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The short prose poems collected in Le Spleen de Paris were composed at the very end of the 1850s and during the first half of the 1860s, a period when the press was experiencing rapid expansion and profound transformation. Moreover, in most cases, these texts were published in magazines and newspapers. Thus, it is possible to demonstrate that the press had a double influence on the genesis of short prose poems. On the one hand, the working conditions of journalists are reflected in the volume because Baudelaire found in those elements several representations that could nourish his reflections on the status of the poet and of poetry in modern society. On the other hand, evidence of the writing practices and generic constraints of various journalistic genres can be found in some of the poems in Le Spleen de Paris, even if one did not know how to reduce these texts to newspaper articles.

Several of the novels of Boubacar Boris Diop are organized around an enigmatic female character in the center and at the same time in the margins of the plot. This article examines in particular Johanna Simentho, Khadidja and Mumbi Awele, figures of exception in an imaginary universe which may often seem incoherent. They play a key role in the political fables of Diop's novels, of which they indicate a certain evolution. Thus, while Queen Johanna embodies criticism of neo-colonialism, Khadidja, the storyteller, represents the questioning of myths that have drawn the people into murderous wars. Mumbi Awele, the artist, in this context, appears as the figure of justice, suggesting an alternative to the traditional configurations where the saviour hero continuously confronts the monster.

Due to the feeling of living an illegitimate life, the difficulty of defying norms and the erosion of resilience capital in the face of rejection and discrimination, trans people of all ages and social classes give up their lives by committing suicide. Others are murdered and can be added to the list as victims of transphobia. These individuals have been subjected to post-mortem gender reassignments, traces of which have been discovered since the fourth century. The subject must be approached with caution, as life experiences related to gender and more specifically to gender-crossing may correspond to the figures we understand in the 20th century under the term transgender. In this article, we propose to question gender-crossings through the ages by measuring the effects of post-mortem gender reassignments, or even erasure, with a number of examples. Reassignments and their consequences in selected contemporary media content will also be described and analysed, particularly when the deaths of trans people are treated as miscellaneous news and when gender becomes a staging tool. The proposed analysis through the lens of intersectionality aims to demonstrate that media treatment and post-mortem reassignments reveal the persistence of inequalities, sometimes in new forms.

Keywords: trans, mort, suicide, crime de haine, médias, actualités, traitement médiatique, trans, death, suicide, hate crime, media, news, media's treatment, trans, muerte, suicidio, crimen de odio, medios, actualidades, tratamiento mediático

The research collective GRIJA has been conducting qualitative studies among young marginalized adults for the last twenty years. Our results from their shared subjective experience have led us progressively to the conceptualization of inscription as an ongoing dynamic quest for paradoxical social and psychological inclusion.

Keywords: Inscription, itinérance, marginalisation, subjectivation, recherche qualitative, Inscription, homelessness, marginalization, subjectivation, qualitative research

The statement of “risky practices” and of pathologies about “transsexualism” maintains the context of a standard of health based on a majority said to be “normal”, expurgated of the minority peculiarities and generating targeted but conditional policies delivered from expertises. Their economic justification allows to hide the violence of the ideological dimensions which are in confrontation on both sides of the “healthy” and the “pathological”. Trans are at the center of these conceptions and seem to pay the price. On one side a tolerant vision (fights against discrimination, equal rights), on the other side, a pathologizing vision conditioning the frame of the coverage and making up a “coverage” defined from a psychopathologist conception, protected by a “therapeutic shield” and binary standards of gender.

Keywords: transsexualisme, bouclier thérapeutique, protocoles hospitaliers, dépsychiatrisation, normes de santé et de genre, transsexualism, therapeutic shield, hospitable protocols, de-psychiatrisation, standards of health and gender

This study presents a comparative analysis of the latest novels by Léonora Miano (Crépuscule du Tourment, two volumes) and by Virginie Despentes (Vernon Subutex, three volumes), as they all disturb the established social and literary norms. This is particularly true of their representation of masculinity, especially because it intersects with the questions of class and race. Our aim will be to show how the texts offer alternatives to these plural forms of oppressions, notably by drawing from the fringes of culture and the arts ; and we will see that, ultimately, they create spaces of emancipation for the characters, their authoresses and more generally for their readers.

This article takes up the task of reading Zack Snyder's Sucker Punch (2011) against the grain of those critics who saw in it only a film consumed by contradictions and a shallow script. Beginning with an analysis of diegetic transport, the author highlights the reasons he has developed an against-the-grain interpretation of the narrative based on Pierre Bayard's (1998) analysis of Agatha Christie's The Murder of Roger Ackroyd. With the assistance of Michel Henry's phenomenology, the author updates the necessarily subjective and deceptive nature of filmic narration, inviting us to see a twist in the structure of the film's story: that the existence of the heroine (Babydoll) is illusory in favour of a secondary character (Sweet Pea), in a personality doubling process enacted to distance a traumatic experience. This makes Sucker Punch a work that explores deeply the potentialities of the imagination and offers a kind of negative reflection of the issues at play in cinema in the present era, as digital effects grow without precedent.