This paper presents the literary form of "filiation narratives", establishes their generic definition by comparing this form with neighbouring literary genres, describes the main characteristics of their poetics, situates them in literary history and considers their evolution over the past four decades.

The paper discuss the concept of “filiation narratives”, proposed in 1999 by the French theorist Dominique Viart, from the point of view of the “spectacularization of the author” (V. Kaufmann) in the contemporary visual culture. On the one hand, in visual culture, the media visibility of the author seems much important that his work. On the other hand, the strictly narrative understanding of the filiation is no longer possible. The example of the non‐narrative filiation which connect a French writer Patrick Modiano and his daughter, singer et writer Marie Modiano, is proposed to show the resistance of the literature against the abuses of the media’s influence to the literary culture.

Written in French, but American in spirit, Quebec literature seems to have mostly resisted recent French literary patterns. Nevertheless, some im ‐ portant changes should be noticed since 2000, namely those concerning the roman familial (family novel) that underlies certain traditional genres such as the roman du terroir (novel of the soil) and the roman de la ville (novel of the town). Recent social and cultural developments, the irruption and integration of “migrant literature” into the Quebec literary canon have been transforming the long‐standing community characteristics of Quebec literature. This transformation generates a new imaginary, close to suchconcepts as enracinerrance (root‐roving) or pensée de la trace (thought of the trace) or spatiality of the in‐between. Those tendencies, resembling the characteristic features of the French récit de filiation (filiation narrative), are illustrated through two novels – La Fiancée américaine by Éric Dupont and Nikolski by Nicolas Dickner

The rise of filiation narratives, observed in France since the end of the 1970s and confirmed by the publication of Annie Ernaux's A Man´s Place (1983) and Pierre Michon's Small Lives (1984), is contemporary with the "symbolic birth" of French or English speaking Inuit literature in Canada. Through the analysis of certain "founding works" of the Inuit novel (namely Harpoon of the Hunter by Markoosie Patsauq and Sanaaq by Mitiarjuk Attasie Nappaaluk), the article expands on its thematic, generic and axiological similarities as well as its differences compared to the European model. It also outlines the subsequent evolution of the genre through new generations of Inuit writers (Alice Masak French, Mini Aodla Freeman, Norma Dunning, Michael Arvaarluk Kusugak or Aviaq Johnston).

This article aims at analyzing the hiatus between the physical return of the survivors of the Nazi concentration camps and the psychological bond they keep on feeling deep inside with the time and place of their detention.

The article is devoted to the recurrence of the same motifs in the creative oeuvre of Michel de Ghelderode over the whole period of his literary career. The analysis focuses on the recurrence and evolution of two characters in the dramatic works of the Belgian playwright. The first part of the article charts the evolution of the motif of the resurrection of a dead girl: the writer recollects a story, told by his mother in his childhood, to recreate his own stage version of the Biblical resurrection of Jair’s daughter. The second part deals with the motif of the battleaxe and her literary path in Ghelderode’s dramatic works, from a duplicitous gossip through a lecherous plain girl to a shrew, whose story is riddled with elements of the Belgian founding myth.