{"id":2554,"date":"2023-02-22T18:08:47","date_gmt":"2023-02-22T17:08:47","guid":{"rendered":"https:\/\/www.lilec.it\/francofonia\/?p=2554"},"modified":"2024-05-17T16:22:09","modified_gmt":"2024-05-17T14:22:09","slug":"83-2022","status":"publish","type":"post","link":"http:\/\/www.lilec.it\/francofonia\/83-2022\/","title":{"rendered":"83 Automne \/ Autunno 2022"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-1\"><h2 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><strong><div class=\"fusion-counters-circle counters-circle\" data-animationOffset=\"top-into-view\"><div class=\"counter-circle-wrapper\" style=\"--awb-font-size:34.090909090909px;--awb-size:150px;\" data-originalsize=\"150\"><div class=\"fusion-counter-circle counter-circle counter-circle-content\" data-percent=\"100\" data-countdown=\"\" data-filledcolor=\"rgba(0,165,55,1)\" data-unfilledcolor=\"rgba(246,246,246,1)\" data-scale=\"\" data-size=\"150\" data-speed=\"1500\" data-strokesize=\"7.5\"><div class=\"fusion-counter-circle-content-inner\">83<\/div><\/div><\/div><\/div>Automne\/Autunno 2022<\/strong><\/h2>\n<h1 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><em>Francophonies hongroises au f\u00e9minin : travers\u00e9es litt\u00e9raires et sociales (XIX<sup>e<\/sup>-XXI<sup>e<\/sup> si\u00e8cles)<\/em><\/h1>\n<h3 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><strong>sous la direction de Guillaume M\u00e9tayer<\/strong><\/h3>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-background-blend-mode:overlay;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-color:#ff3300;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:30px;--awb-padding-bottom:35px;--awb-background-color:rgba(224,224,224,0.95);--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-2\"><h2 style=\"text-align: center;\"><span style=\"color: #000000;\">Sommaire \/\u00a0<\/span><span style=\"color: #000000;\">Indice<\/span><\/h2>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-right:20px;--awb-padding-left:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-section-separator section-separator triangle fusion-section-separator-1\" style=\"--awb-border-bottom:1px solid rgba(224,224,224,0.95);--awb-spacer-height:1px;--awb-svg-margin-left:0;--awb-svg-margin-right:0;--awb-icon-color:#ffffff;\"><div class=\"fusion-section-separator-svg\"><div class=\"divider-candy-arrow bottom\" style=\"top:0px;border-top-color: rgba(224,224,224,0.95);\"><\/div><div class=\"divider-candy bottom\" style=\"bottom:-21px;border-bottom:1px solid rgba(224,224,224,0.95);border-left:1px solid rgba(224,224,224,0.95);\"><\/div><\/div><div class=\"fusion-section-separator-spacer\"><div class=\"fusion-section-separator-spacer-height\"><\/div><\/div><\/div><div class=\"fusion-text fusion-text-3\"><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-4 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-4\"><p><strong>Guillaume M\u00e9tayer<\/strong>, Francophonies hongroises au f\u00e9minin : travers\u00e9es litt\u00e9raires et sociales (XIX<span class=\"s1\">e<\/span>-XXI<span class=\"s1\">e <\/span>si\u00e8cles)<\/p>\n<\/div><div class=\"fusion-tabs fusion-tabs-1 classic nav-is-justified horizontal-tabs icon-position-left mobile-mode-accordion\" style=\"--awb-title-border-radius-top-left:0px;--awb-title-border-radius-top-right:0px;--awb-title-border-radius-bottom-right:0px;--awb-title-border-radius-bottom-left:0px;--awb-alignment:start;--awb-inactive-color:#ebeaea;--awb-background-color:#ffffff;--awb-border-color:#ebeaea;--awb-active-border-color:#278157;\"><div class=\"nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-f231b3437cadc6a6bdf\" aria-selected=\"true\" id=\"fusion-tab-articles\" href=\"#tab-f231b3437cadc6a6bdf\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-8abf4a87ca215198d0d\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-8abf4a87ca215198d0d\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-ce623b10ef8b63363df\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-abstracts\" href=\"#tab-ce623b10ef8b63363df\"><h4 class=\"fusion-tab-heading\">Abstracts<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-8fe0b6908205ecb9287\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-bio-bibliographiesdescontributeurs\" href=\"#tab-8fe0b6908205ecb9287\"><h4 class=\"fusion-tab-heading\">Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-f231b3437cadc6a6bdf\" aria-selected=\"true\" id=\"mobile-fusion-tab-articles\" href=\"#tab-f231b3437cadc6a6bdf\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-articles\" id=\"tab-f231b3437cadc6a6bdf\">\n<p><strong>Franciska Dede<\/strong>, \u00ab \u00c2mes jumelles \u00bb. L\u2019amiti\u00e9 magyare francophone de Jean de N\u00e9thy (Emmy de N\u00e9methy) et de Sigismond de Justh<\/p>\n<p><strong>Guillaume M\u00e9tayer<\/strong>, Une Hongroise francophone dans l\u2019ombre des grands hommes : It\u00f3ka B\u00f6l\u00f6ni (1873-1951)<\/p>\n<p class=\"p1\"><strong><span class=\"s1\">S<\/span>ara de <span class=\"s1\">B<\/span>alsi, <\/strong>La langue hongroise dans l\u2019oeuvre d\u2019Agota Kristof<\/p>\n<p class=\"p1\"><strong><span class=\"s1\">J<\/span>ulia <span class=\"s1\">O<\/span>ri<\/strong>, La posture litt\u00e9raire de Katalin Moln\u00e1r<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-8abf4a87ca215198d0d\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-8abf4a87ca215198d0d\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-r\u00e9sum\u00e9s\" id=\"tab-8abf4a87ca215198d0d\">\n<p><b>Franciska Dede<\/b>, \u00ab \u00c2mes jumelles \u00bb. L\u2019amiti\u00e9 magyare francophone de Jean de N\u00e9thy (Emmy de N\u00e9methy) et de Sigismond de Justh<\/p>\n<p class=\"p1\"><span class=\"s1\">Cette \u00e9tude analyse la relation amicale de la femme de lettres autrichienne d\u2019origine hongroise Emmy de N\u00e9methy, \u00e9crivant sous le nom de plume masculin de Jean de N\u00e9thy, et d\u2019un \u00e9crivain issu de la noblesse hongroise de la fin du XIX<sup>e<\/sup> si\u00e8cle, Sigismond de Justh. La source principale de l\u2019article est leur correspondance francophone in\u00e9dite dont la partie \u00e9crite par N\u00e9methy est conserv\u00e9e \u00e0 la Biblioth\u00e8que nationale Sz\u00e9ch\u00e9nyi de Hongrie (l\u2019autre partie est disparue ou demeure actuellement introuvable), ainsi que leurs \u0153uvres litt\u00e9raires. Bien qu\u2019amie de Sarah Bernhardt, premi\u00e8re propagatrice de l\u2019\u0153uvre de Nietzsche en France et future traductrice des litt\u00e9ratures nordiques, nous avons tr\u00e8s peu de connaissances sur Emmy de N\u00e9methy. L\u2019\u00e9tude se propose de compl\u00e9ter ces connaissances dispers\u00e9es en se focalisant sur son amiti\u00e9 avec Justh<\/span>.<\/p>\n<p><b>Guillaume M\u00e9tayer<\/b>, Une Hongroise francophone dans l\u2019ombre des grands hommes : It\u00f3ka B\u00f6l\u00f6ni (1873-1951)<\/p>\n<p class=\"p1\">Cet article vise \u00e0 d\u00e9crire la situation paradoxale d\u2019It\u00f3ka B\u00f6l\u00f6ni (1873-1951), autrice francophone originaire d\u2019une r\u00e9gion roumano-hongroise de la Double Monarchie, prise dans les rets d&#8217;affiliations crois\u00e9es (genre et f\u00e9minisme, langues, nations, politique), d\u2019activit\u00e9s multiples compl\u00e9mentaires mais concurrentes (peinture, journalisme litt\u00e9raire et artistique, reportage en Extr\u00eame-Orient, t\u00e9moignage historique, \u00e9criture diariste, traduction) et d\u2019\u00e9mancipations inachev\u00e9es, marqu\u00e9es par la d\u00e9pendance \u00e0 de nombreuses figures masculines prestigieuses utilis\u00e9es comme faire-valoir (Endre Ady, Henri Barbusse, Gy\u00f6rgy B\u00f6l\u00f6ni, Antoine Bourdelle, Anatole France&#8230;). La francophonie joue un r\u00f4le d\u2019\u00e9mancipation mais corrobore l\u2019\u00e9chec des strat\u00e9gies de captation d&#8217;aura, en maintenant l\u2019autrice dans une constante ancillarit\u00e9 linguistique et litt\u00e9raire.<\/p>\n<p><b>Sara De Balsi<\/b>, La langue hongroise dans l\u2019oeuvre d\u2019Agota Kristof<\/p>\n<p class=\"p1\">Cette contribution s\u2019int\u00e9resse \u00e0 la langue maternelle hongroise dans l\u2019\u0153uvre de l\u2019\u00e9crivaine francophone translingue Agota Kristof. Nous reparcourons d\u2019abord la trajectoire biographique et linguistique de l\u2019autrice, en nous focalisant sur l\u2019importance et la persistance d\u2019un noyau po\u00e9tique hongrois tout au long de sa production. Nous suivons les traces du hongrois dans les textes romanesques, en relevant encore une fois le lien particulier qui persiste entre cette langue jamais nomm\u00e9e et la po\u00e9sie. Enfin, nous abordons l\u2019imaginaire de la langue hongroise tel qu\u2019il s\u2019exprime dans le discours public et dans les textes de l\u2019autrice, de la perte de la langue maternelle \u00e0 l\u2019affirmation d\u2019une \u00e9galit\u00e9 des langues.<\/p>\n<p class=\"p1\"><strong>Julia Ori<\/strong>, La posture litt\u00e9raire de Katalin Moln\u00e1r<\/p>\n<p class=\"p1\">Katalin Moln\u00e1r (1951), \u00e9crivaine d\u2019origine hongroise, publie ses livres \u00e0 partir de 1995 en fran\u00e7ais. Par cons\u00e9quent, elle se trouve dans une position initiale marginale non seulement pour le fait d\u2019\u00eatre une femme, mais aussi pour son origine \u00e9trang\u00e8re. \u00c0 travers l\u2019analyse de sa <i>posture<\/i> (Meizoz, 2007) \u2013 et notamment de sa trajectoire \u00e9ditoriale, ses prises de position publiques et textuelles, ainsi que la r\u00e9ception de son \u0153uvre \u2013 nous pouvons constater qu\u2019au lieu d\u2019essayer d\u2019\u00e9chapper \u00e0 cette identification avec ses origines, elle la met toujours en relief pour en faire un trait distinctif. En effet, elle \u00e9crit des \u0153uvres hybrides et h\u00e9t\u00e9rog\u00e8nes o\u00f9 langages, langues et discours sont m\u00e9lang\u00e9s, et qui t\u00e9moignent de sa double appartenance et de sa situation d\u2019<i>entre-deux<\/i>.<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-ce623b10ef8b63363df\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-abstracts\" href=\"#tab-ce623b10ef8b63363df\"><h4 class=\"fusion-tab-heading\">Abstracts<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-abstracts\" id=\"tab-ce623b10ef8b63363df\">\n<p><strong>Franciska Dede<\/strong>, \u00ab &#8220;Twin souls&#8221;. Francophone-Hungarian friendship of Jean de N\u00e9thy (Emmy N\u00e9methy) and Sigismund Justh \u00bb<\/p>\n<p><span class=\"s1\">This study analyses the friendly relationship between the Austrian woman of letters of Hungarian origin, Emmy de N\u00e9methy, writing under the male pen name of Jean de N\u00e9thy, and a writer from the Hungarian nobility of the late 19<sup>th<\/sup> century, Sigismund de Justh. The main source of the paper is their inedited correspondence in French, the part of which written by N\u00e9methy is treasured in the National Sz\u00e9ch\u00e9nyi Library in Hungary (the other part has disappeared or cannot be found), as well as their literary works. Apart from being one of Sarah Bernhardt\u2019s friend, the first disseminator of Nietzsche\u2019s oeuvre in France and a future translator of Nordic literature, we still know very little about Emmy de N\u00e9methy. This study aims to contribute to this scattered knowledge by focusing on her friendship with Justh.<\/span><\/p>\n<p><i><br \/>\n<\/i><b>Guillaume M\u00e9tayer<\/b>, \u00ab A French-speaking Hungarian woman in the shadow of great men: It\u00f3ka B\u00f6l\u00f6ni (1873-1951) \u00bb<\/p>\n<p class=\"p1\">This article aims to describe the paradoxical situation of It\u00f3ka B\u00f6l\u00f6ni (1873-1951), a French-speaking author from a Romanian-Hungarian region of The Dual Monarchy, caught in the cross-affiliations (gender and feminism, languages, nations, politics), multiple complementary but competing activities (painting, literary and artistic journalism, reportage in the Far East, historical testimony, diarist writing, translation) and partially unsuccessful emancipation efforts, marked by dependence on numerous prestigious male figures supposed to act as foil (Endre Ady, Henri Barbusse, Gy\u00f6rgy B\u00f6l\u00f6ni, Antoine Bourdelle, Anatole France&#8230;). Francophony plays an emancipatory role but corroborates the failure of strategies to capture others\u2019 aura, keeping the author in a linguistic and literary subaltern status.<\/p>\n<p><strong>Sara De Balsi<\/strong>, \u00ab Hungarian Language in the Work of Agota Kristof \u00bb<\/p>\n<p class=\"p1\">This paper investigates the role of the Hungarian mother tongue in the work of the translingual French writer Agota Kristof. First, the biographical and linguistic trajectory of the author is reviewed, focusing on the importance and persistence of her Hungarian poetic work throughout her French production. Then the presence of Hungarian in the novels is analyzed, keeping in mind the persistent link between this language \u2013 which the author never names \u2013 and poetic form. Finally, the imaginary of the Hungarian language in Kristof\u2019s public discourse and texts is dealt with, by retracing a path from the loss of the mother tongue to the affirmation of an equality of languages.<\/p>\n<p><strong>Julia Ori<\/strong>, \u00ab Katalin Moln\u00e1r&#8217;s Literary Posture \u00bb<\/p>\n<p class=\"p1\">Katalin Moln\u00e1r, writer of Hungarian origin, published her books from 1995 in French. Therefore, she finds herself in an initial marginal position first because she\u2019s a woman and second, because of her origin. Through the analysis of her <i>posture<\/i> (Meizoz 2007) \u2013 and in particular of her editorial trajectory, her public and textual posture, as well as the reception of her work \u2013 it is clear that instead of trying to escape this identification to her origins, she always highlights them to use them as an advantage. Indeed, she writes hybrid and heterogeneous works in which languages and speeches are mixed, and reveal her dual belonging and her in-between posture.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-8fe0b6908205ecb9287\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-bio-bibliographiesdescontributeurs\" href=\"#tab-8fe0b6908205ecb9287\"><h4 class=\"fusion-tab-heading\">Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-bio-bibliographiesdescontributeurs\" id=\"tab-8fe0b6908205ecb9287\">\n<p><strong>Franciska Dede<\/strong><\/p>\n<p class=\"p1\">Chercheuse \u00e0 la Biblioth\u00e8que nationale Sz\u00e9ch\u00e9nyi et sp\u00e9cialiste de litt\u00e9rature, presse litt\u00e9raire et civilisation du tournant du si\u00e8cle (XIX<sup>e<\/sup>-XX<sup>e<\/sup>), Franciska Dede travaille surtout sur l\u2019\u0153uvre de l\u2019\u00e9crivain Sigismond de Justh (elle a soutenu sa th\u00e8se \u00e0 l\u2019Universit\u00e9 E\u00f6tv\u00f6s Lor\u00e1nd de Budapest en 2006 au sujet des relations sociales et culturelles de l\u2019\u00e9crivain et a publi\u00e9 un recueil de ses \u00e9crits en 2013) et sur l\u2019histoire des revues litt\u00e9raires\u202f: <i>A H\u00e9t<\/i> et <i>Uj Id\u0151k<\/i>. Une partie importante de ses travaux porte sur l\u2019\u00e9tude de la correspondance et du r\u00e9seau de connaissances de Sigismond de Justh et sur l\u2019\u00e9tude des auteurs, des illustrations et des relations avec le public des revues litt\u00e9raires de l\u2019\u00e9poque. Elle est l\u2019autrice de deux ouvrages et de nombreux articles. &lt;<span class=\"mark6cp5peabe\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">dede<\/span>.<span class=\"mark4whcamxip\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">franciska<\/span>@gmail.com&gt;<\/p>\n<p><b>Guillaume M\u00e9tayer<\/b><\/p>\n<p class=\"p1\">Guillaume M\u00e9tayer est directeur de recherche au CNRS (CELLF-Sorbonne universit\u00e9), et traducteur de l\u2019allemand et du hongrois. Il travaille sur les Lumi\u00e8res et leur h\u00e9ritage (<i>Nietzsche et Voltaire<\/i>, 2011\u202f; <i>Anatole France et le nationalisme litt\u00e9raire<\/i>, 2011\u202f; <i>Budapest 1956. La r\u00e9volution vue par les \u00e9crivains hongrois<\/i>, 2016) et sur les rapports entre po\u00e9sie, philosophie et traduction (<i>A comme Babel<\/i>, 2020). Il a publi\u00e9 les <i>Po\u00e8mes complets<\/i> de Nietzsche (2019) et port\u00e9 en fran\u00e7ais des po\u00e8tes hongrois romantiques et modernes (S\u00e1ndor Pet\u0151fi, J\u00e1nos Garay, Gyula Kr\u00fady, Attila J\u00f3zsef) ou contemporains (\u00c1gnes Nemes Nagy, Istv\u00e1n Kem\u00e9ny, Krisztina T\u00f3th), ainsi que la philosophe \u00c1gnes Heller. Il a cr\u00e9\u00e9 en 2022 une collection de po\u00e9sie centre-europ\u00e9enne (\u00ab\u202fCentrale \/ Po\u00e9sie\u202f\u00bb, La Rumeur libre).&lt;gme.<span class=\"markje5lk0asb\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">metayer<\/span>@gmail.com&gt;<\/p>\n<p><b>Sara De Balsi<\/b><\/p>\n<p class=\"p1\">Sara De Balsi est agr\u00e9g\u00e9e d\u2019italien, docteure en litt\u00e9rature fran\u00e7aise et compar\u00e9e et chercheuse associ\u00e9e \u00e0 l\u2019UMR H\u00e9ritages : Cultures\/s, Patrimoine\/s, Cr\u00e9ation\/s (CY Cergy Paris Universit\u00e9). Elle consacre ses recherches au plurilinguisme litt\u00e9raire en fran\u00e7ais et en italien. Elle a publi\u00e9 <i>Agota Kristof, \u00e9crivaine translingue<\/i> (Presses Universitaires de Vincennes, 2019). &lt;saradebalsi@hotmail.com&gt;<\/p>\n<p><b>Agnese Silvestri<br \/>\n<\/b><\/p>\n<p class=\"p1\">Agnese Silvestri est professeure associ\u00e9e de Litt\u00e9rature fran\u00e7aise \u00e0 l\u2019Universit\u00e0 di Salerno (Italie). Sp\u00e9cialiste des XIX<sup>e <\/sup>et XX<sup>e<\/sup> si\u00e8cles, elle s\u2019int\u00e9resse aux rapports entre cr\u00e9ativit\u00e9 litt\u00e9raire, m\u00e9moire historique et id\u00e9ologie. Elle est l\u2019auteure de <i>Ren\u00e9 Kalisky, une po\u00e9tique de la r\u00e9p\u00e9tition<\/i> (Peter Lang, 2007), <i>Il caso Dreyfus e la nascita dell\u2019intellettuale moderno<\/i> (Franco Angeli, 2012). Elle a co-dirig\u00e9 <i>Il rosso e l\u2019oro. Cinque lezioni sulla <\/i>Fille aux yeux d\u2019or (Biblink, 2017) et <i>S\u00e9duction et vengeance\u202f: <\/i>La Cousine Bette de Balzac. <i>Cinq le\u00e7ons <\/i>(RomaTre Press, 2020). Elle vient de diriger \u00ab\u202fLes \u00e9crivains lecteurs de Sand \u2013 I\u202f\u00bb (<i>Cahiers George Sand<\/i>, 2020). &lt;asilvestri@unisa.it&gt;<\/p>\n<p><strong>Julia Ori<br \/>\n<\/strong><\/p>\n<p class=\"p1\">Julia Ori est enseignante-chercheuse \u00e0 l\u2019Universit\u00e9 Complutense de Madrid depuis 2019. Elle a d\u00e9fendu sa th\u00e8se sur l\u2019auteure bilingue franco-hongroise Katalin Moln\u00e1r en 2017 dans la m\u00eame universit\u00e9. Elle est l\u2019auteure de plusieurs articles parus dans des revues espagnoles et internationales (<i>\u00c7\u00e9dille<\/i>, <i>Anales de Filolog\u00eda Francesa<\/i>, <i>L2 Journal<\/i>, <i>International Journal of Francophone Studies<\/i>) et elle a r\u00e9cemment co-\u00e9dit\u00e9 le volume <i>Naturaleza y literatura\u202f: voces ecocr\u00edticas en poes\u00eda y prosa<\/i> de la collection \u00ab\u202fNuevos horizontes de la literatura comparada\u202f\u00bb de la Soci\u00e9t\u00e9 Espagnole de Litt\u00e9rature G\u00e9n\u00e9rale et Compar\u00e9e (2021). Elle est secr\u00e9taire de la revue <i>Th\u00e9l\u00e8me. Revista Complutense de Estudios Franceses<\/i>. Elle s\u2019int\u00e9resse principalement au bilinguisme litt\u00e9raire, \u00e0 l\u2019\u00e9cocritique et aux \u00e9tudes de genre. &lt;julia.ori@ucm.es&gt;<\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-5\"><h2><strong>Interviews\/Interviste<\/strong><\/h2>\n<p class=\"p1\"><em>\u00ab \u00c0 la pointe de la langue \u00bb : \u00e0 propos d\u2019un questionnaire \u00e0 trois autrices contemporaines ayant le hongrois en partage\u00a0<\/em><\/p>\n<p class=\"p1\">Interview avec Eva Almassy<\/p>\n<p class=\"p1\">Interview avec C\u00e9cile A. Holdban<\/p>\n<p class=\"p1\">Interview avec Nina Yargekov<\/p>\n<h2>In\u00e9dit\/Inedito<\/h2>\n<p class=\"p1\">I<span class=\"s1\">t\u00f3ka <\/span>B<span class=\"s1\">\u00f6l\u00f6ni<\/span>, <em>Paysage lunaire<\/em><\/p>\n<h2><strong>Comptes rendus\/Recensioni<\/strong><\/h2>\n<p class=\"p1\">C. K<span class=\"s1\">hordoc<\/span>, D. R<span class=\"s1\">aymond <\/span>(dir.), <em>Litt\u00e9rature et math\u00e9matiques. D\u00e9riv\u00e9es variables<\/em>, <em>\u00c9tudes litt\u00e9raires<\/em>, vol. 50, n. 2 (L. Brignoli)<\/p>\n<p class=\"p1\">A. G<span class=\"s1\">efen<\/span>, <em>La litt\u00e9rature est une affaire politique<\/em> (S. Tincani)<\/p>\n<p class=\"p1\">I. N<span class=\"s1\">\u00e9mirovsky<\/span>, <em>Tempesta in giugno<\/em>, \u00e9d. T. Lussone et O. Philipponat (F. Zanelli Quarantini)<\/p>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<h2><strong>Notes de lecture\/Schede<\/strong><\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p class=\"p1\"><strong><span class=\"s1\">ISBN <\/span><span class=\"s1\">978 88 222 68808<\/span><\/strong><\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-5 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-background-color:rgba(224,224,224,0.95);--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-4 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-6\"><h2 style=\"text-align: center;\"><strong>Revue de presse\/ Rassegna stampa<\/strong><\/h2>\n<\/div><i class=\"fb-icon-element-1 fb-icon-element fontawesome-icon fa-link fas circle-yes fusion-text-flow\" style=\"--awb-circlecolor:var(--awb-color7);--awb-circlecolor-hover:var(--awb-color7);--awb-circlebordersize:1px;--awb-font-size:28.16px;--awb-width:56.32px;--awb-height:56.32px;--awb-line-height:54.32px;--awb-margin-right:16px;\"><\/i><div class=\"fusion-text fusion-text-7\" style=\"--awb-text-color:var(--awb-color7);\"><p><a href=\"https:\/\/www.fabula.org\/revue\/document17722.php\" target=\"_blank\" rel=\"noopener\">Ilona Kov\u00e1cs sur Fabula, \u00ab Des \u00e9crivaines franco-hongroises \u00e0 d\u00e9couvrir \u00bb, https:\/\/www.fabula.org\/revue\/document17722.php<\/a><\/p>\n<\/div><div class=\"fusion-text fusion-text-8\"><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<h3 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><em><strong>Francophonies hongroises au f\u00e9minin : travers\u00e9es litt\u00e9raires et sociales (XIX<sup>e<\/sup>-XXI<sup>e<\/sup> si\u00e8cles)<\/em><\/h3>\n<p align=\"center\">sous la direction de Guillaume M\u00e9tayer<\/p>\n","protected":false},"author":2,"featured_media":2590,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2554","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rivista"],"_links":{"self":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2554","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/comments?post=2554"}],"version-history":[{"count":14,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2554\/revisions"}],"predecessor-version":[{"id":2651,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2554\/revisions\/2651"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media\/2590"}],"wp:attachment":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media?parent=2554"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/categories?post=2554"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/tags?post=2554"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}