This paper presents the issue of humour in French and Spanish contemporary erotic literature and, especially, in works written by women. The women who are studied in this paper are Régine Deforges, Françoise Rey, Alina Reyes, and Catherine Millet for French literature and Mercedes Abad, Ana Rossetti, Almudena Grandes, and Isabel Franc for Spanish literature. In the first place, the conceptual approach of connecting humour and erotisism, two concepts between which it is possible to establish various analogies, has been used. In the second place, a thematic and formal study has been carried out to identify the main distinctive characteristics that humour takes on in the erotic works of the selected women. The ambiguity, the unexpected, and the unusual are characteristics that typify humour in erotic literature. The confusion of genders, transgressions of the traditional literary conventions, or a crisis that tears up the 'Me' are issues that appear in the erotic texts and in the milieu in which humour likes to be introduced. This paper shows that even though some small differences appear, it is possible to establish various connections between humour as shown in the contemporary erotic works written by French women and those written by Spanish women. Résumé: Cet article aborde la question de l'humour dans la littérature érotique contemporaine de langue française et espagnole et, essentiellement, dans les oeuvres écrites par des femmes. Les auteures qui font l'objet de cet article sont Régine Deforges, Françoise Rey, Alina Reyes et Catherine Millet pour la littérature française et Mercedes Abad, Ana Rossetti, Almudena Grandes et Isabel Franc pour la littérature de langue espagnole. Dans un premier temps, l'approche conceptuelle a été privilégiée pour mettre en relation l'humour et l'érotisme, deux concepts entre lesquels il est possible d'établir de nombreuses analogies. Dans un deuxième temps, une étude thématique et formelle a été menée pour identifier les

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This article examines Pauline Réage's Une Fille amoureuse, a text that can be categorized as belonging to the vast field of writings on the self. Among the various types of current intimate literature, Une Fille amoureuse is closer to autofiction, a kind of text that has progressively taken over the literary landscape of the 21 st century. It was published in 1969, which makes it not only prior to the first conceptualization tentatives that resulted from autofiction, but also prior to the appearance of the very notion of autofiction. This study enquires into the distinctive traits of autofiction present in Une Fille amoureuse, in which Pauline Réage explores the boundaries between novel and autobiography, allowing a feminine voice to unfold as it is revealed by the writing itself.

This article looks at the literary dimension that emerges from Georges Bataille, à perte de vue, a film made by Labarthe in 1997 for the “Un siècle d'écrivains” collection. It will analyze the resolutely literary narrative device put in place by Labarthe in his film. The narrative structure, presented in the film, will be studied and the elements that contribute to the emergence of the literary will be evoked. Labarthe proposes an approach to the fundamental concepts inherent in the fictions of Bataille, which will be the subject of reflection in order to highlight the director's work of re-creating the literary universe of Bataille. The objective of this article is to show that the narrativization strategies that Labarthe deploys in his filmic narrative contribute to restoring Bataille's literality. Cet article s’intéresse à la dimension littéraire qui se dégage de Georges Bataille, à perte de vue, un film réalisé par Labarthe en 1997 pour la collection “Un siècle d’écrivains”. Il sera question d’analyser le dispositif narratif résolument littéraire mis en place par Labarthe dans son film. La structure narrative que présente le film sera ainsi étudiée et les éléments qui contribuent à l’émergence du littéraire seront évoqués. Labarthe propose une approche des concepts fondamentaux inhérents aux fictions de Bataille qui fera l’objet d’une réflexion afin de mettre en lumière le travail de re-création de l’univers littéraire bataillien mené par le réalisateur. L’objectif de cet article est de montrer que les stratégies de narrativisation que Labarthe déploie dans son récit filmique contribuent à redonner à Bataille sa littérarité.