This article examines French-Iranian literary interactions in the late nineteenth century and early twentieth century, which arguably had ongoing effects in Iran on attitudes towards links between morality and social and economic inequality. Some of the earliest fictional stories published in Persian-language newspapers, in the 1850s, were French. This trend continued, through Iran’s Constitutional Revolution (1906), into the early decades of the twentieth century. During this period, Morteza Moshfeq-e Kazemi began writing the first Persian serial story and novel, Tehran-e Makhuf (Appalling Tehran). The present study investigates the effects of the translation of French serial stories on Persian ones, with a specific focus on the impact of the novel Les Mystères de Paris (1842– 1843), by Eugène Sue, on the Persian novel Tehran-e Makhuf (1924).
Translation of the French Serial Story and Its Effect on the Persian Serial Story
Manizheh Abdollahi and Ehya Amalsaleh
Adapting Feature Films into French-Language Comics Serials during the Post-war Years
This article focuses on the relatively little-known editorial context of children’s French-language comics serials at a time when they constituted the main distribution channel of the bande dessinée medium (before the album became the dominant format), from the immediate post-war years to the mid-1950s. I examine the importance given to the adaptation of films into bande dessinée by studying the editorial strategy to which this practice of adaptation contributes (focusing on the magazine L’Intrépide [The daredevil], which, at the time, specialised in adaptation) and the narrative and figurative aspects of the adapters’ approaches. I show in particular how bandes dessinées are inscribed in genres that structure the periodical publications, where these were previously established in the cinematographic domain such as the swashbuckler and the western. The processes of condensation or amplification of the narrative, as well as the use of the feuilleton, are at the centre of the case studies.
It might seem that Sartre's thought is no longer relevant in understanding and combating the maelstrom unleashed by triumphant neoliberalism. But we can still draw inspiration from Sartre's hatred of oppression and his project to understand how his most famous theme of individual self-determination and responsibility coexists with our social belonging and determination by historical forces larger than ourselves. Most important today is Sartre's understanding in Critique of Dialectical Reason of how isolated, serial individuals form into groups to resist oppression, and the ways in which these groups generate social understandings and collective power.
What is counter-finality? Who, or what, is the agent of counter-finality? In the Critique of Dialectical Reason, Sartre employs a complicated and multivalent notion of counter-finality, the reversal of the finality intended by an agent in different contexts and at different levels of complexity. Sartre's concept of counter-finality is read here as an attempt to rethink and broaden the traditional Marxist notion of commodity fetishism as a tragic dialectic of human history whose final act has yet to play out. The article analyses and explicates Sartre's complex concept of counter-finality, focusing on material antipraxis.
Entre enjeux locaux et perspective globale
This article discusses the circulation of francophone news, information, and literary content between Western Europe and North America in the nineteenth century. During this period, big metropolitan cities (Paris, Brussels, Montreal, New Orleans) were forming a dense media network. For the western Atlantic region, New York City and the Courrier des États-Unis (1828–1938) served as the hub of this network. Francophone readers on both sides of the Atlantic shared a large common corpus, including works such as Eugène Sue’s Mystères de Paris (1842–1843), which was distributed in North America by the literary supplement of the Courrier. By providing a general overview of this French-speaking network, this article invites scholars to explore how texts, and literature in particular, operated through an interlinked dynamic system of publication rather than as independent unconnected works.
Reading and Deceptive Femininity in Ellen Wood's Parkwater (1857)
Janice M. Allan
Concentrating on Ellen Wood's Parkwater, a little-known New Monthly Magazine serial, this article attempts to complicate the long-standing construction of Wood as a 'quiet sensationalist'. It argues that Wood's serial was self-consciously appealing to the New Monthly's male readers and thus incorporated scenes and details of a surprisingly graphic nature. At the same time, the article situates the narrative within the context of a new commodity culture, as well as the 1857 murder trial of Madeleine Smith, suggesting that Wood's exploration of deceptive femininity resonates with current events in a particularly insistent manner.
This article addresses how television narratives create psychologically rich situations, those moments where viewers are able to make many distinctive and sophisticated inferences about the mental states of characters. Focusing on season five of Mad Men, it examines the extent to which individual episodes create rich situations through the information established within an individual episode, versus the degree to which rich situations are created by relying on information accrued over the course of previous episodes, as well as the extent to which these two kinds of information are blended together in a given situation. While it is easy to assume that serial narratives routinely call upon accumulated character knowledge in order to enrich viewer inferences, somewhat surprisingly, most episodes in Mad Men season five are actually largely enriched through episodic rather than serial information. The article also analyzes interesting patterns that emerge in these qualities across the entire season.
Past and Present
Among the great world libraries, the British Library stands out as one of the major repositories of Hebrew manuscripts and printed books. The Hebrew collection comprises the library’s holdings of material written and printed in Hebrew characters, ranging from manuscripts copied over a millennium ago to the most recent monographs and serials. It consists of over 3,000 manuscript volumes and some 10,000 Genizah fragments, around 70,000 printed book titles and nearly 1,000 serial titles. Although Hebrew is the predominant language, other Jewish languages that utilize the Hebrew script are also represented in the collection. These include Aramaic, Judeo-Arabic, Judeo- Italian, Judeo-Persian, Judeo-Spanish or Ladino and various others.
T. Storm Heter
This article presents a novel defense of Sartrean ethics based on the concept of interpersonal recognition. The immediate post-war texts Anti-Semite and Jew, What is Literature? and Notebooks for an Ethics express Sartre's inchoate yet ultimately defensible view of obligations to others. Such obligations are not best understood as Kantian duties, but rather as Hegelian obligations of mutual recognition. The emerging portrait of Sartrean ethics offers a strong reply to the classical criticism that authenticity would license vicious lifestyles like serial killing. In addition to acting with clarity and responsibility, existentially authentic individuals must respect others.
Robert Blanchet and Margrethe Bruun Vaage
As the frequent use of metaphors like friendship or relationship in academic and colloquial discourse on serial television suggests, long-term narratives seem to add something to the spectator's engagement with fictional characters that is not fully captured by terms such as empathy and sympathy. Drawing on philosophical accounts of friendship and psychological theories on the formation of close relationships, this article clarifies in what respect the friendship metaphor is warranted. The article proposes several hypotheses that will enhance cognitive theories of character engagement. Spectators tend to like what they have been exposed to more, and the feeling of familiarity is pleasurable. Familiar characters are powerful tools to get the spectator hooked. Furthermore, by generating an impression of a shared history, television series activate mental mechanisms similar to those activated by friendship in real life. These factors, and several others, create a bond with characters in television series that tends to be described in everyday language as a sort of friendship.