Poems in Prose by I.S. Turgenev: the Cycle’s Title as a Historical Literary Issue

The article deals with the I.S. Turgenevs last cycle Poems in prose which title has been changed several times throughout his work on it. The cycle put together the main aspects of writers previous creative works which led to the continuous search for the most suitable title to fully express authors intentions: from the original Posthuma which is focused on the life after death experience to the last Poems in prose which additionally underlines the uniqueness of the form used for Turgenevs last creative work. The study reveals the main theories on the cycles titles and the reasons behind their changes as well as suggests the own vision of the evolution of concepts after death and senile which are seemed to be bound in writers world view. The sequential analysis of the existing cycles titles undertaken in the current research finds the logic of Turgenevs title transformations where the fear of death is gradually replaced by the thoughts of future new life which will be continued beyond the Earth life. The significance of the research lies in the absence of the unified approach to the naming and understanding of the Turgenevs last cycle while the title of the book was considered to change the works perception even by Turgenevs contemporaries. The scientific novelty of the work is added by using the authors French edition of Poems in prose which up until now hasnt been studied properly. It allows to expand the material of the research and look thoroughly into Turgenevs strategy of naming his final cycle which was preserved for the foreign publication as well.

From Lyons to Antwerp

This article examines the multilingual transmission of the late medieval idyllic romance Paris et Vienne. The genealogy of incunabula editions of this pan-European bestseller is obscured by an unsettled bibliographical record. The little-known first French edition printed circa 1480 is likely the first printing in any language. The analysis highlights textual and paratextual transformations from the French editio princeps to Gheraert Leeu’s illustrated edition of 1487. I argue that the second Lyons imprint is the source of Leeu’s edition or that they share a common source. Identification and collation of French sources brings into focus the transmission process and illuminates the ways in which the illustrated editions published in Antwerp accelerated circulation across Europe. Leeu’s multilingual adaptation offers a rare example of triangulated cross-cultural transfers, in which translations of French-language texts were produced with an eye on the Anglophone print marketplace.

A Comparative Study on the Appreciation and Adoption of Dijian tushuo in China, Korea, Japan, and France

Dijian tushuo (帝鑑圖說; The Emperor's Mirror, Illustrated and Discussed) is a book compiled by Zhang Juzheng (張居正, 1525-1582), a great scholar during the late period of the Ming Dynasty of China. The book was made for the education of Wanli Emperor (萬歷帝, r.1572-1620), who rose to the throne at an early age. It contains 117 stories about the virtuous and evil deeds of previous emperors, complete with illustrations and relevant articles. After its presentation to the emperor in 1572, several editions of the book were produced by the end of the nineteenth century, and copies were distributed to neighboring countries like Korea and Japan and even to France via Jesuit missionaries. There are copies of more than twelve extant woodblock-printed and lithographic editions in East Asia, as well as copies reprinted with copper plates in France. Also, copies of the book with color illustrations remain in China and France. In Korea, colored illustrations of Dijian tushuo are kept under different titles such as Gunwang jwaumyeong (君王左右銘; The King's Motto) and Dohae yeokdae gungam (圖解歷代君鑑; The Mirror of Rulers throughout the Ages, An Illustrated Explanation) at the Gyeonggi Provincial Museum and the Jangseogak, the archive of the Academy of Korean Studies, respectively. In China, Dijian tushuo formed part of the education of the crown princes during the Ming and Qing Dynasties. More than eight different editions were made by the flourishing commercial publication industry during the two dynasties. In Joseon royal court, the book was recognized as one of the didactic books for the discipline of kingship. As for Japan, the shoguns of the Edo Bakufu used the book to advertise themselves as ideal rulers or to make Chinese royal palace genre paintings as an exotic hobby. Isidore Stanislas Henri Helman (1743~1809), a French engraver, made reprinted copies of the book amid Chinoiseries popularized in eighteenth-century France. The French edition reflects not only the public criticism of King Louis XVI and Marie Antoinette but also Helman’s implicit intention to receive financial support from Marie Louise Josephin de Savoie and the Count of Provence (later Louis XVIII), first in line to the throne at the time. Dijian tushuo was adopted in various countries in East Asia and Europe between the end of the sixteenth century and the early twentieth century, although the way it was used differed from country to country depending on their respective political, social, and cultural situations. However, all these countries had one thing in common– they had future rulers read the book. Perhaps, the fact that it was written for the education of the crown princes of China served as the stimulus for leaders and intellectuals alike. Studies on the ways in which books like Dijian tushuo were distributed as an aggregation of knowledge, information, and culture are thought to be significant and useful in identifying certain characteristics shared by diverse countries and in shedding light on differences in their political and social backgrounds and their art history.

(((

((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes. The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era.

La primera traducción catalana del Lazarillo de Tormes: un caso anómalo de fijación textual

From the linguistic comparisons, and other textual considerations and confrontations between the first Catalan translation of the Lazarillo de Tormes and the different editions, both in Spanish and French, we conclude that the work produced by Antoni Bulbena y Tusell in the late 19th century was poor, and we discovered that his textual setting was not made from any edition in Spanish, but rather from a French edition from 1886.

Afterword / Macron, the Nouveau Monde, and the Crowning of the Public-Private Elite

France is blocked by the self-serving tendencies of its elite. And I’ll tell you a little secret: I know it, I was part of it. Emmanuel Macron, Rally in Pau, April 2017 As the French edition of this book was barely making its way into bookshops and libraries, a major political breakdown suddenly hit France. Thirty-nine-year-old Emmanuel Macron, who was virtually unknown to the general public up to three years earlier, and had never before run a single campaign large or small nor been democratically elected to any political position, unexpectedly won the presidential election on his first try. As a victor over France’s National Front leader Marine Le Pen, he immediately became the object of liberal admiration throughout a world that saw Macron’s France as an island of resistance in a global context of the rise of populisms. As he claimed to govern France “neither at the left, neither at the right,” Macron’s political positioning that combined promarket, socially liberal, and pro-European ideas profoundly broke away from France’s past political coordinates. Within only a few months, his political movement ...