The work of Vera Feyder, a Wallo‐Serbo‐Polish‐Jewish author as she considers herself, has been developing, since its beginnings in 1961, in the feeling of abandonment. The poor childhood of the  author, due to the absence of the father, the poet Maurice Federman who disappeared in the concentration camps, and the mother, Elise who due to lack of resources, had to place her daughter in the sanatoriums or homes for disadvantaged children, exerts a certain influence on the author who during all her lifetime couldn’t recover from this lack, important for her and for her work. The Feyder’s récit de filiation appears at first as a barely disguised autobiography; it is then a projection of nostalgia and rancor, even of hate which is the part of the identity of the author; it is finally getting even with the past, including the historical past.

In his Réparer le monde. La littérature française face au XXIe siècle, published in 2017, Alexandre Gefen highlights writing practices that have some beneficial impact on the experience of disease. I situate in this perspective Caroline Gutmann’s novel Les Papillons Noirs (2018), which is a unique fusion of autopathography (Grisi) with a filiation narrative (Viart). Two dimensions of filiation are under analysis – the familial and the mythical and literary ones – which become for the “writing I” a therapeutic means of fighting with cancer, as well as intergenerational traumas liberated in the process of reading/writing from the family “crypt” (Törok). 

This paper is an attempt of analysis of a new filiation novel by J. M. G. Le Clézio entitled Alma, closing the series of Mauritian novels inspired by the family history of the writer. Blending the voices and histories of two narrators who come from the same Mauritian Felsen family, the author brings back their past. By puttng the characters in the correct social and geographical environment, such a rooted writing becomes the cure for evil, and a memorial tribute paid to various kinds of missing Mauritians, because the after effects touched not only the narrators’ family and other inhabitants of the island but island’s Eco systems too. I suggest to trace back, how looking for family roots do commingle with searching for social roots on Mauritius, where colonial crime went hand in hand with devastation of the nature.

Literature of Minuit, saturated with multiple intertextual references to the literary canon, explores the problem of filiation primarily on the level of novelistic aesthetics. And yet, apart from texts which in different ways refer to literary heritage and use its elements to create fictional discourse it includes works that take the form of filiative narrative. À la fin by Éric Laurrent is a case in point, as it is devoted to the author’s grandmother and his family’s response to her death. Drawing on theories of filiative narrative, this paper analyses the literary strategies whereby Laurrent presents family ties and their influence on the identity of an individual.

This article examines the structural features and ideological paradigms associated with the genre of filiation narrative by expanding the traditional body of works examined under this lens to a transnational corpus that includes Postcolonial Francophone texts. By using concepts such as di-genèse or dual legacy that characterizes the colonial condition and paracolonialism, which accounts for recent phenomena of relying on colonial representations and the postcolonial context (history, geography, culture) to find new sources of inspiration for Western or “white” writers, the article delves into the limits and contradictions of the genre of filiation narrative and contends that it should be envisioned as an anti‐genealogical genre.

This article is devoted to the book The Double Confidence (2000) by the Belgian novelist Françoise Mallet‐Joris, which is the fusion of the biography of Marceline Debordes‐Valmore and the autobiography of the author. The writing of the biography triggers the author's memory and awakens her memories (mainly her difficult relationship with her mother, Suzanne Lilar): she allows her to observe herself, to analyze herself, to ask questions she avoid, to re‐emerge repressed. I study the elements that link the work of Mallet‐Joris to "narrations of filiation", I examine the binary structure, the singularity of discursive strategies, as well as the therapeutic function of this self‐bio‐graphic project.

In his novel L’effacement, published in 2016, Samir Toumi presented the image of the generation born after Algeria’s independence on the ex‐ ample of the main character. It is a generation condemned to live in the shadow of the great parents who fought in the Algerian War against France. L’effacement is an interesting example of the development of the genre which is récit de filiation. The aim of the article is to describe the difficult filiation in the novel by Toumi: the relationship of children with parents disturbed by the unlimited appetite for power in the previous generation.

Christian Gailly, a contemporary French writer, former musician, admits he is deeply inspired by jazz and its literary representations. This essay aims to highlight the role of music – source of  dynamics and life’s motivation  – and its double influence on the protagonists of the Gally’s novel Be‐Bop.

The aim of this paper is to analyse the climatic plays by Henri‐René Lenormand (1882‐1951), and to show how difficult climatic conditions shown in his plays influence the behaviour and the attitude of the characters. In the paper different motifs are taken into consideration : fog (and, therefore, the humidity of the climate), the tropical climate in general and the tropical wind called lesimoun. In Lenormand’s plays climate is not just a secondary motif, devoid of significance, but an element which conditions the atmosphere of those plays, engenders a deep melancholy or awakens hidden and repressed instincts of the characters. The climate emphasises thus a deep existenTal pessimism and the tragic of an individual lost in a hostile and incomprehensible world.