In this volume, the reader discovers the musical universe of Gide and his time through J.-S. Bach and his Art of Fugue: an art of variation, digression, and form. This sense of a hidden world within Gide’s writing becomes evident for the composer P. Thilloy, who highlights it in his Opus 159 and 207.

This book explores the content of The Moderate, a radical newspaper of the British Civil Wars published in the pivotal years 1648-9. This newsbook, as newspapers were then known, is commonly associated with the Leveller movement, a radical political group that promoted a democratic form of government. While valuable studies have been published on the history of seventeenth-century English periodicals, as well as on the interaction between these newspapers and print culture at large, very little has been written on individual newspapers. This book fills a void: it provides an in-depth investigation of the news printed in The Moderate, with reference to other newspapers and to the larger historical context, and captures the essence of this periodical, seen both as a political publication and a commercial product. This book will be of interest to early-modern historians and literary scholars.

Bringing together for the first time the poems of Henriette de Coligny, Countess of La Suze (1623–1673), previously dispersed across various collections, this edition also traces their editorial history and, through previously unpublished documents, sheds new light on the poet’s biography.

Until now, the poems of Henriette de Coligny, Countess of La Suze (1623–1673), had been scattered across different collections. This edition gathers them for the first time and also presents their publishing history. Previously unseen documents bring new insights into the poet’s biography.

Counterfactual thinking is a universal cognitive process in which reality is compared to an imagined view of what might have been. This type of reasoning is at the center of daily operations, as decision-making, risk preventability or blame assignment. More generally, non-factual scenarios have been defined as a crucial ingredient of desire and modern love. If the areas covered by this reasoning are so varied, the L2 learner will be led to express ‘what might have been’ at some point of her acquisitional itinerary. How is this reasoning expressed in French, Spanish and Italian? By the use of what lexical, syntactic and grammatical devices? Will the learner combine these devices as the native French speakers do? What are the L1 features likely to fossilize in the L2 grammar? What are the information principles governing a communicative task based on the production of counterfactual scenarios? These are some of the questions addressed by the present volume.

Is the figure of the “bard” a useful tool for thinking about musical poetry in its multicultural dimension, or does musical poetry instead require the construction of such a figure, implicitly mobilizing notions such as authorship, signature, character, and so on? This is the central question of this collective volume, which examines musical poetry as it is reflected both by the ashiq and by the troubadours.

This volume does not aim to deconstruct the discourses surrounding the ashiq, the troubadour, or the bard. Rather, we sought to bring together specialists so that their respective research could enrich one another and form a way of thinking that is neither local nor global, neither particularizing nor universalizing, but transversal.

The purpose of this book is not only to analyze the construction of the figure or myth of the poet-musician, but also—and perhaps above all—to understand what we, researchers coming from different cultural and disciplinary backgrounds (medievalists, specialists of the sixteenth, nineteenth, and twentieth centuries, Iranists, experts in Azerbaijani folklore, musicologists, musicians, and others), mean by musical poetry. It is therefore a question of what is expected of this poetry, and of the functions attributed both to those who practice it and to those who listen to it.

For more information, please follow the link : http://www.lcdpu.fr/livre/?GCOI=27000100768580

The sixth volume of In Search of Lost Time, published in 1925, raises unusual editorial problems, since its title and its content present conflicting choices. Accompanied by extensive annotation and a wide range of textual variants, the long version is presented here, leading into Time Regained.

For more information, please follow the link : https://classiques-garnier.com/la-fugitive-a-la-recherche-du-temps-perdu-vi-oeuvres-completes-6.html

What role does apprenticeship play in the process of women’s emancipation? Female apprenticeship remains a complex topic of debate, as it lies at the intersection of literary, political, cultural, economic, and historical issues. Although women have often been excluded from educational environments, they have nonetheless shaped history through constant and relentless struggles for the right to education and, consequently, for emancipation.

Unlike politics and society, where this issue has often been overlooked, literary studies have devoted a privileged space to it. Literature is one of the essential tools enabling women to move steadily toward independence. Thus, narratives written for women and about women by Nezâmî, Corneille, Dostoevsky, Aleramo, Pardo Bazán, Colette, Cervon, Campagne, Rivaz, Woolf, and Lessing find resonance in the pages of this volume.

This work offers a multidisciplinary and multicultural approach to a highly topical theme.

For more information, please follow the link : http://www.lcdpu.fr/livre/?GCOI=27000100066940

Edited by Dominique Massonnaud and Julien Piat. Paris, Classiques Garnier, “Rencontres” series, no. 144, “Rhetoric, Stylistics, Semiotics” series, no. 2, 2016.

Contributors: Olivier Barbarant, Laetitia Gonon, Dominique Massonnaud, David Meyer, Michel Murat, Julien Piat, Nathalie Piégay-Gros, Josette Pintueles, Christelle Reggiani, Pascale Roux, Marie-Albane Watine, Nelly Wolf.

In order to better understand the genesis and poetics of Aragon’s novels, the studies gathered here examine the models and reuses that shape his writing. This brings to light a set of prediscourses, imaginaries, and stylistic patterns with which his work is in close dialogue.

This volume attempts to take stock albeit provisionally of the thorny issue of collaborative translation. To do so, it brings together reflections from several theorists, such as Jean-René Ladmiral and Yves Gambier, who offer an epistemology of translation as a collective practice. A concluding section by Maryla Laurent revisits the philosophical stakes of plural translation within a multilingual and multicultural context.

Between these contributions, numerous specialists examine in both French and English a wide range of questions, beginning with those related to literary tradition (poetry, theatre, the novel and short story, and certain aspects of the Bible). This inquiry spans various European languages and cultures, while also taking into account editorial and commercial contexts.

Several researchers and translators then turn to specialized translation (scientific, technical, institutional, legal, etc.), sketching the image of a translator who is increasingly no longer working alone. Other contributors address the complex issue of new technologies and their impact on translation practices, as well as on our very conception of text and translation, which always implies beyond technical concerns an ethical dimension.

Enrico Monti is a Senior Lecturer in English and Translation Studies at the University of Haute-Alsace. A member of ILLE and a PhD graduate of the University of Bologna, his research focuses on metaphor translation, retranslation, and contemporary American literature. Among his publications are the co-edited volumes Autour de la retraduction (Paris, Orizons, 2011) and Tradurre figure / Translating Figurative Language (Bologna, BUP, 2014).

Peter Schnyder is Professor Emeritus of French and European Literature at the University of Haute-Alsace. Among his most recent edited works are De l’écriture et des fragments. Fragmentation et sciences humaines (Paris, Classiques Garnier, “Théorie littéraire”, 2016, with Frédérique Toudoire-Surlapierre) and, with Robert Kopp, Gide, Copeau, Schlumberger. L’art de la mise en scène (Paris, Gallimard, “Cahiers de la NRF / Les Entretiens des Treilles”, 2017).

Written by Jean-Pierre Prévost, with the collaboration of Alban Cerisier. Foreword by Peter Schnyder. Paris, co-published by Gallimard and the Catherine Gide Foundation, April 2018.

André Gide and André Malraux met in May 1922, following the publication by the latter of an article devoted to Gide’s work and its impact on the younger generation. The author of Paludes and The Vatican Cellars was impressed by this talented admirer, whose views were original and perceptive. He also proved to have a sense of adventure and to be a man of taste, both in art and literature. Gide therefore welcomed him among the writers associated with La NRF, and authorized him to publish an illustrated version of King Candaules under the imprint of the Aldes, his publishing house.

Having joined Gallimard in 1928 as artistic director and member of the editorial committee, André Malraux went on to become the editor of André Gide’s Complete Works, as well as of beautifully illustrated reissues of his early works.

This literary and editorial friendship was accompanied, in the early 1930s, by a shared political engagement against fascism, in the wake of Soviet communism. Although neither joined the Communist Party, André Gide and André Malraux, Goncourt Prize winner in 1933, together chaired major anti-fascist congresses between 1933 and 1936.

Both men traveled to Moscow. In 1936, André Gide delivered the funeral oration for Maxim Gorky in Red Square, alongside Stalin. Yet Gide’s lucid and uncompromising disillusionment, famously expressed in Return from the U.S.S.R., marked the end of this ambiguous intellectual companionship.

For his part, André Malraux fully committed himself to the struggle alongside the Spanish Republicans.

Les deux hommes restent proches au début de l’Occupation ; ils se côtoient sur la Côte d’Azur, avant que Gide ne s’embarque pour l’Afrique du Nord et que Malraux ne s’engage en 1944 dans le combat armé contre l’occupant. Plus espacées jusqu’à la mort d’André Gide en 1951, leurs rencontres – la plupart du temps au Vaneau – restent placées sous le signe d’une chaleureuse amitié, qui n’exclut pas un jugement croisé, et sans complaisance, sur l’évolution et la signification générale de leur œuvre. Littérature, art, morale, politique et histoire : voilà une amitié à l’œuvre.
Cet album, abondamment illustré, réunit de nombreux documents inédits ainsi que la correspondance échangée entre les deux écrivains.