Dans le présent texte, l’auteure se penche sur le phénomène de la transgression omniprésente dans l’œuvre romanesque d’Ananda Devi. À partir de ses premiers romans jusqu’au dernier, l’écrivaine présente les personnages commettant une transgression. Cela concerne ses personnages féminins et masculins. Cependant, le lecteur évalue plutôt différemment le comportement des héros deviens par rapport à celui de ses héroïnes qui en général brisent des normes dans le cadre d’une révolte contre le diktat du patriarcat. Elles se transforment souvent de victime en bourreau L’objectif de cette analyse est de décrire différentes formes de transgressions, des plus légères aux plus graves. Dans son étude, l’auteure s’appuiera entre autres sur les travaux de G. Batailles et de M. Foucault.

The aim of this article is to show the evolution of contemporary fantastic literature in France. The article describes the reform of the genre carried out by the writers of the so-called first wave (like Alain Dorémieux, Jean-Pierre Andrevon) in the 1980s. Among their theoretical postulates, the following should be mentioned: rejection of traditional fantastic literature, banality of horror taking place in everyday life, transfers between popular genres, intermedia transfers, inspiration of contemporary philosophy and deep ecology. The article also shows the later stages of the reform continued by the second generation of fantastiqueurs (Pascal Malosse, Rémi Karnauch). Their fiction is determined by the absurd, the grotesque, and the surreal. The boundaries between the fantastic and mainstream are blurry as well.

The power of literature has been severely tested in recent decades. During the turn of the 1980s the return of the concrete, in its various forms, was already seen in literature. The ecological crisis is a part of this concreteness, and has a direct impact on the literature, which is forced to rethink its forms of expression to regain the real effectiveness in its quest for a lost link with the living, and to face up the  climate crisis. The literature is an important part of the large field of environmental humanities and as such, it helps to enhance the environmental knowledge. In this paper three contemporary fictions are examined —Tous doivent être sauvés ou aucun by V. Bergen, Mahmoud ou la montée des eaux by A. Wauters and Partout le feu by H. Laurain. All those texts tackle environmental themes and try to find the necessary force to modify our thinking about today’s world.

The article discusses the representation of Brussels in Aux armes de Bruxelles. Flâneries urbaines (2009) by Christopher Gérard and Bruksela, zwierzęcość w mieście (2021) by Grażyna Plebanek. The author analyzes the way of representing the city, very subjective and laudatory, as well as the impact of this figuration on the generic identity of the texts. These constitute a mixture of various genres, including the tourist guide and the essay, which gives rise to a singular literary form which escapes the attempt at classification.

In the Spanish poetry panorama of the last few decades, a multitude of tendencies have emerged, among which stand out the so-called post-poetry, poetry of rupture, cold baroque, and neoavant-garde. Critics emphasise that the rupture constitutes the structuring element in this poetry. However, it is worth asking whether the exceptional form is truly the most important, since a significant portion of these poetics draws on philosophy, psychology, science, or other arts. This article aims to present the latest collection of poetry by Mario Martín Gijón, Des en canto (2019), as an example of the new wave of the avant-garde. It will demonstrate that the lyrics of this author can be classified as Poesía Especular/Poesía no finito (Galán, 2025), Postpoesía (Fernández Mallo, 2009), or arte radicante (Bourriaud, 2009).

Anne-Marie Stretter, marked by contradictions, both distant and fiery, witch and fairy, occupies a unique place among Duras’ heroines: that of the universal rival, gentle and medusating. Symbol of an ambiguous femininity, an emblematic figure of Eros and Thanatos, she could be seen as a new Medusa: a modern femme fatale fighting for freedom, who has made mad and absolute love the basis of her existence. This complex and fascinating character from the Durassian universe embodies par excellence the seductress, wandering and solitary, in search of her fluctuating identity and a desire, conveying both her intimate cartography and her unbearable suffering.