L'abime en moi: Franz Kafka et le dilemme de l'etre

This article elaborates the notion of the abbyssal in Kafka's poetics, presenting the idea of the role of art and the artist for humanity.

Les deux André et le concept de la durée: André Chamson et André Malraux dans le même combat pour les valeurs spirituelles.

Les vies et les carrières d’André Chamson et d’André Malraux se ressemblent par de multiples aspects. Contemporains, ils se connaissaient bien, menaient souvent les mêmes combats, souffraient des mêmes préoccupations, Mais c’est surtout par rapport à l’esprit qui les animait, en tant que grandes personnalités marquantes du XXe siècle, que d’intéressants parallèles peuvent être établis entre eux, que nous pouvons avec profit examiner les valeurs universelles et spirituelles qu’ils promouvaient, valeurs emblématiques pour tant de penseurs, d’acteurs, et d’écrivains de ce siècle. Ainsi pourrions-nous par ailleurs interroger et même évaluer la solidité, la résistance et le potentiel de telles valeurs pour le siècle à venir.

Cockney, pseudo-slang et argot de série noire : San-Antonio et le moment Peter Cheyney du roman noir français

This article examines how in post-war France slang became a byword for the noir genre. It considers the mechanisms, models, networks and translators' practices which set the tone for the "Série Noire”, whose influence, both written and on the screen, had, within a decade, become, a "mythology" studied by Roland Barthes. It argues that this use of slang is redolent of the inauthenticity which characterises this stage in the reception of the Noir genre in France. It is certain that this artificial French slang is far from devoid of charm, or even mystery. But it tends to depreciate and deform the translated works and seems to be the hallmark of an era that might have defined and acclimatised Noir fiction in France, yet remains one which has not fully understood the gravity of its purpose. While such translations seem outdated nowadays (if not quite incomprehensible ), original works written at the time in French by writers inspired by the model of " pseudo- slang" and the fashionability of American popular culture have benefited from them. In this very inauthenticity, derivative novels have found a licence for invention and freedom, with authors such as Cocteau hailing it as a revival of the French written language. We see here how the adventures of Commissaire San Antonio, by Frédéric Dard constitute the best examples of this new creativity in French and draw upon a template set for the reception of American literature