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Representing the Shadows of the City of Light
Volume Editors: and
This volume invites you to wander through the shadows of the City of Light and discover another, often invisible and silent Paris. Its chapters explore Parisian margins, including various populations, spaces and practices, as represented in French literature and cinema since 1800. You will take a peek at the Parisians’ criminal activities and nocturnal lives in the nineteenth century, and witness how industrialization and capitalism between the 1850s and the 1970s reshaped the socioeconomic map of the city by creating or reinforcing spaces of social inequity. You will also meet marginalized groups that are often ignored or neglected in today’s Paris—and French society—including the LGBTQIA+, Black and immigrant communities.
Urban Ecotones in the Global South
Global South cities are magnets of immigration flows. They are vivid crucibles of human diversity, cultural interactions, but also of political tensions and social violence. From Kolkata to Bogota, from Harare to Fort-de-France, from Bamako to Cape Town, this book offers a unique set of studies on cities where multifarious diaspora flows converge. Building on the concept of the ecotone, i.e. a contact zone between populations of different backgrounds, it elicits a multidisciplinary dialogue between social science and humanities scholars, exploring the articulation between the postcolonial and the neoliberal city. Following Ananya Roy’s proposition of a worlding the South (Roy 2014), this book contributes to forging a situated world view rooted in the experience and the imaginary of Southern cities.

Volume Editors: and
Comment une femme pouvait-elle s’affirmer et faire carrière dans le monde du spectacle entre 1650 et 1914 ? Dans une perspective interdisciplinaire, les quinze études réunies dans ce volume apportent des éléments de réponse à travers l’analyse de parcours d’autrices, de compositrices et de performeuses aux profils très variés, actives dans les domaines du théâtre, de la danse et de l’opéra. Ces études proposent une meilleure compréhension et contextualisation des obstacles et préjugés auxquels ces artistes ont dû faire face dans un milieu socio-professionnel majoritairement masculin, ainsi qu’une interprétation analytique des stratégies artistiques et discursives mises en place pour les surmonter. Il en ressort une approche renouvelée et une meilleure connaissance de notre matrimoine culturel.

Volume Editor:
Depuis le romantisme, la littérature a annexé les innombrables formes d’impuissance inhérentes à la complexité du monde moderne. Le présent ouvrage réfléchit sur les raisons et les modalités qui ont transformé la déclinaison de l’impuissance en objet littéraire, de Balzac à Huysmans, de Proust à Queneau, de Malraux à Michaux, en passant par Tinan, Amiel, Beckett pour arriver à Chaillou, Senges, aux écrivains de la postmémoire et de l’extrême contemporain. Il montre notamment comment la littérature française du XIXe au XXIe siècle s’est construite à partir de l’énonciation de ses limites et de celles de l’homme face à la réalité et à l’histoire. Une incitation à reconsidérer les discours contemporains sur le déclin du littéraire et à repenser la fictionnalisation de l’impuissance en termes de relance.

Since Romanticism, literature has embraced the myriad forms of powerlessness inherent in the complexity of the modern world. This book examines the reasons and methods that have transformed powerlessness into a literary object, from Balzac to Huysmans, from Proust to Queneau, from Malraux to Michaux, via Tinan, Amiel and Beckett to Chaillou, Senges, and the writers of post-mémoire and extrême contemporain. In particular, it shows how French literature from the nineteenth to the twenty-first century has been built on the enunciation of its own limits and those of man in the face of reality and history. It constitutes an invitation to reconsider contemporary discourses on the decline of the literary and to rethink the fictionalisation of powerlessness in terms of revival.
Volume Editor:
Ce volume interroge les conditions de l’interprétation des textes littéraires, à la lumière des propositions de Stanley Fish sur L’autorité des communautés interprétatives (1980): leurs présupposés, leurs compétences et croyances, conditionnent l’activité herméneutique, interrogée ici par des spécialistes de littérature française, espagnole ou comparée. Réfléchir au fonctionnement concret de telles communautés – création, renouvellement, adhésion, dissidence, relation concurrentielle entre communautés, volonté d’imposer une interprétation… –, amène à envisager des implications en termes de libre arbitre et d’individualité essentielles pour nos disciplines, et à repenser les relations entre texte, auteur et lecteurs, parfois en opposant des objections nouvelles aux postulats de Fish, parfois en proposant des alternatives.


Adopting as theoretical framework Edmund Husserl’s ideas on memory and phantasms and the Derridean notion of ‘hauntology’, this article focuses on the spectral protagonist of Samuel Beckett’s “The Calmative” and on the tangle of memories he recounts from his bed of frozen stone. Resembling Dante’s pilgrimage in the underworld and the excruciating experience of soldiers in trenches, this novella presents a ghostly narrator that, persecuted by the rotting of his corpse and by the trauma of memory, is condemned to an indefinable state of deathlessness-in-death, in which he can only ‘revive’ the everlasting reminiscence of his own demise.

In: Samuel Beckett Today / Aujourd'hui
Since 1974, the French Literature Series publishes essays in conjunction with the theme of the bi-annual French Literature Conference, sponsored by the Department of Languages, Literatures, and Cultures of the University of South Carolina, Columbia, South Carolina, USA. In addition to the scholarly papers selected for publication by the Editorial Board, it also accepts notes on the conference topic. Contributors should note that FLS does not publish conference proceedings. Rather, submissions must be revised for publication and undergo blind peer review.
All communications concerning the French Literature Series should be addressed to the Editor, Jeanne Garane,
The French Literature Series is published by BRILL | Rodopi. For communications concerning standing orders or back volumes, please check the series’ website at

This series has been closed in 2020.
Revue Annuelle Bilingue / An Annual Bilingual Review
Marcel Proust Aujourd’hui is an international bilingual review that wants to be a meetingplace for Proust scholars as well as for all those readers of the Recherche who desire to know how the research on his work is developing today. General issues alternate with issues on a specific subject.

Marcel Proust Aujourd’hui est une revue internationale bilingue qui veut être un forum aussi bien pour les spécialistes de l’oeuvre de Proust que pour tout lecteur désirant se renseigner sur l’évolution des recherches proustiennes. Des numéros généraux alternent avec des numéros orientés suivant une thématique spécifique.

Essays on Bajazet and Mithridate
Volume Editors: and
In Bajazet and Mithridate Racine depicts the tragedies of characters who either wield tyrannic power or are subjected to tyranny. This international collection of essays deploys cutting-edge research to illuminate the plays and their contexts.

The contributors to this volume examine Racine’s stagecraft, his exploration of space, sound and silence, his language, and the psychology of those who exercise power or who attempt to maintain their freedom in the face of oppression. The reception and reworking of his plays by contemporaries and subsequent generations round off this wide-ranging study.


This chapter explores how, in the early 1990s, Racine’s work found itself translated and revived in the work of two English gay/queer artists. The novelist Alan Hollinhgurst’s translation of Bajazet was performed in London in late 1990. A film adaptation of Christopher Marlowe’s Edward II , directed by the painter, writer, and film-maker Derek Jarman (1942–1994) was released in 1991. Jarman’s script trimmed the near 3000 lines of Marlowe’s original to fewer than 1000, closer to the sleek scale of most of Racine’s plays. Bajazet is set in a harem, a confined space towards which terrible forces converge; Jarman’s film was shot in an entirely walled world. Allusively and explicitly, Hollinghurst’s translation and Jarman’s film explore pressing questions of the early 1990s: the ongoing HIV/AIDS crisis, the first Gulf war, and the eruption of queer politics. This discussion is fuelled by the striking fact that both Jarman and Hollinghurst attended, albeit over ten years apart, the same school (Canford School, in Dorset). Racine figured prominently in Hollinghurst’s A-Level studies and may well have done so in Jarman’s. In this school environment, a play by Racine was potentially something that could be taught, and this chapter explores the extent to which different relationships (between, say, Acomat and Bajazet, between Marlowe’s King Edward and his brother Kent) in both Hollinghurst’s translation and Jarman’s film intertwine desire, attachment, and attempts at teaching.

In: Racine’s Tragedies of Tyranny