In Edmond Rostand’s works, poetry is constantly compared to a battle. The dramatic poems and the poems are places where poetic characters such as Cyrano de Bergerac struggle to put ideas into words so as to woe women and conquer the spectator. But writing poetry is also fighting for the right to participate in a personal recollection and conception of History. Haunted by Romanticism, the Empire and the monarchy, symbolised by the figure of Victor Hugo and Napoleon I in The Eaglet (L’Aiglon), the playwright disproves the world in which he and his characters evolve, as well as the literature of their time. In order to do so, he seeks to revolutionize traditional theatrical techniques. First, the characters he stages refute their author by creating their own world and lives as they write their poems. Then, he stages “paintings” to emphasize perspective and extend poetry in view of creating a whole new universe estranged from the audience’s passive daily life. Thus, he encourages the spectator to create a poetic world for himself, a world in which men – referred to as «poets» – would avoid conflict and live in harmony. This extension provides insight for viewers to better cope with their day to day life.

Verlaine's poetry is the poetry of protest, revolt, commitment and resistance. Its contestation covers both poetry (classical or romantic) and society (meaning morality and politics). Verlaine adopts strategies of resistance which go from simple allusion to the revolt through irony, satire and other processes. But he extends its fight well beyond poetry as a means, to poetry as an object. This latter form is the place of his resistance against the fleeting time. Indeed, the hope that Verlaine associates with posterity is his way of defying death. His effort of perfection aims for the perenniality of his work.

In this article, resistance is turned into a writing act of rather than a political act. It is about resistance linked to the relation that the author as reader maintains with language. It is by this resistance act that th act of creation comes into being. Here we also draw on the reactions related to the publication of Jean‐Paul Sartre’s work, Qu’est‐ce que la littérature ?, whose principles put back in question the very idea of literature. Here the main focus lies on the criticisms that Maurice Blanchot and Georges Bataille address directly to Sartre. The polemic between these authors bears on the relation between the writer and his writing, as well as on the nature, value and finality of literature.

Claude Cahun was a writer, photographer, artist, journalist, actress, who was connected with the surrealist group in the interwar period. Living in Jersey with her girlfriend during World War II, she took part in special resistance activities. Isolated from any political group, she had decided to react to the occupation of the island by Nazi Germany with her own artistic propaganda.

This article deals with the debate about the poet’s engagement in and between the literary journals that flourished in France during the Second World War. Despite many disagreements, they all tend to emphasize the poet’s role in history. The famous definition of the writer’s engagement by Sartre doesn’t account for the conception of poetry they generally advocate. The sheer fact of writing and publishing poetry is an act of résistance in occupied France. The political dimension of poetry derives from the ontological questioning it expresses. This conception of poetry still influences major French poets such as Guillevic or André Frénaud after the war, thus challenging the dominant view on modern poetry, which is supposedly characterized by hermetism.

Bruno Durocher, born in Cracow as Bronislaw Kaminski, is rather unknown as a poet. His book of poems Le bras de l’homme, written in Mauthausen concentration camp, where the poet spent six years of war, reveal his traumatic experience of the Shoah. What Durocher asks about in this work is human resistance to the inhuman conditions: resistance of the body and of the soul. The paper attempts to analyse Durocher’s work and compare its two versions: French and Polish, focusing on the means Durocher uses to describe Nazi concentration camp universe and using notion of resistance as methodological tool.

The two French poets, Pierre Emmanuel and Andre Frénaud, and the Greek poet Yannis Ritsos expressed in and through poetry, their revolt by using all the poetic means and the entire arsenal offered by the Old and New Testaments. The Magi (Les Rois mages) of Andre Frénaud, Fight with your defenders (Combats avec tes défenseurs), Day of Wrath (Jour de colère) and Freedom guides our steps (La liberté guide nos pas) of Pierre Emmanuel and Greekness (Ρωμιοσύνη/Grécité) of Yannis Ritsos, become, through episodes and biblical figures, a symbol of resistance, freedom and salvation.

The purpose of this article is that Antonin Artaud’s poetic theory has exerted a great influence on the poetics of Bernard Heidsieck. Artaud says that the poet must revolt against poetry, that is to say, to create, the poet must resist something already existed before his creation: words. The poet has to resist words and texts. That is the principle of Artaud’s theory. Heidsieck understands well what is the matter of Artaud’s theory: to resist words and language, the poet should not abandon them but utilize them for inventing resistance. And it is the voice that resists the text and creates something. Artaud and Heidsieck, they discovered the special position of the voice in contemporary poetry.

Hélène Cixous’s works stand as quite different from Pascal Quignard’s works in their narrative structure. However, both writers try to use their writing to resist the death of the Mother, a figure very much related to language and writing. Quignard’s act of resistance against such disappearance is built as fragmented texts whose dual structure (short text‐blank space) could be considered as both a reenactment of the mother’s death and a protection against it. Cixous’s writing engages in a constant negotiation between dreams, word play, and intertextuality, a structure which she calls a “hypertext”, in order to escape from the inevitable physical loss of the mother. In the end, Quignard’s and Cixous’s texts cut and sew their narrative structure into segments that are none other than acts of resistance.

Resistance is the governing principle of Cixous´ literary practice in such a way that her fictions are given as an act of resistance. Resistance is expressed in many ways in her works, but two forms hold especially the reader´s attention because of their recurrence. Firstly, the resistance between the book and the writer fleeing and pursuing one another in order to write a secret but without revealing it. Secondly, the resistance that concerns the fight of Cixous against forgetfulness, loss and death. Les rêveries de la femme sauvage and Si près are clear examples for this as they both highlight the action of resistance in Cixous´ fictions.

The article constitutes the second part of a study focused on operatic fragments in G. Flaubert’s Madame Bovary and M. Kuncewiczowa’s Cudzoziemka [The Foreigner]. In the first part, published in the Cahiers ERTA no 9, a comparative analysis of the functions fulfilled in both novels by the operatic scenes (Donizetti’s Lucie de Lammermoor and Puccini’s Madamy Butterfly) was proposed. The second part develops the issue of the socio‐political and aesthetical implications of the invoked scenes, as well as other components of both narratives that can be defined as musical. The conducted analysis reveals that both heroines’ distinct attitudes towards music reflect their fundamentally distinct attitudes towards any otherness, formed in two very different socio‐cultural contexts. The effect of this distinctiveness is originality of the two musical literary projects: the first – proposed by Flaubert – is a specific attempt at transgressing the artistic inertia that subdues Madame Bovary; the second – proposed by Kuncewiczowa – criticizes the absolutization of art at the hands of Róża, the foreigner, in the name of the unobtainable idea of perfection.

Undoubtedly, Marie Krysinska occupies a prominent position in the history of French poetry. She is the first to demand evaluation of female writers by their works and not by their sex. She negates the widespread notion of women’s exclusively imitative abilities by introducing her own poetical aesthetics and fighting for its recognition in very unfavorable environment. Male hysteria at the end of the 19th century manifested itself in the increased aggression against female writers. The fight for free verse was ruthless, conducted according to the rule that the ends justify the means. The language of the criticism is a testament to the lack of skills required for a substantive discussion when a woman is on the other side of the barricade.

Most of the critics in their studies dedicated to Laure (Colette Peignot), French author dead in 1938 and published posthumously, claim that her biography and her writings are inseparable and, moreover, try to defend one legitimate vision of her life and work. However, this allegedly true image appeares to be made up of many personal opinions, judgements and anecdotes, coming essentially from men who were closely attached to Laure and who, not on rare occasions, used it for their own purposes. Thus, the aim of this paper is to examine how Boris Souvarine, Georges Bataille and a few other authors elaborated Laure’s mythology and dictated for decades the reception of her writings.

Starting from Gilles Deleuze’s conception of the affect, the article aims to analyse reflections on this phenomenon present in writings of some French authors of 20s and 30s, especially those who created the review Documents as well as the Collège de Sociologie, i.e. Georges Bataille, Michel Leiris, and Roger Caillois. Their focus on the material aspect of sensation and on the inter‐relational dimension of attraction and repulsion phenomena constitutes an interesting episode in the history of the affect before the Deleuze era.

This study aim sat examining different demonstrations of delirium in the novel entitled « In those arms » written by Camille LAURENS, a French contemporary writer. Since the genesis of Doubrovsky autofiction is psychoanalysis and surrealism, this autofiction will be the main tool to study delirium at the level of « a freed language ». The delirium allowing to see a rhizome where are telescoped content and form in order to create an opacity of the meaning are linked essentially to the writer's interior life. The language in all its forms will therefore be the field of investigation of the ailments that Camille suffers from. The narrator and writer artfully transforms her writing page into an allegoric couch in which her sorrows are translated.

This article attempts to discover the current transformations in literary writing teaching and the tendency towards deinstitutionalization of literature in literary education. These phenomena are result from the ability of capitalism to incorporate, to recuperate and turn for its purposes the criticisms addressed to it. That is what happens precisely to the artistic criticism of May ’68, which the project of literary writing at school may be associated with. The study examines the processes of spreading of neoliberal logic in the literary education and some associated with it negative digital practices of writing at school. The article insists on a pharmacological approach to ICT in education and on their really critical, ‘enlightened’ and therapeutic use, as the only one that could contribute to deployment of the democratic, critical and emancipatory potential of literary writing.