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If by entrusting its primary narrator with the responsibility of writing and meaning, the narrative of The Gold Bug Variations seems to institute the authority of the authorial figure, the polyphonic narration of the novel makes the figure waver and invites the reader to elucidate this paradox. The decoding of DNA, the central object of the text and a mise en abyme of its own deciphering, appears as a possible model of the ambiguous relation of all fiction to its author.

Taking into account the inclusion of a legal deposition in a fictional text—namely in the short story “Benito Cereno” by Herman Melville—this article explores the link between these two regimes of writing. Using the concepts Jacques Derrida articulates in his text “Force of Law”, the article analyzes how Melville's poetics deconstructs legal authority and fiction itself, but also how the text deconstructs law, in the name of justice. The latter is to be found in the “à-venir” of the text, foreshadowed by the dissemination of strategies of silence. These stand out as forms of political resistance which we will attempt to delineate in relation to the philosophy of Jacques Rancière.

Cet article présente une analyse de l'activité de critique littéraire d'Ezra Pound à travers le prisme du canon négatif : y sont étudiées les raisons de son désaveu de certains grands poètes du canon européen occidental (Virgile, Pétrarque, Milton, Wordsworth et même Tennyson), pour arriver à la conclusion que son approche masculiniste de la poétique, qui inclut le dégoût de l'ornementation ainsi qu'une insistance sur les figures viriles, peut être reliée à son adhésion au fascisme italien, une idéologie qui, comme le poète américain, avait une relation ambivalente avec la rhétorique.

Unlike the numerous studies devoted to the literature of the “Lost Generation,” many other printed materials, produced by or for the English-speaking communities in interwar Paris, have not received much scholarly attention. However, the study of these texts, which are often aimed at less intellectual audiences, provides important information about Franco-Anglo-American cultural history. Jazz is one of them: a risqué magazine aimed at tourists, Jazz is a compound cultural object that evolved in a rich, cosmopolitan editorial environment, which it both reflects and helped to create. Through these fluidities, Jazz questions certain ways of classifying printed materials.