The darkness and claustrophobia of the city: Victor Hugo and the myth of Paris

Dark, mysterious, and dangerous: The representation of Paris in 19thcentury French literature contrasts sharply with the ideals and expectations of a society that dreamt of progress and modernity. Through his symbolism, Victor Hugo recaptures the dark side of Balzac's Paris, and turns the capital into a gigantic spider's web that symbolises the power of Fate upon individuals, and underlines the carceral oppression of the city. In this article, a reading is proposed of some of Hugo's major prose (Notre-Dame de Paris , Les Misérables) illustrating his claustrophobia: Paris, the capital of 'materiality', is represented metaphorically in Hugo's writings as a huge prison, and ultimately as a dreadful monster, swallowing and literally digesting its prey. This image of Paris connects Hugo's work to that of several other major 19th-century French writers, notably Balzac, Zola and-less obviously-Baudelaire.     

Victor REBRIK, IHAC

The book is confined to the study of the “popular morality” of the Athenians of the second half of the fifth century BCE and the whole extent of the fourth. The author moves outward from the central phenomenon of Athenian life, the oikos, comprising the family and extended family (Chapter 1), with a more sideways to take in threats or alternatives to the family, in the shape of courtesans and other ladies of irregular status (Chapter 2), returning then (Chapter 3) to the oikos with a chapter on problems of inheritance. After this he passes (Chapter 4) to the topic of friends and enemies, as essential feature of the Greekpolis.     

Hugo von Hofmannsthal: The Symbol as Experience

Dreams and Discourses (1627) by Francisco de Quevedo is a Baroque satirical work composed by five dreamlike narrations that criticize the moral decadence of seventeenth-century Spanish society. Traditionally, it has been read as a conservative Catholic text that conveys an official view of truth and morality. This article attempts to question that reading by addressing the use of subversive strategies, such as wordplay and ambiguity. Through an analysis of the paratext, the narrative voices, and the satire of popular trades—e.g., bankers—the article sheds light on the text's self-erosion of established moral and epistemological values. It concludes that behind its apparent religious correctness, the work reflects on the fundamental opacity of language. Theoretically, Quevedo's satire is understood as a disseminatory artifact following Derrida in Dissemination.     

Hugh of St. Victor and the Authorship of In Threnos Ieremiae*

The great esteem in which Hugh of St. Victor (d. 1141) was held by his contemporaries and by subsequent theologians led to the false attribution of a number of works to the Victorine. The prophetic commentaries have been especially challenged, while In Threnos Ieremiae alone has remained unquestioned. This article questions the authenticity of that work, however, because it departs in both content and style from Hugh's authentic commentaries. A computer search on words and phrases using the Patrologia Latina Database turned up a number of polemical comments about Jews much at odds with Hugh's generally irenic attitude toward Jews. Moreover, the search revealed items unique to the Lamentations commentary, but not unique to the non-authentic works and the disputed prophetic commentaries. Although the literal explanations in Lamentations do generally resemble Hugh's style, the additions of allegorical and moral explanations are unusual. They may indicate that a second party added to an initial work by Hugh. The polemical use of the words perdy , blindness, Jew, and Judaism, however, suggests authorship by another, particularly since these expressions turn up in other works no longer credited to Hugh of St.Victor.