In the last twenty years, there have been an increasing number of studies that broaden the scope of analysis from the literary text to the auctorial discourse, and from text to peritext. Thus, conceptual tools were created, such as the « author’s image », calling for a rethinking about the work’s process of recognition. We will examine the function of the media in Annie Ernaux’s trajectory, focusing on her media image, whose construction draws on the writer’s stereotypes in social imaginary. Despite the author’s controlling attempts, the media discourse imposes its interpretation of the work as a reflection of the writer’s psycho-social characteristics, avoiding the difficulties of literary critic and euphemising the political dimension of the texts.

Victor Hugo’s enmeshment of nature and city in Les Orientales (1829) and Les Feuilles d’automne (1831) represents an ecopoetic lyric mode that draws from both material nature and urban surroundings. Eschewing a retreat from the city and the Virgilian trope of country respite, Hugo instead insists upon and dramatizes the tensions between nature and city as he heightens the drama of his dynamic and modernized lyric. As he wrote from the rustic outskirts of Paris, Hugo’s liminal habitat projected the interrelatedness of natural and urban landscapes as he developed an increasingly vibrant and experimental lyric that could no longer be confined to the staid forms of classical odes.

In the works La femme gélée (1981), Une femme (1987) and Je ne suis pas sortie de ma nuit (1997), Annie Ernaux explores the different stages of a woman’s life, with a particular focus on old age and the illnesses that accompany it. The Nobel laureate uses precise language to express the complexity of aging helping her audience better understand the experiences of this stage of life. This article will analyze how Ernaux challenges perceptions of old age by examining the reference works and will show how the writer analyzes ageism through the mother-daughter relationship.

A considerable number of mythological figures are situated at the intersection of geography and literature, thereby bestowing names and forms upon spaces, landscapes and territories. Starting from the premise that our current relationship with environment reflects a deep-seated malaise for which society seeks answers, this research explores the specific contri- bution of medieval myth to contemporary literature from a geopoetic perspective. Chantal Chawaf’s novel Mélusine des détritus (2002) highlights the intricate relationship between the urban landscape and humans in dystopian surroundings, where nature struggles to prevail in the face of phenomena such as contamination and metropolisation. Drawing upon this body of analysis, this study aims to conceptualise the Melusina myth as a meta-narrative and to link its rewritings to environmental imaginaries in a historical and social context of ecological threat.

Ecopoetics aims to analyse the link between literary production and ecology. Through stylistic strategies such as metaphor, metrics or the breaking of Western canons, literature can accommodate the ecological debate. Ecopoetics being an innovative area of research, we consider the review of literary works of French expression from this perspective. In our contribution we will reread L’herbe des talus, by Jacques Réda (1984), trying to find a link between the author’s thematic and formal choices and the illustrations of the natural environ- ment.

This article examines the sublime as an aesthetic experience through a comparative reading of Longinus’s On the Sublime and Victor Hugo’s poem Puissance égale bonté. It high- lights the tension between discourse, silence and image, analyzing the rhetoric of the unspeakable, its cognitive functioning and its effects on the reader. Drawing on the concept of inference, the study proposes a model of the phenomenon based on Longinus and explores how Hugo reinterprets these resources within his poetic project. This approach underscores the central role of the implicit, offering a reading of the sublime as a space of transversal connection between cognitive, aesthetic and poetic dimensions

Inspired by the practice of palimpsest and inter-artistic dialogue, the French TV series Marianne (Bodin, 2019) reconfigures the archetype of the witch, based on the mythical canon of Lilith. From the childhood and adolescence of the protagonist, with her fears and guilt, a «playful witchcraft» made in France emerges, in an apparently stable reality. The multiple inter-medial and symbolic procedures used in the dramaturgy of the series will lead me, on the one hand, to demonstrate how this contemporary witchcraft, not devoid of playfulness, leads to the dissolution of the reality/fiction dichotomy. And on the other, how this sinister dimension, orig-inating in pristine nature and a primeval forest –filmed in Brittany–, is recreated and re-signified now, as a «subjective construction», subjected to «interaction» (Roas, 2011: 26, 22)

The article examines the use of traditional and rectified French orthography (1990) in journalistic texts, focusing on the most prevalent type of orthography applied during the period 2014 to 2021. The analysis is based on four sub-corpora created from a large French textual orpus incorporated into the Sketch Engine platform. The study’s findings shed light not only on the predominant graphical variants in the analyzed sub-corpora but also on the potential correlation, or its lack, between these forms and other characteristics such as the frequency in occurrence of selected words, the source country, and the orthographic rules in question. It should be noted that the old orthography remains widely used in this sector, in which the author is not required to follow the rectified orthography

"The acquisition of personal pronouns in French as a foreign language (FFL) is one of the key points in the learning of French grammar. In order to study this aspect, we have compiled the written production of Spanish-speaking speakers of FFL. The results show that these speakers acquire the personal pronoun system at different at different stages in the learning process in the following order: firstly, they acquire the subject pronouns, secondly the tonic pronouns, then the atonic pronouns, and lastly the pronouns en/y, these results are in line with the studies carried out on the acquisition of personal pronouns in FLE. In this order of acquisition, linguistic competence is also significant."