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1

La fable documentaire : Zola et l’Histoire

100%
Guermès S.
Romanica Wratislaviensia
|
2014
|
vol. 61
75 - 85
EN
In The Rougon-Macquart Emile Zola uses History as a framework for his cycle of novels. However, rather than in following the chronological order or in recounting the major events of the Second Empire, Zola is mainly interested in criticising the period in question. Referring to the reign of Napoleon III as a ‘closed circle,’ he strives to show that History repeats itself and that it has no meaning. In his last series, The Gospels, Zola precisely tries to recapture this meaning by underscoring the progress of humanity. But while history holds an important place from The Fortune of the Rougons through The Downfall to Rome, we must not forget that the novelist’s method also resembles that of a historian as both use documents which they select according to their importance and which they integrate into their discourse. Thus, the novel remains a ‘fable,’ that is to say, fiction, though it is still a documentary fable that guarantees its own historical veracity.
2
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La poésie de Philippe Jaccottet : réparer l’absence, « à la frontière de Dieu »

100%
Guermès S.
Quêtes littéraires
|
2012
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issue 2
101-115
EN
In 1961 Philippe Jaccottet wrote: "The best answer to all kinds of questions is the poem’s very absence of a response". In keeping with the elusive nature of the world, abandoned by the gods and by God, the poem remains mysterious, thus trans-lating as well as preserving the inexhaustible richness of Nature and human beings. So the poet not only accepts such a precarious situation, but learns from it. Nevertheless, when someone dear dies, the poet tends to deny the absence of the loved one and revolts against it, since there no longer are any signs of presence: merely incomprehensible absence. Yet he chooses to bear witness, even if he remains ignorant and weak. In effect, this is a duty: poetry provides a link which enables the separation to avoid becoming a definitive absence. Words are repairing shuttles.
3
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Le Jugement dernier de Léon Delmont : déplacements du sacré dans La Modification de Michel Butor

100%
Guermès S.
Quêtes littéraires
|
2013
|
issue 3
133-141
EN
The compartment in A Change of Heart is a secular space. However, the Sacred will gradually invade it through hallucinations of the narrator. Thus an unexpected and fantastic struggle led by the Pope, priests, cardinals, prophets and sibyls against Leon Delmont will cause a change of his initial decision, motivating and justifying the novel’s title.
4

« La scuola del rispetto » : Yves Bonnefoy e la traduzione di Petrarca

100%
Guermès S.
Roczniki Humanistyczne
|
2018
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vol. 66
|
issue 5: Neofilologia
7-21
IT
Yves Bonnefoy, il più grande poeta francese della seconda metà del Novecento, è stato anche traduttore, soprattutto di testi inglesi, tra i quali l’opera intera di Shakespeare. Alla fine della sua vita, dedicata in parte allo studio dell’arte italiana (Rinascimento, Barocco, arte moderna), ha tradotto ventiquattro sonetti di Petrarca. In questo articolo abbiamo lo scopo di mostrare la coerenza dell’opera di Bonnefoy. Ha sviluppato un’etica della poesia che comprendeva anche la traduzione, “scuola del rispetto” (verso l’autore del testo sorgente, nonché verso se stesso e verso i lettori). Ha scelto per la traduzione dei sonetti di Petrarca parole, ritmi, costruzioni di frasi che si trovano nelle sue poesie. La violenza e la teatralità di questi sonetti assomigliano a quelle di Douve o di Nell’ insidia della soglia. Ne consegue che mentre traduce fedelmente, collega i versi di Petrarca ai suoi, nella continuità della sua propria opera.
PL
Yves Bonnefoy, najsłynniejszy poeta francuski drugiej połowy XX wieku, był także tłumaczem. Przeważnie tłumaczył teksty angielskie, m.in. całą spuściznę Szekspira. Opracował, w esejach i wywiadach, swoją własną wizję tłumaczenia, a pod koniec życia poświęcił się po części badaniom sztuki włoskiej (renesans, barok, sztuka nowoczesna), przetłumaczył dwadzieścia jeden sonetów Petrarki. W tym artykule proponujemy ukazanie spójności pracy Yves’a Bonnefoy. Rozwinął on pewną etykę poezji, która obejmowała również przekłady, definiowana zaś była jako „szkoła szacunku” (wobec autora tekstu źródłowego, wobec siebie i wobec czytelników). Do swoich tłumaczeń sonetów Petrarki wybrał słowa, rytmy i frazy, które znalazł we własnych zbiorach wierszy. Przemoc i teatralność tych sonetów przypomina tę z Douve’a lub In the lure of the Threshold. W rezultacie, wiernie tłumacząc, łączy wersety Petrarki z własnymi, w ciągłości własnej pracy.
EN
Yves Bonnefoy, the most famous French poet of the second part of the XXth century, was also a translator. He mainly translated English texts, and among them the whole work of Shakespeare. He has developed, in essays and interviews, his vision of the translation, and at the end of his life partially dedicated to the study of Italian Art (Renaissance, Baroque, Modern Art), he translated twenty one sonnets of Petrarch. In this article we propose to show the coherence of the work of Yves Bonnefoy. He developed an ethics of poetry that also included translation, defined as “the school of the respect” (towards the author of the source text, towards oneself and towards readers). For his translation of Petrarch’s sonnets he chose words, rhythms, and phrases that were found in his collections of poems. The violence and the theatricality of these sonnets resemble those of Douve or In the lure of the Threshold. As a result, while translating faithfully, he links Petrarch’s verses to his own, in the continuity of his own work.
5
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Détruire le réel : « l’outrance de sève » du Paradou (à propos de La Faute de l’abbé Mouret, d’Émile Zola)

100%
Guermès S.
Cahiers ERTA
|
2013
|
issue 3
69-82
EN
Naturalism is based on the sense of Reality. But Zola broke this one in the second part of his novel La Faute de l’abbé Mouret, by the description of the garden named « Paradou ». As usual, he used numerous documents and he inserted lists of names (flowers, plants, trees) into his novel ; but the result is not the same as in the other novels containing lists of names of foodstuffs (Le Ventre de Paris) or clothes (Au Bonheur des dames). The reference vanishes because Zola often accumulates names of plants unknown although existing ; besides, he multiplies metaphors, so that it is impossible to visualize Paradou, which is a strange creation. The description of the garden distorts and even destroys reality but builds a poetic object.
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