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1

Carvalho de Azevêdo, Roberto, and Haroldo de Macedo Ribeiro. "L'avenir selon Georges Bernanos." L Economie politique 35, no. 3 (2007): 49. http://dx.doi.org/10.3917/leco.035.0049.

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2

Barrett, Richard. "Illumination in Georges Bernanos." New Blackfriars 79, no. 933 (1998): 473–82. http://dx.doi.org/10.1111/j.1741-2005.1998.tb07456.x.

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3

Campos, Regina Salgado. "Georges Bernanos e Sérgio Milliet." Literatura e Sociedade, no. 9 (December 6, 2006): 336. http://dx.doi.org/10.11606/issn.2237-1184.v0i9p336-345.

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4

Coles, Robert. "Georges Bernanos and Today's Young Americans." Renascence 41, no. 1 (1988): 9–14. http://dx.doi.org/10.5840/renascence1988/1989411/23.

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5

Dard, Olivier. "« L’homme des machines » de Georges Bernanos." L'Homme et la société 205, no. 3 (2017): 87. http://dx.doi.org/10.3917/lhs.205.0087.

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6

SCOTT, M. "Review. Georges Bernanos, Temoin. Renard, Pierrette." French Studies 49, no. 4 (1995): 478. http://dx.doi.org/10.1093/fs/49.4.478.

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7

Gorczyński, Maciej. "Różne stany doskonałości. Proboszcz z Ambricourt według Bernanosa i Bressona." Studia Filmoznawcze 40 (June 27, 2019): 165–73. http://dx.doi.org/10.19195/0860-116x.40.13.

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Different state of perfectness. The priest from Ambricourt according to Bernanos and BressonIn the paper the author draws a comparison between Georges Bernanosʼ Journal d’un curé de campagne The diary of a country priest, and Robert Bresson’s adaptation of the book. The aim of the comparison is to show, how different artistic principles affected the way the holiness is presented. The author claims that it is not actually holiness, but a peculiar state, which Saint John of the Cross called Dark Night of the Senses. The paper represents fields of literary studies, and film studies.
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8

Tomaszewski, Marek. "Georges Bernanos, czyli chrześcijaństwo bez taryfy ulgowej." Konteksty Kultury 3 (2018): 362–73. http://dx.doi.org/10.4467/23531991kk.18.033.9904.

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9

Gosselin-Noat, Monique. "Georges Bernanos, Sous le Soleil de Satan." L'information littéraire Vol. 60, no. 3 (2008): 35–39. http://dx.doi.org/10.3917/inli.603.0035.

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10

Roux-Troyes, Alexandra. "Le silence comme signe (in)visible du mal dans l’œuvre romanesque de Georges Bernanos." Quêtes littéraires, no. 7 (December 30, 2017): 132–41. http://dx.doi.org/10.31743/ql.166.

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From "Sous le Soleil de Satan" to "Monsieur Ouine", Bernanos’ novels are characterized by the emergence of ‘supernatural silence(s)’ (Bernanos 2015 : 679), which can prove to be disturbing. The brutal sign of evil’s appeance in the narrative limits in most cases the character to silence, to verbal incapacity. Indeed, evil has the strength to hold thought and speech in check. That is the reason why the characters that are racked by evil make good use of language so that they don’t say anything genuine nor honest. Bernanos’ writing succeds in defining these silences thanks to numerous ellipsis a
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11

Dorschell, Mary Frances. "Georges Bernanos: The Vocation of the Christian Writer." Christianity & Literature 55, no. 3 (2006): 315–31. http://dx.doi.org/10.1177/014833310605500301.

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12

Pomiluyko, Halyna. "THE POETICS OF AFFLICTED BODY IN GEORGES BERNANOS’ NOVELS." CONTEMPORARY LITERARY STUDIES, no. 16 (December 15, 2019): 142–46. http://dx.doi.org/10.32589/2411-3883.16.2019.187488.

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13

Tame, Peter, and Danielle Perrot-Corpet. "Écrire devant l'absolu: Georges Bernanos et Miguel de Unamuno." Modern Language Review 101, no. 2 (2006): 620. http://dx.doi.org/10.2307/20466893.

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14

Kidd, William. "Travelling Texts: ‘Georges Bernanos in the Footsteps of Columbus?’." Studies in Travel Writing 7, no. 2 (2003): 191–208. http://dx.doi.org/10.1080/13645145.2003.9634941.

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15

Polet, Jean-Claude. "Léopold Levaux et Georges Bernanos Esquisse de leurs relations." Les Lettres Romanes 42, no. 4 (1988): 351–58. http://dx.doi.org/10.1484/j.llr.4.00813.

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16

Tobin, Michael R. "Book Review: Georges Bernanos' Debt to Thérèse of Lisieux." Christianity & Literature 46, no. 2 (1997): 212–13. http://dx.doi.org/10.1177/014833319704600217.

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17

Pirnajmuddin, Hossein, and Sanaz Bayat. "The reference to Georges Bernanos in Marilynne Robinson's Gilead." Orbis Litterarum 75, no. 6 (2020): 298–306. http://dx.doi.org/10.1111/oli.12277.

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18

Sinclair, A. "Ecrire devant l'absolu: Georges Bernanos et Miguel de Unamuno." French Studies 61, no. 4 (2007): 535. http://dx.doi.org/10.1093/fs/knm146.

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19

WHITEHOUSE, J. C. "Review. Georges Bernanos (critique 1976-1981). Hoy, Peter C." French Studies 45, no. 1 (1991): 99. http://dx.doi.org/10.1093/fs/45.1.99.

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20

Lignani, Cássio Oliveira. "Bernanos: Católico e Antimoderno." TEOLITERARIA - Revista de Literaturas e Teologias 10, no. 22 (2020): 238–55. http://dx.doi.org/10.23925/2236-9937.2020v22p238-255.

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A obra de Georges Bernanos está inserida no que se define por “romance católico”, rótulo sob o qual se estabeleceu uma tradição que reúne uma diversidade de escritores, o que não significa necessariamente que todos se inclinem em um exercício dogmático e militante, nem mesmo que suas obras possam ser consideradas a expressão de um pensamento cristão. Antes disso, o “romance católico” manifesta-se, tanto na França, quanto no Brasil, como mais uma antítese da Cidade de Deus agostiniana, pela qual se pode perscrutar uma crítica mística ao mundo contemporâneo. A modernidade, nesse sentido, é o que
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21

Hellman, John. "Bernanos, Drumont, and the Rise of French Fascism." Review of Politics 52, no. 3 (1990): 441–59. http://dx.doi.org/10.1017/s0034670500016995.

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While recent centenary celebrations held French novelist Georges Bernanos to be a leading Catholic antifascist Resistance thinker, his most original ideas really belong within that history of “French fascism” which has been elucidated in recent studies. His ardent, lifelong admiration for Edouard Drumont (+ 1917), the father of modern anti-Semitism, shaped his new kind of politics. On the very eve of the French defeat of 1940 Bernanos advocated a radical anti-Semitic, anticapitalist, spiritually oriented “national revolution,” not unlike that of the prominent writers who would support Marshall
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22

Ladani, Safoura Tork, and Sanaz Bayat. "Grace in Marilynne Robinson’s Gilead and Georges Bernanos’s The Diary of a Country Priest." International Letters of Social and Humanistic Sciences 56 (July 2015): 107–15. http://dx.doi.org/10.18052/www.scipress.com/ilshs.56.107.

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Marilynne Robinson’s Gilead (2007), a meditative letter written by an aging minister, probes the need for forgiveness and grace. George Bernanos’s The Diary of a Country Priest (1936) pictures the suffering and sacrifice of an unnamed young priest in his attempt to open his parishioner’s heart to the love of God. Both novelists explore themes such as forgiveness, love, peace, faith, and grace. This paper first discusses the prevalent Christian themes in these novels, and the ways each novelist presents the saving and life-giving power of God’s grace in healing and restoring human soul, and the
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23

Daudin, Claire. "Pères défaillants, enfants humiliés dans les romans de Georges Bernanos." Nouvelle revue théologique 132, no. 3 (2010): 448. http://dx.doi.org/10.3917/nrt.323.0448.

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24

Perrot, Danielle. "« Georges Bernanos et Miguel de Unamuno : deux écrivains devant l'absolu »." Revue de littérature comparée 298, no. 2 (2001): 257. http://dx.doi.org/10.3917/rlc.298.0257.

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25

Russello, Gerald J. "Georges Bernanos: His Political Thought and Prophecy, by Thomas Molnar." Chesterton Review 24, no. 4 (1998): 502–4. http://dx.doi.org/10.5840/chesterton199824499.

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26

Tobin, Michael R. "François Mauriac and Georges Bernanos: Two Theologies of the Body." Christianity & Literature 44, no. 3-4 (1995): 313–26. http://dx.doi.org/10.1177/014833319504400306.

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27

Cunneen, Joseph. "Book Review: Georges Bernanos: The Theological Source of His Art." Christianity & Literature 58, no. 3 (2009): 531–33. http://dx.doi.org/10.1177/014833310905800321.

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28

Bernanos, Georges. "Diario de un cura rural, Georges Bernanos, Ediciones Encuentro Madrid, 2009." Chesterton Review en Español 5, no. 1 (2011): 133–35. http://dx.doi.org/10.5840/chesterton-espanol2011/20125117.

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29

Whitehouse, J. C., and Eithne M. O'Sharkey. "The Role of the Priest in the Novels of Georges Bernanos." Modern Language Review 82, no. 2 (1987): 484. http://dx.doi.org/10.2307/3728487.

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30

Stephen Schloesser. "Georges Bernanos. The Theological Source of His Art (review)." Catholic Historical Review 96, no. 2 (2010): 382–84. http://dx.doi.org/10.1353/cat.0.0700.

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31

OP, Aidan Nichols. "?Lift up a Living Nation?: The Political Theology of Georges Bernanos." New Blackfriars 79, no. 933 (1998): 502–8. http://dx.doi.org/10.1111/j.1741-2005.1998.tb07459.x.

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32

Nergård, Mette Elisabeth. "Om presten som litterær person hos Hanne Ørstavik og Georges Bernanos." Kirke og Kultur 110, no. 01 (2005): 109–17. http://dx.doi.org/10.18261/issn1504-3002-2005-01-14.

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33

Avarvarei, Simona Catrinel. "La France contre les robots – At the Crossroads of Humanity, Law, and Prophetic Utterance." Acta Universitatis Sapientiae Legal Studies 8, no. 2 (2020): 167–77. http://dx.doi.org/10.47745/ausleg.2019.8.2.02.

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‘On ne comprend absolument rien à la civilisation moderne si l’on n’admet pas d’abord qu’elle est une conspiration contre toute forme de vie intérieure’, wrote French journalist and novelist Georges Bernanos (1888–1948) towards the end of the Second World War and his self-imposed exile in Brazil, in his last completed volume of essays, La France contre les robots, published in 1947. More than half a century stands between the nib of the author’s quill and the modern reader, leaving the text, its effervescent polemic and abysmal, rhetorical depths uncorroded and infinitely topical. The hermeneu
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34

Gaudet, Jeannette. "A Biographical Novel of the Spanish Civil War: Lydie Salvayre's Pas pleurer (2014)." Dossier spécial Léon-Gontran Damas, no. 116 (August 13, 2020): 139–49. http://dx.doi.org/10.7202/1071056ar.

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This article focuses on the biographical novel, Pas pleurer (2014) and the author Lydie Salvayre’s development of two diametrically opposed experiences of the Spanish civil war. Pas pleurer deploys the author’s parallel engagement with Montse, Salvayre’s mother, and with Georges Bernanos through a reading and commentary of the polemical essay, Les Grands Cimetières sous la lune. Biographical material provides the ground for intersecting narratives: on the one hand, the Bernanos intertext with its keen analysis of the complicity of secular and religious institutions to maintain control of Spain
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35

AMBENA, Ndzié. "'La mise en scène des valeurs' dans l'œuvre de Georges Bernanos." Cahiers de l'Institut de Linguistique de Louvain 31, no. 1 (2005): 91–115. http://dx.doi.org/10.2143/cill.31.1.2018342.

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36

McGlone, James. "Georges Bernanos: The Theological Source of his Art, by Michael R. Tobin." Chesterton Review 34, no. 3 (2008): 626–30. http://dx.doi.org/10.5840/chesterton2008343/419.

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37

WHITEHOUSE, J. C. "Review. Georges Bernanos' Debt to Therese of Lisieux. Dorschell, Mary Frances Cath." French Studies 52, no. 1 (1998): 111. http://dx.doi.org/10.1093/fs/52.1.111-a.

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38

Adinolfi, Pierangela. "Danielle Perrot-Corpet, Écrire devant l’absolu. Georges Bernanos et Miguel de Unamuno." Studi Francesi, no. 147 (XLX | III) (December 1, 2005): 674. http://dx.doi.org/10.4000/studifrancesi.33601.

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39

Vrančić, Frano. "Le catholique Bernanos face à la guerre civile espagnole." Studia Romanistica 20, no. 2 (2020): 97–113. http://dx.doi.org/10.15452/sr.2020.20.0013.

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This paper analyses the political‑religious reflection developed by the great French novelist Georges Bernanos (1888-1948) during his Majorcan stay in the course of the Spanish Civil War. Indeed, it was in Palma de Mallorca, where this writer stayed from 1934 to 1937 to escape the anger of his Parisian creditors, that he wrote most of his masterpiece The Diary of a Country Priest as well as A New History of Mouchette. Fundamentally Catholic and monarchist, at the very beginning of the Francoist military uprising against the Popular Front in the summer of 1936, Bernanos became enthusiastic abou
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40

Mingelgrün, Albert. "L'écriture polémique/poétique de Georges Bernanos dans «Les Grands Cimetières sous la lune»." Revue belge de philologie et d'histoire 65, no. 3 (1987): 544–51. http://dx.doi.org/10.3406/rbph.1987.3593.

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41

Alvim, Luiza Beatriz Amorim Melo. "Paisagens sonoras de Robert Bresson: Uma análise a partir dos conceitos de Murray Schafer." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual 1, no. 24 (2011): 62. http://dx.doi.org/10.22409/c-legenda.v1i24.26203.

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Analisamos o conceito de “paisagem sonora” de Murray Schafer e observamos que o diretor francês Robert Bresson refaz o caminho indicado pelo autor, dividindo as paisagens sonoras de seus filmes em campo e cidade e apresentando a passagem entre as duas em O dinheiro. Porém, o campo de Bresson não é um idílio imaculado, como na concepção idealizada de Schafer, sendo sua atmosfera de crueldade mais próxima daquela dos livros de Georges Bernanos adaptados pelo diretor. Além disso, as qualidades musicais dos ruídos nos seus filmes, junto com o silêncio, constroem uma espécie de música concreta.
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42

Whitehouse, J. C. ""A Certain Idea of Man": The Human Person in the Novels of Georges Bernanos." Modern Language Review 80, no. 3 (1985): 571. http://dx.doi.org/10.2307/3729286.

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43

Mark Bosco SJ. "Georges Bernanos and Francis Poulenc: Catholic Convergences in Dialogues of the Carmelites." Logos: A Journal of Catholic Thought and Culture 12, no. 2 (2009): 17–39. http://dx.doi.org/10.1353/log.0.0034.

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44

Mendes, F. M. "A Trapaça como Recurso Literário e Teopolítico no Romance Um Crime, de Georges Bernanos." Correlatio 14, no. 28 (2015): 55–78. http://dx.doi.org/10.15603/1677-2644/correlatio.v14n28p55-78.

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45

Sudlow, Brian. "L’Écriture de l’abandon: esthétique carmélitaine de l’œuvre romanesque de Georges Bernanos. Par Philippe Richard." French Studies 71, no. 2 (2017): 284–85. http://dx.doi.org/10.1093/fs/knx042.

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46

Cunneen, Joseph. "Book Review: Touching God: The Novels of Georges Bernanos and the Films of Robert Bresson." Christianity & Literature 57, no. 1 (2007): 148–51. http://dx.doi.org/10.1177/014833310705700117.

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47

Polet, Jean-Claude. "Vers une édition critique de l'Introduction de La Grande Peur des bien-pensants de Georges Bernanos." Les Lettres Romanes 44, no. 1-2 (1990): 99–121. http://dx.doi.org/10.1484/j.llr.4.00468.

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48

Heyer, Astrid. "Suicide in the Fiction of Georges Bernanos and Stefan Zweig: The Death of Two Female Adolescents." Christianity & Literature 56, no. 3 (2007): 437–56. http://dx.doi.org/10.1177/014833310705600304.

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49

WHITEHOUSE, J. C. "Review. Nouvelle Histoire de Mouchette. Edited with an introduction and notes by Blandine Stefanson. Bernanos, Georges." French Studies 39, no. 2 (1985): 230. http://dx.doi.org/10.1093/fs/39.2.230-a.

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50

Arráez, José Luis. "Les voix/es de la mémoire dans Pas pleurer de Lydie Salvayre." French Cultural Studies 28, no. 2 (2017): 186–97. http://dx.doi.org/10.1177/0957155817695495.

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Résumé À travers Pas pleurer, Lydie Salvayre plonge le lecteur dans la mémoire de la première et de la deuxième génération de la guerre civile espagnole par le biais d’un récit double où elle évoque en parallèle l’histoire de la mère de la narratrice à Barcelone, sous la révolution libertaire, et celle de Georges Bernanos à Majorque, sous la terreur des militaires nationaux. Estimant chacune de ces voix du roman comme des voies utilisées par la romancière pour transmettre la mémoire historique sur la guerre espagnole, cet article prétend développer une approche narratologique au roman de Lydie
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