Departement of Romance and Slavic Languages

Abstract: The animal is an integral part of the literary fancy, and especially the fancy of the marvellous. Yet the birth of the fairy tale as a literary genre is situated at the end of the 17 th century. The keen interest in fairy tales, strengthened by the entrance of the oriental fairy tale in the early 18 th century, brought, together with the influence of libertinism, a parodic reaction. The question is, then, in view of parodic processes and the presence of libertinism in these fairy tales, to understand how animals (as a traditionally inseparable element of the fairy tale) enter storytellers' critical and subversive intentions. A corpus of representative tales on this subject enables the diverse ways of using animals as characters to be approached. Three categories of animals as characters are thus studied: first, metamorphosed heroes, then the adjuvant and opponent animals, and, finally, the "scenery" animals. Each of these categories, also identifiable in the "traditional" tale, presents modifications that are specific to the parodic and licentious nature of stories. The analysis of the bestiary in the libertine tale leads to the conclusion that the animal, which is inseparable from the traditional marvel, becomes only a rather necessary pretext for subverting the genre. And if many authors respect this convention typical of the land of fairy, it is to better submit it to the spirit of derision.
Résumé : L'animal fait partie intégrante de l'imaginaire littéraire, et en particulier de l'imaginaire du merveilleux. Or la naissance du conte de fées en tant que genre littéraire se situe à la fin du XVII e siècle. L'engouement pour les contes de fées, fortifié par l'entrée en scène du conte oriental au début du XVIII e siècle, amène une réaction parodique arrivant main dans la main avec l'influence du libertinage. La question qui se pose alors, dans la perspective des procédés parodiques et de mise en scène du libertinage dans ces contes, est de savoir comment les animaux (en tant qu'élément traditionnellement indissociable du conte) entrent au service des intentions critiques et subversives des conteurs libertins.

This paper aims to provide an analysis of two novels written by Mme de Tencin, Les Mémoires du comte de Comminge and Les Malheurs de l'amour, insofar as they can be partly considered as a rewriting of the famous Mme de Lafayette's novel La Princesse de Clèves. The analysis focuses on three main woman characters: Adélaïde, Eugénie and Pauline who appear as « sisters » of the Princesse de Clèves, each of them being a different version. The paper demonstrates that despite certain similarities, they are not "exact copies" and that Mme de Tencin succeeded in creating complex and original heroines.

The animal is an integral part of the literary fancy, and especially the fancy of the marvellous. Yet the birth of the fairy tale as a literary genre is situated at the end of the 17 th century. The keen interest in fairy tales, strengthened by the entrance of the oriental fairy tale in the early 18 th century, brought, together with the influence of libertinism, a parodic reaction. The question is, then, in view of parodic processes and the presence of libertinism in these fairy tales, to understand how animals (as a traditionally inseparable element of the fairy tale) enter storytellers' critical and subversive intentions. A corpus of representative tales on this subject enables the diverse ways of using animals as characters to be approached. Three categories of animals as characters are thus studied: first, metamorphosed heroes, then the adjuvant and opponent animals, and, finally, the "scenery" animals. Each of these categories, also identifiable in the "traditional" tale, presents modifications that are specific to the parodic and licentious nature of stories. The analysis of the bestiary in the libertine tale leads to the conclusion that the animal, which is inseparable from the traditional marvel, becomes only a rather necessary pretext for subverting the genre. And if many authors respect this convention typical of the land of fairy, it is to better submit it to the spirit of derision.

This paper proposes an analysis of Mme Riccoboni's Lettres d'Adélaïde de Dammartin by connecting this novel to two particular works to which it deliberately refers, namely La Princesse de Clèves by Mme de Lafayette and the Mémoires du comte de Comminge by Mme de Tencin. The analysis is then oriented towards the problem of the heroine's internal dilemma between love and virtue, which is enriched by Mme Riccoboni with considerations on the status of women and particularly on the issue of marriage.

This paper dedicated to the issue of the memory and the novel in the 18 th century aims at questioning the memoir-novels, as a privileged form of the fiction during the first half of the century. The memoir-novel is indeed based on memories of a hero-narrator reminiscing about his past love life. As memory and imagination are strongly linked in the thought of the 17 th and 18 th century, the question of their relationship is particularly relevant in the novels by Antoine Prévost, insofar as his heroes claim to produce a pathetic effect and seduce their interlocutor/reader. Our reflection takes as an example La Jeunesse du Commandeur (1741)-a kind of "reverse story" to that of the Chevalier Des Grieux-where memory and imagination are put at the service of a burlesque treatment of passion.

The animal is an integral part of the literary fancy, and especially the fancy of the marvellous. Yet the birth of the fairy tale as a literary genre is situated at the end of the 17 th century. The keen interest in fairy tales, strengthened by the entrance of the oriental fairy tale in the early 18 th century, brought, together with the influence of libertinism, a parodic reaction. The question is, then, in view of parodic processes and the presence of libertinism in these fairy tales, to understand how animals (as a traditionally inseparable element of the fairy tale) enter storytellers' critical and subversive intentions. A corpus of representative tales on this subject enables the diverse ways of using animals as characters to be approached. Three categories of animals as characters are thus studied: first, metamorphosed heroes, then the adjuvant and opponent animals, and, finally, the "scenery" animals. Each of these categories, also identifiable in the "traditional" tale, presents modifications that are specific to the parodic and licentious nature of stories. The analysis of the bestiary in the libertine tale leads to the conclusion that the animal, which is inseparable from the traditional marvel, becomes only a rather necessary pretext for subverting the genre. And if many authors respect this convention typical of the land of fairy, it is to better submit it to the spirit of derision.

This paper dedicated to the issue of the memory and the novel in the 18 th century aims at questioning the memoir-novels, as a privileged form of the fiction during the first half of the century. The memoir-novel is indeed based on memories of a hero-narrator reminiscing about his past love life. As memory and imagination are strongly linked in the thought of the 17 th and 18 th century, the question of their relationship is particularly relevant in the novels by Antoine Prévost, insofar as his heroes claim to produce a pathetic effect and seduce their interlocutor/reader. Our reflection takes as an example La Jeunesse du Commandeur (1741)-a kind of "reverse story" to that of the Chevalier Des Grieux-where memory and imagination are put at the service of a burlesque treatment of passion.

This paper aims to provide an analysis of two novels written by Mme de Tencin, Les Mémoires du comte de Comminge and Les Malheurs de l'amour, insofar as they can be partly considered as a rewriting of the famous Mme de Lafayette's novel La Princesse de Clèves. The analysis focuses on three main woman characters: Adélaïde, Eugénie and Pauline who appear as « sisters » of the Princesse de Clèves, each of them being a different version. The paper demonstrates that despite certain similarities, they are not "exact copies" and that Mme de Tencin succeeded in creating complex and original heroines.

Depuis la parution des Liaisons dangereuses en 1782, jusqu'à nos jours, les lecteurs du chef-d'oeuvre de Choderlos de Laclos se trouvent fascinés par le personnage énigmatique de la marquise de Merteuil. En dépit de sa condamnation immédiate et quasi unanime, il est clair aujourd'hui qu'il serait quelque peu réducteur de ne voir en elle qu'un « Tartuffe femelle ». Essayons donc de comprendre, au moins en partie, ce qui se cache sous le masque de la marquise, l'une des femmes les plus redoutables de la littérature française. Conférence prononcée au Colloque de Presov « Tolérance et différence »*. Voir le programme des communications en ligne.

This paper proposes an analysis of Mme Riccoboni's Lettres d'Adélaïde de Dammartin by connecting this novel to two particular works to which it deliberately refers, namely La Princesse de Clèves by Mme de Lafayette and the Mémoires du comte de Comminge by Mme de Tencin. The analysis is then oriented towards the problem of the heroine's internal dilemma between love and virtue, which is enriched by Mme Riccoboni with considerations on the status of women and particularly on the issue of marriage.

VAGUENESS AND PRECISION OF CONTEMPORARY REWRITINGS: LES LIAISONS DANGEREUSES PUT TO THE TEST BY SOCIAL NETWORKS Les Liaisons dangereuses (1782) by Choderlos de Laclos is one of the best-known and most imitated novels in French literature. Despite the great number of adaptations and rewritings that have appeared since the second half of the 20 th century, these continue to be made, assimilating the world of the libertines into that of teenagers. This study looks at the novel transposition from a film script, published in 2022 by Rachel Suissa and Wendy Thévin, under the same title Les Liaisons dangereuses. The paper analyses the way in which Laclos's novel is adapted to the age of social networks and shows how the strategies of modernisation oscillate between "vagueness" and "precision", considering the narrative technique, the libertine theme and the intertextual relationship between the rewriting and the original novel.

Resumen Una Europa fragmentada con sus distintas nacionalidades y lenguas necesita una educación que permita a sus ciudadanos desenvolverse en la misma. Para esta realidad contemporánea y global, el pensamiento crítico se vislumbra como herramienta más que necesaria para comprender las perspectivas del otro y para la coexistencia efectiva de las diferentes culturas. El aprendizaje de las lenguas extranjeras se plantea como un excelente escenario para ello donde los videoclips musicales se muestran como un instrumento adecuado para el desarrollo de esta conciencia cívica que el Consejo de Europa ha materializado en el Marco Europeo de Referencia en Competencias para una Cultura Democrática (2018). De ahí que el objetivo principal de este artículo sea presentar una metodología activa para el desarrollo de las competencias democráticas a partir de una experiencia mediada entre pares que, como herramienta básica, hace uso de una parrilla de criterios de análisis de videoclips musicales. Palabras clave: alfabetización audiovisual, competencias democráticas, enseñanza-aprendizaje de lenguas extranjeras, mediación, pensamiento crítico, videoclip

A fragmented Europe, where different nationalities and languages live together, needs education that allows its citizens to navigate it. Within the frame of this global and contemporary context, critical thinking appears to be a very necessary tool to understand the perspectives of other people and to achieve the effective co-existence of different cultures. Foreign language learning provides an excellent scenario for this reality. Music videos seem to be an appropriate instrument to develop this civic awareness, which is crystallised in the Reference Framework of Competences for Democratic Culture by the Council of Europe (2018). According to this model and an analysis of the multimodality and narrative of music videos, this paper furnishes a language teacher’s guide to select music videos to develop critical thinking. In addition, a mediated language learning experience among peers to encourage students’ democratic competences is presented.

ResumenNuestro imaginario colectivo continúa mostrando un sesgo inconsciente determinado con respecto a la representación de la mujer en la sociedad. En parte, debido al contenido audiovisual percibido de forma recurrente, como es el caso de los videoclips. Este artículo analiza la proyección de la mujer en videoclips en español emitidos en 2019 en plataformas digitales de difusión musical. Se han extraído los 47 de mayor frecuencia y mediante el programa de análisis cualitativo Atlas.ti. se han estudiado sus recursos narrativos y multimodales. Los resultados evidencian que todavía abundan los videoclips donde se difunden temáticas estereotipadas sobre el género femenino como la reducción de la figura de la mujer, su inferioridad con respecto al hombre o el elogio a la belleza y a la juventud.AbstractOur collective imagination still includes a particular unconscious bias with regard to the representation of women in society, in part due to audio-visual content perceived on a recurri...

Aprender a leer en una lengua extranjera en educación primaria inicia su recorrido advirtiendo del poderoso valor que atesora la lectura, ya que es «la principal herramienta de comunicación y acceso al conocimiento» (p.23). De hecho, Fernández Corbacho señala que la alfabetización universal fue uno de los objetivos de la ONU para 2015 y de nuevo se encuentra en la Agenda 2030 para el Desarrollo Sostenible. La lectura nos acerca lo lejano justificando la inmensidad del mundo; también nos introduce en nuevos territorios al mismo tiempo que agrupa personas y culturas. En realidad, si pudiéramos leer en varias lenguas, contaríamos con un universo aún más extenso de posibilidades. Por ello, la autora, a través de una redacción exquisita y rigurosa, traza el camino que se ha de transitar para alcanzar el éxito en la lectura en una lengua extranjera (LE) en una edad temprana. En las páginas preliminares la autora se ocupa de justificar la relevancia de la obra y especificar sus objetivos: exponer las teorías existentes y aplicables a la lectura en edad temprana; de qué destrezas o componentes específicos está compuesto el proceso lector en una LE; cuáles son los principales factores que influyen en su aprendizaje y desarrollo o la diferencia con la lectura en la lengua materna (L1). A modo de complemento, el libro también aspira a identificar los problemas lectores en inglés como LE entre aprendices españoles de Educación Primaria. En definitiva, Fernández Corbacho pretende hallar evidencias para poder determinar lo antes posible a estudiantes con dificultades lectoras y, de forma más extensiva, que el alumnado en una edad temprana alcance un buen nivel de lectura en cualquiera de las lenguas que

Nuestro imaginario colectivo continúa mostrando un sesgo inconsciente determinado con respecto a la representación de la mujer en la sociedad. En parte, debido al contenido audiovisual percibido de forma recurrente, como es el caso de los videoclips. Este artículo analiza la proyección de la mujer en videoclips en español emitidos en 2019 en plataformas digitales de difusión musical. Se han extraído los 47 de mayor frecuencia y mediante el programa de análisis cualitativo Atlas.ti. se han estudiado sus recursos narrativos y multimodales. Los resultados evidencian que todavía abundan los videoclips donde se difunden temáticas estereotipadas sobre el género femenino como la reducción de la figura de la mujer, su inferioridad con respecto al hombre o el elogio a la belleza y a la juventud. Palabras clave: cosificación de la mujer; género; multimodalidad; narrativa audiovisual; sexismo; videoclip.