The labyrinth motif appears regularly in Christian Grenier's novels. In diegesis, it is always linked to myth and the fates of Daedalus, Theseus and Ariadne. It is also a diegetic motif that structures the setting, organizes the characters' quest and generates suspense. But this motif is above all a metadiscursive metaphor that theorizes the author's writing. In particular, he evokes the meandering construction of police intrigues. It also represents the referential games developed by Christian Grenier: By mixing the words of other writers with his own, offers his readers the opportunity to enter a kind of intertextual labyrinth.

This article focuses on the modern image of the labyrinth-rhizome in Maylis de Kerangal’s novels. Basing on the analyses of Gilles Deleuze and Felix Guattari (introduction to Mille plateaux), we explain the characteristics of this strange labyrinth, always in recomposition, and show how it fascinates the novelist. In a second step, we take the example of the labyrinth model which appears in Réparer les vivants : we formulate the hypothesis that it could represent the operation of the Cristal computer application used by health professionals for the organ transplantation procedure. Thus, the labyrinth ceases to be a place of perdition, it can save lifes.

In ideal Topography for a characterized aggression, Rachid Boudjedra represents an illiterate emigrant lost in the maze of the Parisian subway. The reader follows the errance of this emigrant in search of his drop point writing on a bit of paper. At the end of long odyssée, it is found mortally attacked by a group of racists in exit of the subway. Our analysis based on works of Gilbert Durand, Umberto Eco, Deleuze and Guattari, Ethnocritic and urban semiotics, wants to be a description of this allegory of the modern world represented by the Parisian subway. An allegory that the writing that us of labyrinthian practised by the author also represents at the scriptural level.

This Research paper examines how Tolkien's novels, "The Hobbit" and "The Lord of the Rings," incorporate labyrinthine elements into their fictional worlds. In these literary works, events primarily unfold in open landscapes, but there are elements that evoke complex and dangerous mazes, where certain heroes assume roles similar to that of Theseus. Thus, this analysis explores the representations of the Labyrinth myth through Tolkien's writing, highlighting both the similarities and differences between these structures in the two contexts, while emphasizing the symbolism of the subterranean world, akin to a cave, as a site of transformation where heroes emerge metamorphosed, invoking both death and rebirth. The paper suggests the use of mythocriticism to analyze the reiterations and variations of Labyrinth mythemes in these novels.

The current article aims to present the woman’s destiny, which was expressed by the poets of French symbolism in the symbols that create the aquatic universe of 19th century, consisting of both female mythological characters and water itself as an element, which has been endowed with characteristics appropriate for mothers. The historical-literary and comparative method permit to present the figure of the mother as a woman’s destiny glorified in the epoch. Its main elements that emerge from the poems are fertility, providing nutrition, peace and safety. In addition, it can be concluded that the poetic image corresponds to the social vision, responding to the needs of the contemporary society.

In this paper we show that the conversion of Durtal appears in its epistemological dimension. For the hero, this dimension can be observed in his almost haunting attempt to understand his spiritual journey in the face of the unfathomable will of God. The analysis of his monologues explicitly demonstrates that, despite his conversion, Durtal sank into spiritual stagnation. Consequently, even spiritual accompaniment becomes for him only a palliative. For the Huysmansian hero, conversion has another dimension – this is a spiritual emancipation which is realized only in the contemplation of divine perfection to the detriment of all community rules imposed by the Church or by contemporary society.