Studia Romanica Posnaniensia
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Des plantes qui prêchent. Représentations des végétaux dans des textes exemplaires médiévaux : approche éco-critique
No full textLiving world and nature has been perceived through the book metaphor revealing God presence in his creation. Thus, early medieval scientific texts has been composed in order to be used in preaching and spiritual context, to illustrate faith discourses. But despite of these orientations, one could read in texts a different perception of living world, especially plants beings. Then, without neglecting the deep allegorical dimension of these discourses, one can imagine ecocritical readings that pay close attention to the relationships human and plants could elaborate in medieval ecosystems, at least, literary one.Living world and nature has been perceived through the book metaphor revealing God presence in his creation. Thus, early medieval scientific texts has been composed in order to be used in preaching and spiritual context, to illustrate faith discourses. But despite of these orientations, one could read in texts a different perception of living world, especially plants beings. Then, without neglecting the deep allegorical dimension of these discourses, one can imagine ecocritical readings that pay close attention to the relationships human and plants could elaborate in medieval ecosystems, at least, literary one
Herbes à vendre: les dits de l’Herberie de Rutebeuf et de ses continuateurs
No full textRutebeuf’s Dit de l’Herberie, curiously constructed in two parts, one in verse, the other in prose (it’s Rutebeuf’s only prose text), seems to have prompted two imitations (unless he himself drew inspiration from one of the other two texts). This is a “mini-genre” that can be attached to the more extensive “professional dits” series, and which raises questions about urban representations in the central Middle Ages: an affectation of “realism”? Pure puerility with obscene undertones? Or a piece that paradoxically serves to build the self-confidence of the juggler Rutebeuf? We’ll take each of these paths in turn.Rutebeuf’s Dit de l’Herberie, curiously constructed in two parts, one in verse, the other in prose (it’s Rutebeuf’s only prose text), seems to have prompted two imitations (unless he himself drew inspiration from one of the other two texts). This is a “mini-genre” that can be attached to the more extensive “professional dits” series, and which raises questions about urban representations in the central Middle Ages: an affectation of “realism”? Pure puerility with obscene undertones? Or a piece that paradoxically serves to build the self-confidence of the juggler Rutebeuf? We’ll take each of these paths in turn
Une apostrophe végétale : la mandragore d’Alfred Jarry
No full textWhat about ‘Pataphysics in the 21st century – Alfred Jarry’s philosophical and scientific concept, governed by the rules of the absurd, the principle of discovery and the derogation of rules? An excursion into the world of plants will provide an answer to this question, and a recourse to ‘Pataphysics may be useful for the explorations of the human-plant relationship. Indeed, Jarry’s work offers an eco-subliminal reading. The subject of the following article is one of Jarry’s most challenging works, namely the collection of prose and versified pieces Les Minutes de sable mémorial (1894), classified as a sketch of the principles of Ubu (a figure which, as we know, is composed in part of plants). Starting from post- and hypermodern perspectives on ‘Pataphysics – those of Baudrillard and the writing duo Deleuze and Guattari – the article examines the entry of the plant world into ‘Pataphysics and then focuses a paradigm of the human-plant relationship: the mandrake. This excursion into the mythologically charged terrain (or earth, soil) of the mandrake concludes with a close reading of certain patabotanical aspects, among which the rhizomatic (anthropomorphized) figure plays a central role.What about ‘Pataphysics in the 21st century – Alfred Jarry’s philosophical and scientific concept, governed by the rules of the absurd, the principle of discovery and the derogation of rules? An excursion into the world of plants will provide an answer to this question, and a recourse to ‘Pataphysics may be useful for the explorations of the human-plant relationship. Indeed, Jarry’s work offers an eco-subliminal reading. The subject of the following article is one of Jarry’s most challenging works, namely the collection of prose and versified pieces Les Minutes de sable mémorial (1894), classified as a sketch of the principles of Ubu (a figure which, as we know, is composed in part of plants). Starting from post- and hypermodern perspectives on ‘Pataphysics – those of Baudrillard and the writing duo Deleuze and Guattari – the article examines the entry of the plant world into ‘Pataphysics and then focuses a paradigm of the human-plant relationship: the mandrake. This excursion into the mythologically charged terrain (or earth, soil) of the mandrake concludes with a close reading of certain patabotanical aspects, among which the rhizomatic (anthropomorphized) figure plays a central role
Une Française dans la forêt canadienne : sur l’écriture de Marie Le Franc
No full textDue to historical and cultural factors, French-Canadian and Quebec literature has traditionally been sparse in its engagement with nature writing. This void was addressed in the 1920s and 1930s by writers who emigrated from France to Canada, notably Marie Le Franc. An exploration of the depictions of time, space, and subjectivity in her works, compared to the novels of Hémon, Constantin-Weyer, and Bugnet, unveils the distinctly vegetal quality of Le Franc’s prose and her profound connection to the forest.Due to historical and cultural factors, French-Canadian and Quebec literature has traditionally been sparse in its engagement with nature writing. This void was addressed in the 1920s and 1930s by writers who emigrated from France to Canada, notably Marie Le Franc. An exploration of the depictions of time, space, and subjectivity in her works, compared to the novels of Hémon, Constantin-Weyer, and Bugnet, unveils the distinctly vegetal quality of Le Franc’s prose and her profound connection to the forest
María Cecilia Ainciburu, La metonimia (Cuadernos De Lengua Española, 147). Madrid: Arco/Libros 2022. 96 pp.: ES
No full textUnreal monsters and real characters in Albert Sánchez Piñol’s fiction: from tectons to Napoleon
No full textThe presence of monsters in Albert Sánchez Piñol’s fiction is its narrative backbone and a resource leading to reflect on the supposedly monstrous condition of the unreal creature, as being opposed to the real human person. This monster can have a specific reference from folklore and can be contrasted with a historical figure. This work aims to examine the treatment and characterisation of the monster in Albert Sánchez Piñol’s most recent fiction – El monstre de Santa Helena (2022) and Pregària a Prosèrpina (2023) – as a component of unreality to be contrasted with the component of reality implied by recreating historical characters such as Napoleon or Cicero. The possible links with folklore features and writer’s previous works will be taken as well into account in our analysis.The presence of monsters in Albert Sánchez Piñol’s fiction is its narrative backbone and a resource leading to reflect on the supposedly monstrous condition of the unreal creature, as being opposed to the real human person. This monster can have a specific reference from folklore and can be contrasted with a historical figure. This work aims to examine the treatment and characterisation of the monster in Albert Sánchez Piñol’s most recent fiction – El monstre de Santa Helena (2022) and Pregària a Prosèrpina (2023) – as a component of unreality to be contrasted with the component of reality implied by recreating historical characters such as Napoleon or Cicero. The possible links with folklore features and writer’s previous works will be taken as well into account in our analysis
The discursive use of the non-mimetic: analysing from the unusual the novel Una història és una pedra llançada al riu by Mònica Batet
No full textThe object of study of this article is the non-mimetic novel Una història és una pedra llançada al riu (2023) by the Catalan writer Mònica Batet. This text, which presents several ideological readings, received the prestigious Crexells Prize for Narrative. The aim of this academic work is to argue that, for different reasons, this novel borders on the category of the unusual proposed by Alemany Bay. Its contemporaneity with Hispanic fiction assumed as unusual by a large group of researchers partially justifies this closeness. Though, the main reason supporting that claim lies in the discursive use by Batet of elements commonly belonging to different narrative modes of the non-mimetic. As a hybrid creation, the unusual resources employed in the novel contribute primarily to develop an uchronic reality intertwined with a marvellous tale, for finally introducing a allegedly fantastic option.The object of study of this article is the non-mimetic novel Una història és una pedra llançada al riu (2023) by the Catalan writer Mònica Batet. This text, which presents several ideological readings, received the prestigious Crexells Prize for Narrative. The aim of this academic work is to argue that, for different reasons, this novel borders on the category of the unusual proposed by Alemany Bay. Its contemporaneity with Hispanic fiction assumed as unusual by a large group of researchers partially justifies this closeness. Though, the main reason supporting that claim lies in the discursive use by Batet of elements commonly belonging to different narrative modes of the non-mimetic. As a hybrid creation, the unusual resources employed in the novel contribute primarily to develop an uchronic reality intertwined with a marvellous tale, for finally introducing a allegedly fantastic option
El proceso de fraseologización de la locución adverbial española en un abrir y cerrar de ojos
No full textThis article explores the diachronic phraseologization process of the Spanish adverbial idiom en un abrir y cerrar de ojos (meaning “in an instant” or “very quickly”). Taking as a starting point its first known formulation in Ancient Greek (ἐν ῥιπῇ ὀφθαλμοῦ) and its Latin rendering (in ictu oculi), the study examines how Spanish develops its own distinct path of evolution. Through the analysis of historical corpora and lexicographic records, the article traces the idiom’s internal variation and gradual consolidation into its modern fixed form. Special attention is given to the syntactic and lexical shifts that signal the stages of lexicalization, grammaticalization, and institutionalization. Comparative references to other languages, as well as competing Spanish variants, provide a broader cross-linguistic context. The study contributes to historical phraseology by highlighting how fixed expressions emerge, stabilize and consolidate over time within linguistic systems.This article explores the diachronic phraseologization process of the Spanish adverbial idiom en un abrir y cerrar de ojos (meaning “in an instant” or “very quickly”). Taking as a starting point its first known formulation in Ancient Greek (ἐν ῥιπῇ ὀφθαλμοῦ) and its Latin rendering (in ictu oculi), the study examines how Spanish develops its own distinct path of evolution. Through the analysis of historical corpora and lexicographic records, the article traces the idiom’s internal variation and gradual consolidation into its modern fixed form. Special attention is given to the syntactic and lexical shifts that signal the stages of lexicalization, grammaticalization, and institutionalization. Comparative references to other languages, as well as competing Spanish variants, provide a broader cross-linguistic context. The study contributes to historical phraseology by highlighting how fixed expressions emerge, stabilize and consolidate over time within linguistic systems
Of ghosts, witches, and haunted farmhouses: folk horror and the monstrous-feminine in Irene Solà and Layla Martínez
No full textThis work discusses the novels I gave you eyes and you looked towards darkness by Irene Solà and Woodworm by Layla Martínez in order to reveal the directions taken by feminist narratives of the uncanny in the Iberian context. We address several concepts, such as the Feminist Rereading of the Witch Hunts or the Witchcraft Narratives. The latter allows to trace the founding attributes of the modern witch prototype, which associates women with the abject, scatological, diabolical, and immodest, especially in relation to their sexuality. While establishing continuity with previous works studying the representations of the haunted house, in Solà’s and Martínez’s novels the house is a highly complex locus, housing ghosts, spirits, old witches, and aberrant events. Since our analysis is concerned with feminist uses of the uncanny and monstrosity, it leads to rethink home as a space for women’s confinement. Finally, certain elements of the so-called folk horror contribute to delineate the ways in which the rural landscape becomes a significant element of this Iberian uncanny. We explore as well how the rural setting and natural surroundings engage in a precise dialogue with the archetype of the old witch, potentially embodied by various characters in both novels.This work discusses the novels I gave you eyes and you looked towards darkness by Irene Solà and Woodworm by Layla Martínez in order to reveal the directions taken by feminist narratives of the uncanny in the Iberian context. We address several concepts, such as the Feminist Rereading of the Witch Hunts or the Witchcraft Narratives. The latter allows to trace the founding attributes of the modern witch prototype, which associates women with the abject, scatological, diabolical, and immodest, especially in relation to their sexuality. While establishing continuity with previous works studying the representations of the haunted house, in Solà’s and Martínez’s novels the house is a highly complex locus, housing ghosts, spirits, old witches, and aberrant events. Since our analysis is concerned with feminist uses of the uncanny and monstrosity, it leads to rethink home as a space for women’s confinement. Finally, certain elements of the so-called folk horror contribute to delineate the ways in which the rural landscape becomes a significant element of this Iberian uncanny. We explore as well how the rural setting and natural surroundings engage in a precise dialogue with the archetype of the old witch, potentially embodied by various characters in both novels