Translated from Arabic, the novels June Rain by Jabbour Douaihy and Dear Mister Kawabata by Rachid El-Daïf constitute a written testimony that allows us to discover the cultural heritage of the Lebanese village Zgharta. The novel of Douaihy is inspired from a historical fact, the massacre of Miziara which has happened in a church. The heroic abaday myth glorified and dethroned at the same time emerges in an authentic context in Juin Rain. However, Douaihy represents a positive divine figure which (...) incarnates the revolt against violence in a holy space. This heroic world is devalorized by the exogenous westernized vision. In fact, El-Daïf denounces violence that he associates to ignorance, rejection of modernization that he links to the resistance of a divine figure in the collective conscience of the villagers. (shrink)

The living world features prominently in a number of disciplines. In this context of theoretical maturation and media attention, poetry, too, has a contribution to make (via words and sounds) to this debate. As a type of voyance that seeks to reconnect us to the living world by promoting its voice and visibility, poethics (as conceived by Michel Deguy and Jean-Claude Pinson) is intent on relaunching the motif of “poetic dwelling” by delineation of a sensorial and memorial process of “taking (...) place” (Emmanuel Merle). Poethic ambition relies on a type of language that might “stimulate our imaginaries” (Patrick Chamoiseau). The aim of this ethico-phenomenological approach in the wake of Gaston Bachelard and Gilbert Durand is to rehabilitate a poetic practice typically exemplified by Emmanuel Merle and Jean-Pierre Chambon (and Yves Bonnefoy as their predecessor) as an essential ally of science and philosophy; it is about cultivating attention, emotion and wonderment, and sensitizing us to our “geosolidarities” (Olivier Remaud) in order to create an affinity between vigilance and hope. It is quite something, as Michel Deguy might say…. (shrink)

Noruz, the new year in the Iranian world, corresponds to the spring equinox. The rites and festivities to which this festival gives rise in Iran are described here. But celebrating the new year on a fixed date according to a solar calendar is opposed to the customs of the Muslim world governed by a lunar calendar. The custom of the festival is all the more called into question when the spring equinox and its joyous manifestations correspond to a ritual of (...) mourning, as was the case in 2006. The celebration of Noruz was also prohibited under the Soviet Union and one of the first steps taken by the new Middle Eastern republics was its re-establishment. In Turkey, this popular festival by the Kurds and Alevis was the subject of a reinterpretation, enhancing the patriotic spirit. (shrink)

In this article, the aim is to explore Lebanese folklore through proverbs and to demonstrate how the dynamic field of imagination behind concise oral statements influences contemporary society and anchors, in the collective thinking of several generations, the values of a community, whether they are well-founded or not. Although Lebanese society is patriarchal, men are often depicted as beasts, frequently domestic and specifically as draft animals. The parody, satire, and humor that generally characterize proverbs feed into the images that circulate (...) in the collective unconscious. Durand's theriomorphic symbolism and its resulting ramifications, while referring to Bourdieu's “male domination,” highlight customs and traditions that devalue women and represent them as inferior beings or even as the embodiment of evil on earth. As one facet of folklore, these popular expressions sometimes originate from mythical, biblical, or traditional stories that are the result of beliefs and rituals passed down through centuries. (shrink)

Mangas often reflect the attraction of Japanese culture to combine spiritualities and cultural inspirations in a phenomenon of syncretism widely accepted in both fiction and everyday life. Death Note (Ohba & Obata, 2004-2006) provides an effective example of this phenomenon. The story deals with a notebook that fel from the sky and allows anybody who writes in its pages to kill any human. When young student Light Yagami uses the notebook for his own glory, he quickly encounters the Gods of (...) Death (shinigamis) directly linked to this terrible object. The presence of these creatures and occasional glimpses of their world in the story lead us to offer, in this study, a commentary on different spiritual influences, contemporary or traditional, that may have inspired the authors of Death Note. The creative process that follows, in service of their own narrative, undoubtedly contributes to the success of this work, both in Japan and around the world. (shrink)

With the aim of slowing down the processes of cultural folklorization which aggravate the situation in which his fellow islanders are stagnating, Edouard Glissant cultivates an archipelago rhetoric, prioritizes poetics of diversity and takes a heuristic approach which allows him to report on the true history of Caribbean people. This is how he urges them to recover their collective memory, exalts their own culture and takes charge of their future, far from fakelore and any form of depersonalization.

This article explores how Paul Féval’s work integrates and transforms Breton legends and popular beliefs to shape a distinctive imaginary novel. Féval, born in Rennes in 1816, was influenced by the oral traditions of his native region. He drew on this rich cultural heritage to create works combining fantasy, the marvellous and romanticism, such as La Femme blanche des marais, Les Belles-de-nuit and La Fée des Grèves. These stories illustrate a hybrid between elements of authentic folklore and literary reinterpretations influenced (...) by European Romanticism. Féval is particularly interested in legendary female figures linked to water and the Other World, such as the White Woman of the Marshes, a spectre protecting the Malestroit family, and the Belles-de-nuit, ghosts mourning their tragic fate. These characters do more than simply enrich the poetic background: they play an active part in the plot and crystallise the introduction of the modern marvellous, where the supernatural emerges in a realistic setting, provoking fascination and turmoil. The novelist also explores the figure of the fairy, as in La Fée des Grèves, where this romantic aquatic creature, both protective and ambiguous, crosses symbolic thresholds between life and death, land and sea. The fairy, often associated with natural forces and sometimes Christianised, reflects the Breton imagination in constant transformation. This article also highlights the way in which Féval uses legends to meet the expectations of a wider audience, eager for a marvellous story that is accessible and rooted in geographical and historical reality. This process includes adapting traditional stories to make them compatible with the serial novel, a genre that values intrigue and mystery. Finally, this article highlights the ideological function of these stories: to re-enchant a modern world perceived as disenchanted by industrialisation and the rise of materialism. The reworked legends thus become a narrative and poetic tool enabling Féval to celebrate a past imbued with spirituality and mystery, while at the same time criticising a society in the throes of change. (shrink)

This article deals with Slavic pseudo-mythology, comprising myths and deities that do not exist in authentic mythology and folklore or whose existence is doubtful or refuted. It is typically an artificial construct and may be created by scholars who freely interpret scarce sources. This pseudo-mythology, as we will see, has created a false reality. The image we have of Slavic paganism is in fact very vague for lack of sources. On the contrary, today we are used to talking about a (...) well-constructed mythology which in fact rests on the construction based on assumptions and pseudo-theories of the 18th, mainly of the 19th and 20th centuries. This phenomenon is also related to Rodnovery or Rodnovery, which is a Slavic neo-pagan reconstructionist movement. (shrink)