CUPRINS ALEXANDRU BERCĂ, L`image du Sarrasin dans la

CUPRINS
ALEXANDRU BERCĂ, L’image du Sarrasin dans la Chanson de Roland................... 2
MĂDĂLINA IACOV, Perceval, Gauvain et saint Pierre................................................ 2
ALEXANDRA ILINA, Image, parole et ouverture. Commentaires sur le manuscrit
Français 112(1) de la B.n.F., folio 78 ............................................................... 2
LAURA DUMITRESCU, Fiche anthropométrique : les représentations de Fortune dans
le Français 225, le Français 230 et le Français 132 de la B.n.F. ....................... 2
GABRIEL STAN, La fonction du confident dans la tragédie racinienne....................... 3
ANDREEA APOSTU, Intérieur et mystère. Réminiscences baroques dans les toiles
d’Édouard Vuillard............................................................................................ 3
SILVIA PRAFAN, L’ennui pascalien versus la nausée sartrienne................................. 3
MARIA MECA, Le voyage dans Rose Mélie Rose de Marie Redonnet. Entre la
légende et la couleur d’un destin....................................................................... 4
ADNANA POPESCU, De Diderot à Kundera. L’esthétique de la variation chez Milan
Kundera ............................................................................................................. 4
ALEXANDRA CĂRĂMIZARU, Astérix et Obélix – un univers pragmatique ............... 4
ANA-MARIA BODGROS, Référence et identité dans les récits policiers..................... 5
LIDIA COTEA, LAURA DUMITRESCU, Activités du Jury Goncourt – le choix
roumain. Les débats bucarestois mis à Nu(e).................................................... 5
ANDREEA APOSTU, Compte rendu : Jean-Philippe Toussaint, Nue, Paris,
Éditions de Minuit, 2013................................................................................... 5
BENJAMIN DEMAY, Compte rendu : Jean-Philippe Toussaint, Nue, Paris,
Éditions de Minuit, 2013................................................................................... 5
DIANA CURCĂ, Compte rendu : Jean-Philippe Toussaint, Nue, Paris, Éditions
de Minuit, 2013 ................................................................................................. 5
ADNANA POPESCU, Compte rendu : Sylvie Germain, Petites scènes capitales,
Paris, Éditions Albin Michel, 2013 ................................................................... 5
DIANA MISTREANU, Compte rendu : Sylvie Germain, Petites scènes capitales,
Paris, Éditions Albin Michel, 2013 ................................................................... 5
1
L’image du Sarrasin dans la Chanson de Roland
ALEXANDRU BERCĂ
Sous la direction de CĂTĂLINA GÎRBEA
ABSTRACT
The Image of the Saracens in the epic poetry of the Middle Ages is generally a dark one. The Chanson
de Roland is a very good example for this depreciation, who’s origins are in the religious and prenational propaganda of the medieval French State.
Perceval, Gauvain et saint Pierre
MĂDĂLINA IACOV
Sous la direction de CĂTĂLINA GÎRBEA
ABSTRACT
In the romance of Chrétien de Troyes, the importance of the Grail is given by the quest of Perceval.
Indeed, the holy chalice has not the power to heal to Fisher King and without the quest it would be only
a very special object in a castle. The Perceval figure is similar to that of Saint Peter, because both of
them are committing errors that they have to undo later through a lot of suffering.
Image, parole et ouverture. Commentaires sur le manuscrit Français 112(1) de la
B.n.F., folio 78
ALEXANDRA ILINA
Sous la direction de CĂTĂLINA GÎRBEA
ABSTRACT
Automatons are persistent in the memory of medieval literature as a form of raising the issue of
Creation and as a remnant of the Ovidian myth, in conjunction with the Oriental tradition. Masculine or
feminine automatons brush on humanity, but alas their lack of ontological determination stems from
their artificial status, representing the statute of the art object in the medieval world view in parallel
with more practical modes of discussing the image.
Fiche anthropométrique : les représentations de Fortune dans le Français 225, le
Français 230 et le Français 132 de la B.n.F.
LAURA DUMITRESCU
Sous la direction de CĂTĂLINA GÎRBEA
ABSTRACT
Although most capricious, evil and merciless, veiled and blind, fierceful and generally unreliable,
Fortuna remains one of the most popular medieval figures. This article depicts the ways Boccaccio’s
De casibus virorum illustrium highlights and defines three images of the same character as represented
within an increasingly rich iconographic production centered on ever-changing human anatomy.
2
La fonction du confident dans la tragédie racinienne
GABRIEL STAN
Sous la direction de VLAD ALEXANDRESCU
ABSTRACT
The character of the confident has a very important function in the structure of Racine’s tragedies. We
have tried to highlight all the processes that are hidden behind the image of the confident who, at first
glance, may seem a character without complexity. The most important function of the confident is
perhaps the one of defining the tragic hero. He is a prestige social factor for the noble character of the
play, and he also represents a dramaturgy utility throughout all his roles of informer, psychological
revealer and adviser. He opposes the Reason to the hero’s passion and finally, as a non tragic element,
he stimulates, paradoxically, the tragic nature of the play. In the case of “special” confidents, their
actions sometimes influence the course of the piece.
Intérieur et mystère. Réminiscences baroques dans les toiles d’Édouard Vuillard
ANDREEA APOSTU
Sous la direction de CĂTĂLINA GÎRBEA et SILVIA PANDELESCU
ABSTRACT
Devoted to the Nabis’ credo, Edouard Vuillard tried, at the end of the 19th century, to revivify picture
elements and techniques of the past. He seems to have been fascinated, from an early age, by Dutch
and Flemish interior paintings. But, instead of creating also a trompe l’œil by the use of perspective, his
modern overlapping of plans and signs tends to create a sort of ontological trompe l’œil. For Vuillard,
people, objects and decorative backgrounds form a unique and symbolic body. The boundaries that
usually separate each object and individual are disappearing giving place to a mysterious but
nonetheless captivating unity, a cocoon that enfolds us and gives us an experience of totality that we
seem to have lost a long time ago.
L’ennui pascalien versus la nausée sartrienne
SILVIA PRAFAN
Sous la direction de LIDIA COTEA
ABSTRACT
Starting from the premise that boredom is a multiform historical constant, this article tries to grasp,
using a comparative endeavor, the essence of boredom, in Pascal’s sense and in Sartre’s sense of the
word. At an epistemic level, Sartre replaces Divinity with contingency, which determines the concept
of “boredom” to gain more acute valences, designated by the word “nausée”. Starting from some key
concepts like “divertissement” or “mauvaise foi” and insisting on the way in which notions like
freedom and loneliness are conceived, we shall demonstrate why the novel Nausea is considered to be
the “Profane Bible” of boredom in the 20th century and to what extent Sartre borrows certain concepts
from Pascal, concepts that aid him in defining the paradigms “être en-soi” and “être pour-soi”.
3
Le voyage dans Rose Mélie Rose de Marie Redonnet. Entre la légende et la
couleur d’un destin
MARIA MECA
Sous la direction de LIDIA COTEA
ABSTRACT
The journey is the manner of setting an appointement on the same path for three elements that outline
an identity. In the novel Rose Mélie Rose, Marie Redonnet builds a feminine identity by linking the
colour, the destiny and the legend. We propose to underline the manners in which these three
guidelines condition and determine one another. Our approach will take a particular interest in the
symbols that govern the route of the main character where male presence only occurs to nuance female
evolution.
De Diderot à Kundera. L’esthétique de la variation chez Milan Kundera
ADNANA POPESCU
Sous la direction de LIDIA COTEA
ABSTRACT
This paper aims to rediscover the importance of a new textual strategy developed in the XXth century
and theorized by the great Czech author Milan Kundera, the variation.Two centuries after the
publication of Diderot’s novel Jacques le fataliste et son maître, Milan Kundera chose to create his
play Jacques et son maître as a response to this revolutionary moment of the European literature’s
history in order to legitimate his own way of writing. The variation is a textual strategy which consists
in modifying a theme in order to present it differently, with a new form that can still be recognized. The
analysis of a semantic center allows us to rediscover the complexity of existence in the modern world.
Our study proposes an analysis of the different types of variation and its particularities in Kundera’s
play Jacques et son maître. This study imagines Kundera as a real model reader of Jacques le fataliste
et son maître who, by activating his own cultural Encyclopedia, makes the cultural dialogue possible in
order to renew the vision of a modern reader.
Astérix et Obélix – un univers pragmatique
ALEXANDRA CĂRĂMIZARU
Sous la direction de MARINA-OLTEA PĂUNESCU
ABSTRACT
The article uses notions and concepts borrowed from Pragmatics and Discourse Analysis (i.e. speech
act and ethos), combined with the actantial model developed by Greimas (1966). The author focuses on
the essentially pragmatic dimension of the textual world created by Uderzo & Goscinny: the actions
performed by Asterix and Obelix, the heroes of the famous comics bearing the same title, are based on
their knowledge and understanding of the world they live in (dictionary and encyclopaedia), on their
will to act (intention), but also on the fact that they can act (they have a mandate from their leader).
This pragmatic dimension is inherent to the discourse allowing certain relationships to be established
between individuals acting in specific contexts. By identifying the dominant speech acts, the author
draws up the ethical profiles of the selected characters and the corresponding relations, more or les
asymmetric (at the social and/or discursive level), generated by them.
4
Référence et identité dans les récits policiers
ANA-MARIA BODGROS
Sous la direction de MARINA-OLTEA PĂUNESCU
ABSTRACT
Reference is one of the most captivating and complex subjects for those with a passion for linguistics.
Not only linguists, but also logicians and even writers (sometimes undesignedly) have explored one or
another offset of this subject. It is no wonder that mystery novels are an excellent illustration of the
domain of reference, including identity. Mystery novels are built around a (central) question of
identity: “Who is the assassin?” The mystery of the novel (as the name of the genre suggests) comes
precisely from the unknown identity of the presumed murderer. From here other questions arise: How
do we refer to a person we do not know? By what linguistic means? The path from the central question
to its final answer is what we can call a referential dialogue, during which the participants to the
investigation come along with different hypothesis, waiting to be certified or infirmed. By using
concepts of the areas of erotetics, analytic philosophy and pragmatics, our goal is to demonstrate that
mystery novels, as a specific literary genre work, from a linguistic point of view, in the same manner.
Activités du Jury Goncourt – le choix roumain. Les débats bucarestois mis à
Nu(e)
LIDIA COTEA, LAURA DUMITRESCU
Compte rendu : Jean-Philippe Toussaint, Nue, Paris, Éditions de Minuit, 2013
ANDREEA APOSTU
Compte rendu : Jean-Philippe Toussaint, Nue, Paris, Éditions de Minuit, 2013
BENJAMIN DEMAY
Compte rendu : Jean-Philippe Toussaint, Nue, Paris, Éditions de Minuit, 2013
DIANA CURCĂ
Compte rendu : Sylvie Germain, Petites scènes capitales, Paris, Éditions Albin
Michel, 2013
ADNANA POPESCU
Compte rendu : Sylvie Germain, Petites scènes capitales, Paris, Éditions Albin
Michel, 2013
DIANA MISTREANU
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