Écho des études romanes, 2011 (vol. 7), issue 2

Pour une problématisation sémiologique de la pratique de l’adaptationFrench

For a semiotic problematization of the practice of adaptation

André PETITJEAN, Armelle HESSE-WEBER

Écho des études romanes 2011, 7(2):5-20 | DOI: 10.32725/eer.2011.014  

The practice of adaptation is an old one and a cultural phenomenon of a wide variety in the form of rewriting practices and semiotic artifacts.The focus of the research lies in the literary dimension of adaptation. It is only in recent years that theorical propositions have emerged which are able to describe, from an essentialist point of view, processes and operations that characterize the adaptations.We would like to give account, as a review of these issues, to the status of these theories, focusing on the adaptations of novels to the theater.We will consider, successively, the formalist precursor Cailhava de l'Estendoux, the models proposed by...

Jehan de Nostredame : vies des troubadours ou nouvelles de la vie ?French

Jehan de Nostredame : the lives of troubadours or tales of life ?

Josef PROKOP

Écho des études romanes 2011, 7(2):21-30 | DOI: 10.32725/eer.2011.015  

Jehan Nostredame (1507?-1577?) published in 1575 a collection of his versions of short troubadours' biographies. The book enjoyed an immense success and it was no earlier than in the 18th and the 19th centuries that there appeared the first criticism pointing to the invented troubadours, falsification of history and other fantasies contained in the book. By the end of the 19th century Nostredame was by some scholars referred to even as an impudent imposter or mystificator and his collection was rejected as a bunch of lies on the whole. This article seeks to propose a possible explanation of the Nostredame's alleged lies and falsifications. An explanation...

À propos des traductions tchèques du Bateau ivre de Jean-Arthur RimbaudFrench

About Czech translations of Jean-Arthur Rimbaud's poem The Drunken Boat

Kateřina DRSKOVÁ

Écho des études romanes 2011, 7(2):31-43 | DOI: 10.32725/eer.2011.016  

The first Czech translations of Jean-Arthur Rimbaud's poetry were published at the end of the 19th century. In the 20th century several translators tried to translate his texts but few of them in a systematic way. One of Rimbaud's more famous texts is The Drunken Boat, written in 1871. There are eight different Czech translations of the poem. Our analysis is focused on two pairs of translations: Neumann's translation published in 1908, which inspired a few years later Čapek's translation, and two versions of Kadlec's translation, one from 1929-30, the other published in 1959.

J.-K. Huysmans par Anna Meunier : une autobiographie paradoxaleFrench

J.-K. Huysmans by Anna Meunier: paradoxical autobiography

Mamadou Abdoulaye LY

Écho des études romanes 2011, 7(2):45-57 | DOI: 10.32725/eer.2011.017  

The autobiographical question accompanies the literary work by Huysmans. Not only, his novellas like Sac au dos and his novels such as Oblat match with the Huysmans's experience of the 1870 war between France and Germany , but he also defends the principle of writing about reality and about life in accordance with naturalist aesthetics. It is perhaps this which explains why he wrote in 1885 an autobiography signed Anna Meunier in the review Les Hommes d'aujourd'hui in which had already appeared two biographical notes on Léon Hennique and Lucien Descaves. But what strikes hardest is that this autobiography is rather curious. Indeed, it seems to call...

Landolfi, la prosa «diaristica» e la parola como surrogato della realtàItalian

Landolfi, «diary» prose and the word as a surrogate of the reality

Eva MESÁROVÁ

Écho des études romanes 2011, 7(2):59-68 | DOI: 10.32725/eer.2011.018  

The article deals with the relationship between language and reality, with the insufficiency and falsity of language, with relationship between langue and parole, with the power of the word. Landolfi looks for a word that could catch a deep, hidden essence of reality. His journey to the obvious nudity of the poetic word began by the adoption of «sincerity» in diary creation. He gradually moves to a «confession», to the «stripped, naked soul» in Rien va and Des mois. The word gains the character of a surrogate of reality and simultaneously becomes his solace. He uses fiction as a means of confusing the concept...

Les fils révoltés. L’autorité paternelle dans les romans d’Albert Camus et de Péter EsterházyFrench

Rebel Suns. Paternal Authority in Novels by Albert Camus and Péter Esterházy

Dorottya SZÁVAI

Écho des études romanes 2011, 7(2):69-86 | DOI: 10.32725/eer.2011.019  

The essay aims to show a special aspect of Camus's reception in Hungary. In the '60's and '70's the intellectual and ethical authority of Albert Camus's works had a strong effect on the Hungarian intelligentsia. The ground of the important reception was the French writer's intellectual and moral power which influenced the most highly considered Hungarian novelists of the decade: Miklós Mészöly, Imre Kertész and Péter Esterházy. Although there is a huge number of philological correspondences, our primary intent is to demonstrate the dialogues in the sense of Bakhtine among the books in question. The chosen intertextual approach is focused on the relation...

Faire comme si : réécriture et simulacre chez Éric Chevillard et Tanguy VielFrench

As if: rewriting and simulacrum in Éric Chevillard's and Tanguy Viel's novels

Jean-François DUCLOS

Écho des études romanes 2011, 7(2):87-97 | DOI: 10.32725/eer.2011.020  

Tanguy Viel and Éric Chevillard wrote two very different novels that share a common goal: to fully retell existing stories of which neither of them are the author. In Cinéma, Viel creates a narrator obsessed by Joseph Mankiewicz's movie Sleuth. Instead of being an adaptation of Sleuth, Cinéma quickly becomes the story of an obsession for Sleuth. The attempt by the narrator to describe its plot is constantly balanced by the necessity not to betray its power of surprise. In order to achieve this result, he envisions, as a way of writing, a post-production process that mirrors the simulacrum that is used in the film. In Le Vaillant petit...

L’exil de Jan Čep. Contribution à l’histoire de la littérature tchèque moderneFrench

Jan Čep's exile. A contribution to the history of modern Czech literature

Jan ZATLOUKAL

Écho des études romanes 2011, 7(2):99-102  

Diatopía, diacronía y diacultura: problemas en la traducción de la literatura austro-alemana al españolSpanish

Diatopy, diachrony and diaculture: problems in the translation of Austro-German literature into Spanish

Juan Antonio ALBALADEJO MARTÍNEZ

Écho des études romanes 2011, 7(2):103-104  

L’œuvre de Richard Millet au regard de la mythocritiqueFrench

Richard Millet's work in the light of mythocriticism

Ján DRENGUBIAK

Écho des études romanes 2011, 7(2):105-107  

Christiane Nord : La traduction : une activité ciblée. Introduction aux aproches fonctionnalistesFrench

Zuzana RAKOVÁ

Écho des études romanes 2011, 7(2):108-109  

J. C. Santoyo : La traducción medieval en la Península Ibérica (siglos III-XV)Spanish

Jana KRÁLOVÁ

Écho des études romanes 2011, 7(2):109-111  

Livres parusFrench

Écho des études romanes 2011, 7(2):112-115  

Colloques & événementsFrench

Écho des études romanes 2011, 7(2):116-118