\n
Dominique Rabat\u00e9<\/strong>, A Rhapsody of Origins\u202f: Pascal Quignard\u2019s The Tears
\n<\/i>This article looks into Pascal Quignard\u2019s odd conception of history. Les Larmes<\/i> does the contrary of what normally does an historical novel, by chosing the side of annals and ancient chronicles\u202f: it is a way of staying close to the origins, instead of building a causalist tale of the past. The rhapsodic and fragmentary form of the book conveys the writer\u2019s will to give presence to the double origin of French language (appearing in the Strasburg oath<\/i> and in The Life of Eulalie<\/i>). A plural origin that must keep its strength and its power of novelty.<\/p>\nDominique Viart<\/strong>,\u00a0\u202fMichon \/ Michelet\u202f: an apocryphal history
\n<\/span>This paper shows the importance of Michelet, author of an History of the Revolution<\/i>, for Pierre Michon, who doubly summones the historian in his novel Les Onze<\/i> \u2013\u202fas a character and as a model of writing\u202f\u2013 as well as the wider uses he made of his work and his style from Vies minuscules<\/i>. The article shows how this use is part of an even broader writing strategy: a poetics of borrowing, of \u00absecond hand\u00bb (Montaigne) and of a literary disguise of historical texts. Finally, it shows how the writer thus constitutes an apocryphal History, which plays with erudition.<\/p>\nPaolo Tamassia<\/strong>, Fran\u00e7ois Bon and Rabelais\u2019s \u00ab grande le\u00e7on \u00bb
\nThis article analyses how Fran\u00e7ois Bon carries out a\u202fhighly\u202foriginal\u202f<\/span>reading of Rabelais\u2019 work. By upending the canonical classifications of literary history, \u202fBon\u202fmaintains that Rabelais precedes humanism without entirely belonging to it. Thus, \u202fFran\u00e7ois Bon\u202fwishes to demonstrate how, in the work of the author of Pantagruel, the effort to establish, through the power of language, a relationship between the world and a subjectivity prior to the formation of the modern subject, is visible. For this reason, Rabelais is considered to be our contemporary: his days, as well as ours, have something in common (while the first are located before the formation of the\u202fmodern subject<\/span>, the others come just after its failure). At last, this paper will investigate how Rabelais\u2019 legacy is present in the works of\u202fFran\u00e7ois Bon.<\/p>\nFederico Corradi<\/strong>, Classic moralists in contemporary French fiction
\nDespite of their eccentric position within \u00ab\u202fliterature\u202f\u00bb and their problematic place at the crossing of several disciplines, classic moralists seem to acquire today a paradoxical modernity. This article analyses some texts of contemporary authors \u2013\u202fPascal Quignard, Camille Laurens and Lydie Salvayre\u202f\u2013 who establish a dialogue with classic moralists in different ways and with different intentions. In all these texts, the moralists\u2019 works are freely isolated from the context of seventeenth century culture in order to emphasize all the disconcerting modernity hidden behind the anachronistic and slightly insipid apprearance of their expressions. Regarded from today\u2019s perspective, these authors can be seen now as the prophets of modern relativism, now as the forerunners of structuralism, now as the first champions of the doctrine of art for art\u2019s sake.<\/p>\nEstelle Mouton-Rovira<\/strong>,\u00a0Parodic inheritance and narrative uses of the reader\u2019s figure\u202f: Christine Montalbetti reader of Denis Diderot
\n<\/span>This article aims at questioning the presence of authors of the past in contemporary literature through the example of intertextuality in Jacques le fataliste<\/i> by Denis Diderot, in L\u2019Origine de l\u2019homme<\/i> by Christine Montalbetti (2002). Metalepses, digressions and addresses to the reader tend to re-inscribe this book within a parodic tradition against the novelistic illusion. Yet, these processes are also many fictional beginnings, which become the support for a theoretical approach on the reader\u2019s role in fiction. Diderot\u2019s rereading is thus done through another heritage\u202f: a theoretical one of text theories and narratology.<\/p>\nMarie-\u00c8ve Th\u00e9renty<\/b>, Convergences\u202f:\u00a0Vernon Subutex<\/i>\u00a0and\u00a0La Com\u00e9die humaine<\/i>
\n<\/i>Virginie Despentes, the author of the Vernon Subutex<\/i> trilogy, is often compared to Balzac by critics. During the summer of 2018, an academic paper written by M. Goergen studied even the trilogy as a \u00ab\u202fhuman comedy transposed in post-industrial France\u202f\u00bb. Without denying this parentage, Virginie Despentes seems rather embarrassed by this recurring comparison. Obviously, Virginie Despentes does not understand this persisting assimilation that rests neither on a stylistic resemblance, nor on quotations from or even allusions to Balzac. The parentage is instead perceivable in what will be called devices. The article revisits this paradox of an unconscious imitation and uses the notion of convergence, a term that refers to both the musical ceremonies practiced by DJ Vernon Subutex and the notion of culture of convergence (2006) by Henry Jenkins who tries to understand contemporary cultural changes. For Jenkins, consumers are encouraged to connect contrasting media contents and to become creative participants by tinkering with the various cultural items they borrow. Vernon Subutex<\/i> could be the allegory of this new culture of imitation.<\/p>\n
Elisa Bricco<\/b>, The Constellation\u00a0Madame Bovary<\/i>
\n<\/i>Madame Bovary<\/i>\u2019s contemporary rewritings are analyzed in the light of Richard Saint-Gelais\u2019 critique of transfiction. Sixteen books, published in the last thirty years, illustrate the enthusiasm of writers for the novel that questions them and stimulates their creativity for the richesse of its diegesis and for the complexity of its style. The novelists confront with the illustrious predecessor to criticize him, to honor him, to write in his wake and to stand out. The most recent literary operations introduce variations that turn to criticism of the canon and to the recognition of the novel reading as a cure, as a tool to face the difficulties of existence. This last transformation of the Bovarian idea demonstrates the persistence of the myth and its power to radiate contemporary creativity.<\/p>\n
Agathe Novak-Lechevalier<\/strong>, Gambling a century against another\u202f: Michel Houellebecq and the 19th<\/sup>\u00a0century
\nIt could seem paradoxical to study Houellebecq, often designated as a \u00ab\u202fcapital contemporary\u202f\u00bb, throughout his links with the nineteenth century. Houellebecq\u2019s work however is full of references to the literature of the whole nineteenth century\u202f: one may evoke him as a romantic writer, another as a realist one, and he might also be seen as a fin de si\u00e8cle <\/i>novelist. These references to the past always have a critical, or even offensive function in Houellebecq\u2019s novels\u202f: the superposition of different times allows the writer to thwart the constant acceleration and the planned obsolescence which characterize capitalism, and enables the reader to experience a redeeming detachment. This way to declare himself untimely may finally be, for Houellebecq, the best way to appear as a real contemporary.<\/p>\nSilvia Disegni<\/strong>, Zola in The Imitation of happiness<\/i> by Jean Rouaud\u202f: counterweight and springboard
\nThe essay \u00ab\u202fZola dans L\u2019imitation du bonheur<\/i> de Jean Rouaud\u202f: repoussoir et tremplin\u202f\u00bb (Zola in The Imitation of happiness<\/i> by Jean Rouaud\u202f: counterweight and springboard) analyses the strong and noteworthy presence of Zola in Rouaud\u2019s novel (2006). The naturalist writer of the so-called scientific \u00ab\u202fmimesis\u202f\u00bb of the real is in fact the author of the literary past to which Rouaud most refers in his works. In Rouaud\u2019s fiction Zola is a real character, described both as a caricature and as an object of controversy. On the one hand this character acts as a counterweight at the first level of meta-narration, where the writer\u2019s poetics (which is opposite to Zola\u2019s) is defined; on the other, the proponent of the \u00ab\u202fsperimental\u202f\u00bb poetics is also the object against which the fictions of the second level, as well as all the stories within the story that enrich the novel, are written and nestled in. Thus, the counterweight becomes the springboard and the driving force of the act of writing as such. This study aims at exploring the modalities, function and meaning of the constant references to Zola in L\u2019Imitation.<\/p>\nLaurent Demanze<\/strong>, From naturalist investigations to contemporary documentary novels\u202f: following \u00c9mile Zola
\nDespite contemporary reluctance to \u00c9mile Zola\u2019s romantic fresco, a Zolian furrow crosses current literature: his novels are in fact re-qualified as documentary investigations to experience an unusual terrain, a striking lexicon or unusual practices. It is this documentary turn of contemporary literature that we have to analyze through the explicit reference to \u00c9mile Zola in the works of Jean-Baptiste Del Amo and Maylis de Kerangal. Both mobilize this reference, not to say a mimetic relation to reality but to induce a hypernaturalist or epic intensification of sensibility to the world.<\/p>\nJean-Marc Moura<\/strong>, The rewriting of oral tradition in Amadou Hamp\u00e2t\u00e9 B\u00e2\u2019s works
\nThe \u00ab\u202fpresence of the past\u202f\u00bb in African literatures, be they francophone or not, is quite different from this \u00ab\u202fpresence\u202f\u00bb in contemporary French literature. Sub-Saharan African writers relate their works to various oral traditions that are alien to Western literatures. The article analyses the reference to orality in Amadou Hamp\u00e2t\u00e9 B\u00e2\u2019s works, which allows us to consider the place of so-called francophone literatures in the French literary canon.<\/p>\nMartine Van\u202fGeertruijden<\/strong>, Translating intertextuality in contemporary French literature
\nWhen faced with a quotation that leaves its mark on the text, the translator is a reader first and foremost. Thanks to his or her own readings, personal library, and knowledge of the linguistic, literary and cultural tradition \u2013\u202f\u00ab\u202fthe support of the act of translation\u202f\u00bb (Antoine Berman)\u202f\u2013 the translator should be able to recognize the hypotext, analyze its relationship with the source text, and adopt the best strategy for reconstructing the intertextual network. All this while never losing sight of the intended reader, who will in turn be treating the target text as a sort of palimpsest<\/i>. The paper will examine which projects (those with a more philological slant or else more inclined to adopt domestication) were preferred by Italian translators to square up to the different intertextual situations that characterize the novels of Annie Ernaux and Alain Mabanckou.<\/p>\nPaola Crupi<\/strong>, Bovarysme and Spleen in\u00a0Vies p\u00f8tentielles<\/i>\u00a0by Camille de Toledo
\nThe collection of short stories or novel of fragments, Vies p\u00f8tentielles <\/i>written by Camille de Toledo, explores the life and the condition of man on the Earth during the 21st<\/sup> century. It is composed of a series of life sketches that describe the condition of man, during the period of the new technologies, and how these destroyed his inner life. This book establishes a constant dialogue with French literature of the past. Its writing is enriched by scenes, images and themes that are connected with the bovarysme of Flaubert, but it has roots also in the poetry written by Baudelaire, contributing to the renovation of literature at the turn of the 20th<\/sup> and 21st<\/sup> century and to enrich the literary research of the author. According to Camille de Toledo, literature works from the past persist and hybridise trough the rearrangement of the book-like-an-object, trough the work the writer practices the genres and the language. With the literary heritage from the past, he invents new forms of poetry and aesthetic for the literature of the 21st<\/sup> century.<\/p>\nSarah Nora Pinto<\/strong>, Writing with others. The work of quotation in Chlo\u00e9 Delaume\u2019s\u00a0Une femme avec personne dedans<\/i>
\n<\/i>Chlo\u00e9 Delaume as pseudonym\u2019s author and character of fiction come into being by quoting literature. Her literary project of identity regeneration, of \u201cmodifying the real\u201d, takes place within the autofiction, as a political and experimental practice. Her project requires the creation of a singular language, built with the words of her favorite authors, whose voices are made alive by grafting them on her own. This article analyzes in her novel Une femme avec personne dedans<\/i>, published in 2012, how the literature of the past is called upon in the creation, at several levels of the text: structural (hypotext of the Apocalypse according to Saint John and literary allusions in titles), textual (use of quotation marks and italics) and linguistic (literary quotations used for play on words and deeply integrated into her language).<\/p>\nGilles Bonnet<\/strong>, Literature is not my lawn mower (fantasy, manuals and medialization)
\nMany contemporary authors of French literature (No\u00e9mi Lefebvre, Jean-Charles Massera, Eric Arlix, Emmanuelle Pireyre, Nathalie Quintane, Olivier Cadiot) revisit the legacy of fantasy from the 18th<\/sup> and 19th<\/sup> centuries. Their works put at a distance, through joyful doubt and playful complexity, these uses of language which reflect a globalization that is readily assertive or even authoritarian. Their texts bet on fantasy as a corrosive force, capable of dissolving the fiercely causalist pretensions of etiologies that want to be oriented towards transparency and rationalization of the world and the subject. Serpentine walks rather than treaties, these novels or stories revive a delineation conducive to hesitation and remorse of thought. They revive an ethical and political fantasy.<\/p>\n<\/div>Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>\n
Dominique Rabat\u00e9
\n<\/strong>Ancien \u00e9l\u00e8ve de l\u2019ENS Ulm,\u202fDominique Rabat\u00e9 est professeur de litt\u00e9rature fran\u00e7aise du XXe<\/sup> si\u00e8cle \u00e0 l\u2019Universit\u00e9 de Paris. Il a \u00e9crit de nombreux livres\u202f: sur Louis-Ren\u00e9 des For\u00eats, Pascal Quignard, Marie NDiaye, sur le roman et le r\u00e9cit au XXe<\/sup> si\u00e8cle, ou le sujet lyrique. Derniers titres parus\u202f: chez Corti, La Passion de l\u2019impossible. Une histoire du r\u00e9cit au XX\u00b0 si\u00e8cle<\/i> (2018) et Petite physique du roman<\/i> (2019). En 2015\u202fD\u00e9sirs de dispara\u00eetre<\/i>\u202fchez Tangence au Qu\u00e9bec. <dominique.rabate@wanadoo.fr><\/p>\nDominique Viart
\n<\/b>Essayiste et critique, membre de l\u2019Institut universitaire de France<\/i>, Dominique Viart, professeur \u00e0 l\u2019Universit\u00e9 Paris Nanterre, dirige avec Jean-Marc Moura l\u2019Observatoire des \u00e9critures contemporaines<\/i>. Directeur de la Revue des Sciences Humaines<\/i> et de plusieurs collections scientifiques, il a promu la recherche universitaire sur la litt\u00e9rature contemporaine (La Litt\u00e9rature fran\u00e7aise au pr\u00e9sent<\/i>, 2005\u202f; Anthologie de la litt\u00e9rature fran\u00e7aise contemporaine,<\/i> 2013) et consacr\u00e9 des essais \u00e0 Jacques Dupin, Claude Simon, Pierre Michon, Fran\u00e7ois Bon, Eric Chevillard, Patrick Deville, ainsi que nombre d\u2019articles \u00e0 divers \u00e9crivains contemporains. Attentif aux relations entre litt\u00e9rature et sciences humaines et sociales, il organise chaque ann\u00e9e \u00e0 Paris les rencontres \u00ab\u202fLitt\u00e9rature\u202f: enjeux contemporains\u202f\u00bb. Il a r\u00e9cemment dirig\u00e9 deux num\u00e9ros de la revue am\u00e9ricaine Contemporary French & Francophone Studies<\/i> (Literature and Criticism<\/i> et Literature and alternative Knowledges<\/i>), dirig\u00e9 avec Djamel Meskache un volume consacr\u00e9 \u00e0 Alain Nadaud (\u00e9ditions Tarabuste) et, avec Agn\u00e8s Castiglione, le Cahier de l\u2019Herne<\/i> consacr\u00e9 \u00e0 Pierre Michon. Il vient de coordonner, avec Alison James, le volume Litt\u00e9ratures de terrain<\/i>, de la revue en ligne FIXXION XX-XXI. <\/i><dviart@parisnanterre.fr><\/p>\n
Paolo Tamassia
\n<\/b>Paolo Tamassia enseigne la Litt\u00e9rature fran\u00e7aise \u00e0 l\u2019universit\u00e9 de Trente. Ses recherches portent notamment sur les rapports entre litt\u00e9rature et politique (Sartre, Bataille, Foucault, Blanchot) et entre po\u00e9sie et pens\u00e9e (Char), ainsi que sur le roman fran\u00e7ais contemporain (Bergounioux, Bon, Carr\u00e8re, Houellebecq, Michon). Parmi ses nombreuses publications\u202f: Politiche della scrittura. Sartre nel dibattito francese del Novecento su letterura e politica<\/i> (Franco Angeli, 2001), Romanzo e societ\u00e0<\/i>, dans Il romanzo francese contemporaneo<\/i>, dirig\u00e9 par G. Rubino (Laterza, 2012) et Il Novecento<\/i>, dans Storia europea della letteratura francese<\/i>, dirig\u00e9 par L. Sozzi (Einaudi, 2013).<paolo.tamassia@unitn.it><\/p>\n
Federico Corradi
\n<\/b>Professeur associ\u00e9 de Litt\u00e9rature fran\u00e7aise \u00e0 l\u2019Universit\u00e9 de Naples \u00ab\u202fL\u2019Orientale\u202f\u00bb, Federico Corradi a \u00e9tudi\u00e9 en particulier l\u2019\u0153uvre de La Fontaine, \u00e0 laquelle il a consacr\u00e9 un volume (Immagini dell\u2019autore nell\u2019opera di La Fontaine<\/i>, Pisa, Pacini, 2009) et plusieurs articles. Membre de l\u2019\u00e9quipe Fabula numerica<\/i>, il a travaill\u00e9 sur la tradition de la fable humaniste, notamment sur les recueils \u00e9sopiques n\u00e9o-latins et italiens de Fa\u00ebrne, Verdizzotti, Tesauro et Capaccio. Il s\u2019est occup\u00e9 de l\u2019\u00e9criture de l\u2019histoire et de la critique litt\u00e9raire au XVIIe<\/sup> si\u00e8cle (\u00e9ditions critiques de Saint-R\u00e9al, C\u00e9sarion ou entretiens divers<\/i>, Paris, Hermann, 2013 et de Saint-\u00c9vremond, \u00c9crits sur le th\u00e9\u00e2tre<\/i>, Pisa, ETS, 2015). En tant que membre du Larc (Laboratoire de Recherches sur le Contemporain \u2013 Universit\u00e9 de Rome \u00ab\u202fLa Sapienza\u202f\u00bb), il s’est pench\u00e9 sur les modalit\u00e9s de l\u2019\u00e9criture historique dans le roman contemporain, notamment dans les \u00ab\u202ffictions critiques\u202f\u00bb de G\u00e9rard Mac\u00e9, Pierre Michon et Pascal Quignard. <fcorradi@unior.it><\/p>\nEstelle Mouton-Rovira
\n<\/strong>Estelle Mouton-Rovira est Ma\u00eetresse de conf\u00e9rences \u00e0 l\u2019Universit\u00e9 Bordeaux-Montaigne. Elle a soutenu en 2017 une th\u00e8se intitul\u00e9e \u00ab\u202fTh\u00e9ories et imaginaires de la lecture dans le r\u00e9cit contemporain fran\u00e7ais\u202f\u00bb. Ses travaux actuels portent sur la litt\u00e9rature contemporaine (Pierre Bergounioux, Arno Bertina, Emmanuel Carr\u00e8re, \u00c9ric Chevillard, Emmanuelle Pireyre, Olivia Rosenthal, Pierre Senges\u2026) et sur les th\u00e9ories de la lecture et de l\u2019interpr\u00e9tation\u202f; elle s\u2019int\u00e9resse \u00e9galement \u00e0 la r\u00e9ception de la litt\u00e9rature num\u00e9rique. <estelle.mouton.rovira@gmail.com><\/p>\nMarie-\u00c8ve Th\u00e9renty
\n<\/b>Marie-\u00c8ve Th\u00e9renty est professeure \u00e0 l\u2019Universit\u00e9 Paul-Val\u00e9ry Montpellier 3 et directrice du centre de recherche RIRRA 21. Sp\u00e9cialiste des relations entre presse et litt\u00e9rature, de po\u00e9tique historique et d\u2019imaginaire m\u00e9diatique, elle a \u00e9crit et codirig\u00e9 plusieurs ouvrages parmi lesquels\u202f: La Litt\u00e9rature au quotidien, Po\u00e9tiques journalistiques au XIXe<\/sup> si\u00e8cle<\/i>, Seuil, 2007\u202f; (avec D.\u202fKalifa, P.\u202fR\u00e9gnier et A.\u202fVaillant) La Civilisation du journal. Histoire culturelle et litt\u00e9raire de la presse fran\u00e7aise au XIXe<\/sup> si\u00e8cle<\/i>, Nouveau monde, 2012\u202f; (avec A.\u202fChabrier) D\u00e9tective, fabrique de crimes<\/i>, \u00e9ditions K, 2017\u202f; Femmes de presse, femmes de lettres. De Delphine de Girardin \u00e0 Florence Aubenas<\/i>, CNRS \u00e9ditions, 2019. Elle est coresponsable avec Guillaume Pinson de la plate-forme num\u00e9rique medias19.org <\/i>et est la responsable scientifique du projet ANR Numapresse. <marie-eve.therenty@univ-montp3.fr><\/span><\/p>\nElisa Bricco
\n<\/b>Elisa Bricco est professeure de litt\u00e9rature fran\u00e7aise \u00e0 l\u2019Universit\u00e0 di Genova. Elle a publi\u00e9 plusieurs \u00e9tudes sur le roman fran\u00e7ais contemporain. En 2015 a paru l\u2019essai Le D\u00e9fi du roman. Narration et engagement oblique \u00e0 l\u2019<\/i>\u00e8re postmoderne chez Peter Lang et, la m\u00eame ann\u00e9e, le collectif Le Bal des arts. Le sujet et l\u2019image<\/i>\u202f: \u00e9crire avec l\u2019art<\/i> (Quodlibet). Depuis quelques ann\u00e9es, elle travaille sur les enjeux de l\u2019interm\u00e9dialit\u00e9 (roman et peinture, roman et cin\u00e9ma, phototexte, roman et bande dessin\u00e9e). En 2016 elle a dirig\u00e9 le collectif Scritture ibridate contemporanee<\/i> paru dans la revue Nuova Corrente<\/i> (n.\u202f126) et, en 2018, elle a publi\u00e9 Pratiques artistiques interm\u00e9diales<\/i> sur la revue Publif@rum<\/i> (n.\u202f29) avec Nancy Murzilli. Dans la m\u00eame revue a paru en 2019 le collectif La litt\u00e9rature et les arts\u202f: paroles d\u2019\u00e9crivain.e.s <\/i>(n.\u202f30). <\/span>Elisa Bricco dirige le groupe de recherche de l\u2019ARGEC (Atelier de recherches g\u00e9nois sur les \u00e9critures contemporaines, <http:\/\/argec.hypotheses.org><\/i>). <<\/i>elisa.bricco@unige.it><\/span><\/p>\nAgathe Novak-Lechevalier
\n<\/span><\/strong>Agathe Novak-Lechevalier est ma\u00eetre de conf\u00e9rences \u00e0 l\u2019universit\u00e9 Paris-Nanterre. Sp\u00e9cialiste de la litt\u00e9rature du XIXe<\/sup> si\u00e8cle, ses recherches s\u2019orientent d\u00e9sormais aussi vers la litt\u00e9rature contemporaine, et elle a notamment beaucoup travaill\u00e9 sur l\u2019\u0153uvre de Michel Houellebecq. Elle a ainsi pr\u00e9fac\u00e9 son anthologie po\u00e9tique Non r\u00e9concili\u00e9 <\/i>(Gallimard, 2014), fourni la premi\u00e8re \u00e9dition critique de La Carte et le Territoire<\/i> (Flammarion, GF, 2016), et coordonn\u00e9 le Cahier de l\u2019Herne<\/i> qui a \u00e9t\u00e9 consacr\u00e9 \u00e0 Michel Houellebecq en 2017. Elle a par ailleurs publi\u00e9 un essai intitul\u00e9 Michel Houellebecq, l\u2019art de la consolation <\/i>(Stock) en 2018. <agathelechevalier@gmail.com><\/span><\/p>\nSilvia Disegni
\n<\/strong>Silvia Disegni est professeure de litte\u0301rature franc\u0327aise a\u0300 l\u2019Universite\u0301 de Naples Federico II. Elle a participe\u0301 a\u0300 de nombreux colloques et groupes de recherche internationaux. Elle a publie\u0301 plusieurs articles en France, en Italie et au Canada sur les e\u0301crivains de la mouvance re\u0301aliste et naturaliste, les rapports entre journalisme et litte\u0301rature au XIXe<\/sup><\/span> sie\u0300cle, la litte\u0301rature et la censure en France au XIXe sie\u0300cle, l\u2019histoire litte\u0301raire du XIXe sie\u0300cle en France, les figures de passeurs entre France et Italie au tournant des XIXe<\/sup><\/span> et XXe<\/sup><\/span> sie\u0300cles, les correspondances d\u2019e\u0301crivains, des proble\u0300mes de poe\u0301tique, traductologie et traductibilite\u0301 et l\u2019\u0153uvre de penseurs du XX