are his cynical
opinions that go against Huston’s ethos, emerging from her essays. Instead of being the author’s
spokesperson, the narrator is only an element of the novel’s complex structure, which serves to
implicitly show the man’s value, among different textual perspectives.

The article investigates two mysterious feminine figures appearing in the 13th century Old
French prose romance Le Haut Livre du Graal (Perlesvaus). Their ontological status, which
remains uncertain until the end, gives them, along with the sexual violence and castration
phantasms they incarnate, a highly troubling and uncanny aspect. The analysis highlights also
the textual strategies used by the author in order to create such an effect

The aim of this essay, divided into three parts, is to investigate the motif of journey, culture and
identity in the novel La mano che non mordi by Ornela Vorpsi. The analysis is carried out in
relation to different theories (Bergson, Kristeva, Lévinas). The travel to Sarajevo lets the main
character, a woman who lives in France, discover important information on her identity which
turns out to be difficult to determinate. The place evokes memories of her country: Albany. They
present a cultural element sehir which means look at the others and undoubtedly depicts the
mentality of Albanians.

The main aim of my article is to investigate, or simply to highlight the evolution of the twofold
character of Surrealism-influenced, and later Surrealist, manifestos in three consecutive stages
of the avant-garde movement in Romania. I apply the notion of the avant-garde manifesto
developped by Benedikt Hjartarson in his essay “Myths of Rupture. The Manifesto and the
Concept of Avant-Garde”, with the aim of taking a closer look at the anti-Surrealist Romanian
manifestos of the mid-twenties, pre-Surrealist texts of the thirties, and the proper phase of the
newly-established Romanian Surrealist Group’s discoveries in the forties.

The purpose of this paper is to present an analysis of certain episodes and motifs of Dante’s
Purgatory which were partly inspired by the idea of the Otherworld and the category of space in
the Book VI of Virgil’s Aeneid. In particular we examine the episode which takes place in the
Valley of the Rulers (Pg. VII) and the concept of Dante’s Earthly Paradise to confront them with
the idea of Virgilian Elysium. The intertextual dialogue of the Italian poet with the author of the
Aeneid is sometimes polemical and based on aemulatio rather than on imitatio.

This article presents and confronts two views concerning the link between modernity and
romanticism. On the one hand, the view proposed by the Nobel Prize winner, the Mexican
Octavio Paz in his book Los hijos del limo. Del romanticismo a la vanguardia, and, on the other
hand, the one put forward by the prolific Spanish writer Rafael Argullol in his El Héroe y el
Único. El espíritu trágico del romanticismo. While for O. Paz the romantic movement as a child
of modernity has inspired partially the modern search for the new in itself, for R. Argullol the
romantic spirit is expression above all of a tragic-heroic mood of dissatisfaction with modernity.
Both writers see the paradoxical nature of romanticism –sometimes longing for the past,
sometimes dreaming about the future– as a complex expression of modernity’s self-awareness
and self-criticism.

The purpose of this article is to analyze autobiographical components in the novel Le Page disgracié by Tristan L’Hermite, basing on the main criteria defined by Philippe Lejeune, Philippe Gasparini and René Demoris. It shows how the concept of ‘autobiographical pact’ and other cognate theories may only help to notice the complexity and variety of relations between literary fiction and biographical elements in Tristan L’Hermite’s work. In fact, by combining different esthetics and literary conventions, the uniqueness of this eclectic text seems make impossible to define its precise literary genre.