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1
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Nouvelles approches de la ville dans la littérature française contemporaine : Thomas Clerc et Philippe Vasset

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Lis J.
Studia Romanica Posnaniensia
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2012
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vol. 39
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issue 2
99-109
EN
On the basis of two indecidable texts (Thomas Clerc, “Paris, musée du XXIe siècle. Le dixième arrondissement”, Gallimard 2007 and Philippe Vasset, “Un livre blanc”, Fayard 2007), we will reflect on new approaches to the city in contemporary French litterature. Clerc and Vasset, in their respective texts, suggest considering litterature as a series of practices connected with the exploration of the city (Clerc) and of the urban area (Vasset) according to the idea of an arbitrary itinerary. The image of the city whose space, subject to a permanent process of museifi cation, is constantly considered to be a work of art (Clerc) contrasts with a project of viewing the deserted areas of the city and of its surroundings as an infinite collection of “artistic installations” created in daily life (Vasset). Clerc’s and Vasset’s artistic mentality leads them to the fascination with “works of involuntary art”, both concrete signs and tangible proof of the transitional period which they try to describe systematically, following, at the same time, the principles of an axonometric city map.
FR
On the basis of two indecidable texts (Thomas Clerc, “Paris, musée du XXIe siècle. Le dixième arrondissement”, Gallimard 2007 and Philippe Vasset, “Un livre blanc”, Fayard 2007), we will reflect on new approaches to the city in contemporary French litterature. Clerc and Vasset, in their respective texts, suggest considering litterature as a series of practices connected with the exploration of the city (Clerc) and of the urban area (Vasset) according to the idea of an arbitrary itinerary. The image of the city whose space, subject to a permanent process of museification, is constantly considered to be a work of art (Clerc) contrasts with a project of viewing the deserted areas of the city and of its surroundings as an infinite collection of “artistic installations” created in daily life (Vasset). Clerc’s and Vasset’s artistic mentality leads them to the fascination with “works of involuntary art”, both concrete signs and tangible proof of the transitional period which they try to describe systematically, following, at the same time, the principles of an axonometric city map.
2
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Pour une biographie imaginaire d’Arthur Rimbaud

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Lis J.
Lublin Studies in Modern Languages and Literature
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2014
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vol. 38
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issue 1
EN
Arthur Rimbaud’s animated and enigmatic life has never stopped intriguing the later generations. The unsatiated curiosity about the details of his past as a poet and adventurer is at the origin of the creation of the texts that exploit some known, often stereotyped, biographical elements, or use as the basic argument such or another fragment of the biography to change its meaning or to immortalize a myth which is forming from one generation to another. The idea is to demonstrate that the attempts to reconstruct Rimbaud’s biography often go through the fascination of the mystery, the hidden, the original or the unspeakable to offer to the reader a second life of the poet, more attractive and richer in interpretations. The imaginary biography, be it partial or complete, allows the author to pass on the essential element of his biographical query, to update the myth of the poet and, finally, to speak about himself.
FR
l' article ne contient pas résumés dans cette langue
3
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Ranger le monde. 'Féerie générale' d’Emmanuelle Pireyre

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Lis J.
Studia Romanica Posnaniensia
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2013
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vol. 40
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issue 4
23-32
EN
To describe the world and to put some order into our contemporaneity, Emmanuelle Pireyre gathered in his novel titled Féérie générale (2012) numerous examples of situations that are symptomatic of the reality of the last years. Written in a way that highlights all the nuances of everyday life and interspersed either with the narrator’s opinions on modern society, or with dreams, extracts of electronic notices, anecdotes, or even with the presentation of a collection of kisses, the stories summarize the discontinuous and complex world. Denouncing the aberrations of society, the narrator confronts the clichés and the ideas people do not have time to think about, suggesting that we see in this world only the beautiful things, love and happiness, feelings considered futile by the thinkers and the creators. In this collection of magic things, Pireyre invites at the same time the readers to distance themselves from the disorder of the world and to live on a kind of islands of happiness.
4
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Avant-propos

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Lis J.
Studia Romanica Posnaniensia
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2013
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vol. 40
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issue 4
3-4
FR
Słowo wstępne redaktora naukowego, przedstawiające tematykę tomu, krótko omawiające zebrane artykuły oraz opowiadające o pracach naukowych, których numer XL/4 Studia Romanica Posnaniensia jest efektem.
5
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«Il faut que j'explique tout ça». Éléments pour une approche sociologique de l'œuvre d'Annie Ernaux

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Lis J.
Studia Romanica Posnaniensia
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2004
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vol. 31
59-68
EN
Annie Ernaux's works, treated by critics as autobiographical, are an original undertaking at writing, which consists in the incessant search of balance between that which in man's life appears as obvious and clear and that which remains mysterious, disturbing and incomprehensible. The awareness of the dichotomy of the surrounding world and people is a germ of the creative project in the triple perspective - existential, literary and sociological.
6
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La lettre écrite á soi-méme dans la pratique diaristique

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Lis J.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2000
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issue 001
207-217
PL
Badając dzienniki pisarzy francuskich, autor zauważył pewną analogię między stylem pamiętnikarskim i epistolarnym. W obydwu przypadkach mamy do czynienia z potrzebą komunikowania, czyli przekazywania pewnych treści od nadawcy do odbiorcy. Z perspektywy formalnej, semantycznej czy też funkcjonalnej podobieństwo to jest uzasadnione, gdyż odpowiada modelowi dialogu. Charakter dialogu, który występuje w liście i w dziennikach nie jest jednakże tej samej natury. List implikuje przepływ informacji od piszącego do jednego lub wielu konkretnych adresatów (list prywatny lub list otwarty), podczas gdy dzienniki pisane są często do szuflady. Autor stawia sobie pytanie, czy rzeczywiście zapiski pisarzy, które nie poszukują odbiorcy uczestniczącego w wymianie informacji mogą brać udział w akcie komunikacji. Oprócz odbiorcy realnego istnieje przecież jeszcze adresat wyimaginowany, co potwierdza teoria Karla Vosslera, według której wystarczy jedna osoba, aby mógł zaistnieć dialog. Monolog byłby więc najdoskonalszą formą dialogu. Dziennik nie potrzebuje odbiorcy, a jednak trudno odmówić mu cech dialogu. Autor wyróżnia dwa typy odbiorców dzienników: odbiorcę fikcyjnego (sam autor, wymyślona osoba czy też dziennik, który staje się intymnym rozmówcą pisarza) i odbiorcę realnego (czytelnik opublikowanego dziennika). Pierwszy typ odbiorcy, pomimo rozróżnień, można sprowadzić do samego autora, ponieważ pisarz prowadząc dialog ze swoim dziennikiem rozmawia ze sobą. Listy, które adresuje do wymyślonych postaci, są listami do niego samego.
7
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Le récit biographique face à la grande Histoire : « Les éblouissements » de Pierre Mertens

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Lis J.
Studia Romanica Posnaniensia
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2012
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vol. 39
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issue 1
69-79
EN
Pierre Mertens’ novel Les éblouissements, published in 1987, is a fictionalised biography of a famous German poet Gottfried Benn, who made the biggest mistake of his life agreeing to support the National Socialist regime during several months. Mertens reconstructs the poet’s life trying to understand the reasons of his commitment, considered by the intellectuals of that time to be a betrayal. Mertens’ text is an illustration of the relationship between the individual and the historical past and, at the same time, an example of problemising the biographical factor in relation to Great History. Playing with the double signification of the word ‘éblouissement’, the novelist offers his own interpretation of the German poet’s double life.
8
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Le journal personnel en tant que dispositif critique et didactique

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Lis J.
Studia Romanica Posnaniensia
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2001
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vol. 28
117-130
EN
An intimate diary is not only and exclusively spontaneous form of writing on personal themes, but may also appear as an instrument of critical reflection, and as a didactic aid. On the example of scientfic works of Philippe Lejeune and a handbook for pupils who have learning difficulties, the author analyses directions of development of this form of autobiographical recording and possibilities of using a diary in domains other than writing literature.
9
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Beckett et les mots de l’affect

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Lis, J.
Studia Romanica Posnaniensia
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2003
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vol. 29
22-29
EN
The subject o f this article is analysis o f Beckett’s affective language in his play Comment c ’est. The author shows similarity o f many o f the playwrights procedures to Ludwig Wittgenstein’s philosophical conceptions.
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