Academic literature on the topic 'Arsène Lupin'
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Journal articles on the topic "Arsène Lupin"
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S, Maria Baptist, and Bhuvaneswari R. "Modes of Adaptation: Black Representation in Maurice Leblanc’s Arsène Lupin, Gentleman-Burglar and Netflix’s Lupin." Studies in Media and Communication 10, no. 2 (November 16, 2022): 288. http://dx.doi.org/10.11114/smc.v10i2.5733.
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Adaptation refers to adapting literary works (short stories, novels) into another medium (play, film, television series). Adaptation elongates the survivability of the text. The primary concern of adaptation is fidelity, the degree to which a film reflects the original work, theorists suggest various approaches, perspectives and concepts to understand the original source and the adapted work. Dudley Andrew’s Modes of Adaptation is taken for the analysis/study. Dudley Andrew classifies three modes of adaptation. ‘Borrowing’ denotes the exact imitation of the work as a film. ‘Intersecting’ converges the text with the contemporary world and ‘Transformation’ treats the literary work as an outline and weaves a similar story without affecting the originality of the source work. In the novel, Arsène Lupin, Gentleman-Burglar (1907), a crime novel, Maurice Leblanc narrates a story of a thief, Arsène Lupin, who commits robbery without any traces or evidences using his wit. The Lupin series (2021), broadcasted on Netflix, is a modern-day approach of Arsène Lupin. In the Lupin series, Assane Diop, the protagonist, steals a necklace in the auction, which lets him to face various consequences. The paper focuses on racial discrimination in the series and compares Maurice Leblanc’s Arsène Lupin, Gentleman-Burglar and Netflix’s Lupin series through the lens of Dudley Andrew’s Modes of Adaptation.
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Prévost, Maxime. "Arsène Lupin hors jeu." Études littéraires 44, no. 1 (September 25, 2013): 41–54. http://dx.doi.org/10.7202/1018464ar.
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Résumé En 1905, Maurice Leblanc relève le défi de l’éditeur Pierre Lafitte, acceptant de créer pour le périodique Je sais tout un personnage incarnant les qualités nationales et pouvant servir de locomotive à la revue, comme le faisait Sherlock Holmes pour The Strand. Implicitement, l’éditeur l’invitait ainsi à créer un personnage qui exercerait sur le lectorat français le même ascendant que le célèbre limier de Baker Street sur celui de la Grande-Bretagne. Défi relevé et mission accomplie, Maurice Leblanc, tout comme Conan Doyle, se trouve captif de son succès : l’auteur qui aspirait à devenir le successeur de Maupassant et la gloire du naturalisme tardif se verra contraint, pour répondre aux demandes du public, de créer sans cesse de nouvelles aventures d’Arsène Lupin, personnage mille fois mis à mort, mille et une fois né de ses cendres. Pour Maurice Leblanc et son personnage, l’aventure n’est pas une possibilité, mais une nécessité. Pierre Bayard nomme « complexe de Holmes » cette propension qu’ont les créateurs de mythes à se sentir fragilisés, voire menacés, par leurs créatures. Pendant la Grande Guerre, ce complexe mène Leblanc à créer une trilogie romanesque, constituée de L’Éclat d’obus (1916), du Triangle d’or (1918) et de L’Île aux trente cercueils (1919), trilogie marquée par la quasi-absence de son héros, lequel cède le pas à d’autres personnages auxquels la possibilité de l’aventure sera offerte, mais comme à contrecoeur : Arsène Lupin, qui ne met jamais sa propre vie en jeu et, intervenant comme un Deus ex machina, n’intègre jamais véritablement le fil de l’aventure, jette cependant une ombre démesurée sur les autres personnages du cycle, notamment sur le Paul Delroze de L’Éclat d’obus, le Patrice Belval du Triangle d’or et le Stéphane Maroux de L’Île aux trente cercueils, auxquels échappe la gloire complète de la geste héroïque. Cet article cherche à comprendre pourquoi Maurice Leblanc soustrait Arsène Lupin à l’aventure, sans pour autant doter ses autres personnages des mêmes possibilités d’action.
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Bielecki, Emma. "Arsène Lupin Goes to War." Nottingham French Studies 56, no. 1 (March 2017): 52–66. http://dx.doi.org/10.3366/nfs.2017.0167.
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Despite significant scholarly interest in the cultural impact of the First World War, little critical attention has hitherto been paid to the way in which popular fiction responded to the experience of war. This article argues that the popular novel underwent its own crisis of representation during the First World War through a close reading of the three Arsène Lupin novels set between 1914 and 1918. The Lupin novels are a privileged site for examining this issue not only because of their immense success but also because the character of Lupin embodied a certain ideal of heroism that had emerged in the wake of the debacle of 1870. Testing that idea against the reality of industrialized warfare, the Lupin war novels demonstrate its friability, and through the development of an aesthetics of the uncanny register the trauma of war in unexpected and unexpectedly revealing ways.
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Selim, Samah. "Fiction and Colonial Identities: Arsène Lupin in Arabic." Middle Eastern Literatures 13, no. 2 (August 2010): 191–210. http://dx.doi.org/10.1080/1475262x.2010.487317.
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Windish, Colette J. "Arsène Lupin: une certaine idée de la France?" French Cultural Studies 12, no. 35 (June 2001): 149–60. http://dx.doi.org/10.1177/095715580101203502.
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Okuneva, Irina. "Mirabeau selon Ortega y Gasset : un Arsène Lupin métaphysique ?" Critique 816, no. 5 (2015): 423. http://dx.doi.org/10.3917/criti.816.0423.
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Chekalov, Kirill A. "“Don Luis had never been up in an aeroplane” (Maurice Marie Émile Leblanc before 1905)." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 110–16. http://dx.doi.org/10.34216/1998-0817-2021-27-1-110-116.
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Some of the works of Maurice Leblanc are considered in the article, who is one of the creators of the French classic detective, written between 1890 and 1905 (before the publication of the first novel about the adventures of "gentleman-cambrioleur" by Arsène Lupin). The influence of Henri René Albert Guy de Maupassant and Gustave Flaubert is combined with an appeal to Breton legends and erotic motives popular in the “Belle Époque”. The image of a bicycle, a car and the cult of speed associated with them, anticipating the plot dynamics of Lupinian in these works is analysed. On the example of Leblanc's short stories, published in a number of newspapers in the mid-1890s to early 1900s, the gradual maturation of criminal narrative in his work is shown. Among the problems raised in the article – Leblanc's reaction to the ideas of anarchism and the potential influence on the image of Arsène Lupin of the personality of the famous anarchist Marius Jacob as well as the influence of the work of Ernest William Hornung (the creator of the character of A. J. Raffles, the "Amateur Cracksman").
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Freytag-Lauer, Audrey, Gaëlle Burg, Carine Greminger Schibli, and Lilli Papaloïzos. "Arsène Lupin au menu de l’enseignement du FLE : quelques pistes didactiques." Babylonia Journal of Language Education 1 (April 26, 2022): 84–90. http://dx.doi.org/10.55393/babylonia.v1i.197.
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Après quelques décennies de sommeil, Arsène Lupin, le gentleman cambrioleur de Maurice Leblanc, refait surface grâce à la série Netflix Lupin, dans l'ombre d'Arsène. Comment surfer sur cette vague de succès et utiliser différents supports en cours de français (FLE) ?
C'est le défi qu'ont relevé Lilli Papaloïzos, Gaëlle Burg, Audrey Freytag Lauer et Carine Greminger Schibli, chargées d’enseignement à la PH-FHNW. Avec des approches didactiques différentes et complémentaires, il est possible de découvrir une figure littéraire en travaillant sur (1) la prononciation, (2) la compétence de lecture ou (3) la comparaison des langues. Les enseignant·e·s peuvent s'inspirer des différentes propositions pour leur classe et composer leur menu à la carte.
Bon appétit ! Buon appetito ! Enjoy the meal ! E Guete !
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Duval, Hubert. "Jean Jaurès dans « Arsène Lupin » : un avatar de l'imagerie jaurésienne." Cahiers Jaurès N° 174, no. 4 (2004): 75. http://dx.doi.org/10.3917/cj.174.0075.
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Chekalov, Kirill. "MAURICE LEBLANC - “GRANDSON OF FLAUBERT”?" Literaturovedcheskii Zhurnal, no. 3 (2021): 84–99. http://dx.doi.org/10.31249/litzhur/2021.53.05.
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Maurice Leblanc, Gustave Flaubert’s countryman, author of the famous series of novels and short stories about adventures of “gentleman-burglar” Arsène Lupin, from his youth had an interest in works of the author of Madame Bovary . The interest was shared by his sister Georgette Leblanc, a singer, actress and writer. This essay critically examins the early prose of Maurice Leblanc, its connections with the traditions of Flaubert and with typical for “fin de siècle” erotic prose of decadence. A special attention is paid to the novel A woman and its parallels and allusions to Madame Bovary . This essay shows the peculiarities of Leblanc’s description of Roune (against the background of a nagative perception of the city by Flaubert).
Dissertations / Theses on the topic "Arsène Lupin"
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Henry, Dorothée. "Arsène Lupin, gentleman-cambrioleur : un nouveau type de personnage?" Paris 3, 2007. http://www.theses.fr/2007PA030160.
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Arsène Lupin, héros de Maurice Leblanc, né en 1905, est la figure du gentleman-cambrioleur. Mais, cette expression, créée par l’auteur, est-elle la seule propriété du personnage ou recouvre-t-elle un nouveau type littéraire ? En observant les origines littéraires du personnage, les potentielles aspirations de l’auteur, puis en se tournant vers les héritiers qu’a engendré Lupin, je vais essayer de définir si le personnage de Leblanc est un nouveau type, inédit, et en allant plus loin, mettre en évidence l’originalité profonde d’Arsène Lupin. Cent ans d’existence n’ont pas essoufflé l’intérêt du public pour le gentlemen-cambrioleur, et à travers l’étude du personnage, de ses prédécesseurs (Raffles de Hornung, Georges Randal de Darien), de ses héritiers (entre autre, Samson Clairval de Roger-Francis Didelot, le Baron Stromboli et John Strobbins de José Moselli, Silas Lord de Stanislas-André Steeman), je veux souligner que Lupin est unique, puissant, un mythe en devenirArsène Lupin, Maurice Leblanc’s character born in 1905, is the figure of the gentleman-thief. But, is this expression, create by the author, the own property of the character or is it a new term for a new literary type? By the observation of the literary origins of the character, of the authors potential inspiration ; by the study of Lupin’s heirs, I try to define if the Leblanc’s character is a new type, original, and, further, underscore the deep originality of Arsène Lupin. An existence of hundred years cant have tailing off the audiences interest for the gentleman-thief, and through the study of the character, of his predecessors (Hornung’s Raffles, Darien’s George Randal), of his heirs (Roger-Francis Didelot’s Samsom Clairval, José Moselli’s baron Stromboli and John Strobbins, Stanislas-André Steeman’s Silas Lord), I want to underline that Lupin is unique, powerful, a myth constantly evolving
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Dhoukar, Nadia. "Étude du pouvoir de fascination du personnage principal dans le roman policier, à partir des personnages d'Arsène Lupin de Maurice Leblanc, de Jules Maigret de Georges Simenon, de Nestor Burma de Léo Malet." Paris 3, 2004. http://www.theses.fr/2004PA030094.
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Le roman policier occupe une place originale dans le champ littéraire et connaît des succès éditoriaux exceptionnels, en particulier les séries dans lesquelles évolue un personnage récurrent. Ce dernier fascine et assure le succès de l’œuvre. Pour réfléchir à ce pouvoir de fascination, il convient d’abord d’observer l’évolution du personnage principal à travers un historique du genre. Nous nous interrogerons ensuite sur le degré de réalité qui lui confère sa vraisemblance. Enfin, nous nous attacherons à saisir les images symboliques et imaginaires qui le façonnent pour cerner sa dimension de personnage de fiction. Trois personnages de romans policiers français qui se sont imposés dans l’imaginaire du public font l’objet de cette réflexion : Arsène Lupin de Maurice Leblanc, Jules Maigret de Georges Simenon et Nestor Burma de Léo MaletDetective Novels have a particular place in the literary domain and are today outstanding best sellers. This is especially true for series of thrillers which feature the same character. This protagonist mesmerizes and ensures the sucess of the book. In order to consider this fascinating power, it is first useful to study the evolution of the main character in relation to the general Detective Novel history. One will then wonder about the degree of reality given by the verisimilitude of the character. Finally, one will endeavour to examine the symbolic and imaginary images that compose him to seize his fictional dimension. Three characters of French Detective Novels will form the subject of the demonstration, ie Arsène Lupin by Maurice Leblanc, Jules Maigret by Georges Simenon, and Nestor Burma by Léo Malet
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Hannedouche, Cédric. "Construction et déconstruction d'un héros de roman policier du début du XXème siècle : les Aventures extraordinaires d'Arsène Lupin." Thesis, Artois, 2016. http://www.theses.fr/2016ARTO0009.
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La simple évocation du nom d’Arsène Lupin suscite l’assurance d’un divertissement mené jusqu’à son terme jubilatoire. Il ouvre en nous les portes d’un imaginaire plaisant, fait de mystères historiques, de richesses et d’aventures mémorables. Aussitôt le nom fabuleux prononcé qu’émerge une silhouette qui nous agrée, celle bien connue d’un cambrioleur rieur, séducteur et justicier. Un personnage au-dessus des lois et des toits, hors du commun, frondeur et dont les multiples aventures posent les pierres fondatrices d’un art nouveau en littérature. Apparu pour la première fois en 1905, au sein du magazine Je sais tout, le gentleman-cambrioleur a connu, depuis, une remarquable et incomparable longévité. Depuis, le personnage d’Arsène Lupin ne cesse de fasciner et de féconder l’imagination de ses lecteurs jusqu’à phagocyter le nom même de son créateur. Maurice Leblanc est alors un nom qui tombe dans l’oubli tandis que celui d’Arsène Lupin acquiert de son côté une certaine autonomie. Tout au long de leurs multiples parutions, Les aventures extraordinaires d’Arsène Lupin déploient un éventail de textes particulièrement propices à de nouvelles explorations génériques et esthétiques, un réservoir expérimental et fondamental à l’élaboration d’une réflexion nouvelle sur le roman policier en FranceThe simple evocation of Arsène Lupin causes the insurance of an entertainment carried out until its hilarious term. He opens in us the doors of imaginary pleasant, made historical mysteries, memorable wealths and adventures. At once the marked fabulous name that a silhouette emerges which approved us, that well-known of a merry, tempting and retributive burglar. A character above laws and of the roofs, out of commun run, critical and whose multiple adventures pose the stones founders of an art nouveau in literature. Appeared for the first time in 1905, within the magazine I know all, the gentleman-burglar knew, since, remarkable and incomparable longevity. Since, the character of Arsène Lupin does not cease fascinating and fertilizing the imagination of his readers until phagocytosing the name even of his creator. Maurice Leblanc is then a name which falls into the lapse of memory while that of Arsène Lupin acquires on his side a certain autonomy. Throughout their multiple publications, the extraordinary adventures of Arsène Lupin deploy a range of texts particularly favourable with new generic and aesthetic explorations, an experimental and fundamental tank with the development of a new reflection on the detective novel in France
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Huang, Chiung-Yi, and 黃瓊儀. "Side write of Gentleman-cambrioleur─Arsène Lupin of children’s literature." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/vn8y8y.
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碩士國立臺東大學
兒童文學研究所
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This paper is to analyze the history and social environment at that time of Arsène Lupin; further to explore the plots and contents of the book. First, it discusses from the importance of reading and then go into the influence of juvenile fiction to teen-agers and shows the motive and questions of this research; furthermore, discusses the background of Arsène Lupin and introduces the writer’s life so that we can understand the social environment of that time in France and analyze why Arsene Lupin was created at the time of disparity between the rich and the poor. Besides, the writer Maurice Leblanc produced the particular mode of this gentleman- cambrioleur by exercising varied plots, successfully describing the characters and properly arranging roles. All of these make ﹝Arsène Lupin﹞become a fad of the time. With regard to Arsène Lupin as a figure of gentleman-cambrioleur in the fiction, there are a human nature of gentleman-cambrioleur and helplessness behind his character of helping the weak and aiding the needy. The little readers possibly only regard Arsène Lupin as a hero symbol and recognize him as positive and bright character. Beyond this bright aspect, Arsène Lupin has dormant character that the children and teen-agers are unable to absolutely understand. In order to meet the little readers’ requirements, the Eastern Publication Company published this ﹝Arsène Lupin﹞. After the plots are adapted, this set of books is provided with four factors to meet the children’s and teen-agers’ like, namely 1) embodying the distinct characters to the roles ;2) deleting the complicated and difficult details ;3) having interesting plots ;4) being full of positive and aggressive outlook on life. Because of the said factors, the adapted﹝Arsène Lupin﹞is suitable for children and teen-agers to read. This book has become popular and been well sold since l965.
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"In search of Arsene Lupin: In defense of a so-called minor literature." Tulane University, 2001.
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The series of works of Arsene Lupin by Maurice Leblanc is an ensemble of about fifty different French texts written and published in France between 1905 and 1939, in which the eponymous character is famous for being at once a 'gentleman' and a 'burglar.' The works in the series are usually classified as detective stories and since this classification is generally considered in a pejorative light, one might well be inclined to consider the Arsene Lupin stories as minor works It is my thesis that the Arsene Lupin detective stories foreground a complex character and a multi-narrative style which function symbiotically in such a way as to create patterns of perplexity and longing which in themselves contribute to the enshrinement of Arsene Lupin in a more traditional canon of French literature. My study has focused on these several areas in an effort to isolate and clarify the interesting dynamics involved To this end, I first consider the Arsene Lupin works as part of the genre commonly called 'detective stories.' I show that, according to different criteria, the series actually belongs to this genre Then, I consider the eponymous character, Arsene Lupin , as the force which drives the overall series. As simultaneously a 'gentleman' and a 'burglar', Arsene Lupin creates, between these two extremes, a space of freedom in which, at once multiple and mobile, he dedicates his power to a quest which governs his entire life: the quest for the truth Finally, I consider the narrative instance in the series. I show that the narrator, in spite of repeating that he is the 'confident' and the 'historiographer' of Arsene Lupin, is not merely what he pretends to be. Actually, he is omniscient and tells everything he wants, constantly switching his focus from one element to another without warning his readers that he is doing so The text, the eponymous character, and the narrator, all together multiple and mobile, work towards confusing the reader as well as pleasing him. And we even can say that these elements work towards preparing, in their own fashion, the way for subsequent literary movementsacase@tulane.edu
Books on the topic "Arsène Lupin"
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Boileau-Narcejac, Catogan Valère, and Lacassin Francis, eds. Arsène Lupin. Paris: Laffont, 1986.
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Maurice, Leblanc. Arsène Lupin, gentleman cambrioleur. [Paris]: Hachette jeunesse, 1992.
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Leblanc, Maurice. Arsène Lupin Contre Herlock Sholmès: Arsène Lupin. Independently Published, 2017.
Find full textBook chapters on the topic "Arsène Lupin"
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Giansante, Gabriella. "Vêtement : au chic parisien Arsène Lupin et son entourage." In « La grâce de montrer son âme dans le vêtement » Scrivere di tessuti, abiti, accessori. Studi in onore di Liana Nissim, 265–73. Ledizioni, 2015. http://dx.doi.org/10.4000/books.ledizioni.6987.
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Renouard, Caroline. "Arsène Lupin à l’Athénée (1908) : un spectacle populaire entre répétitions et innovations." In Les archives de la mise en scène, 75–88. Presses universitaires du Septentrion, 2016. http://dx.doi.org/10.4000/books.septentrion.12472.
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McFarland, Douglas. "From Rome to Berlin: Barrymore as Romantic Lover." In Hamlet Lives in Hollywood, 71–84. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474411394.003.0007.
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In four films made from 1926 to 1932, Don Juan, Eternal Love, Arsene Lupin, and Grand Hotel, John Barrymore played a series of leading men embroiled in passionate affairs. He showed himself adept at playing the accomplished flirt, the psychologically damaged lothario, the drunken target of seduction, and the sophisticated partner in crime. As this essay shows, these roles display a breadth of characterization and reveal Barrymore’s skill as an actor in both silent and sound films.