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Institutul de teorie și critică literară G. Călinescu, Bucureşti

100%
Cofan A.
Studia Romanica Posnaniensia
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2014
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vol. 41
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issue 2
59-71
EN
We are trying in the following phenomenological approach to go on with our description concerning the grotesque in Romanian literature. In the first part of our work, we will make a short and diachronic review of the most important writings belonging to Romanian authors from the XIX-th century till the first decade of the XX-th century. It is then when a mysterious and shy Romanian writer, called URMUZ, gave birth to a few but influential literary pages of the absurd and the grotesque. In the second part of our work we will analyze the distinguishing traits of his ten works of prose through the mirror of the grotesque. This ignored Romanian writer was baptized “a new Alfred Jarry”, although he never had heard about this French author and never read about Ubu. The hidden influence of Urmuz unknowingly modernized the concept of literarity.
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SIGNS and MEANINGS: Pataphallics: Jarry’s Novels and Ityphallicism

100%
Rabaté J.-M.
Human and Social Studies
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2014
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vol. 3
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issue 2
80-89
EN
This article discusses Alfred Jarry as a precursor of French modernism. With a particular focus on Messaline, Roman de l’ancienne Rome (1901) and Le Surmâle, Roman moderne (1902), I analyse the subtle ways in which the past and the future are intertwined and Jarry’s philosophy of sexual excess. In both novels, the main characters seek a paroxysmal erotic pleasure from which they die after reaching world records in sex-making. Read together, the novels work to create a lemniscate, the symbol of infinity symbolically represented, in modernism, by the speeding bicycle. In both novels, sexual excess leads to a superhuman transformation of women and men into a rigid phallus, underlying which is the fantasy of bisexualism.
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La marionnettisation des personnages dans le théâtre francophone et polonaise du Vingtie`me Sie`cle

61%
Bocianowski C.
Prace Polonistyczne
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2016
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vol. LXXI
237-255
EN
This article is devoted to the use of the aesthetic of marionettes in twentieth-century theatre in Poland, French-speaking Belgium and France. Starting with the treatment of marionettes in Maurice Maeterlinck’s play Interior, the analysis of plays shows the function of the marionettisation of characters and how puppets inspire authors, on different levels, in the representation of metaphysical, political or social issues.
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