On a generalization of the Rényi–Srivastava characterization of the Poisson law

We give a new method of proof for a result of D. Pierre-Loti-Viaud and P. Boulongne which can be seen as a generalization of a characterization of Poisson law due to Rényi and Srivastava. We also provide explicit formulas, in terms of Bell polynomials, for the moments of the compound distributions occurring in the extended collective model in non-life insurance.

Ecriture-reportage et vision impressionniste dans Vers Ispahan, de Pierre Loti

This article emphasizes Pierre Loti’s manner of revealing, in the beginning of the 20th century, to the European readers, an unknown country. The text emphasizes Pierre Loti’s manner of revealing an unknown country to European readers at the beginning of the 20th century. It is Peris, so distant on geographic and cultural level. Loti’s book, Towards Isfahan, proves both his skill in report writing and his painting talent as he creates unforgettable descriptions following his truly impressionist sensibility.

Autoría de un cuento atribuido a Jorge Miota

El cuento La pared de enfrente apareció en la revista limeña Actualidades Revista Ilustrada en 1903 y recibió comentarios críticos muy favorables. La autoría del cuento se ha atribuido, repetidamente, a Jorge Miota, una figura menor de la literatura peruana de principios del siglo XX. La atribución es incorrecta. La pared de enfrente es, en realidad, una traducción del cuento Le mur d’en face del escritor francés Pierre Loti, de fama internacional en su época. Tanto el cuento de Loti como la traducción de Miota muestran una fina elaboración.

Impressionism in Pierre Loti’s “Madame Chrysanthème”

Pierre Loti was a novelist and a marine officer who visited lots of countries. He gained popularity writing about his travels and travel impressions. This article analyses his travel to Nagasaki back in 1885 where he lived for half a year and had a ‘temporary wife’. His novel written during that travel is called “Madame Chrysanthème”. It’s one of his most extravagant and interesting pieces which made the author world-famous. It reflected common interest in the oriental life typical for that time and it predetermined the image of Japan in the European consciousness of the second half of the 19th century. Pierre Loti wrote about his ambition to make the novel as impressionist as possible determining impressionism not as an intellectual but as a decorative phenomenon related mostly to arts and translation of sensory perception. His interpretation of impressionism was expressed in “Madame Chrysanthème”, which is an attempt to describe the world around us, represented not only by the material world but by the author’s sensory perceptions and feelings. To be exact, this is impressionism in fiction. The world is a product of our sensory experience, and the author’s goal is to fix this experience, which is the sum of his observation and impressions. Pierre Loti creates his work where color plays the main role together with sounds and words. They are a sum total of the elements determining the reality in equal amounts. Stylistically “Madame Chrysanthème” is created according to impressionist canons, with lots of epithets, comparisons, metaphors, the author’s neologisms. The novel is written as a diary where separate episodes in chapters are separated from one another by large white empty gaps. The article discusses similarity of impressionism and the Japanese culture. However, a closer look demonstrates considerable differences between the European and the Oriental minds.

Ispahan, moitié du monde Dimension géocritique de l’espace dans Vers Ispahan de Pierre Loti Et L’Usage du monde de Nicolas Bouvier

La littérature décrit le lieu réel et géographique tout en profitant de l’imagination d’une manière très neuve en le transformant en un espace imaginaire et rêvé. Les villes et les lieux décrits dans les récits de voyage fascinent de plus en plus les lecteurs passionnés par l’Ailleurs. Dans cet article, nous avons essayé, à l’aide de l’approche géocritique de Bertrand Westphal, d’examiner l’image d’Ispahan dans Vers Ispahan de Pierre Loti, voyageur et écrivain français qui a visité l’Iran à l’époque qâdjâr à la fin du XIXe siècle, et L’Usage du monde de Nicolas Bouvier qui a parcouru l’Iran au XXe siècle à l’époque Pahlavi. En s’appuyant sur quatre éléments principaux de la géocritique comme la multifocalisation, la polysensorialité, la stratigraphie et l’intertextualité, on va examiner comment les deux voyageurs ont essayé chacun à son tour de représenter une image spéciale et unique de cette ville avec un décalage d’un siècle. Une image bien poétique, riche et pleine de figures littéraires chez Loti qui l’appelle “ la ville des roses ”, mais parfois avec un sentiment de la nostalgie du passé chez Bouvier. Celui-ci représente alors la ville en une image brève, associée au sentiment de l’absurdité face à cet “autre monde”.