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1

Narrer les désillusions intimes à l’époque de la désillusion. Tanguy Viel et les formes contemporaines du récit d’amitié

100%
Maziarczyk A.
Romanica Wratislaviensia
|
2017
|
vol. 64
107-119
EN
Friendship is one of the key motifs in Viel’s work. Its importance is highlighted especially in his early novels. In his exploration of this eternal problem of a relationship with another person, Viel departs from typically realistic novelistic conventions and combines subversive rewriting of genres, typical of contemporary fiction, with unreliable narration, manifested in a peculiar multivocality. The aim of this article is to analyse this textual duality and the manner in which it contributes to the creation of a touching story about human friendships.
2

Novélisation comme traduction intersémiotique: Cinéma de Tanguy Viel

100%
Maziarczyk A.
Romanica Wratislaviensia
|
2013
|
vol. 60
123 - 130
EN
In the epoch of the often declared decline of literature, which is moving away from print, considered to be an obsolete medium, and trying to find its place in new media, Tanguy Viel, against these tendencies, undertakes a transposition from the visual to the verbal. His novel, not accidentally entitled Cinéma, is one of the most original examples of novelisation, a process involving an intersemiotic translation of visual codes into verbal signs. In contrast to typical novelisations, which are usually an element of commercial exploitation of a particular film’s popularity, Cinéma consists in an artistic transfer of a film to a literary text. Basing on theories of novelisation, this article seeks to demonstrate how Tanguy Viel uses words and narrative techniques to verbalise and narrativise a film.
3

Une inquiétante puissance du blanc. L’écriture lazaréenne dans Dora Bruder de Patrick Modiano

100%
Maziarczyk A.
Romanica Wratislaviensia
|
2014
|
vol. 61
109 - 120
EN
Mondiano’s novel Dora Bruder belongs to the contemporary works of fiction which, evoking traumatic events, explore the Holocaust in order to revisit the painful heritage of History. Trying to reconstruct the lost memory and to bring back to life people who perished during the war, Modiano’s text embodies Lazarian characteristics of a narrative. Faced with the impossibility of representing the tragic events, Modiano resorts to the Barthesian ‘white writing’: he rejects lyrical agitation and aims at the stylistic simplicity of a transparent, impersonal voice dryly reporting the facts. Abandon ing sophisticated narrative structures in favour of a collage of authentic documents, he endows his text with elements of a non-literary style: the novelistic intensity of Dora Bruder is shaped precisely by the rejection of narrative mechanisms of the genre. On the level of textual composition Mondia-no’s novel thus reflects the theme of annihilation that it explores.
4
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Raymond Federman and the art of expressing the inexpressible

100%
Maziarczyk A.
Lublin Studies in Modern Languages and Literature
|
2015
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vol. 39
|
issue 1
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
The originality of Raymond Federman’s La Voix dans le Cabinet de Débarras resides in both its graphic form, close to some artistic projects, and its narrative content, which engenders and motivates the former, thus revealing the deep sense of literary devices, which only appear to be purely formal experiments. Exploring the traumaexperienced during the Second World War, the text delves into the issue that the writer’s whole literary oeuvre obsessively returns to: the impotence of language in the face of a complex and dramatic reality. The aim of this article is to analyse the narrative mechanism, which rejects the conventional transmission of a story in favour of discursive strategies exploiting the materiality of text. The extensive semantic correlation of these two aspects creates a double drama, resulting from the actually experienced tragedy and an inability to verbalise it. Referring to the theory of an artistic text and philosophical reflections on the Holocaust, this article seeks to demonstrate that La Voix dans le Cabinet de Débarras embodies Federman’s search for new forms of expression of trauma in a literary text.
FR
Le numéro contient uniquement les résumés en anglais.
PL
Tom zawiera abstrakty tylko w języku angielskim.
RU
Том не содержит аннотаций на английской языке.
5
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Narrative poetics of Éric Chevillard: towards literary literature

100%
Maziarczyk A.
Lublin Studies in Modern Languages and Literature
|
2019
|
vol. 43
|
issue 1
DE
Der Artikel enthält Zusammenfassungen nur in Englisch und Französisch.
EN
Éric Chevillard, associated mainly with ludic literature, which plays with the word and deconstructs novelistic conventions, in his own way inscribes himself in the tradition of engaged literature. By means of atypical narration and singular style he fights against not so much social, political or economic injustice as stereotypical literature in all its triviality and formulaicity. Relying on selected theories of narrative strategies characteristic of novels and militant texts, the present paper analyses Démolir Nisard, one of Chevillard’s most confrontational texts, and thus discusses modalities and assumptions of the work inspired by the overtly political genre – the pamphlet.
FR
Associé à une littérature ludique qui exploite les potentialités du langage et déconstruit les mécanismes du roman classique, Éric Chevillard s’inscrit à sa propre façon dans le cadre de la littérature militante. Par une narration atypique et une écriture singulière, il engage une lutte non contre des injustices sociales, politiques ou économiques, mais contre la littérature stéréotypée, plate et triviale dans ses formes. S’appuyant sur les théories relatives aux stratégies narratives des textes romanesques et militants, le présent article s’attachera à analyser Démolir Nisard, un de ses textes les plus violents, pour montrer les modalités et les enjeux du récit inspiré par le genre à visée typiquement politique : le pamphlet.
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Water and its emotions in sentimental literature. The Marie cycle by Jean Philip Toussaint

100%
Maziarczyk A.
Lublin Studies in Modern Languages and Literature
|
2018
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vol. 42
|
issue 3
DE
Das Volume enthält keine Abstracts in deutscher Sprache.
EN
The aim of this paper is to analyse diverse representations of water in Jean-Philippe Toussaint’s cycle of Mary and the textual effects they produce. Water is not only the crucial aspect of the represented world but also the key narrative component, which shapes the plot, creates nostalgic atmosphere and reveals the philosophical dimension of the novel classifiable as romance. Drawing on selected theories of elements, the paper examines the ways in which Toussaint uses the emotions carried by water to create intensity and depth in a novel about love.
FR
Le présent article se propose d’analyser diverses occurrences aquatiques dans le cycle de Marie et les effets romanesques qu’elles produisent. Abondamment évoquée dans ses diverses occurrences, naturelles et artificielles, géographiques, atmosphériques ou bien physiologiques, l’eau irrigue profondément la texture romanesque et la nourrit de façon stimulante sur plusieurs plans. En nous référant à des travaux de réflexion sur quatre éléments (philosophes grecs, Bachelard 1942, Durand 1985, Libis 1993), nous chercherons à démontrer la manière fine et complexe dont Toussaint exploite les émotions de l’eau pour donner de l’intensité et de la profondeur à l’histoire émotionnelle qu’il raconte.
RU
Том не содержит аннотаций на русском языке.
7
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Les livres des retours. La littérature selon Tanguy Viel

100%
Maziarczyk A.
Cahiers ERTA
|
2019
|
issue 17
69-83
EN
The idea of return in its multiple forms and manifestations is central to Tanguy Viel’s œuvre. His novels explore this phenomenon in terms of literary aesthetics as well as thematic, narrative and discursive concerns by forging peculiar analogies between form and content. Drawing on selected aesthetic, philosophical and stylistic theories of return, the present paper seeks to discuss its forms in Viel’s texts and analyses how he uses them to create a literary reflection on the sense of returns in human life.
8
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Le récit de filiation à la Minuit : À la fin d’Éric Laurrent

100%
Maziarczyk A.
Cahiers ERTA
|
2019
|
issue 20
53-67
EN
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.
9
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Fiction et déformation. Narration ambiguë dans Le Black Note de Tanguy Viel

100%
Maziarczyk A.
Cahiers ERTA
|
2013
|
issue 3
39-51
EN
Unreliable narration by definition involves deformation of the represented world. The narrator tells the story in the manner that makes the reader suspect that he / she is perverting the facts, manipulating the data, omitting details or simply lying. The narrative situation of this type can be observed in Tanguy Viel’s debut novel Le Black Note, published by the prestigious Minuit publishing house. The aim of this essay is to analyse unreliable narration as a modality of deformed representation of reality and to assess its impact on the reading process. This typically destabilising narrative technique reflects the condition of the deranged mind and thus depicts the distorted view of reality filtered through diseased consciousness. Subverting the traditional author–reader pact as well as the narrator’s authority, it constitutes one of the narrative paradigms typical of contemporary fiction.
10
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Le roman sans événements : 'Oreille rouge' d’Éric Chevillard

100%
Maziarczyk A.
Studia Romanica Posnaniensia
|
2013
|
vol. 40
|
issue 4
33-40
EN
Even though absurd humour and surreal scenes are at first sight the characteristic elements of Eric Chevillard’s style, it is an oversimplification to consider his novels as mere literary jokes. The appeal of this literature stems from the light and witty manner in which it transforms outdated novelistic conventions, deconstructs classic narrative strategies and refuses to fulfill the reader’s expectations. This article seeks to analyse minimal narration, an unusual mode of writing for Chevillard, in Oreille rouge: just like narrative excess, typical of his other works, it results in dematerialisation of the plot and redefinition of the novelistic structure.
11
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Controverses et convergences. L’Autofictif d’Éric Chevillard

100%
Maziarczyk A.
Romanica Silesiana
|
2012
|
vol. 7
FR
Currently one of the most controversial writers, Éric Chevillard shapes the foundations and the raison d’être of his apparently ludic aesthetics in a polemic and creative dialogue with the literary tradition. Experimenting in his subsequent texts with narrative forms that subvert generic boundaries and conventional stylistics, he exploits in L’Autofictif the new possibilities offered by the digital revolution. Kept on the web since 2007, his literary notebook has also been published as a book, thus becoming a multimodal project, which perfectly fits the contemporary culture of convergence, based on the interplay between the old and the new media. Playing with the media, Chevillard again proves his anticonformist attitude to conventional patterns and refuses to succumb to the prevailing trends. By situating literature at the borderline between high and mass cultures, he endows it with a new shape in the times, when it is commonly assumed to be doomed to oblivion. Key words: Literary blog, culture of convergence, narrative experiments, ludic aesthetics.
12
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Rhétoriques contemporaines de la paternité. Le cas de Chevillard

100%
Maziarczyk A.
Romanica Silesiana
|
2017
|
vol. 12
FR
Finding new forms for a literary representation of the father is a challenge, as family relations constitute one of the most popular literary motifs. Éric Chevillard’s innovative presentation of this subject takes the form of an unconventional blog, which is more literary than personal, and which exists in electronic and print formats. This peculiar – half-fictional, halfautobiographical – diary tells the story of a “housewriter,” combining creative pursuits with everyday fatherly duties, and thus invites the reader to reflect on the father–daughter relation and the changes it is undergoing in our times.
13
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Dire l’enfance aujourd’hui : Berceau d’Éric Laurrent

100%
Maziarczyk A.
Roczniki Humanistyczne
|
2020
|
vol. 68
|
issue 5
165-177
EN
More associated with ludic fiction and known for his mannerist style, Éric Laurrent enters, with Berceau, the realm of intimate literature whilst transcending the usual assumptions of the genre. This autobiographical text in the form of a diary presents the experience of adoption from the father’s perspective, which is rare in literature. He focuses especially on the question of childhood in order to show the way in which it contributes to the generation of emotional ties, and gives two contrasting images of this period in life: everyday childhood – ordinary, but happy – and the childhood of abandoned children, desperately lonely and without any prospects for the future. This article seeks to analyse the thematic and stylistic multidimensionality of Laurrent’s text, whose main aim is not so much to document personal experiences as to draw attention to the fate of orphans by showing the crucial role of the family in the lives of both children and adults.
PL
Współczesna opowieść o dzieciństwie: Berceau Érica LaurrentaPowieść Berceau Érica Laurrenta, autora kojarzonego z literaturą ludyczną i nietypowym, manierystycznym stylem, wpisuje się w literaturę o charakterze intymistycznym, a jednocześnie wychodzi poza typowe założenia gatunku. Ten autobiograficzny tekst utrzymany w formie pamiętnika opowiada o doświadczeniu adopcji z perspektywy ojca, rzadko spotykanej w literaturze. Koncentruje się przy tym głównie na problematyce dzieciństwa i ukazuje sposób, w jaki wpływa ono na tworzenie się więzi uczuciowych oraz przedstawia jego dwa zupełnie odmienne obrazy: dzieciństwo codzienne, zwykłe a zarazem szczęśliwe oraz przeraźliwie samotne i pozbawione perspektyw dzieciństwo niechcianych dzieci. Niniejszy artykuł analizuje tematyczną i stylistyczną wielowymiarowość autobiograficznego tekstu Laurrenta, którego celem jest nie tyle uwiecznienie osobistych przeżyć, co zwrócenie uwagi na los sierot poprzez ukazanie zasadniczej roli rodziny w życiu zarówno dzieci, jak i dorosłych. Dire l’enfance aujourd’hui : Berceau d’Éric LaurrentConsidéré comme un auteur des fictions ludiques et connu pour son style maniériste, Éric Laurrent se lance, avec Berceau, dans une littérature intimiste, tout en élargissant les enjeux habituels du genre. Texte autobiographique sous forme de journal intime, Berceau raconte l’expérience de l’adoption vue sous la perspective paternelle, rare en littérature. Il privilégie surtout la problématique de l’enfance pour montrer la manière dont s’y tissent des liens affectifs et en fournir deux images contrastées : celle de l’enfance au quotidien, banale mais retentissante de bonheur et celle désespérément solitaire, sans perspectives pour l’avenir que vivent les enfants abandonnés. Le présent article cherchera à saisir la pluridimensionnalité thématique et stylistique du récit de Laurrent dont le principal enjeu consiste moins à perpétuer les expériences personnelles que de plaidoyer en faveur des orphelins en montrant le rôle magistral de la famille dans la vie aussi bien des enfants que des adultes.
14

Le roman d’aventures et l’aventure du roman : L’Équipée malaise de Jean Echenoz

100%
Maziarczyk A.
Roczniki Humanistyczne
|
2013
|
vol. 61
|
issue 5: Neofilologia
165-176
EN
The aim of this article is to analyse the employment and transgression of generic norms in the contemporary French novel on the basis of the fiction of Jean Echenoz, a major figure in modern French literature. A story of unfulfilled love and unsuccessful plot, L’Équipée malaise is first of all an unconventional text which rejects conventions and subverts the habitual mode of reading. In his re-writing of the adventure novel Echenoz does not naively imitate the generic conventions or write a simple parody. Only occasionally employing its staple motifs and characteristic scenes, he creates an unusual novel, which is simultaneously an inverted reflection of the genre and a transgression of its boundaries. By juxtaposing a stereotypical story with nomadic narration based on digressions, repetitions and numerous plot twists, he turns the novel of adventure into “the adventure of writing” which offers the reader an intellectual journey into the world of fiction, whose norms have been subverted.
PL
Celem niniejszego artykułu jest analiza wykorzystywania reguł gatunkowych i ich transgresji we współczesnej prozie francuskiej, na przykładzie powieści czołowego jej przedstawiciela jakim jest Jean Echenoz. Historia niespełnionej miłości i nieudanego spisku, L’Équipée malaise to przede wszystkim niekonwencjonalny tekst, który odrzuca schematy i burzy utarte czytelnicze nawyki. Nawiązując do kanonów powieści przygodowej, Echenoz nie kopiuje w naiwny sposób konwencji gatunkowych ani też nie dokonuje ewidentnej parodii. Poprzestając na sporadycznym zapożyczeniu utartych wątków i charakterystycznych scen, tworzy nietypową powieść, która jest jednocześnie negatywnym odbiciem gatunku i przekraczaniem jego granic. Zestawienie stereotypowej opowieści z nomadyczną narracją opartą na dygresyjności, powtórzeniach i licznych zwrotach akcji przekształca powieść przygodową w „przygodę pisania”, oferując czytelnikowi intelektualną wycieczkę w świat fikcji, której zasady zostały podważone.
FR
Le présent article se pose pour but d’analyser la transgression des rčgles génériques dans le roman L’Équipée malaise de Jean Echenoz. Histoire d’un amour déçu et d’un projet échoué, L’Équipée malaise c’est surtout un texte déconcertant qui réfute les schémas conventionnels et les habitudes de lecture. Sans imiter de maničre naďve les principes du genre évoqué, Echenoz ne procčde non plus ŕ une parodie évidente. En empruntant au roman d’aventures quelques trames d’ensemble ou des scčnes conventionnelles, il construit un roman tout ŕ fait original qui est ŕ la fois un reflet négatif du genre évoqué et sa transgression męme. La confrontation entre un récit fictionnel stéréotypé et une narration déréglée transforme un roman d’aventures en une aventure du roman, offrant au lecteur tout le plaisir intellectuel de lire une fiction subvertie.
15
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Crise économique et drame humain dans "Article 353 du code pénal" de Tanguy Viel

100%
Maziarczyk A.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
|
2022
|
vol. 17
|
issue 1
207-217
EN
The article focuses on the methods of literary engagement with the crisis in Article 353 du code pénal, the most realistic novel by Tanguy Viel. Drawing on selected theories of the crisis, it analyses the way in which the author speaks of the human drama engendered by the economic recession and the pathological phenomena linked to it. It also highlights the didactic dimension of the text, which consists in denouncing of the strategies of financial scams, based on a perfect knowledge of the psychological mechanisms that are activated in an individual in critical situations. The aim of the article is to demonstrate that in Article 353 du code pénal Viel seeks to shed light on the fact that the existential crisis triggered by loss or abuse of trust suffered in life and the feeling of powerlessness in the face of destiny is an even more difficult ordeal, overwhelming and devastating if it strikes a vulnerable individual who lacks the psychological strength to recover.
FR
L’article porte sur les modalités d’investissement littéraire de la crise dans Article 353 du code pénal, le plus réaliste des romans de Tanguy Viel. En nous appuyant sur des théories de la crise, nous étudions la manière dont l’auteur parle du drame humain engendré par la récession économique et des phénomènes pathologiques qui y sont liés. Nous faisons aussi ressortir la dimension didactique du texte qui consiste à dénoncer les arnaques financières, appuyées sur une parfaite connaissance des mécanismes psychiques qui s’activent chez l’individu dans des situations critiques. Notre but est de démontrer que, par Article 353 du code pénal, Viel cherche à éclairer sur le fait que la crise existentielle déclenchée par des pertes ou des abus de confiance subis dans la vie et le sentiment d’impuissance face au destin est une épreuve encore plus accablante et dévastatrice si elle atteint un individu vulnérable qui manque de force psychique pour s’en relever.
16
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Artistic Involvements. Introduction

63%
Maziarczyk A., Rachwalska von Rejchwald J.
Lublin Studies in Modern Languages and Literature
|
2019
|
vol. 43
|
issue 1
FR
Le texte est l' introduction au volume thématique Littérature, politique, économie : convergences et interférences.
17
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Introduction

51%
Bowd G., Duffy H., Maziarczyk A.
Lublin Studies in Modern Languages and Literature
|
2015
|
vol. 39
|
issue 1
FR
Manque de résumés.
18
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À la recherche de la parole perdue : Solibo Magnifique de Patrick Chamoiseau

38%
Maziarczyk A.
Cahiers ERTA
|
2008
|
issue 1
21-27
19
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Enrique Vila-Matas ou le charme discret de l’érudition

32%
Maziarczyk A.
Cahiers ERTA
|
2011
|
issue 2
225-232
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