This article examines the writings of European contemporaries (primarily diplomats and travelers who visited the Crimean Khanate and the Ottoman Empire during the period under review) on the specifics of the Girays’ status with the Ottomans in the 18th century. The article analyzes the notes of French authors–diplomats and writers A. de La Motraie, A. Jaworki, F. Tott, C.-C. de Peyssonel, A. de Vergy du Vernoy, C. de Bar; the Englishmen D. Motley, W. Eaton, W. Tooke; and the Dutchman N.-E. Kleeman. In the last century of its existence, the Crimean Khanate increasingly came under the influence of the Ottoman Empire, but it was towards the end of its existence that it gained official independence (as a result of the Treaty of Küçük Kaynarca). The author intends to trace the evolution of the Khanate’s status in relation to the Ottoman Empire as it was presented by foreign contemporaries, to identify the most common observations, as well as stereotypes and errors that were characteristic of European authors, many of whom uncritically used the materials of their predecessors.

The paper deals with the topic of refugees in three prose works by the following authors: Avant que les ombres s’effacent (Before the Shadows Dissipate) by the Haitian writer Louis-Philippe Dalembert, Où passe l’aiguille (Where the Needle Fits) by the French author Véronique Mougin and Symfonie o novém světě (Symphony of the New World) by the Czech writer Lenka Horňáková-Civade. The study aims at a comparative and transcultural analysis of the key attributes with which exile and traumatic departure from the dynamically changing Central Europe of the mid-20th century are associated. Further, attention is paid to representations of the trauma of wars and conflicts as well as geopolitical transformations in order to compare literary techniques and practices in the (re)mediation of cultural, national or ethnic identities and their memory. Finally, the paper deals with the construction of the image of the other, the alterity, the new exilic home through the individual perspectives of the protagonists of each novel.

Considering that toponymy has been a growing area of interest in Brazil and that many academics lack a deeper understanding of the origins and development of this field, the aim is to outline a concise historiography of toponymy, with emphasis on its roots in the French tradition and the influence of pioneers in this area in Brazil, particularly in the context of the University of São Paulo and the French mission. To this end, a historiographical and bibliographical research is conducted, structured around a critical review of the literature and the analysis of historical documents, aiming to construct a timeline that links the main French authors to the first toponymy and anthroponymy congresses in the world. This research highlights how toponymy has evolved into a multidisciplinary and sociopolitical field, reflecting the complex spatialized power relations embedded in place names. It concludes that understanding the lexical dimensions of toponyms and adopting an integrated approach involving multiple disciplines are fundamental for a more comprehensive and contextualized analysis of this field.

The essay studies a kind of autofictional writing “against” documents through the example of French author Chloé Delaume. It begins with a brief survey of the use of documents in contemporary self-writing, which can be framed as “writing with”. In Delaume’s case, in contrast, the autofictional writing consciously turns against the biographical data displayed on the identity card, which represents the imposition of the external reality on the perception of the self. A final part of the essay distinguishes this stance from that of authors (Duras, Valéry) who, while similar in themes, completely ignore the document, writing “beyond” it.

This article aims to investigate how Daniel Barbu read the work of nineteenth-century French authors who sought to harmonize liberal political views with religious ones: Alexis de Tocqueville, Henri Lacordaire, and Charles de Montalembert. In his last book entitled Pia libertas. Despre formele politice ale libertății creștine (Pia libertas. On the Political Forms of Christian Liberty), the French Catholic liberal movement is analyzed as a “belief made possible by freedom” (Daniel Barbu), but also in its differences compared to the “old” eighteenth century liberal thought. In the context of the relationship between faith and freedom, the three French thinkers argue that “the advent of democracy” would make the “impénitence libérale” even more necessary in front of the danger of modern despotisms. In the nineteenth century, the Christian advocacy for freedom was carried out in the name of an equal freedom and expressed the belief in a democracy that should not be transform into an “apotheosis of the sovereign reason of the sovereign people” (Charles de Montalembert). Daniel Barbu is one of the contemporary political thinkers who sheds light on essential issues of liberal Catholic thought.

Starting with a common approach, which consists in writing a book with words recorded by the author, this article examines the attempts of two contemporary French female authors at rendering voices and accounts collected from people in socially and psychologically vulnerable situations. In Fragmentation d’un lieu commun (2003), Jane Sautière records her memories of encounters with prisoners during her work as a prison social worker; in Rouge pute (2018), Perrine Le Querrec renders the voices of domestic violence victims she met at a community centre. The aim is both to highlight the listening practices shared by these authors (ways of meeting people, recording what they say, adjusting the author’s position in relation to the collected voices) and to emphasize the uniqueness of the poetic choices made, which depart from a raw transcription of the collected words in favour of fragments for Sautière and poetic rendering in verse for Le Querrec. Comparing these two books of voices allows us to gauge the shifts in a literary approach to listening over the course of two decades, highlighting the different terms of the authors’ commitment.

At a time when German Romantic literature was first gaining popularity in France, Hoffmann was still a virtually unknown author, even in Germany. As a result, his work entered French cultural consciousness relatively late, but it left a lasting mark. In this context, we are particularly interested in the thesis, already present among 19th-century French authors (Gautier, Ampère), that Hoffmann’s popularity with French readers is linked to his keen sense of observation and description of everyday life. According to this interpretation, Hoffmann’s short stories and fantasy novels, rooted in reality, are an example of marvellous realism. We are also interested in the thesis that Hoffmann’s fantastical writings are in fact the precursor of science fiction, and in this regard, in the affinities between E.T.A. Hoffmann and Honoré de Balzac. Like Hoffmann, whose fantastical stories almost always offer the reader a scientific, or at least pseudo-scientific, explanation for unusual phenomena, Balzac, a pioneer of the realist novel, felt a strong attraction to the fantastical on the one hand, and on the other hand, a great respect for science and a particular fascination with pseudo-science, such as F. A. Mesmer’s theory of magnetism. In addition to the short story L’Élixir de longue vie (The Elixir of Long Life), which could almost be considered a plagiarism of Hoffmann, the novel La Peau de chagrin (The Magic Skin) is undoubtedly the most Hoffmannian of Balzac’s texts. We also discuss the biographical reading of Hoffmann’s work, which is particularly characteristic of 19th-century France. This reading, according to which Hoffmann is the hero of his own works, gave rise to the dramatic text Hoffmann’s Tales by Jules Barbier and Michel Carré, produced at the Théâtre de l’Odéon in 1851, which also served as the basis for the libretto of Jacques Offenbach’s opera, produced at the Opéra-Comique in 1881. Hoffmann first became known in France thanks to the translations by François-Adolphe Loève-Veimars, published between 1829 and 1837. But it was mainly thanks to Offenbach’s opera that Hoffmann became so deeply rooted in French, European and even German cultural consciousness. In addition to countless theatrical productions, the opera Hoffmann’s Tales has been the subject of several film adaptations, the most important of which is probably the 1951 film by Powell and Pressburger. The theme we would like to address is some of the transformations that Hoffmann’s text undergoes as it moves from one language to another, from one culture to another, from literature to opera, and from opera to cinema. While the dramatization and the resulting opera place strong emphasis on the biographical element (the poet Hoffmann as a dramatic hero), Michael Powell and Emeric Pressburger’s film version emphasises the theatrical aspect. The filmmakers retain the fundamental nature of Hoffmann’s literature, the explainability of the fantastic. However, viewers of their film will no longer find explanations for the unusual events in science, pseudo-science or science fiction, nor in psychology, more specifically in the psychological profile of the main character. For Powell and Pressburger, the fantastical elements in Hoffmann’s tales are the result of a theatrical illusion and are therefore a phenomenon specific to the theatrical space.

The subject of the research is the genre-specific characteristics of fictionalized biography in the 21st-century graphic novel. The material of the study is the book by French authors Anna Martinelli, Guillaume Lebo, and Alexandre Franck, "Agatha: The True Life of Agatha Christie" (Agatha: La vraie vie d’Agatha Christie, 2014). This work is analyzed in terms of identifying traditional genre dominants of the biographical genre, as well as the specifics of visual literature, which includes the graphic novel. The focus on the graphic novel genre also determines the relevance of the study, which is based on considering the chosen work as an example of the specified visual literature that enjoys notable popularity today. Thus, the aim of this research is to analyze the fictionalized biography of the "queen of detective fiction" and to identify its specifics within the graphic novel genre. The research employs biographical, comparative, and intermedial methods of analysis that allow for the identification of the specifics of fictionalized biography in the graphic novel genre. The scientific novelty of the work lies in the fact that the graphic novel by A. Martinelli, G. Lebo, and A. Franck is studied for the first time in terms of revealing genre synthesis: the biographical element is combined with the genre of detective fiction, inseparable from the image of Agatha Christie. For this reason, the French authors add a detective component to the graphic narrative. By referencing the autobiography of the English writer and creating a nonlinear narrative based on it, focused in the first part of the book on Christie's famous disappearance after her separation from her first husband, the French authors turn the heroine's life into a kind of myth, where she overcomes challenges through her creative work. The results of the research may be further utilized in studies of the image of Agatha Christie in world literature as well as in the analysis of the biographical genre in graphic narratives.

European Journal of Emergency Medicine: Remarkable editorial trajectory with French authors at the forefront

The present study seeks to characterise French language SME research by comparing it with equivalent efforts published in English language reviews. It conducts towards this end an analysis of studies containing the French expression “PME” and/or the English term “SME” in article abstracts published from 2013 through 2024. 520 of the articles in question were written in French versus 5,406 in English, involving a total of 11,430 different authors. The ensuing analysis was produced by a network of co-authors based on a remarkable identification of vocabulary categories. The findings indicate a limited interaction between French and English language researchers and authors. It would also appear that the themes covered vary noticeably depending on whether an article has been written in French or English. _x000D_

Colette Peignot (1903–1938), long known primarily under the pseudonym Laure, was a French author who, during her lifetime, published only articles, reviews, and a translation; all her most important writings appeared posthumously. This article examines the reception of her work which was and remains marked by the perspective of men who created it. Drawing on testimonies, archival debates, and feminist readings, it contrasts the myth of “Laure,” shaped by male authors, with the intrinsic value of her writing. Peignot’s reluctance to publish is explored in light of her pursuit of authenticity, fear of misunderstanding, and aversion to “literature”. The study highlights how women writers, freed from mythic projections, recognized the force and originality of her work, and reveals her as a “child of the century” whose existence embodied creativity and resistance.

This article aims to attribute a series of nine unpublished drawings held in the Collection of Prints and Drawings of the Museum of Fine Arts Budapest to sixteenth-century French humanist author and draughtsman Jean-Jacques Boissard. The drawings were formerly catalogued as artworks by a minor eighteenth-century German theatrical set designer, Johann Paul Caspari. The proposed new attribution is based both on stylistic and contextual analysis of Boissard’s graphical oeuvre. I argue, that the Budapest drawings that depict Antique roman funerary monuments and copy their inscriptions, were created by Boissard during the lengthy publication process of his monumental illustrated corpus of roman inscriptions and monuments, titled Antiquitates Romanae. With one exception, all of the Budapest drawings depict monuments once found in Cardinal Federico Cesi’s roman sculpture garden. Boissard spent years in rome and had access to private collections during the second half of the 1550s. later, during the 1580s Boissard made several copies of his roman sketches for safety and entertainment reasons, and presented them to his humanist friends, patrons and publishers. The Budapest series, I propose, was once also a part of a larger set of drawings by Boissard during the 1580s, and was truncated into individual sheets later.

Perhaps the reasons of the mythical character of Medea’s rare persistence are based on her condition of major dramatism between the figures of the classical theatre, ambivalence of a woman and a filicidal mother. In its multiple versions, from Euripides to nowadays, this myth has gone through different genres. That is the case of the French author Pascal Quignard, who resignifies the protagonist in the plays grouped under the name of Le cycle médéen. In chronological order it will be mentioned: the essay Le sexe et l’Effroi (1994), Médée (2011), containing fragments with highlighted poetic bias, and the narrative L’origine de la danse (2013). In all these pieces, the figure of our character appears through the generic hybridisation perceived in both literary and pictorial genres. The aim of this research is to emphasize, from the reception studies, the emotions surrounding Medea’s violence that is specified in the binomial bios (life) and thánatos (death), pulsion and expulsion from the genres crossing embodied in the singularity of the same author.

ABSTRACT No other trans individual has left us as large a corpus of autobiographical writings as the French diplomat, spy and author the Chevalière Deon (1728–1810), who narrated her transition using a variety of genres: confession, sermon, epistolary exchange, dialogue and memoir. Unfortunately these writings have only recently begun to be studied by historians, and the vast majority remain unpublished. This essay explores how Deon has been represented by clinicians and historians, before exploring her presentation as adventurer, saint, and celebrity. It argues that rather than sifting Deon’s archive for a single, enduring, ‘authentic self’, Deon can help us approach trans lives in less restrictive ways.

This paper aims to address intertextuality between Manuel Álvarez Ortega and French authors he read and translated, such as Guillaume Apollinaire, Lautréamont, Jules Laforgue and André Breton, through the contrastive reading of certain symbolic animals. The analysis is based on the assumptions of animal studies, zoopoetics, and the concepts of humanity, animality, and monstrosity. Through this preliminary approach, centered on the aquatic and insect world, the goal is to confirm the implicit monstrosity conveyed in these figures through hybridism between the human, the animal, the rational and the instinctive, as well as to transcend the animal symbolism previously imposed by Western culture and anthropocentric views.

I intend to show in this article the arguments presented by Henri Bergson to expose a reality that, according to him, cannot be captured, in its true essence, by the human intelligence, due the pragmatic nature of the later. The aesthetic contemplation already gives us a hint on another kind of knowledge that can capture the reality hidden from that faculty. Beside that, in one of the most original thoughts of Bergson, the French author rejects the idea, put forward by Aristotle, of the animal instinct as an early stage of intelligence. Basing on his own view of the evolution of life, the French philosopher sees the instinct as another pass followed by life in its constant battle against lifeless matter. The fabrications of instinct are perfectly adequate to its aims, and its actions are done in an unconscious way since there is a perfect match between action and the representation of action. The fruits of intelligence, however, are imperfect, and, therefore, open a space for choice and deliberation to the ends they seek, awakening conscience in the beings that use it.

Based on a varied corpus of French authors placing their filmic preferences at the very principle of their creation, this article questions some forms of cinephilia observed in contemporary writers and more particularly questions the approach consisting of collecting all or part of certain elected films. It will show that such a practice is part of a broader phenomenon of spectatorial appropriation characteristic of our time and our new ways of viewing films which come into conflict with the system of the cinema screening, but it will also show how it inspires singular forms of writing articulating the intimate with the collective by reflecting on the trace that films leave in our lives

Although it can be said that the influence of William Shakespeare from the early periods of modern Turkish literature was initially limited to the field of theatre, in time this influence spread to the field of fiction through the development of the novel. Accepted as a “master” by the writers of the Tanzimat period in the 1860s, Shakespeare exerted a strong influence on Turkish writers, especially novelists. From the 1890s to 1910s, Halit Ziya Uşaklıgil and Mehmet Rauf, two prominent novelists of the Servet-i Fünûn period, praised Shakespeare in their essays, referring to French literary historian Hippolyte Taine. Uşaklıgil’s interpretation of Shakespeare, who is considered the “founding father” of the Turkish novel, allows us to see Shakespeare’s influence on the development of modern Turkish literature. In his book Hikâye [The Novel] (published in 1891-1892), written to explain the history of the novel in the West and Turkish, Uşaklıgil did not include Shakespeare but when he started to teach at the university, he took a close interest in Shakespeare, and from 1909 onwards, he published essays on Shakespeare, along with other Western writers, in the magazine Servet-i Fünûn. In 1909, his main aim in these essays was to introduce Shakespeare to students and readers. Halit Ziya’s comprehensive essays on Shakespeare were published in 1941, entitled “English and French Poets and Authors: William Shakespeare” in the newspaper Son Posta. In these essays, Halit Ziya commented on Shakespeare as “a name considered the greatest genius in all world literature.” Halit Ziya Uşaklıgil does not include Shakespeare in 1892 but gives him a special place in 1909 and 1941. This means that the place given to Shakespeare in Halit Ziya’s literary universe has expanded over time. This influence, which can be traced in his essays, is not limited to Uşaklıgil. Between 1909 and 1941, Shakespeare received widespread attention in Türkiye. Halit Ziya Uşaklıgil not only acknowledges Shakespeare as a literary “genius” but considers him a “founder” in terms of his perspective on humanity. He claims that Shakespeare’s characters are not based on myths, as in ancient Greece, but on human emotions and actions. He finds the works of Shakespeare, who does not hesitate to show the evil side of humanity as well as its beauty, valuable as a reflection of reality. He praises Shakespeare’s ability to combine contrasts such as “tragedy and comedy”, “monarch and jester”, and “wisdom and madness”, which he sees as human passions. It is quite obvious that Halit Ziya’s appreciation of Shakespeare’s interpretation of humanity directly influenced Uşaklıgil’s portrayal of humanity in his novels.

TEXT-IMAGE-SOUND RELATIONSHIPS IN POLISH TRANSLATIONS OF HERVE TULLET’S PICTUREBOOKSPicturebooks are a multimodal space in which text, images and sound merge to create a unique reading experience. They pose a challenge not only to translators, who must preserve the essence of these complex interactions while adapting them to a new language and culture, but also to translation publishers. This case study includes my reflections from an interview with Marek Włodarski, founder of the Babaryba publishing house, which publishes Polish translations of picturebooks by French author Hervé Tullet. This is the first in a series of in-depth interviews I plan to conduct with publishers of translated picturebooks. It aims to verify whether publishers are aware of multimodal relationships and whether (and how) they take them into account in the translation publishing process. To properly prepare for the interview, I first analyzed three of Tullet’s picturebooks in the original French version and the Polish translation, using a multimodal analysis scheme based on Anna Kochanowska’s typology of relationships between word, image, and sound (2021). This method allowed me to determine how the text co-creates the message with the image and sound, and how these relationships were treated in the translations. The interview shows how important role the publisher can play in the multimodal translation process of picturebooks. Their decisions often change the complex relationships between text, image, and sound contained in the original works, which in turn affects the reception of the books by readers of the target culture.

The article deals with the peculiarities of usage and translation of heraldic terms in fiction. We have picked out for analysis various extracts from novels and stories by American, British and French authors and their translations into Russian. Each except contains one or several special terms, used in heraldry, sometimes making fabulous descriptions of coats of arms. We have shown the means the translators resorted to in overcoming the difficulties: dictionaries often fail to provide certain terms or specific meanings, which may cause mistakes or blunders concerning the blazoning of heraldic achievements. We have noted the most frequent translation methods – neutralization and generalization, rather than exact translation. Some translators omitted or added words or resorted to contextual replacement, calques and explication.