Byron’s Don Juan (1818-1824) is considered here in its full ambivalence : the poet is clearly turning his back on the Orientalism of his Contes in order to engage in a pre-emptive « post-Orientalism ». Certain critical moments in the poem are analysed while the opportunity is taken to make Leila, the young Turkish woman saved by Juan, the object of a « cultural transfer » that the unfinished nature of the poem leaves in an embryonic state.
CLIL theme: 4027 -- SCIENCES HUMAINES ET SOCIALES, LETTRES -- Lettres et Sciences du langage -- Lettres -- Etudes littéraires générales et thématiques