If we want to study the interrelation between literature and politics during the French Revolution, the case of Marie-Joseph Chénier –younger brother of the poet André Chénier– is illuminating: writer and politician from 1789 to 1804, M.-J. Chénier knew how to combine both roles and reflected abundantly on their relation. This research, therefore, analyses his lyrical work, in order to determine how the poet understood the social purpose of men of letters. To do so, it explores three themes developed by M.-J. Chénier in his poetry: the historical function of literature, the possibility for writers to rule and the dangers of a political literature. Finally, it examines how the author, as «poet of the Revolution», put his theory in practice.

In the last twenty years, there have been an increasing number of studies that broaden the scope of analysis from the literary text to the auctorial discourse, and from text to peritext. Thus, conceptual tools were created, such as the « author’s image », calling for a rethinking about the work’s process of recognition. We will examine the function of the media in Annie Ernaux’s trajectory, focusing on her media image, whose construction draws on the writer’s stereotypes in social imaginary. Despite the author’s controlling attempts, the media discourse imposes its interpretation of the work as a reflection of the writer’s psycho-social characteristics, avoiding the difficulties of literary critic and euphemising the political dimension of the texts.

This article presents the results of a mixed study that analyses the French subtitling of the cultural references that appear in the sitcom Paquita Salas. e objectives include identify-ing and classifying these references and detecting tendencies in translation techniques and methods (foreignising or domesticating). Two hypotheses are posed: that the referents will mainly relate to Spanish celebrities and that the majority will be foreignised. The results show a predominance of colloquialisms and foul expressions, and of mentions of Spanish celebrities or media products. e main technique is borrowing, so that, in general, the referents are maintained, which raises questions about the effectiveness of the translation in conveying its effect or function.

This article explores the educational potential of digital genres in FFL teaching, focusing on the creation of video curriculum vitæ (CV) by A2-level learners and trainee tutors. Through synchronous and asynchronous telecollaboration, it analyses how this practice fosters the development of linguistic, multimodal, and digital citizenship skills. Adopting a critical and multimodal approach, the study examines the integration of linguistic and technological skills in contextualised educational settings, highlighting their relevance for the linguistic and digital training of future teachers and FFL learners.

The coming-of-age novel has seen a renewed surge of interest in recent years, as evidenced by the success of Vernon Subutex, the trilogy by Virginie Despentes published between 2015 and 2017. Throughout the volumes, the protagonist, a former record store owner who has become homeless, is elevated to the status of prophet of a mysterious sect: Vernon’s rise is dazzling, worthy of the greatest heroes of 19th-century realist novels. However, it seems that he actually follows the opposite trajectory, that of a true unlearning. In an attempt to define by a process of successive elimination, we will explore to what extent the work under study fits within the tradition of the Bildungsroman, while also significantly deconstructing the tradi- tional codes of the genre

Tahitian Chantal Spitz gives women a central role in her work: from their role in the family and in society to that of victims of all kinds of violence as a way of showing all sides of the coin of what it means to be a woman. Her writing and the way she tell stories, mostly of suffering, bring the reader closer to realities that are far removed from the typical postcard depicting Tahiti and its islands. From her first work to her latest, Spitz gives women her pen and, therefore, the floor to speak about what, in Tahitian society, should not be said.

In modern literature, the inability to fully capture memory reflects the disintegration of the subject. The latter, navigating a fluid and unstable memory, strives to find stability by anchoring itself to solid references. This is notably illustrated in the works of Edmond Amran El Maleh, a Moroccan author writing in French. His texts emphasize fragmentation as a dom-inant feature, employing experimental techniques shaped by an imagination drawn toward obscurity. These techniques illuminate the past reality of the writer. For example, in Mille ans, un jour, the narrative structure prioritizes sensory subtleties. A lack of clarity, combined with an existence suspended between dreaming and hallucination, is channeled into a sensory memory that restores order to this fluidity.

In Les Furtifs, Alain Damasio imagines a near future where cities are reduced to privatized, hyperconnected spaces dominated by the sense of sight. Creatures born of sound, haunting the blind spots of human vision, the furtifs offer a different relationship with the living. ey embrace human movements, communicate through their words, and imbue them with ambiguity, like a rhythmic power that acts within language. In this article, I would like to discuss the poetics of rhythm at work in Damasio’s novel and to what extent this poetics can be thought of as an ecopoetics, that is, an art of renewing our way of perceiving non human nature through work on language.

Georges Horan-Koiransky, in Journal d’un interné. Drancy 1942-1943, makes a recur-rent use of images of real and fantastical animals to evoke his imprisonment. Two parallel and complementary perspectives, psychoanalysis and mythocriticism, shall provide the means for re-vealing and analysing the issues at stake. Psychoanalysis will enable us to establish a link between the use of figurative language and the post-traumatic stress disorders resulting from Georges’ imprisonment in the Police aux Questions Juives (PQJ) and the transit camps. Once we have examined the psyche of the diarist, a mitocritical approach based on Gilbert Durand’s suggestions on the imagination will enable us to reveal the presence of zoomorphic images in his apprehen-sion and interpretation of the universe within the walls of the places of imprisonment.