Filiation protéiforme | 2026

255 L’Annonce ), where intertextuality supports reflection on transmission, the violence of the twentieth century, and the ethical responsibility of literature. The analysis reveals that quotation operates in multiple ways: it can structure narration (epigraphs, insertions, bibliographies), provide documentary grounding (references to archives and witnesses), nourish a critical mise en abyme (Proust, Valéry), or open a spiritual dimension (the Book of Job, Cioran, Celan). It situates Assouline within a polyphonic genealogy, invoking Hugo, Balzac, Proust, Rilke, Mann, Grossman, among others. We conclude that, in Assouline’s work, quotation is trace, relay, and promise: a trace of textual tradition, a relay between individual and collective memory, and a promise of meaning in the face of historical catastrophes. It establishes a poetics of montage in which literature, memory, and filiation converge within a narrative and ethical architecture. Keywords: intertextuality, biography, novel, literary heritage. Faten BEN ALI Abstract: In this paper, we aim to explore Colette Fellous’s autobiographical writing through the lens of narratives of filiation, highlighting how the Judeo-Tunisian author reconstructs her identity from a fragmented family heritage. The study addresses a central question: how can self-writing become an act of memory and transmission in a context of generational silence and cultural exile? Our objective is to demonstrate that autobiography in Fellous’s work goes beyond individual introspection and engages in a collective dynamic of repair and reappropriation. The author investigates family silences, notably those of the father, and revives absent or little-known figures, such as the maternal grandfather, through relic-objects, reconstructed memories, and fragmentary narratives. Keywords: legacy, community, identity, family, filiation . Constantin JINGA Abstract: This essay examines the use of the biblical theme of the Prodigal Son in secular and potentially anticlerical contexts. The analysis focuses on the application and function of the passage from Luke 15:17-32 in Rembrandt’s painting, The Return of the Prodigal Son , and in films such as Solaris by Andrei Tarkovski, Beyond the Hills by Cristian Mungiu, and In the Name of the Father by Jim Sheridan. The essay concludes with reflections on the significance of the biblical text in a post-paradigmatic era (Bauman), suggesting that addressing this issue might require exploration beyond our exegetical comfort zone. Keywords: Prodigal Son, reception criticism, isotopy, painting, film, secular, post-paradigmatic.