In this paper, we try to show the relationship between plagiarism, rewriting and writing in the case of Nerval. To write on the others means, for this author, to let himself be read through the papers of the others. The plagiarism, the movement and the replacement of the words, the misappropriations of the senses (a single changed letter – music in tunic – is enough, at Nerval, to change an episode of orgy in an episode of platonic love), the estrangement of the original text (the author changes the real data, invents and mystifies a lot) are constants of the nervalian writing. Nothing is more constant in the work of Nerval than the practice of rewriting (under all the forms that this one takes, worth knowing, the re-use, the adaptation, the deletion, the omission, the quotation, the collage, the loan, the allusion, the compilation of several books, the condensation, the adaptation or the closeness of inspiration) and the plagiarism at the same time. All these techniques make of the work a real textual mosaic, as if there was really no weakness, at Nerval, between reading and writing or between writing, rewriting and plagiarism. Basically, the originality of this author consists in its effort of assembling the loans and even in the contesting of the originality.
 

The aim of this paper is to examine both permanent and temporary features of the Italian youth language. First, we give a brief glance at the development of this language variety. Next, we try to give an overview of its language components, with a particular focus on the diatopic dimension. In the last few years linguists have noticed an increasing role of dialects in the youth language. The analysis of two dictionaries of Italian youth slang, published within 35 years, seems to confirm this tendency.
 

The article deals with memories of Giuseppe Salvemini (1897–1918), a young Italian lieutenant during the World War I (Great War) and shows the culture of war diaries and memoirs from that time in Italy. Salvemini’s diary, published in 2015, won the Prize of the Italian National Diary Archive Foundation: Premio Pieve Saverio Tutino.
 

The purpose of this article is to analyse the notion of “the Physical World” in the André Breton essays and manifestoes of Surrealism, and its presence in the Gherasim Luca’s theory of “the Objectively Offered Object”. In the first part of the article, the author investigates the interactions between the “Surrealist object” and the “poetic image”, linked by the metaphors parallel with the language of Physics. The Surrealist image occures when combining two heterogeneous objects. It is compared to the moment of the short circuit when two “poles” of a machine are joined “with a conductor of little or no resistance”. This notion is explored in the second part of the article as a rigorous key to read The Passive Vampire of the Romanian-French Surrealist Gherasim Luca. His theory of “the Objectively Offered Object” masterminds the game of constructing the hybrid items, put together as the effect of the “objective chance”. The narrator/subject of The Passive Vampire describes his “obsessional” and “delirious” contact with certain objects “projected by desire”. With this concept Luca proves the predominant role of the “Surrealist object” in the works of the Romanian Surrealists.
 

This article presents the results of a questionnaire aiming at exploring the students’ linguistic profile, as well as their representations of French and other foreign languages that they have learnt. The representation is treated as a possible triggering factor of motivation and, therefore, a useful element in planning possible strategies of stimulating or enhancing students’ motivation. The study shows that the students are multilingual and interested in foreign languages and cultures. The French language, inducing the most positive representations, is described as a beautiful and lovable language, attractive due to its sonority and culture, whereas the English language, also learnt by almost all the students, is associated in particular with pleasant learning process and its utility. Other Romance languages, studied mostly at the university, are perceived as languages of second choice, which sometimes manage nonetheless to fascinate the learners by their beauty or culture. The language eliciting the most hostile representations is the German language, generally not appreciated and learned only as a compulsory school subject. In order to promote efficiently the French studies, it seems important to emphasise the utility of this language, propagate it along with its culture and foster quality teaching.
 

The article analyzes the fundamental categories of Henri Michaux’s writing: way (voie) refers to the complexity of space aspects in the textual worlds, voice (voix) problematizes the issue of these worlds’ construction and the notion of literality of the subject, and rhythm (rythme) deals with the problem of the poetics of experience as the crucial point of Michaux’s oeuvre.