Jules Verne, who called Canada `my favourite country', wrote three novels set in Canada and created several strong would- be archetypal Canadian characters, the best known undoubtedly being Ned Land, the fearless harpooner from Twenty Thousand Leagues Under the Sea. This character is a composite of French and English identities, as the Jules Verne of 1869 considered post- Confederation Canada to be the theatre of FrancoEnglish conciliation. Ned Land is characterised by his love of freedom: with the passing of two decades, Verne, having gradually become more in phase with mainstream French recriminations against `Anglo-Saxons', would make this striving for liberty the national trait of all French Canadians in his novel Family Without a Name (1889), creating a new compensatory utopia (that is, an idealisation of Canada in an ahistorical fashion): the reconciliation between French and First Nations.

This study hypothesizes that the novels of James Fenimore Cooper constitute the foundation of the transatlantic imagination regarding the First Nations. The novel The Last of the Mohicans (1826), in particular, supposedly played a decisive role in the synthesis and dissemination of myths that inform the Euro-American conception of Indigenous populations. Cooper's works thus present what social critics would term a "sociogram of the `Indian'" insofar as different ethnological realities are represented in contrasting ways, that is, at times negatively, at times positively. The result is that neither Leatherstocking Tales nor the novel Family without a Name (in which Jules Verne adapts and adjusts certain elements of Cooper's novels to create a phantasmal image of Huronia) is a straightforward read. The essential matrix of what Georges E. Sioui calls "the Eurogen linear vision" is found in them nevertheless.

This paper studies a literary commonplace which, over the course of a few decades, became a modern mythology : that of the lost world, that is the idea, originating from romance (Jules Verne's Journey to the Center of the Earth, 1864) of a primordial, buried, forgotten world stemming from an alternative timeline to our historic time. This topic became mythology, transiting though Arthur Conan Doyle's The Lost World (1912) and Merian C. Cooper's King Kong (1933). It is argued that this lost world mythos, far from being the private fantasy of an exceptional individual (to quote Cornelius Castoriadis), successfully penetrated the collective imaginary because it laid bare a largely unconscious collective unease about modern comfort and security : are human beings still worthy of their awe-inspiring planet ?

Gérard Fabre. Les fables canadiennes de Jules Verne : discorde et concorde dans une autre Amérique, Les Presses de l’Université d’Ottawa, coll. « Amérique française », 2018, 201 p.. An article from journal Mens (Les années 1840 : rupture ou réarticulation des possibles ?), on Érudit.

Antoine-Mahut, Delphine, Josiane Boulad-Ayoub et Alexandra Torero-Ibad. Les arts de lire des philosophes modernes, Québec, Presses de l'Université Laval, 2015, 358 p. Audi, Robert. Reasons, Rights, and Values. Cambridge University Press, 2015. 301 pp. $93.95 (hardback). Audi, Robert (General Editor). The Cambridge Dictionary of Philosophy. Third Edition. Cambridge University Press, 2015. 1161 pp. $108.95 (hardback). Baillargeon, Normand. Turbulences. Essais de philosophie de l'éducation, Québec, Presses de l'Université Laval, 2013 (coll. «Éducation et culture»), 135 p. Beaudoin, Samaël. 100 phrases pour changer le monde, sl, Éditions La Belle Hélène, 2014, 178 p. Béland, Martine, dir. Lectures nietzschéennes. Sources et réceptions, Montréal, Presses de l'Université de Montréal, 2015 (coll. «Pensée allemande et européenne»), 422 p. Bikini-Musini, Florent-Alain …

Amongst the numerous topics instituted by Jules Verne, the omnipotent and stateless terrorist has proved particularly adept at infiltrating subsequent novels, motion pictures and comic books, Ian Fleming probably being the writer who played the greatest part in conveying and reinventing such a character. This paper studies the general filiation of this imaginary of terror, from Verne to Fleming, through the analysis of two novels : Face au drapeau (1896) and Thunderball (1961), the latter being a form of rewriting of the former.

In the early 1850s, Alexandre Dumas launches his most ambitious project to date: the novel Isaac Laquedem, which he describes to the readers of Le Pays as '[his] life's capital work' and to the British editor Sinnett as a 'universal epic, being nothing less than the history of the world, from Prometheus to the day of reckoning.' However, authors rarely are their own most clairvoyant critics and, for several reasons, Isaac Laquedem was to remain unfinished. Even though he is not yet aware of the fact, the Alexandre Dumas of 1852 is no longer a myth-maker. His two monuments, the works which were to have an enduring cultural relevance (the Musketeers cycle and The Count of Monte-Cristo) were by then behind him. Very much aware of the influence he had of the 1840s imaginary - an influence he still believes to be potent - d'Artagnan's father hopes to create his essential claim to fame with this colossal enterprise, a work conveived to forever link his name to that of human history and mythology. This paper studies, in the remaining parcels of the monumental project, the ineffective strategies through which Dumas tries to convince his readers that Isaac Laquedem will be his masterpiece.

La dixneuviémité au XXIe siècle : adhésion et dissidence aux thèses du XIXe siècle à travers les âges de Philippe Muray. Un article de la revue Études littéraires (Déclinaisons du commentaire) diffusée par la plateforme Érudit.

On sait que le rire fait l’objet de représentations dépréciatives tant chez Victor Hugo que chez la plupart des romanciers romantiques. Cet article qui s’intéresse au roman L’homme qui rit (1869) explore le paradoxe suivant : si Hugo considère le rire comme un phénomène essentiellement négatif, manifestation soit de cruauté, soit de souffrance, il cherche néanmoins à susciter le rire du lecteur. Il y a bien volonté humoristique chez Hugo, même si sa représentation de l’homme qui rit est toujours critique. Le personnage d’Ursus, sorte d’autoportrait en savant vieillissant, est emblématique de cet écart entre la théorie et la pratique, qui se joue très souvent autour de ces « effets de savoirs » dont Hugo est prodigue, c’est-à-dire de cette fausse érudition confinant à une forme de voyance humoristique.

Avec le personnage de Mik Ezdanitoff (« de la revue Comète »), Hergé a rendu hommage au Jacques Bergier de la revue Planète. Cet article propose de lire Vol 714 pour Sydney à la lumière de la philosophie, de la politique, voire de l'esthétique véhiculées au cours des années 1960 par cette revue dirigée par Louis Pauwels. On se demandera si l'intérêt que porte Hergé aux objets volants non identifiés et aux « civilisations extraterrestres » ne procède pas en partie d'une quête de rédemption politique, plus d'un quart de siècle après la « politique de présence » prônée par le roi Léopold III pendant l'Occupation de la Belgique, ce d'autant plus que, dans le texte d'introduction au premier numéro de la revue, Pauwels mobilisait une rhétorique transposant la résistance maquisarde sur le terrain du paranormal, où, cette fois, Hergé, comme d'autres anciens inciviques de la Belgique libérée (Raymond De Becker, Bernard Heuvelmans), pourrait être d'emblée du bon côté des choses, et racheter, à l'échelle cosmique, ses errances passées.

Cet article tente de montrer que, en dépit de leur longueur, les romans d’Alexandre Dumas, et en particulier Les Trois Mousquetaires, constituent une voie d’accès toute désignée aux imaginaires sociaux du XIXe siècle. Alexandre Dumas, peut-être plus que tout autre auteur français de son siècle, se trouve à la croisée de l’histoire littéraire, événementielle et culturelle. Différentes stratégies d’enseignement sont abordées en cours de route. Mots clés: Alexandre Dumas, pédagogie, histoire culturelle, sociocritique, mythocritique. This paper attempts to show that, in spite on their length, the novels of Alexandre Dumas, and The Three Musketeers in particular, constitute an ideal gateway to the collective imaginary of the 19th Century. Indeed, Dumas, arguably more so than any other French writer of his century, is an ideal link between literary, national, and cultural histories. Various teaching strategies are considered in the concluding pages. Key words: Alexandre Dumas, pedagogy, cultural history, sociocriticism, mythocriticism.

This paper on Edgar Allan Poe's three magnetic short stories attempts to compare each story in regards to their title, subject, atmosphere, and narration, in order to determine which ones belong to the realms of fiction versus "science". These distinctions lead to question the personal implication of the author toward his writings and the beliefs they illustrate. With an analysis based primarily on the stories themselves, on the socio-historical context of the mid-19th century and on some letters written by Poe, a definitive answer remains elusive. We can only say that Poe uses fiction to represent a certain knowledge in which he seems to believe, and in order to raise metaphysical questions among his readership.