This article explores Birgitte Thott's (1610–1662) intellectual identity by investigating the paratexts to her translation of Seneca's philosophical works (1658) in a European context. Written partly by Thott herself and partly by other scholars, these texts assisted in creating Thott's public persona and in establishing Thott as a female intellectual in early modern Denmark. As there was a certain tension for female intellectuals between participating in the public sphere and living up to the gender norms of their times, it was difficult for them to become recognised as public figures. While Thott is praised by others as an exception, Thott herself developed different strategies to address the tensions between traditional gender roles and her intellectual activities. In an unconventional way, Thott dedicated her work to women, aiming at a broad consent in society for female learning and encouraging other women to follow her example. She presented her own work as a serious contribution to the Christian tradition of engaging with Stoic philosophy. This article contributes to mapping the development of a female intellectual identity during the early modern period by focusing on a geographical region that is often overlooked in research about the topic.
{"title":"Establishing a female intellectual identity in early modern Denmark","authors":"Sabrina Ebbersmeyer","doi":"10.1111/oli.12411","DOIUrl":"https://doi.org/10.1111/oli.12411","url":null,"abstract":"This article explores Birgitte Thott's (1610–1662) intellectual identity by investigating the paratexts to her translation of Seneca's philosophical works (1658) in a European context. Written partly by Thott herself and partly by other scholars, these texts assisted in creating Thott's public persona and in establishing Thott as a female intellectual in early modern Denmark. As there was a certain tension for female intellectuals between participating in the public sphere and living up to the gender norms of their times, it was difficult for them to become recognised as public figures. While Thott is praised by others as an exception, Thott herself developed different strategies to address the tensions between traditional gender roles and her intellectual activities. In an unconventional way, Thott dedicated her work to women, aiming at a broad consent in society for female learning and encouraging other women to follow her example. She presented her own work as a serious contribution to the Christian tradition of engaging with Stoic philosophy. This article contributes to mapping the development of a female intellectual identity during the early modern period by focusing on a geographical region that is often overlooked in research about the topic.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46016944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The question of the relation between philosophy and literature is, in the present contribution, approached from the notion of reflexivity as it appears in the thinking of Herder and Gadamer. Following up on Gadamer's critique of the Kantian and post‐Kantian idea of the autonomy of art, literature is considered a reflective discourse that at an existential level harvests insights that can be used in a fruitful exchange with philosophy. As an example of the reflexivity of literature, an analysis of Julio Cortázar's short story ‘The Continuity of Parks’ appears at the end of the article.
{"title":"Exemplarity and reflexivity in literature: Towards an elucidation of the knowledge embedded in the literary text","authors":"Julio Jensen","doi":"10.1111/oli.12409","DOIUrl":"https://doi.org/10.1111/oli.12409","url":null,"abstract":"The question of the relation between philosophy and literature is, in the present contribution, approached from the notion of reflexivity as it appears in the thinking of Herder and Gadamer. Following up on Gadamer's critique of the Kantian and post‐Kantian idea of the autonomy of art, literature is considered a reflective discourse that at an existential level harvests insights that can be used in a fruitful exchange with philosophy. As an example of the reflexivity of literature, an analysis of Julio Cortázar's short story ‘The Continuity of Parks’ appears at the end of the article.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46080535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jacques Derrida's scattered remarks on the ambiguous role examples play in the passage between the universal and the singular revolve around an often‐neglected point: any attempt to theorise exemplarity will itself be subject to the law it seeks to account for. This oversight limits scholarship on the subject, but may be amended by returning to the loci classici on exemplarity in Derrida's Glas, La vérité en peinture, Passions, and elsewhere. Moreover, in three texts published in the 1980s: La loi du genre, Préjugés and Psyché, Derrida emphasises how literature is particularly given to ‘remark’ its own status as literature and as such provides a privileged example of the problem of exemplarity. Another example in which exemplarity is in general singularly implicated is deconstruction itself.
雅克·德里达（Jacques Derrida）对例子在普遍性和单数之间的转换中所起的模糊作用发表了零散的评论，围绕着一个经常被忽视的点：任何对例证性进行理论化的尝试本身都将受制于它所寻求解释的法律。这种疏忽限制了这一主题的学术研究，但可以通过回归德里达的《格拉斯》、《激情》和其他作品中的经典典范来进行修正。此外，在20世纪80年代出版的三本书中：《流派》（La loi du types）、《普雷朱热斯》（Préjugés）和《精神病》（Psyché），德里达强调了文学是如何被特别赋予“评论”其文学地位的，因此为典范性问题提供了一个特殊的例子。另一个典型性通常被单独牵连的例子是解构本身。
{"title":"Derrida and the exemplarity of literature","authors":"Kristian Olesen Toft","doi":"10.1111/oli.12421","DOIUrl":"https://doi.org/10.1111/oli.12421","url":null,"abstract":"Jacques Derrida's scattered remarks on the ambiguous role examples play in the passage between the universal and the singular revolve around an often‐neglected point: any attempt to theorise exemplarity will itself be subject to the law it seeks to account for. This oversight limits scholarship on the subject, but may be amended by returning to the loci classici on exemplarity in Derrida's Glas, La vérité en peinture, Passions, and elsewhere. Moreover, in three texts published in the 1980s: La loi du genre, Préjugés and Psyché, Derrida emphasises how literature is particularly given to ‘remark’ its own status as literature and as such provides a privileged example of the problem of exemplarity. Another example in which exemplarity is in general singularly implicated is deconstruction itself.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48903080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article shows that, in Miguel de Unamuno, both philosophy and literature contribute to an intellectual project that has to do with life. I will argue that Unamuno, in Cómo se hace una novela, presents a philosophy of life that understands human life as an intersubjective creation. We create life in the same way we do a novel, that is to say, through intersubjective dialectics. Cómo se hace una novela reveals an idea about life in which our ontological potential manifests itself in the novelistic creation and where the text becomes an intersubjective common ground.
这篇文章表明，在米格尔·德·乌纳穆诺的作品中，哲学和文学都为一个与生活有关的智力项目做出了贡献。我认为Unamuno，在Cómo se hace una novela中，提出了一种生活哲学，将人类生活理解为一种主体间的创造。我们创造生活的方式和创作小说的方式是一样的，也就是说，通过主体间辩证法。Cómo《我没有小说》揭示了一种关于生活的观念在这种观念中，我们的本体论潜能在小说创作中表现出来，文本成为主体间的共同基础。
{"title":"Creation, intersubjectivity and the novel: Unamuno on life in Cómo se hace una novela","authors":"Katrine Helene Andersen","doi":"10.1111/oli.12412","DOIUrl":"https://doi.org/10.1111/oli.12412","url":null,"abstract":"This article shows that, in Miguel de Unamuno, both philosophy and literature contribute to an intellectual project that has to do with life. I will argue that Unamuno, in Cómo se hace una novela, presents a philosophy of life that understands human life as an intersubjective creation. We create life in the same way we do a novel, that is to say, through intersubjective dialectics. Cómo se hace una novela reveals an idea about life in which our ontological potential manifests itself in the novelistic creation and where the text becomes an intersubjective common ground.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44790082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues that the dissemination of literatures across historical and cultural divides follow partly random analogical pathways, not least pushed by translations. By contrast, within traditional comparative literature hierarchical centre/periphery models for literary transmissions were to a large extent based on the idea of a unilateral influence moving from dominant source cultures and their canonical writers and texts to other cultures. With the aim of revising this model I will as necessary suggest analogical reasoning, understood as a bi‐directional and non‐hierarchical approach to literary dissemination as it is embedded in translatory, aesthetic and performative practices across languages and cultures. My examples are two: an early nineteenth‐century direct Danish translation from 1805 of William Shakespeare's Hamlet; and an early twentieth‐century case of cross‐media use of an indirect German translation of Chinese poetry in Gustav Mahler's symphonic work Das Lied von der Erde (1908–1909).
{"title":"Translation and analogical reasoning","authors":"S. Larsen","doi":"10.1111/oli.12422","DOIUrl":"https://doi.org/10.1111/oli.12422","url":null,"abstract":"This article argues that the dissemination of literatures across historical and cultural divides follow partly random analogical pathways, not least pushed by translations. By contrast, within traditional comparative literature hierarchical centre/periphery models for literary transmissions were to a large extent based on the idea of a unilateral influence moving from dominant source cultures and their canonical writers and texts to other cultures. With the aim of revising this model I will as necessary suggest analogical reasoning, understood as a bi‐directional and non‐hierarchical approach to literary dissemination as it is embedded in translatory, aesthetic and performative practices across languages and cultures. My examples are two: an early nineteenth‐century direct Danish translation from 1805 of William Shakespeare's Hamlet; and an early twentieth‐century case of cross‐media use of an indirect German translation of Chinese poetry in Gustav Mahler's symphonic work Das Lied von der Erde (1908–1909).","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45389486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Da sich die Pantomime als sogenannte „wortlose Kunst“ ihrer Verschriftlichung eigentlich entzieht, sind einige Texte der Pantomime um 1900 bezüglich ihrer Darstellungsverfahren besonders erfinderisch. Sie enthalten Notationen, Bilder, Zeichnungen und generieren rhetorische Figuren, um die Bewegung des Körpers auf der Bühne in den Texten selbst zu übersetzen. Die Ergebnisse dieser Übertragungen sind oftmals intermediale Textgestaltungen, welche die Diskurse um 1900 aufnehmen, reflektieren, kommentieren und in Frage stellen. Der Beitrag analysiert anhand ausgewählter Pantomimen von Robert Walser, Hugo von Hofmannsthal sowie von Grete Wiesenthal und Clemens von Franckenstein exemplarisch die rhetorischen und schriftbildlichen Strukturen und situiert diese in den jeweiligen Diskursen.
{"title":"Rhetorik und Schriftbildlichkeit von literarischen Pantomimen","authors":"Nina Tolksdorf","doi":"10.1111/oli.12407","DOIUrl":"https://doi.org/10.1111/oli.12407","url":null,"abstract":"Da sich die Pantomime als sogenannte „wortlose Kunst“ ihrer Verschriftlichung eigentlich entzieht, sind einige Texte der Pantomime um 1900 bezüglich ihrer Darstellungsverfahren besonders erfinderisch. Sie enthalten Notationen, Bilder, Zeichnungen und generieren rhetorische Figuren, um die Bewegung des Körpers auf der Bühne in den Texten selbst zu übersetzen. Die Ergebnisse dieser Übertragungen sind oftmals intermediale Textgestaltungen, welche die Diskurse um 1900 aufnehmen, reflektieren, kommentieren und in Frage stellen. Der Beitrag analysiert anhand ausgewählter Pantomimen von Robert Walser, Hugo von Hofmannsthal sowie von Grete Wiesenthal und Clemens von Franckenstein exemplarisch die rhetorischen und schriftbildlichen Strukturen und situiert diese in den jeweiligen Diskursen.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49093301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Der Beitrag untersucht Formen und Wege des Kulturtransfers zwischen Frankreich und Österreich, bzw. Deutschland, im Bereich der Pantomime, insbesondere unter dem Blickwinkel der „Texttheatralität“ (Poschmann). Bei vielen deutschsprachigen Pantomimenautoren ist die Begegnung mit der Pariser Pantomime, die 1888 mit der Gründung des „Cercle Funambulesque“ ihre Wiedergeburt feiert, für Theorie und Praxis ausschlaggebend. Diese künstlerische Befruchtung wird sowohl in den theoretischen Ansätzen als auch in den praktischen Umsetzungen präzisiert, wobei anhand eines Beispiels, nämlich Levetzows Die beiden Pierrots, die „Theatralität“ der pantomimischen Texte im Hinblick auf ihre Nähe zum Epischen, ihr performatives Potenzial, ihre Materialität und Metatextualität analysiert wird.
{"title":"Theorie und Praxis der Pantomime zwischen Frankreich und Österreich/Deutschland: Aspekte eines Kulturtransfers","authors":"Catherine Mazellier‐Lajarrige","doi":"10.1111/oli.12423","DOIUrl":"https://doi.org/10.1111/oli.12423","url":null,"abstract":"Der Beitrag untersucht Formen und Wege des Kulturtransfers zwischen Frankreich und Österreich, bzw. Deutschland, im Bereich der Pantomime, insbesondere unter dem Blickwinkel der „Texttheatralität“ (Poschmann). Bei vielen deutschsprachigen Pantomimenautoren ist die Begegnung mit der Pariser Pantomime, die 1888 mit der Gründung des „Cercle Funambulesque“ ihre Wiedergeburt feiert, für Theorie und Praxis ausschlaggebend. Diese künstlerische Befruchtung wird sowohl in den theoretischen Ansätzen als auch in den praktischen Umsetzungen präzisiert, wobei anhand eines Beispiels, nämlich Levetzows Die beiden Pierrots, die „Theatralität“ der pantomimischen Texte im Hinblick auf ihre Nähe zum Epischen, ihr performatives Potenzial, ihre Materialität und Metatextualität analysiert wird.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44448922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Within the last couple of years, the recently established field of research called “New Materialism” has made its entry into studies of Romanticism, and especially that of the Romantic body. Hitherto a subject explored through the guises of medicine, anatomy, and physiology on the one hand and deconstruction and poststructuralism on the other, the body is now being re‐interpreted within a field that itself has vowed a return to the material and its agentive interconnectedness with other matter. On that, Romantic studies of the body deliver, however, looking at the body through a new materialist framework is not entirely unproblematic. In this essay, I will look at some of the upsides and downsides of the merger of Romanticism, body studies, and New Materialism.
{"title":"The problem of the body in Romantic Studies: On the strengths and limits of New Materialism","authors":"Martin Fog Arndal","doi":"10.1111/oli.12408","DOIUrl":"https://doi.org/10.1111/oli.12408","url":null,"abstract":"Within the last couple of years, the recently established field of research called “New Materialism” has made its entry into studies of Romanticism, and especially that of the Romantic body. Hitherto a subject explored through the guises of medicine, anatomy, and physiology on the one hand and deconstruction and poststructuralism on the other, the body is now being re‐interpreted within a field that itself has vowed a return to the material and its agentive interconnectedness with other matter. On that, Romantic studies of the body deliver, however, looking at the body through a new materialist framework is not entirely unproblematic. In this essay, I will look at some of the upsides and downsides of the merger of Romanticism, body studies, and New Materialism.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44483487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As colonial regimes became more entrenched, the African indigenous ‘housekeeper’ became a popular and highly controversial topic in Belgian and German colonial literature. Indigenous women were euphemistically called ménagères or ‘housekeepers’ to veil their sexual function at a colonial's residence. In a period of history where racial and eugenic anxieties ran rampant across Europe, the colonies seemingly eluded the increasingly frustrated European homeland's social and eugenic control. Given the ambiguous and controversial status of the indigenous housekeeper, this theme triggered a wide range of literary responses across different countries and in various languages, particularly by ex‐colonials. Ernest Tilemans's Bendsjé of de Liefde der N[*] (1931), Mathelin de Papigny's Le coup de chicotte (1930) and Hans Grimm's Wie Grete aufhörte ein Kind zu sein (1913) illustrate this variety by, respectively, attempting to absolve individual male colonials, presenting the phenomenon as proof of the colonies' ‘corrupting’ influence or to conduct fictional social and eugenic colonial experiments. Regardless of their approach, all three works instrumentalise eugenic vocabulary and imagery to draw an otherwise private male sexuality into the public sphere. Moreover, these works demonstrate colonial writing's function as a vital tool for social and eugenic observation and control.
{"title":"The indigenous housekeeper: Colonies, sexuality and eugenics in Bendsjé (1931), Le coup de chicotte (1930) and Wie Grete aufhörte ein Kind zu sein (1913)","authors":"Robrecht De Boodt","doi":"10.1111/oli.12418","DOIUrl":"https://doi.org/10.1111/oli.12418","url":null,"abstract":"As colonial regimes became more entrenched, the African indigenous ‘housekeeper’ became a popular and highly controversial topic in Belgian and German colonial literature. Indigenous women were euphemistically called ménagères or ‘housekeepers’ to veil their sexual function at a colonial's residence. In a period of history where racial and eugenic anxieties ran rampant across Europe, the colonies seemingly eluded the increasingly frustrated European homeland's social and eugenic control. Given the ambiguous and controversial status of the indigenous housekeeper, this theme triggered a wide range of literary responses across different countries and in various languages, particularly by ex‐colonials. Ernest Tilemans's Bendsjé of de Liefde der N[*] (1931), Mathelin de Papigny's Le coup de chicotte (1930) and Hans Grimm's Wie Grete aufhörte ein Kind zu sein (1913) illustrate this variety by, respectively, attempting to absolve individual male colonials, presenting the phenomenon as proof of the colonies' ‘corrupting’ influence or to conduct fictional social and eugenic colonial experiments. Regardless of their approach, all three works instrumentalise eugenic vocabulary and imagery to draw an otherwise private male sexuality into the public sphere. Moreover, these works demonstrate colonial writing's function as a vital tool for social and eugenic observation and control.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46789596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La crise climatique devient de plus en plus souvent le sujet des œuvres de fiction, non seulement dans l'aire culturelle anglo‐saxonne. Le présent article soumet à l'analyse un exemple de fiction climatique postcoloniale francophone, à savoir La fantastique Odyssée de l'Algérien Chérif Arbouz, dans le but de reconstruire la vision du futur y proposée. L'étude des procédés littéraires engagés par l'auteur tels que le héros collectif, l'étendue spatiale et temporelle de l'intrigue, l'insertion des passages essayistiques et scientifiques, démontre que l'écrivain arrive à représenter habilement la crise climatique et ses conséquences, à avertir les lecteurs des dangers y liés, de même qu'à faire partie du débat mondial concernant le futur de notre planète.
{"title":"Y a‐t‐il un avenir après la crise climatique ? De La fantastique Odyssée de Chérif Arbouz","authors":"Magdalena Malinowska","doi":"10.1111/oli.12417","DOIUrl":"https://doi.org/10.1111/oli.12417","url":null,"abstract":"La crise climatique devient de plus en plus souvent le sujet des œuvres de fiction, non seulement dans l'aire culturelle anglo‐saxonne. Le présent article soumet à l'analyse un exemple de fiction climatique postcoloniale francophone, à savoir La fantastique Odyssée de l'Algérien Chérif Arbouz, dans le but de reconstruire la vision du futur y proposée. L'étude des procédés littéraires engagés par l'auteur tels que le héros collectif, l'étendue spatiale et temporelle de l'intrigue, l'insertion des passages essayistiques et scientifiques, démontre que l'écrivain arrive à représenter habilement la crise climatique et ses conséquences, à avertir les lecteurs des dangers y liés, de même qu'à faire partie du débat mondial concernant le futur de notre planète.","PeriodicalId":42582,"journal":{"name":"ORBIS LITTERARUM","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43506694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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