Two criteria have been combined when studying the Polish presence in the novels of the Jeanne Cappe collection, namely the presence of maps including Poland and the narrative content about the aforesaid country. Two books, published between 1940 and 1970, have been selected. Because children’s literature contributes to the historical, geographical and cultural education of its readers, we will see what kind of information these two novels provide regarding Poland. Through the textual references to the Second World War, questions will be raised on the link between history and fiction. To conclude, we will examine the development of Polish representation in children’s literature.

Unfolding during the Second World War Achtung Zelig! adopts a mode of narration that is both fantastic and absurd. The comic not only reflects the issues surrounding the representation of the unimaginable and real horrors of the Holocaust but it also exemplifies the presence and functioning of ‘media memories’ or memories of specific cultural productions as well as media and the performing arts (circus, theatre). This article examines the functioning, particularly the generation of connotations, of the key media memories of the carnivalesque, Art Spiegelman's Maus, Horst Rosenthal's Mickey au camp de Gurs and Charlie Chaplin's The Great Dictator in Achtung Zelig!

Grzegorz Rosiński’s comic strips are characteristic of a really transnational popular literature, because they are situated at the intersection of cultural influences from Poland and Belgium. This double identity, which can be perceived on various levels in Grzegorz Rosiński’s works (theme, stylistics, etc.), contributes to the singularity of his works and gives the creativity of the illustrator free rein, allowing him to deeply renew the ninth art. In our view, Rosiński applies a vital and disinhibiting poetics of movement in his works.

The article offers a selective comparison of some objects of the Silesian and Walloon designers and suggests their possible interpretations. In both regions, Silesia in Poland and Wallonia in Belgium, which are bound by the similar industrial heritage, considerable efforts were made, at a certain moment in their recent history, in the field of design to modify or even reinvent the image of the region. Silesian designers seem to be still anchored in the past, often concentrated on overcoming the stereotype that weighs on their homeland. The Walloon design, however, is more keen to comment on the present and to criticize the galloping consumption, often warning about the risks of being caught by the flow of the "liquid modernity".

For twelve years, the autobiographic figure of Marzi has been undertaking her paper journey through a web of works written by Polish author Marzena Sowa and drawn by French cartoonist Sylvain Savoia. Just for its French‐language versions, Marzi has known all sorts of formats within the same medium, i.e. comics. This paper explores the forms and formats of this web of autobiographical comics in the francophone sphere.

Advertisement isn’t very popular object of analysis in the field of literary studies, based on the constitutive and self‐determined dynamics of selfless query of formal perfection. Advertisement, dedicated to the economy, is not easily exonerate there. However, if we keep this idealistic and elitist doxa suspended, therefore we will see that the discourse of publicity is activating – as every discourse is – the spectacular axiological function which makes understand our motivations to act in the social reality. Are they relevant in transcultural context? This article tries to respond to this question, comparing contemporary publicities from west (Belgium, France) and central (Poland) Europe, advertising anti‐age cosmetics.

The article analyzes the Polish edition of The Widow by Georges Simenon in the context of the reception of this author in Poland and in that of a “new literary canon”. The study also proposes a commentary on the translation of the novel, which also contributes to the legitimization of the Belgian writer.

The following interview aims at examining the role of an independent Parisian publishing house on the French book market. Economic and institutional circumstances surrounding smaller French publishing houses are illustrated by the example of Caractères publishing house, which specializes in poetry. At the same time, the interview raises the issue of francophone writing in the publishing strategy of Caractères in the light of a debate on the diversity of francophone literatures and littérature monde concept.