How to think the resistance to nothingness ? Tension and refusal of silence with Mallarmé and Beckett The notion of nothingless crosses a huge part of the Mallarmé's and Beckett's works. Source of transcendence or source of a manifest depression, the nothingless proves to be a decisive line of research in order to broach those artists. We have to intersect the nothingless to the conditions of the text in order to reveal the existence of an ontological resistance. If with Beckett, the resignation appears as a fundamental element, we will detect in this litterature a vital force. Mallarmé proceeds that way when he wants to reconnect to poetry's orality, putting the voice at the center of the poet's preoccupations. Nevertheless, to think the notion of resistance for those two autors, we have to resolve a paradox. Indeed, we have to reconcile a logic of events with a physical's universe intensely homogeneous. With this aim in mind, we will lean on Leibniz's and Deleuze's thoughts to describe the mechanisms of this resistance.

Exile of Saint-John Perse: poetic of vivacity as a resistance act It is against a negative vision of the evolution of history and against the negligence of the work by some writers on behalf of social engagement that Saint-John Perse (1887-1975) refuses to consider his collection, Exile (1944) as a work of resistance. Loneliness is an essential condition for the creation and the dehistoricization included the theme of the artwork in a timeless and universal dimension. The function of the poet is to recall the importance of a dynamic language that resists to the tyranny of rationalism. The poetic creation is the means to resist any dehumanization. The lesson of optimism of the poet directs man towards a future and a horizon to conquer.

Robert Charbonneau, director of La Nouvelle Relève, journalist and writer, at the end of the Second World War, faces off with, to his dismay, many renown French authors, triggering a real quarrel. The various assertions of Parisian intellectuals encourage the editor of L’Arbre (The Tree) to start a work of resistance. With traces of "refusal" and insubordination, his articles address the literary issue from the practical, concrete and policy points of view, taking into consideration the editorial apparatus in its entirety. The man thus resists atypically because he defends the creation of the authors of his country, by adopting the concept of the Americanism of their origin. By his actions, he demonstrates that the French-Canadian production has a double culture: educational francization and de facto Americanism, putting aside the colonial conception of culture and cultural supremacy of France.

Beyond the resistance – French West Indian’s literature facing the colonial past and globalization Our aim in this paper is to analyze the different stances taken by four eminent authors from the French Antilles – Aimé Césaire, René Ménil, Édouard Glissant and Patrick Chamoiseau – with regards to the socio-cultural situation of the region. Their literary projects work out the term “resistance” by means of different concepts and artistic gestures. The anti-colonial revolt of Césaire is challenged by Glissant's archipelagic thinking and Chamoiseau's metaphorical figure of the “warrior of the imaginary”, and there is still the “cannibal poetry” of Ménil. Taking into account the variation of ideological context accompanying the emergence of these concepts, we will see how the idea of resistance inspires the reflection on the writing and the role of the literature in the ever changing Antillean society.

To resist is to fight against the Forgetting ; it's to build its own Identity The principal aim of this paper is to examine two novels of the caribbean writter Maryse Condé, Moi, Tituba sorcière noire de Salem and Les derniers rois mages. I will analyse in these how notions of both personal and collective cultural identity are explored so as to overcome the old perception of Négritude and Panafricanism. Many of her novels embrace the idea of searching, her protagonists are often on some type of quest and searching for an authentic homeland. Much of her work revolves around the notion of asking questions, but not necessarily providing answers, and reflecting on the history of her people. On different levels, Condé does not allow her work to be limited by boundaries of any type. That´s her own way to resist.

Naim Kattan, Lucien Elia, Myriam Ben are three Jewish writers who grew up in the Muslim countries of Iraq, Lebanon, Algeria respectively. They see each other reduced to a powerless silence in the face of injustice and destruction. Writing challenges and regains power for them to speak on behalf of the silenced. They release a word which, once pronounced, sounds more like a shout, a desperate shout full of anger yet a shout of triumph, a shout of war. Tenacity hope and a call for change fills their resilient cries.

By this study, we conducted a reflection on an aspect of literary resistance. To resist denial towards “The Arab” killed in Camus’s novel “The Stranger”, The Algerian journalist and writer Kamel Daoud writes a chronic : Against Meursault or the "Arab" double shot, and a novel : The Meursault investigation. We examined the transaction from chronic to novel and found that the resistance discourse unfolds on a very complex dialogic space. Indeed, there is a generic dialogue between the chronic and the novel, and self-dialogue between the journalist's work and that of the writer. This dialogism allows a clear view of the act of resistance.

The Trace of a Machete: Reading cultural transmission and transgression in Justine Mintsa’s Histoire d’Awu Obame Afane was six years old when his paternal grandmother gives him the machete with which she had once used to cut his umbilical cord. She had said that she used it because he showed his head first to the “Door of Life”, which, for her, was a sign that he would be an honorable man. She gave it to him during the week that he was circumcised, and asked him to watch over the wellbeing of the descendants. Based on the meaning that his grandmother gave to the machete, Obame Afane strove to honor her memory by being accountable and generous. But after his retirement, his world fell apart for lack of pension. This change led him to question the meaning of the machete. I analyze the controversial meaning of the machete in Obame Afane’s hands based on a comparative approach to phenomenology between Georges Poulet, Gilles Deleuze and Jacques Derrida.

This article casts a harsh light on the literary and plastic work of two Moroccan painterswriters : Mohammed Kacimi and Mahi Binebine. It will show their creative writing (poetry and fiction) and plastic is an act of resistance. This study therefore a double challenge. This is firstly to show that the story proffered on behalf of Scheherazade, in the poetic work of Kacimi is pacifist and « anti-war », secondly to see how each of novelistic characters becomes Binebine – it double the male narrator of One Thousand and One Nights.

This paper forms the first part of a comparative study which centres on the fragments of Flaubert’s and Kuncewiczowa’s novels which refer to opera performances (Donizetti’s Lucie de Lammermoor and Puccini’s Madama Butterfly). In the first part of the study published here, a comparative analy-sis of the function of the quoted opera scenes in both novels was attempted. The conclusion is that these scenes should be treated not necessarily as mirrors in which the characters want to recognise themselves, but rather as specific synecdoches of « Bovarism », revealing its characteristics and the transgressive dimension. The second part of the study (Cahiers ERTA, no 10) will discuss the socio-political dimension of the quoted scenes, whilst their location within the context of other references to music, present in both novels, as well as of the aesthetic views of both writers will allow to dis-cover some characteristics of their projects of musical novels.

Marie Krysinska and her husband Georges Bellenger made two voyages to the United States. Being an attentive observer, Krysinska is interested in the architecture of the New World, theaters, museums, stores, landscapes, mores, everyday life. After the return to France, she publishes her memories in the form of the articles and short stories. The favored theme is the American woman and her way of being, but also the life of the minorities and the functioning of the multiracial social organism. The author admires the social solidarity, all the more impressive, for without an equivalent in France. The old Europe seems to be dozing in its traditions and prejudices, but the writer is not dazzled by this openness of the spirit and the heart, which have also a negative aspect. Krysinska’s “American” writings play the same role as Voltaire’s Letters on the English – a vaccine that opens the mind and allows to cast away the prejudices.

Melodrama and stage adaptation: a cultural matrix French pop literature and the adaptations based on it have had to reckon with a cultural matrix that was put in place as early as the « age of the melodrama » (the early XIXth century), i.e. even before the advent of the roman-feuilleton. That cultural matrix was built around the know-how of specific playwrights; this know-how is revealed to be less simplistic than previously thought.