FAQ
Faculté des Lettres Université de Gdansk

Numéro 21

Univers narratif

2020 Next

Publication date: 31.03.2020

Licence: None

Editorial team

Orcid Ewa M. Wierzbowska

Issue content

études

Martyna Zapolnik

Cahiers ERTA, Numéro 21, 2020, pp. 9 - 25

https://doi.org/10.4467/23538953CE.20.001.12022

The history of mankind is the history of malaise. Melancholy, discomfort, anxiety or grief are just a few names and examples of this phenomenon. The heroes created by Georges Perec and Anne Godard experience the deep malaise of depression and grief disorder. However, this is not the only common feature of the characters – they are both described by the pronoun “you”. Due to its properties, the second‐person narration seems to be an effective tool of description of minor and major mental disorders. It helps to situate the heroes between life and death, and it is naturally associated with the concept of the Other, who plays a significant role in creation of a suffering Human being.

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Yao Kobenan

Cahiers ERTA, Numéro 21, 2020, pp. 27 - 41

https://doi.org/10.4467/23538953CE.20.002.12023

In the name of a certain theory of race inferiority, the imperialist powers have instituted the slave trade which will annihilate the countries of the Third World, and mainly those of the African continent. They will impose their vision of the world through the universalization of a Cartesian philosophy which has considerably encroached on the local histories of subordinate peoples. Even today, categories of people continue to suffer from the depreciative stereotypes constructed by the settler. For African novelists, the historical truth must be recognized. They therefore write with the aim of restoring the authentic values of these peoples. It is in this perspective that Seydou Badian inscribes his work entitled Sacred Weddings where he magnifies an African tradition which only asks to be recognized as an absolute and autonomous value, through a decolonial writing.

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Luisa Messina

Cahiers ERTA, Numéro 21, 2020, pp. 43 - 54

https://doi.org/10.4467/23538953CE.20.003.12024
Preface represents one of the most important moments of the paratext because it allows to understand better either author and or his work. Different functions linked to a preface (presentation of the work, author’s intent communication, defence instrument) are all found in Chevrier’s production. François‐Antoine Chevrier (1721‐1762) is known as one of the most problematic author in the eighteenth century because of his satirical and polemical vein which causes continuous and repeated attacks during two centuries. Chevrier only writes a post‐preface which, it is not a case, accompanies Le colporteur, his most famous novel. The author writes a post‐preface to defend himself telling to have painted only personalities whose scandals are well known by society. Analysis concerning Chevrier’s preface and post‐preface will permit to destroy prejudices, which are for a long time perpetuated, to understand more deeply his personality and his works. 
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varia

Ewa Małgorzata Wierzbowska

Cahiers ERTA, Numéro 21, 2020, pp. 57 - 82

https://doi.org/10.4467/23538953CE.20.004.12025
Gabriel unmasks an open secret: freedom is a business and a right of the men. The supposed inferiority of women is a social structure. This ma‐ nipulation, authored by the masculine part of the society, is brought to light with the help of the mask, which becomes an "unmasker". Gabrielle, raised as Gabriel, works on her identity, all the while dreaming of the impossible. To live as a woman while keeping her freedom is an idealistic construction that ultimately has to be crushed under the weight of social laws. 
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Lydie Parisse

Cahiers ERTA, Numéro 21, 2020, pp. 83 - 97

https://doi.org/10.4467/23538953CE.20.005.12026
Tintagile’s death (1894) is an etape in the Maeterlinck’s work. This drama bears the strong imprint of a decisive évent in the life of the author : the discovery of the writings of the médieval Flemish mystic Ruysbroeck, of wich he became the translator from 1885 to 1888. The langage of mysti‐ cism allows a renowal of writing and dramatic aesthetics. 
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