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Nouvelles sources de la peur dans le récit néofantastique de Jean-Pierre Andrevon

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Gadomska K.
Romanica Silesiana
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2016
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vol. 11
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issue 1
FR
The purpose of this article is to present new sources of fear in short fantastic stories of Jean-Pierre Andrevon. First, it is necessary to underscore the anxiogenic role of the Uncanny – the malaise born out of rupture in everyday life which was once reassuring. The paper discusses the discourses of space and body – both origins of the Uncanny penetrate each other, become in the indubitable report, follow the reciprocate, often regressive dynamic. The familiar space metamorphoses into the space of a scary and distended geometry; the healthy, normal body transforms into a strange and alien one; the fragmentation of the body designates the disintegration of the familiar space. In brief, short fantastic stories of JeanPierre Andrevon emphasize particularly the isotopic acuity of the fragmentation of the body and the fragmentation of the space. The topic is analyzed using psychoanalysis and, especially, psychoanalytic terms like the Uncanny, the return of the repressed and the mirror stage. Key words: fear, Uncanny, psychoanalysis, space, body, fantastic literature, Jean-Pierre Andrevon
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Wybrane francuskie teorie fantastyki a ich recepcja w Polsce

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Gadomska K.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2021
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vol. 9
76-94
EN
The purpose of this article is first to discuss the most well-known French theories of fantastic literature, and second, to describe their reception in Poland. The origins of the French fantastic as a controversial trans-generic genre are presented. Furthermore, the article examines the restrictive attempts to define the genre in the 1950s–1970s in France (by Castex, Caillois, Vax, Todorov), as well as the subsequent efforts of critics (Andrevon) to redefine the genre and return to the widest trans-generic perception of the fantastic. Then, it illustrates various attempts to interpret French theories in Poland (using the example of Lem’s and Niziołek’s works). The conclusion emphasizes that it is possible for these two simultaneous critical discourses, originating from the Polish and Romance tradition, respectively, and defining the fantastic in very different ways (the wider versus the restrictive approach), to reach a consensus in Poland, thanks to recent attempts to reform the theory of the fantastic in France.
PL
Celem artykułu jest omówienie, w pierwszej jego części, najbardziej znanych francuskich teorii literatury fantastycznej, w części drugiej zaś pokazanie ich recepcji w Polsce. Przedstawiono zatem początki fantastyki francuskiej jako kontrowersyjnego gatunku transgenologicznego. Zaprezentowano następnie restrykcyjne próby definicji gatunku od lat pięćdziesiątych do siedemdziesiątych XX wieku we Francji (Castexa, Caillois, Vaxa, Todorova), a także późniejsze wysiłki krytyków (Andrevona) zmierzające do redefinicji gatunku i powrotu do jak najszerszego, transgenologicznego postrzegania fantastyki. Potem zilustrowano różnorodne próby interpretacji francuskich teorii w Polsce (na przykładzie prac Lema i Niziołek). W konkluzji podkreślono, że istnieje możliwość, by te dwa symultaniczne dyskursy krytyczne w Polsce, wywodzące się odpowiednio z tradycji polonistycznej i romanistycznej, definiujące fantastykę w sposób bardzo różny (ujęcie rozszerzone versus restrykcyjne), osiągnęły jednak konsensus dzięki ostatnim próbom reformy teorii fantastyki we Francji.
3
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Le chronotope dans les récits de H. P. Lovecraft

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Gadomska K.
Studia Romanica Posnaniensia
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2004
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vol. 31
35-48
EN
The name of Jean Schlumberger. the founding member of «Nouvelle Revue Française», which appears at times in Marcel Proust's letters, illustrates well the possibilities that the writer's correspondence opens up for a researcher, who wants to recreate his line of reasoning and creative process. Jean Schlumberger and his cousin Gustave at first seem to appear in literary circles known to Proust as quite negative figures, whose views on almost every subject he did not share. Gradually, however, the author of La Recherche revises his stance and as a result of his contact with Schlumberger he rewrites different fragments of his novel cycle, especially one episode of Sodome et Gomorrhe and some theoretical passage of Temps retrouvé. Only the reference to the letters enables us to perceive the mysterious way leading from sociological surface to the depth of creative process.
4
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Le fantastique clinique dans les récits de l’étrangeté psychique de Guy de Maupassant

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Gadomska K.
Studia Romanica Posnaniensia
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2001
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vol. 27
11-23
EN
The present work is a study of the clinic fantastic literature in the short stories by one of the most famous 19th century authors Guy de Maupassant. In 19th century the tendency to reject the traditional fantastic literature consisting in unexpected and sudden interference of the supernatural powers into the real world.
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La nouvelle fantastique au XXe siècle: le charme trouble du mystère et du non-dit

100%
Gadomska K.
Romanica Silesiana
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2006
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vol. 1
6
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Le néofantastique : entre la transgression et l’esprit conservateur

100%
Gadomska K.
Romanica Silesiana
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2010
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vol. 5
FR
The néofantastique (neo-fantasy) literature abounds in representations of transgressions, be it moral, religious, and social. This literary genre often deals with crimes, pornography, cannibalism, necrophilia, etc. Because the new fantasy literature breaks various cultural taboos, many critics perceive it as a genre liberal par excellence. However, there are also conservative, or didactic, works inscribed in the genre in which all transgressions are punished by the death of the transgressor. This study analyzes this ambiguity of the néofantastique on the basis of a number of short stories in the French language by various Belgian and French authors. Key words: Fantasy literature, new fantasy, (néo)fantastique, transgression, taboo, fear, ambiguity, short fiction, the uncanny.
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Les techniques anxiogènes dans le cinéma d’horreur et dans la littérature d’épouvante : échanges, parallélismes, passages. (Sur l’exemple de la prose de Jean-Pierre Andrevon)

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Gadomska K.
Cahiers ERTA
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2017
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issue 11
403-420
EN
According to common opinions, horror films are the art of monstration par excellence, whereas horror fiction is based on ambiguity and the unsaid. The purpose of this article is to show that this statement is false. In order to evoke the feeling of fear in the reader/viewer, horror films and fiction remain in a fruitful and permanent dialogue: this is reflected in many exchanges used in anxiety‐provoking techniques that are analysed in this article. The structure elements of scary texts and films are recurrent. My study aims to demonstrate that, on the one hand, both literary and cinematic gore are based on hyperrealism of massacre scenes/descriptions/close‐ups, preferably exteriorized parts, figurative narrative structures and visual hyperbolization. On the other hand, however, both horror films and fiction play with ambiguity and off‐screen scenes, building up the anxiety‐provoking structure. This ongoing interdisciplinary dialogue enriches the literature and the cinema – protean and ever‐changing.
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Querelles des fantastiqueurs : le problème des motifs fantastiques polyvalents et de leurs anastomoses à l’exemple de Lokis de Prosper Mérimée

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Gadomska K.
Romanica Silesiana
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2012
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vol. 7
FR
The present paper discusses the theme of quarrels between critics of fantastique literature. It focuses on quarrels concerning the lists of supernatural topics as well as one about the interpretation of the topic of Lokis of Prosper Mérimée. Key words: Fantastique, quarrel, supernatural, list, topic, vampirism, lycantropy.
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Le gore : du cinéma à la littérature

100%
Gadomska K.
Romanica Silesiana
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2008
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vol. 3
PL
The gore is a modern supernatural where the blood is the most important element. This phenomenon of the pop culture is born in the cinema with wave of the slasher movies and, later, he’s coming in the literature of supernatural, named also the mainstream horror. The constituent elements of the gore there are:- the mad serial killer in the mask,- the space of a giant city,- the blood and the terror,- the extreme cruelty (the murders, the tortures etc.).The present study is analysing of these elements in the movies and the French short stories gore. Key words: Gore, mainstream horror, blood, mad serial killer, modern supernatural, urban legends, terror, slasher movie.
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Le néofantastique : un jeu avec le fantastique traditionnel ?

100%
Gadomska K.
Romanica Silesiana
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2009
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vol. 4
FR
The traditional fantastic literature of the nineteenth century is a genre par excellence codificated. The present study indicates how the new fantastic literature of the twentieth and the twenty-first century plays with these codes and with the customs of the traditional reader. This work discusses the literary games, very diversified, on the level of the content (the modifications of the traditional fantastic motives, for example the motif of a ghost or of a vampire) and on the level of the form (the new techniques of writing versus the traditional techniques of the literature referring to the supernatural). The present study analyses the short stories by writers writing in French, for example Rémi Karnauch, Jean-Pierre Andrevon, Stéphanie Benson, Pierre Pelot, Yves and Ada Rémy, and Jean-Pierre Bours. Key worda: Tale of twilight, the supernatural, horror, fear, ghost, vampire, game.
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Aleksandra Komandera : « Le Conte insolite français au XXe siècle » Katowice, Wydawnictwo Uniwersytetu Śląskiego, 2010, 317 p., ISBN 978-83-226-1927-8

88%
Gadomska K.
Romanica Silesiana
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2011
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vol. 6
12
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Le fantastique et le phénomène des livres que l’on n’a pas lus : le cas de Qu’était-ce de Fitz James O’Brien et du Horla de Guy de Maupassant

75%
Gadomska K.
Cahiers ERTA
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2011
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issue 2
169-176
13
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Sur quelques figures diaboliques choisies dans le récit fantastique de Théophile Gautier

50%
Gadomska K.
Kwartalnik Neofilologiczny
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2013
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issue 4
14
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Mot de la Rédaction

26%
Gadomska K., Jarosz K.
Romanica Silesiana
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2016
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vol. 11
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issue 1
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