Cahiers ERTA, Numéro 36, 2023, pp. 27 - 44
https://doi.org/10.4467/23538953CE.23.029.18969Cahiers ERTA, Numéro 36, 2023, pp. 45 - 62
https://doi.org/10.4467/23538953CE.23.030.18970Cahiers ERTA, Numéro 36, 2023, pp. 63 - 79
https://doi.org/10.4467/23538953CE.23.031.18971Cahiers ERTA, Numéro 36, 2023, pp. 81 - 103
https://doi.org/10.4467/23538953CE.23.032.18972Cahiers ERTA, Numéro 36, 2023, pp. 105 - 116
https://doi.org/10.4467/23538953CE.23.033.18973Cahiers ERTA, Numéro 36, 2023, pp. 117 - 134
https://doi.org/10.4467/23538953CE.23.034.18974Cahiers ERTA, Numéro 36, 2023, pp. 155 - 176
https://doi.org/10.4467/23538953CE.23.036.18976Cahiers ERTA, Numéro 36, 2023, pp. 177 - 217
https://doi.org/10.4467/23538953CE.23.037.18977Słowa kluczowe: anomaly, research, novel, disappointment, anomaly, novel, nineteenth century, France, comedic novels, early XXth century Frenc h women writers, women’s comical writing, irony and transfictionality, Hélène du Taillis, Oulipo, constraint, form, legitimation, power, Édouard Louis, anomaly, autosociobiography, cleaved habitus, literary creation, apocalypse, anomaly, ruins, québécois, Mavrikakis, anomaly, elsewhere, tramp, bourgeoisie, clergy, Charles Malato, Louise Michel, vocation, anarchist writer, the Paris Commune, woman, theater, topos, belgian literature, Nathalie Sarraute, theater, Le Silence, Pour un oui ou pour un non, action, speech drama, vertigo