In Yoga, Carrere explores mental illness through specific narrative strategies: corporeal humor as defense, medical vocabulary for legitimacy, and empathy to connect with readers. Writing and therapeutic practices requiring discipline and completely, it transforms suffering into literary creation, providing temporary relief while acknowledging pain as the essential wellspring of creative expression.
The article examines the portrayal of motherhood and madness in Karine Reysset's Comme une m & egrave;re through the trajectories of & Eacute;milie and Judith. & Eacute;milie, facing anonymous childbirth, navigates between rejection and acceptance of her maternal role, embodying a neurotic journey toward separation. Judith, haunted by an impossible mourning, descends into psychosis, attempting to fill her void through a delusional fusion with another's child. Drawing on Lacan and Kristeva, the study explores how motherhood reveals a fundamental lack, caught between semiotic drives and the symbolic order. Madness emerges when language fails to structure alterity, leading to abjection or delirium. & Eacute;milie preserves her identity through speech, while Judith, devoid of symbolization, collapses into a raw real. Motherhood is depicted as a trial of alterity, balancing fusion and separation, where psychic equilibrium hinges on recognizing the other.
The Renaissance associates the experience of madness with mental illness, in order to eradicate its subversive potential. Since then, this deviant word, which transgresses the symbolic dimension of discourse, is banned by hegemonic thought. However, in the realm of art and literature, authors such as Artaud recover the experience of madness. Through his torn writing, which transcribes the pain of the body, Artaud discovers new and unexpected possibilities in language, outside the rational logic of discourse.
Imagination of violence and self-narrative: the symbolism of the bridge in the suicidal act within L'Envol de Sarah (Agn & egrave;s Favre, 2007) and Avec toutes mes sympathies (Olivia de Lamberterie, 2018).This article analyzes the repercussions on the actors and witnesses of a suicide when a bridge is used to end one's life, in two works of contemporary french literature (L'Envol de Sarah, Agn & egrave;s Favre, 2007 and Avec toutes mes sympathies, Olivia de Lamberterie, 2018). We propose to first explore the physical and symbolic characteristics of a device designed to connect specific places, but which is actually diverted for other purposes. We will then see, through the analysis of the two narratives, how the passage of the suicidal person on the bridge rewrites the spatial and temporal identity of this construction, suspending time there forever and leaving traces of an ephemeral journey. The bridge then appears as a public place that symbolically embodies the intimate despair of those who have chosen it to end their lives, in full view of everyone.
The theme of mental illness plays an important role in Flaubert's work. First, in his autobiographically inspired early work, M & eacute;moires d'un fou, Flaubert highlights the dual and ambivalent status of supposed madness, thus questioning the Romantic commonplace of madness, the epitome of furor poeticus, as a positive literary value. However, we believe that he is in fact highlighting the relationship between the individual and bourgeois society, whose conventions his protagonist does not wish to share. The disastrous effects of this milieu are depicted in his famous novel Madame Bovary, whose behaviour shows symptoms of hysteria. It is argued that the heroine's innate sensitivity and excitability are less decisive in her decision to take her own life by ingesting arsenic than the influence of the provincial community. The same applies to Salammb & ocirc;, who succumbs to the pressure of the patriarchy not because of her inner fragility, but because of the high demands placed on her.
This article analyses the literary representation of mental problems in two works by D. de Vigan. After an introduction on the approach to madness in French language literature and an approach to the social perception of these imbalances, we analyze how this writer deals with mental health through female characters marked by psychological suffering. The chosen literary works highlight the emotional charge and family influence in the construction of identity. In this way, we highlight the use of autofiction and intimate narration to capture the complexity of disorders such as bipolar disorder and anorexia in the persons of her mother and the author herself. The article emphasizes de Vigan's empathetic gaze, turning suffering into an accessible literary experience and using literature as a way of raising awareness of mental health.
This article presents a sample of pedagogical innovation that integrates mathematical technolect into the teaching of French in Morocco, focusing on figures of opposition within a flipped classroom model. Students in scientific and technical tracks, often demotivated in FFL when centered on literary works, show a strong interest in mathematics. To leverage this motivation, a video capsule was shared one week prior to the in-person session. This session, devoted to comprehension verification and a hands-on activity, saved 55 minutes compared to the traditional model. The gained time was reinvested in interactive exchanges and collaborative correction. Qualitative and quantitative feedback reveals increased engagement, effective learning, and genuine enjoyment in using mathematical formulations to identify rhetorical figures-suggesting a promising synergy between the two disciplines. These findings confirm the positive impact of this strategy on both motivational and cognitive levels.
This article examines Bovarysme, defined by Jules de Gaultier as "the power granted to man to conceive of himself as other than he is," not as an isolated psychiatric entity but as a recurrent pathology of imitation throughout literary history. By analyzing the future of Amadis de Gaul, the catalyst for Don Quixote's madness, and its subsequent reactivation in nineteenth-century French literature, notably in Flaubert's work, this study highlights the mechanisms of fictional identification at play. Following the studies of alienation.
Published in 1895, Jean Lorrain's Contes d'un buveur d'& eacute;ther are characteristic of the decadent fantastic that was renewed under the influence of the development of psychiatric sciences. Although he does not renounce to the Gothic heritage embodied by the threatening atmosphere and the macabre, Jean Lorrain will create a fantastic that focuses more on the study of the character's mental universe than on the horror of supernatural manifestations. The fantastic short stories will offer an ambiguous reading of the character's narrative: either the character's senses are altered, or the fantastic event has indeed taken place. The characters's madness and neuroses could sometimes be interpreted as the fantastic event in the story, and will serve to express the main hauntings of the fin-de-si & egrave;cle.
Th & eacute;r & egrave;se, the protagonist of Fran & ccedil;ois Mauriac's novel (1927), experiences a constant duality between reality and escape. Her frustration drives her to an attempted murder that she herself does not fully comprehend, revealing her psychological dualism. In this study, we aim to examine the animal dimension of the novel and the strategy through which the civilized world emerges as both terrifying and restrictive, while nature appears as the only possible escape for an individualistic spirit. A prisoner of social norms, of marriage and motherhood-which represent their ultimate fulfilment-Th & eacute;r & egrave;se is compared to wild animals such as the she-wolf or the bull, symbols of the untamed, as well as to caged prey, a reflection of her suffocation. As an archetype of Eve, she embodies the pursuit of knowledge; her sin lies in the exploration of depth and the extraordinary, in opposition to the artificial world that surrounds her, and in the examination of her own self, lost amid processes of conditioning. The animal metaphor thus underscores her despair and her desire to break free from a society that represses her true essence.
Translation involves a rewriting of the original text that is not always neutral and may influence the meaning of the message conveyed. Aware of this influence, some translatological currents have for decades advocated for a feminist translation that makes women visible and projects a positive image of the female sex. In her essay Le vote des femmes (1908), Hubertine Auclert, the first French suffragette, decisively and logically refuted the arguments traditionally used to deny women the vote. In her fight for women's political rights, Auclert defended the intellectual capacity of her gender and combated the prevailing 19th century prejudices that linked the 'weaker sex' with mental instability. This paper presents Auclerts line of argument concerning the female psyche and proposes feminist translation strategies for translating the work into Spanish.
This paper examines how the ethics of care, as staged in L'Homme & agrave; la sacoche by Jean-Fran & ccedil;ois-Farid Boukraba, elevating speech to the founding principle of caregiving, might paradoxically give rise to a regime of linguistic constraint. The analysis would suggest that imposed speech pertains less to the recognition of subjectivity than to its capture within a mere simulacrum of voice. Care, under these conditions, could promote a dynamic of psychic exhaustion rather than one of repair. Suffering, resistant to semantic articulation, would emerge as a mute force exceeding the therapeutic relation, while the paralyzed body would mirror the subject's gradual effacement. The question would remain whether speech could nonetheless offer a final, fragile attempt to resist complete self-erasure.
In the context of a new essay in Kleinian criticism, whose major postulate is the use of the infantile in the analysis of the contents of literary texts, this article deals with the representations of pathogenic sun in French literature in particular. serious, sometimes alienating, psychic crises, can inspire perverse and even criminal fantasies in energies, go on to realize their dark desires. perverse comic.
Physical confinement is one of the most frequently depicted experiences in literature. Many authors have explored this theme to highlight its impact on the human psyche and the experience of being trapped within four walls, deprived of any form of freedom. In Serge Brussolo's and Khaled Hosseini's works, the theme of confinement is particularly recurrent. Although these two literary figures belong to different literary spheres, they often explore the psychological and existential dimensions of confinement in their writings. This study aims to demonstrate, through an analysis of Les Emmures by Brussolo and Mille soleils splendides by Hosseini, that physical confinement, for both authors, is synonymous with dehumanization and can have detrimental effects on an individual's psyche, potentially leading to mental disorders, including madness.
This article examines jealousy in Passion Simple (1991) and L'Occupation (2002) by Annie Ernaux, where the narrator experiences a deep obsession that distorts her perception of herself and others. Through her quest to identify "the other woman", Ernaux reveals the irrationality of this feeling and its impact on relationships and identity. Writing becomes a way to process and understand this obsession, while challenging the patriarchal norms that shape female identity. Jealousy, in this context, is portrayed as a psychological phenomenon that disrupts reality and human interaction.
This article examines the representation of madness in Fran & ccedil;ois Mauriac's Th & eacute;r & egrave;se Desqueyroux, analyzing how the psychological and moral complexity of the main character is constructed through specific narrative devices. Far from being a simple pathology, Th & eacute;r & egrave;se's madness is presented as a narrative experience in which the boundaries between lucidity and alienation become blurred. The study draws on the contributions of narratology to show how literary devices such as focalization, temporality and polyphony reflect Th & eacute;r & egrave;se's mental disorder. This contribution also highlights the role of this narrative construction in the representation of a character who is both the victim of an oppressive patriarchal order and the actress of her own destruction, in a subtle balance between social determinism and individual responsibility.
Travel is one of Andr & eacute; Gide's obsessions, both existential and thematic. It satisfies his longing for freedom, his search for the unexpected, his fascination for the strangeness of exoticism, his inclination towards uprootedness as a form of rebellion and a break with the known world, his aspirations to a state of full availability. However, it is also presented as something uncertain, as it can also make him a volatile being. The travelling experience narrated in his Voyage au Congo echoes these concerns of a complex soul, which radiate in the dreamy perception of equatorial African nature, especially the savannah and the jungle, in such a way as to configure a landscape subjectivised by the profound self of the observer.
In Aline and Valcour, his libertine epistolary novel published in 1793, Sade juxtaposes two pornodystopias: the infernal kingdom of Ben Ma & acirc;coro-lord of Butua, a city of cannibals-against the charming island of Tamo & eacute;, ruled by Zam & eacute;, a European who fortified it. Although he fervently loves his people, this king has created a society drained of all passion: semen, saliva, tears, and blood are absolutely forbidden on this marvellous island, which embodies moderation and restraint, where strict social regulation is ensured through the absolute rejection of madness, seen from the outside as a critique of European societies. This ruler aspires to build a State of control and moral purity, and his madness turns into a perverse system and a pernicious logic that, under the guise of absolute happiness, ultimately annihilates individual passions. Thus, the ideal of reason so highly praised by Zam & eacute;, while he simultaneously indulges in his own madness, raises a fundamental question: is a society entirely governed by reason truly compatible with freedom, and can it still allow room for the individuality of passions?
In the early 1930s, Jean Giono was experiencing what he called a "moral crisis", which could easily be understood as a depression. His traumatic experience in the trenches of the First World War do not leave him. His relationship to the world changes, and his writing alters in both form and subject matter. First of all, we will try to analyse the causes of this mental crisis, then we will look for traces of it in Giono's work and, finally, we will show how, thirty years later, the melancholy of Juan Ram & oacute;n Jim & eacute;nez, into which Giono immersed himself when he read Platero y yo, as part of the adaptation project proposed to him in 1958, brought back to life his war trauma and part of his mental crisis. In trying to understand and define the scope of this moral crisis, we seek to identify its causes and consequences, as well as to determine its importance in Giono's work as a whole.
Angeline Neveu (1946-2011) was a French poet and performer known for her political activism during May 68. Her struggle with mental illness appears in both her poetry and her autobiography. She uses the metaphor of the underworld to describe her life, particularly her dysfunctional family and her drug addiction. Her sense of belonging to the margins, whether to the community of psychiatric patients or to the artistic avant-garde, resonates throughout her work and allows her to reflect on madness and its medical treatment. Her work can be read as a constant rebellion against authority, first against the family which she sees as the nexus of bourgeois conformism and the primary source of her alienation, and then against the medical discourse. We will analyse the literary treatment of mental illness in her writings as well as the performative dimension of her poetry, which uses madness not only as a poetic theme but also as a praxis.
