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Les Hors nature et La Jongleuse de Rachilde : entre le réalisme du « donner à voir » et la représentation de l’impossible

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Staroń A.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2016
|
issue 11
211-221
PL
Pełen obrazowych porównań styl Rachilde zachęca do przyjrzenia się występujących w jej powieściach hypotypozom. Ciekawe przykłady tej figury spotykamy w dwóch utworach: Les Hors nature i La Jongleuse. W obu przypadkach chodzi o sceny odważne erotycznie. Ze względu na cenzurę obyczajową Rachilde musi jednocześnie działać na wyobraźnię czytelnika siłą swoich obrazów, unikać jasnych sformułowań i uciekać się do sugestii. Liczne figury stylistyczne: elipsy, peryfrazy, metafory, zaburzają jasny przekaz, który, według Yves’a Le Bozeca, stanowi jeden ze składników hypotypozy. Artykuł stawia sobie zatem za cel omówienie budowy tej figury u Rachilde. - Z drugiej jednak strony wybrane sceny mają posłużyć jako demonstracja teorii miłości idealnej – niemożliwej – którą powieściopisarka zawarła w swoich powieściach. Wykraczając poza ramy teoretycznego dyskursu, bohaterowie reżyserują swoje wystąpienia na oczach zamarłych z oburzenia widzów. Ten rodzaj przestawienia teatralnego wzmacnia efekt hypotypozy, a reakcje świadków naocznych zastępują zwroty zachęcające do przyjrzenia się scenie, częste w hypotypozach teatralnych. Tego rodzaju połączenie ma głęboko wstrząsnąć czytelnikiem. - Ostatecznie warto się zastanowić, czy Rachilde, niezależnie od pierwotnych zamierzeń aksjologicznych, nie uległa pokusie prowokacji za pomocą szokujących obrazów i czy potęga stworzonych przez nią hypotypoz nie stanowi ostatecznie jednego z jej podstawowych osiągnięć.
EN
The style of Rachilde which abounds in picturesque comparison invites a reader to examine her use of hypotyposis. Two of her novels: Les Hors Nature and La Jongleuse offer particularly interesting examples of this figure, both of them mainly in erotically uninhibited scenes. Because of the bowdlerisation of the time, while impressing the reader's imagination with the power of images, Rachilde had to avoid clear wording and resort to suggestion. That’s why many rhetorical figures: ellipses, circumlocutions, metaphors blur the clarity of description, which according to Yves Le Bozec makes one of the formal features of hypotypose. The aim of this paper is to analyse the construction of this figure in Rachilde's literary output. - On the other hand, the scenes in question were designed to illustrate the concept of ideal love – the impossible one – that the novelist develops in her works. Crossing the limits of the theoretical discourse, the protagonists direct their own performances, watched by the stunned and outraged viewers. This way of presentation enhances the hypotypotique effect. The reactions of eyewitnesses replace the phrases designed to encourage the audience to observe the scene. Such phrases are common in theatrical hypotyposis. This interweaving is designed to impress the reader deeply. - However, the question arises whether Rachilde, despite her primary axiological intention, did not succumb to the temptation to provoke the public with shocking images, and whether the strength of her hypotyposis does not remain, in the end, one of her major achievements.
2
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Les Hors Nature de Rachilde : la querelle des nationalistes et des cosmopolites à la sauce décadente

100%
Staroń A.
e-Scripta Romanica
|
2016
|
vol. 3
63-74
EN
The central theme of Rachilde’s Les Hors Nature, written at the peak of French nationalism, is the confrontation between two nationalities, representing two cultures, two homelands and two personalities. The novel describes two opposite positions: a cosmopolitan one versus a traditional and historical one. Rachilde, despite her open anti-German declarations during the two World Wars, seems here inclined to much more moderate opinions. She does so in her own way, combining ideological statements with a wish to be original and provocative.
FR
Dans Les Hors Nature de Rachilde, la confrontation des deux nationalités qui signifient deux cultures, deux patries et deux caractères constitue l’axe central de ce roman, écrit au moment de la montée du nationalisme en France. Deux positions contraires sont décrites : la première relève du cosmopolitisme, dont la querelle se déroule en France précisément à cette époque, la deuxième se réclame d’une vision plus traditionnelle et historique. Rachilde, qui, à l’occasion des deux grandes guerres, manifestera bien ouvertement sa haine de l’ennemi, semble ici exprimer des opinions beaucoup plus modérées. Elle ne manque pas de le faire à sa manière, combinant aux réflexions idéologiques le désir d’originalité et de provocation.
3
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La critique littéraire de Rachilde : du texte comme prétexte

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Staroń A.
Academic Journal of Modern Philology
|
2023
|
issue 20
315-323
EN
For over twenty-five years, Rachilde regularly commented on approximately thirty novels a month, in the column she signed for the Mercure de France. Sometimes her readings concluded in opinions on novelistic aesthetics, sometimes she spoke out on social issues or other prevailing matters. Thus, the texts she read became pretexts for presenting opinions sometimes far from literary subjects. Considering Rachilde’s sulfurous reputation, it seems interesting to examine her point of view on morality. The article focuses on some specific points contained in this notion: the relationship between the sexes, marriage and divorce, prostitution, offspring.
4
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À la recherche de l’unité: les paradoxes bourgetiens

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Staroń A.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2012
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issue 007
73-91
EN
Paul Bourget was among the first theoreticians of decadence. He defined that phenomenon in “Charles Baudelaire”, one of the articles published in his "Essais de psychologie contemporaine". Our corpus consists of two volumes of "Essais" and the first volume of "Études et portraits". The aim of this paper is to present Bourget’s views and motivations, as they appear in the aforementioned texts, in order to establish his theories. As it appears, they are not free of inner contradictions. Bourget perspicuously examines the causes of melancholy in fin de siècle France: progress of civilization, individual autonomy and overcultivated intelligence. However, the solutions he proposes to these problems are incompatible with their causes. By pushing the secular and individualized society towards religion and unity, Bourget reveals his dogmatism. Long before his official recognition as a moralist (after publishing "Le Disciple" in 1889), he rejects the image of a distant thinker which seemingly emerges from his essays.
PL
Paul Bourget był jednym z pierwszych teoretyków dekadencji. Sformułowana przez niego definicja tego zjawiska znalazła się w artykule dotyczącym Charlesa Baudelaire’a, zamieszczonym następnie w dwutomowym zbiorze pt. "Essais de psychologie contemporaine". Wspomniane dzieło oraz pierwszy tom "Études et portraits" stanowią korpus niniejszej pracy. Jej celem jest wyłonienie stawianych w nich tez, odkrycie stojących za nimi motywacji i podsumowanie stanowiska Bourgeta, które, jak się okaże, jest niepozbawione wewnętrznych sprzeczności. Otóż ten inteligentny krytyk, który w swoich analizach trafnie wskazuje źródła melancholii tak powszechnej we Francji u schyłku XIX wieku – przemiany cywilizacyjne, rosnąca niezależność jednostki w społeczeństwie, coraz większy wysiłek umysłowy połączony z brakiem aktywności fizycznej – próbuje jednocześnie wskazać rozwiązanie tych problemów sprzeczne z ich przyczynami. Wytyczając wąską i pozbawioną alternatyw ścieżkę, którą coraz mocniej zlaicyzowane i zatomizowane społeczeństwo miałoby pójść ku religii i jedności, Paul Bourget daje dobitny dowód swego dogmatyzmu. Na długo przed oficjalnym zajęciem pozycji moralisty (po publikacji powieści "Uczeń" w roku 1889) zaprzecza obrazowi zdystansowanego myśliciela, który na pozór wyłaniał się z jego tekstów krytycznych.
5
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Courage, honneur, fidélité. Portrait du soldat napoléonien dans le roman de la fin du XIXe siècle : Georges d’Esparbès et quelques auteurs polonais

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Staroń A.
Cahiers ERTA
|
2020
|
issue 22
53-68
EN
The legend of Napoleon I, particularly vivid in France and Poland throughout the nineteenth century, begins to support, at the end of this period, the naPonalist or independence propaganda, reflecting the political situation in each country. The portraits of Napoleonic soldiers, presented in Les Demisolde by Georges d'Esparbès and in a couple of novels written by Polish writers of the same time (Gąsiorowski, Przyborowski, Przerwa‐Tetmajer, Morawska), carry great similarities which this paper intends to analyse. Above all, one may observe nostalgia for the glorious past, dignity despite material difficulties, sense of courage, attachment to the notions of honour and duty going beyond death.
6
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Aux limites du récit. Dans le puits de Rachilde

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Staroń A.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2022
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vol. 17
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issue 1
67-78
EN
The article deals with the image of crisis as it is presented in Rachilde’s autobiographical text Dans le puits, written during the First World War. The book offers an insight into the author’s perception of the war, of the fear and of the impossibility of fiction during this time of traumatic reality. Rachilde, usually a prolific writer, who has always produced at least one fiction a year, finds herself silenced, unable to speak up about the cruelty of war. Dans le puits is her only longer publication of that time, an attempt to relate the facts through her subjectivity, in order to discover their true meaning.
FR
L’article présente l’image de la crise telle qu’elle émane de Dans le puits, texte à valeur autobiographique écrit par Rachilde durant la Première Guerre mondiale. Le livre donne accès à la perception qu’a l’auteure de la guerre, de la peur et de l’impossibilité d’écrire de la fiction en ces temps de réalité traumatique. Rachilde, d’habitude écrivaine prolifique, qui a toujours écrit au moins une œuvre de fiction par an, se trouve réduite au silence, incapable d’exprimer la cruauté de la guerre. Dans le puits est sa seule publication un peu longue de cette époque, en même temps qu’une tentative de décrire les faits à travers sa subjectivité, afin de découvrir leur vraie signification.
7
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Z dziejów bowaryzmu we Francji

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Staroń A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
27-42
EN
The first mention of the term “bovarism” appears shortly after the release of Flaubert’s novel, but the modern definition: “to perceive oneself differently than one is in reality”, was coined by the philosopher and critic Jules de Gaultier. He made bovarism the center of his concept of the modern man, or even of the modern society, and he dedicated 20 years of his life to its analysis. With time, he grew to understand that it was not only a pathology, but also the moving force of human actions. Many other researchers pursued the topic of bovarism after Gaultier, both in literature and in medicine spheres. Today the concept is still popular and used not exclusively in literature, but also in social and political meaning.
8
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Le Mordu de Rachilde : une (r)évolution plus qu’esthétique

100%
Staroń A.
Cahiers ERTA
|
2018
|
issue 15
155-171
EN
The objective of this study is to analyze the transition from one period of Rachilde’s creation to another, which is represented by her novel Le Mordu (1889). While saying goodbye to a form of expression that seems obsolete, the novelist indicates directions to take. She also presents the dilemma of artistic compromise versus pure art. Thus the terms of revolution and evolution find their meaning: in relation to the intransigence of the artistic principles which, during the course of life, switch to morally dubious mercantilism. The meaning of these two terms is examined not only in the context of Rachilde’s novel, but also in relation to her own choices.
9
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À rebours et L’oblat de Joris-Karl Huysmans: entre décadence et spiritualité

100%
Staroń A.
Hereditas Monasteriorium
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2014
|
vol. 4
107-123
EN
Like many other French writers at the turn of the 20th century Joris-Karl Huysmans was part of the wave of conversions to Catholicism that spread through France at the time. His case stands out, however, because it is documented in exceptional detail. The writer devoted a cycle of four novels to the topic: Là-bas (1891), En route (1895), La Cathédrale (1898) and L’oblat (1903). Their main protagonist, Durtal, gradually finds faith. Yet already in Huysmans’ previous and best known novel, À rebours (Against the Grain, 1884), we find the first manifestations of his interest in religion, particularly in monastic life. The first aim of the present article is to compare two stages – the initial and the final – of a process of rediscovery of one’s spirituality presented in À rebours and L’oblat (The Oblate). Another important issue is the vision of the Benedictine Order emerging from the latter. The author’s description of the order, the material and spiritual manifestations of its existence, is presented against the background of unrest associated with the introduction of laws concerning religious congregations in the early 20th century. The whole is filtered through the protagonist’s consciousness. Huysmans enumerates the tasks facing the Benedictines, largely relating to renovation of religious art and preservation of its existing works. At the same time he emphasises the special role that could be played in this process by oblates like Durtal, his alter ego. However, these aspirations are constantly confronted with reality, which appears increasingly dark and in the end prevents the protagonist from achieving his noble visions. This has a big influence on his pessimistic view of the world and spread of decadent elements to the spiritual sphere, which – one would think – should be free of them. On the other hand, it is clear that regardless of the external circumstances Durtal will always carry some part of des Esseintes’ personality: the decadent continues to live in the oblat.
10
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Rachilde et la vocation de l’écrivain

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Staroń A.
Cahiers ERTA
|
2023
|
issue 34
189-205
EN
What is Rachilde’s vocation? Could her life have taken another course rather than the literary way? According to what she declares in her autobiographical or semi-autobiographical texts, it turns out that this profession, chosen consciously in her early years, had saved her from madness. Drawing inspiration from the psychoanalytical observations contained in Catherine Millot’s book La Vocation de l’écrivain, the present study attempts to establish the sources of the literary career chosen by Rachilde, her own ways of exercising it and the point of achievement that she could reach by accomplishing certain choices. For Rachilde, there is no enjoyment outside of writing.
11
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Avant-propos

75%
Staroń A.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
|
2018
|
issue 13
5-6
12
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Avant-propos

63%
Staroń A., Lévêque L.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
|
2022
|
vol. 17
|
issue 1
5-8
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