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Relevant bibliographies by topics / Bovary, Charles, Flaubert, Gustave

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Academic literature on the topic 'Bovary, Charles, Flaubert, Gustave'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Bovary, Charles, Flaubert, Gustave"

1

Färnlöf, Hans. "Nouvelle Bovary, Nuevo Bovary." Actualidades Pedagógicas 1, no. 74 (July 1, 2019): 177–89. http://dx.doi.org/10.19052/ap.vol1.iss74.9.

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Hans Färnlof, académico e investigador literario sueco, propone una nueva perspectiva sobre el análisis literario de la obra Madame Bovary de Gustave Flaubert. Färnlöf observa el personaje de Charles Bovary como el centro de todo el discurso literario y que en él confluyen los momentos más decisivos de la obra. Färnlöf, además, nos comunica su pensamiento a través de una escena nocturna donde un comentario intrépido abre una profunda discusión en torno al concepto de la estructura literaria —la nouvelle—, del centro discursivo y del arte literario propios de Flaubert.

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Mello, Renata Aiala de. "A construção da imagem de Charles Bovary em Madame Bovary, de Flaubert." Revele: Revista Virtual dos Estudantes de Letras 3 (December 31, 2011): 22. http://dx.doi.org/10.17851/2317-4242.3.0.22-38.

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No presente texto, procuramos identificar os vários ethé de Charles Bovary, maridode Emma Bovary, no romance Madame Bovary, de Gustave Flaubert. De umamaneira sintética, o conceito de ethos pode ser definido como a imagem que olocutor constrói de si mesmo no seu discurso. Ethos pode referir-se também àimagem prévia que o outro (narrador, personagem ou leitor) pode ter doenunciador ou, ao menos, com a ideia que este faz do modo como seus alocutárioso percebem. Para se alcançar o objetivo aqui proposto, pesquisamos, na obra deFlaubert, diálogos, descrições, narrativas que nos indicasse a construção da imagemda personagem Charles Bovary. Partimos, assim, do princípio de que a imagemforjada de Charles se dá através de suas falas, das do narrador e das outraspersonagens, sobretudo das de Emma. Buscamos apreender, então, como ele évisto por todas essas instâncias enunciativas presentes na obra. Para tanto, nosvalemos dos estudos de Patrick Charaudeau e Dominique Maingueneau sobre ethose a construção da imagem de si.

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Blanco, Daniela Cunha. "Jacques Rancière e a revolução sensível: uma (outra) leitura política de Madame Bovary." Princípios: Revista de Filosofia (UFRN) 26, no. 49 (January 30, 2019): 83–108. http://dx.doi.org/10.21680/1983-2109.2019v26n49id14287.

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O intuito desse texto é pensar como a análise empreendida por Jacques Rancière em torno do livro Madame Bovary, de Gustave Flaubert, daria a ver um entrelaçamento entre estética e política latente tanto na história de Emma Bovary quanto nas críticas a ela dedicadas. Passando especialmente pelas interpretações de Charles Baudelaire e de Jean-Paul Sartre pretende-se apresentar a ideia de que o modo como ambos pensam os gestos e atitudes da personagem é, antes de tudo, político. Se Sartre aproxima o tema de Emma a uma discussão política pela via da práxis e do imaginário, Rancière apresenta uma leitura do romance que não apenas coloca-o em outra chave de visibilidade como também, a partir desse novo olhar, reinterpreta o próprio campo estético em suas relações com a política. Trata-se de pensar o poder de afetar e transformar vidas que a materialidade do sensível do texto daria a ver; de pensar aquilo que compreende como uma revolução sensível. Desse modo, a aproximação da personagem Emma ao pensamento político da emancipação se dará pela via da partilha do sensível que tanto a personagem quanto os proletários das revoluções francesas do século XIX teriam empreendido ao exceder a ligação entre um modo de aparecer e um modo de ser.

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Pstrocki-Sehovic, Sabina, and Sabina Pstrocki-Sehovic. "Fiction as a Medium of Social Communication in 19th Century France." Exchanges: The Interdisciplinary Research Journal 2, no. 1 (October 12, 2014): 123–44. http://dx.doi.org/10.31273/eirj.v2i1.104.

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This article will present the extent to which literature could be viewed as means of social communication – i.e. informing and influencing society – in 19thcentury France, by analysing the appearance of three authors at different points: the beginning, the middle and the end of the century. The first is the case of Balzac at the beginning of the 19th Century who becomes the most successful novelist of the century in France and who, in his prolific expression and rich vocabulary, portrays society from various angles in a huge opus of almost 100 works, 93 of them making his Comédie humaine. The second is the case of Gustave Flaubert whose famous novel Madame Bovary, which depicts a female character in a realist but also in a psychologically conscious manner, around the mid-19th century reaches French courts together with Les Fleurs du Mal by Charles Baudelaire and is exposed as being socially judged for its alleged immorality. The last is the political affair of Dreyfus and its defender Emile Zola, the father of naturalism. This case confirms the establishment of more intense relations between writer and politics and builds a solid way for a more conscious and everyday political engagement in the literary world from the end of the 19th century onwards. These three are the most important cases which illustrate how fiction functioned in relation to society, state and readership in 19th century France.

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Knight, Diana, and Stephen Heath. "Gustave Flaubert: 'Madame Bovary'." Modern Language Review 89, no. 1 (January 1994): 219. http://dx.doi.org/10.2307/3733203.

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WILLIAMS, D. A. "Review. Gustave Flaubert: 'Madame Bovary'. Heath, Stephen." French Studies 47, no. 4 (October 1, 1993): 481. http://dx.doi.org/10.1093/fs/47.4.481.

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Merello, Ida. "Gustave Flaubert, Madame Bovary. Reproduction au trait de l’original de 1857 annoté par Gustave Flaubert." Studi Francesi, no. 167 (LVI | II) (July 1, 2012): 349. http://dx.doi.org/10.4000/studifrancesi.4138.

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Sharma, Himani. "Dullness Versus Vivacity: A Study of Gustave Flaubert’s Madame Bovary." SMART MOVES JOURNAL IJELLH 8, no. 6 (June 29, 2020): 35–42. http://dx.doi.org/10.24113/ijellh.v8i6.10628.

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An ideal marriage is a state of being equal in every way which is built on a healthy dose of admiration, on understanding, dedication, trust and loyalty. French novelist Gustave Flaubert has raised the same issue in his most discussed work Madame Bovary. Flaubert was most notable for being the leading exponent of literary realism in French literature. There were writers before Flaubert who tried their hands at realism but not all of them, as was the case in the work of Flaubert. The fiction Madame Bovary is a dedication to its heroine’s sentiments. Though she has been tagged, adulterous, a failed wife and failed mother, we feel pity for her. She really demands our sympathy since she was unable to achieve that eternal pleasure throughout her whole life. Her mere guilt was her sensible nature which shattered all her dreams. The present paper is an attempt to study her innocence by analysing her nature, sentiments and imagination in depth.

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Gallorini, Elena. "SOBRE A MUSICALIDADE EM PROSA: MADAME BOVARY DE GUSTAVE FLAUBERT." Cadernos do IL, no. 58 (October 15, 2019): 177–90. http://dx.doi.org/10.22456/2236-6385.92545.

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Este artigo propõe uma análise do ritmo narrativo a partir do romance Madame Bovary, de Gustave Flaubert. Percorrendo a correspondência do autor, evidencia-se que Flaubert manifesta a intenção de revolucionar a linguagem do romance, atribuindo à prosa a musicalidade do verso. Para tal fim, o escritor trabalha febrilmente, escrevendo e reescrevendo as frases até soarem perfeitamente, o que é verificado através da prova do “gueuloir”, ou seja a declamação em voz alta. Após destacar as caraterísticas principais do ritmo narrativo dessa obra flaubertiana, examina-se de maneira mais detalhada o capítulo cinco da segunda parte do livro, para determinar quais elementos estilísticos permitem à essa obra, definida pelo mesmo Flaubert como romance de costumes, transformar-se em uma espécie de poema narrativo.

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Feitosa, Pedro Walisson Gomes, and Fábio Gomes de Oliveira. "O suicídio de Emma Bovary: Considerações sobre o morrer na obra de Gustave Flaubert." ID on line REVISTA DE PSICOLOGIA 12, no. 42 (October 31, 2018): 13–21. http://dx.doi.org/10.14295/idonline.v12i42.1293.

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Este artigo parte da análise literária e psicossocial sobre o suicídio, utilizando como objeto de estudo a personagem Emma Bovary, da obra-prima de Gustave Flaubert, publicado em 1856, na França. Designado como precursor da escola literária do realismo, Flaubert desenhou uma personagem com uma série de nuances que representam dignamente os costumes burgueses europeus da segunda metade do século XIX, bem como transparecem o lugar reservado à mulher neste contexto cultural. O realismo apresentado em Madame Bovary tornou o romance bastante discutido no decorrer dos séculos. Quando publicado em pleno século XIX, a obra erou impactos por toda sociedade, sendo proibida sua publicação na época. Entretanto, a história desenhada minuciosamente por Flaubert sustenta-se atual, pois refere-se tanto ao matar a si como refúgio de uma vida massacrante, como ao enigma da feminilidade ao longo da história, ambas percepções atemporais.

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Dissertations / Theses on the topic "Bovary, Charles, Flaubert, Gustave"

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Haehnel, Gisela. "Charles Bovary als Exempel Flaubertscher Menschendarstellung /." Köln : Edition Sisyphos, 2003. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=010430192&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Haehnel, Gisela. "Charles Bovary : eine entwerte Romanfugur /." Aachen : Shaker, 2001. http://catalogue.bnf.fr/ark:/12148/cb389958636.

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Soulimani, Ikram. "L’insatisfaction chez Emma Bovary et Gustave Flaubert." Thesis, Högskolan Dalarna, Franska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29550.

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Ce mémoire a pour but de mettre en évidence l’origine de l'insatisfaction chez Emma Bovary et la raison pour laquelle Flaubert a choisi ce personnage insatisfait. Pour cela nous nous sommes basés sur le contexte socio-historique et psychologique d’Emma Bovary pour déterminer l’origine de ce sentiment. Nous avons tenté de mettre en exergue la condition de la femme au XIXe siècle pour savoir dans quelle mesure la condition de la femme de ce siècle a joué un rôle dans cette situation. Nous avons analysé le personnage de madame Bovary : son éducation, ses rêves et son mariage avec Charles. Il s’est agi de démontrer si l’éducation et l’entourage de cette femme ont eu une influence sur sa personnalité capricieuse par laquelle elle cherche toujours à satisfaire son corps et son âme. Une approche biographique de l’auteur s’est imposée pour démontrer les probables raisons qui ont poussé Flaubert à choisir le caractère insatisfait de son héroïne.
This memoir aims to highlight the origin of the dissatisfaction of Emma Bovary and the reason why Flaubert chose this unsatisfied character. For this we have based our research on the socio-historical and psychological context of Emma Bovary to determine the origin of this feeling. We try to highlight the condition of women in the nineteenth century to see how their condition in the nineteenth century played a role in this situation. We analyse the character of madame Bovary: her education, her dreams and her marriage with Charles. It is a question of showing if the education and the entourage of this woman have an influence on her capricious personality by which she always tries to satisfy her body and her soul. A biographical approach of the author is necessary to demonstrate the probable reasons which pushed Flaubert to choose the unsatisfied character of his heroine.

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Gonçalves, Luís Carlos Pimenta. "Postérités de Madame Bovary au Portugal XIXe-XXe siècles." Paris 3, 2002. http://www.theses.fr/2002PA030026.

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Cette thèse se propose de rendre compte de la réception de Madame Bovary au Portugal du XIXe au XXe siècle en révélant ses irradiations multiformes qui s'étendent du dictionnaire encyclopédique au manuel de littérature, du simple article de journal à la thèse universitaire, de la traduction littérale à la traduction littéraire, de l'influence thématique à l'influence stylistique et qui constituent la fortune d'une oeuvre. Dans la première partie un recensement presque exhaustif de la critique journalistique et universitaire tant dans les journaux et essais contemporains de l'œuvre qu'au vingtième siècle témoigne du phénomène de la réception médiatrice. Un questionnaire sur Madame Bovary auquel ont répondu un peu plus de deux cents lecteurs permet de dégager quelques variables quant au degré de connaissance non seulement du récit de Flaubert mais également de son importance dans l'histoire de la littérature portugaise. Dans la deuxième partie une comparaison et analyse contrastive des (re)traductions de Madame Bovary souligne des phénomènes linguistiques, stylistiques et sociolinguistiques liés à la problématique du livre traduit. .
This thesis examines the evidence for the reception of Madame Bovary in Portugal in the nineteenth and twentieth centuries. Multi-faceted influences, ranging from the encyclopaedic dictionary to the manual of literature, from the simple newspaper article to the university thesis, from the literal to the literary translation, and from the effects on theme to the effects on style, make up the record of a masterpiece's fortune. In Part One, a more or less exhaustive census of newspaper and university criticism, written for the press or in essay form, from the period in question through the twentieth century, helps to clarify the phenomenon of the book's reception. A questionaire concerning the book, to which more than two dozen readers responded, permitted, for its part, a demonstration of some variables in the degree of familiarity not only with Flaubert's narrative but also with its importance in the history of Portuguese literature. In Part Two, a comparison and contrastive analysis of (re)translations of Madame Bovary emphasises not only the linguistic and stylistic but also socio-linguistic aspects, associated with the problematic of the translated book. .

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Mansour, Zeinab. "Analyse du discours rapporté dans Madame Bovary." Paris 3, 1991. http://www.theses.fr/1992PA030039.

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Dans madame bovary, le discours des personnages insere dans celui du narratoeur est manifeste sous la forme de discours rapporte. Nous avons tente dans notre etude d'etablir une typologie coherente des trois formes du discours rapporte, a savoir le discours direct, le discours indirect et le style indirect libre. Le discours des personnages se manifeste sous sa forme la plus "pure" par le discours direct. Le discours direct designe bien la citation litterale des paroles prononcees ou pensees d'un personnage a l'interieur de la fiction romanesque. Quand il est realise par le discours indirect et le style indirect libre, le discours des personnages, tout en contenant des marques qui lui sont propres, en possede d'autres qui caracterisent le discours du narrateur. Le discours indirect est une opinion rapportee sans qu'elle soit citee a la lettre. Le narrateur reformule a sa facon la parole qu'il rapporte. La parole rapporte au discours indirect doit s'adapter a l'environnement textuel, ce qui la modifie dans plusieurs de ses caracteres textuels. Quant au style indirect libre, on y trouve melees des elements qu'on considere disjoints: la presence de deux actes d'enonciation et la perte d'autonomie des embrayeurs du discours cite. Le style indirect libre constitue le maillon essentiel du dispositif stylistique dans madame bovary
In madame bovary the discourse of the characters which is inserted in that of the narrator takes the form of reported speech. In this study, i have tried to establish a clear distinction between three types of reported speech : direct speech, indirect speech and free reported speech. The characters' reported discourse takes its "purest" form in direct speech describes well literal citation discourse which is spoken or though about of character within romanesque fiction. When it is expressedthrough indirect speech and free reported speech, the characters' discourse, which contain certain ideolectal features, contains other features which are characteristic of the narrator. The indirect speech takes the form of an opinion which is cited without being camed to the letter. The narrator reformulates the discourse he reports, but in his own way. The reported discourse in the indirect speech is constrained to be adapted to the context which results in several modifications in textual character. As for the free reported speech there is a mixture of elements which one could consider disjointed such as two texts existing coteminously and the loss of coherence feature in the reported speech

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Sawasaki, Hisaki. "La mémoire dans Madame Bovary de Gustave Flaubert : étude génétique." Paris 8, 2002. http://www.theses.fr/2002PA082224.

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Dans Madame Bovary de Flaubert, les protagonistes se tournent souvent vers leur passé. Non seulement l'héroi͏̈ne Emma, mais aussi son mari Charles, ses amants, et d'autres personnages se rappellent sans cesse leur passé. La mémoire constitue l'un des éléments importants de la psychologie des personnages, et ces retours en arrière si fréquents soulignent la monotonie et la répétition de la structure de ce roman. L'étude génétique nous révèle que ces particularités sont le résultat d'un long travail d'élaboration, et que la présentation de la mémoire reflète l'esthétique de l'écriture du romancier. Dans notre étude, nous examinons la genèse de quelques-uns des épisodes typiques concernant la mémoire. En analysant les manuscrits de ces séquences, nous réfléchissons à la relation entre la mémoire et l'écriture chez Flaubert. Notre annexe est consacrée à la transcription diplomatique des manuscrits de tous les épisodes analysés ou cités dans notre premier volume
In Madame Bovary of Flaubert, the characters frequently return to their past in the course of the story: not only the heroine but also her husband Charles, her lovers, and other characters recall constantly their past memories. Memory is one of the important elements of their psychology and these references to preceding episodes emphasise the structural repetitions and monotone quality of this novel. From a study of Flaubert's manuscripts we see that these particularities are the result of a long work of emendation and elaboration, and that the presentation of the characters' memory reflects the aesthetics of Flaubert's writing. In our study, we examine the genesis of several typical episodes relating to memory. In analysing the manuscripts relating to these sequences, we tackle the problem of the relationship between writing and memory. Our annexed volume is devoted to the diplomatic transcription of the manuscripts of all the episodes analysed or quoted in our first volume

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NOMURA, MASATO. "La parole des personnages dans madame bovary de gustave flaubert." Paris 4, 1993. http://www.theses.fr/1993PA040144.

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Madame bovary de flaubert, a la fois classique et tres moderne, pffre un probleme particulier de la parole des personnages. La technique du (dialogue) chez flaubert est examinee afin de savoir comment il y presente et organise le discours de personnage et quel effet comique est prduit par le dialogue. D'abord, les repliques sont examinees sous l'aspect de leur forme (tirades, monologues, repliques courtes dans le dialogue, repliques isolees). Ensuite, l'organisation des repliques dans les scenes est etudiee. Puis la recherche porte sur la technique de repetition qui donne plus de coherence au texte. Enfin, l'effet comique est mis en lumiere par l'analyse des schemas traditionnels de la comedie que flaubert utilise pour les dialogues
Gustave flaubert's madame bovary, a novel that is very modern as well as classical, offers an interesting problem of the use of dialogue. By analysing flaubert's practice of using dialogue, i try to show how he presents and organises the speech of caracter and how he achieves comical effects in conversation. First, the dialogues in the novel are examined from the aspect of their forms : tirades, monologues, short speeches and isolated speechs in narration. The next point to be considered is flaubert's way of inserting the dialogue in scenes and giving a certain unity to the text by repetition. At last, the comical effects on the novel that depend on traditional schemes of comedy are studied

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Petit, Nathalie. "Les suppressions dans les brouillons de Madame Bovary de Gustave Flaubert." Rouen, 2014. http://www.theses.fr/2014ROUEL024.

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Une des spécificités admises du processus rédactionnel flaubertien est son intense mouvement de condensation. Le dossier de genèse de Madame Bovary témoigne de ces suppressions opérées par Flaubert lors de la rédaction. Après avoir proposé un historique et une description des différents manuscrits, nous les envisageons dans une perspective génétique, en tant qu’avant-texte, afin de repérer les folios qui seront considérés comme des brouillons et de délimiter ainsi avec précision notre corpus. Notre objet de recherche est, lui, restreint grâce à la définition de la suppression que nous proposons. Le deuxième temps de notre étude est consacré à l’inventaire, dans les brouillons de Madame Bovary, des suppressions supérieures ou égales à une unité du récit. La méthode que nous avons élaborée permet de les répertorier de manière exhaustive : elle se fonde sur l’examen systématique des folios et sur leur confrontation au texte édité. Afin que ce relevé soit exploitable, les passages abandonnés sont présentés de manière schématique, sous la forme de cartes d’identité dont la trame, issue de la définition de la suppression, est commune. Dans un dernier temps, les données relevées sont appréhendées dans la dynamique de l’écriture. Est considérée sa dimension interne, le geste scriptural, puis externe, l’acte de création : nous vérifions que la suppression constitue une pratique caractéristique du processus rédactionnel flaubertien et observons l’écriture proprement dite de ces passages abandonnés, puis nous examinons en quoi ils répondent originellement aux nécessités de la rédaction d’un roman et analysons ceux dont le style se distingue de celui du texte édité
One of the accepted specificities of the Flaubertian writing process is its acute movement towards condensation. The collection of genetic documentation for Madame Bovary testifies to these elements deleted by Flaubert as he wrote. After providing a history and description of the different manuscripts, this thesis approaches them from the perspective of genetic criticism, as a pre-text, in order to identify the folios that will be considered as rough drafts and to determine the corpus with precision. As for the dissertation’s research subject, it is delineated by the particular definition provided of “deletion”. The second section of the study is devoted to identifying deleted elements corresponding to a narrative unit or more in the rough drafts of Madame Bovary. The method devised for this purpose allows an exhaustive list to be established by systematically examining the folios and comparing them with the published text. To allow full use of this list, the abandoned passages are presented schematically in the shape of fact sheets all following the same framework, which is based on the definition provided of deletion. Finally, the last section of the thesis approaches the results identified within the dynamics of the writing process. The internal dimension – the writing gesture – and the external dimension – the creative act – are both taken into account. The study confirms that deletion is a characteristic practice of Flaubert’s writing process and observes the actual writing of these abandoned passages. It then examines how they originally corresponded to the requirements of novel writing and analyses those that reveal a different style to that of the published text

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Durel, Marie. "Classement et analyse des brouillons de Madame Bovary de Gustave Flaubert." Rouen, 2000. http://www.theses.fr/2000ROUEL352.

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La bibliothèque municipale de Rouen conserve depuis 1914 les brouillons de Madame Bovary de Gustave Flaubert. Souvent cités, ces manuscrits n'étaient connus que de manière fragmentaire et n'avaient jamais fait l'objet d'un classement intégral. En s'appuyant sur les méthodes d'analyse de la critique génétique, cette thèse propose une mise en ordre systématique des 4392 pages de manuscrits constituant le corpus génétique du roman. Sous la forme d'un tableau génétique de 487 pages, ce classement, réalisé à partir d'une base de données numérique, redistribue l'ensemble des folios selon leur ordre de rédaction et donne pour la première fois accès, page par page, à la genèse de l'œuvre, depuis les scenarios développés jusqu'au manuscrit du copiste. Un chercheur non spécialiste peut désormais entreprendre l'étude de genèse de n'importe quel passage du roman en disposant d'une référence claire et ordonnée à tous les brouillons qui s'y rapportent. Ce dispositif de mise en ordre relationnel, compatible avec d'autres outils éditoriaux, se veut aussi une contribution à l'étude des nouvelles ressources offertes par l’édition électronique des textes et manuscrits, notamment dans le cadre des problèmes posés par les vastes corpus. Véritable outil de recherche sur l'avant-texte du roman, dote de moyens d'approche. Quantitatifs des phénomènes génétiques, cette thèse se présente avant tout comme un instrument de relecture de l'œuvre à la lumière de ses brouillons. Comme exemple des investigations rendues possibles par ce classement, une partie interprétative est consacrée à l'étude génétique des "idées reçues" dans Madame Bovary : une centaine des entrées du célèbre dictionnaire des idées reçues trouve leur formulation primitive, vingt ans plus tôt, dans cette rédaction.

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Kwan, May-tak Rowena. "The literary reception of Flaubert's Madame Bovary in China /." [Hong Kong] : University of Hong Kong, 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12370101.

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Books on the topic "Bovary, Charles, Flaubert, Gustave"

1

Gustave, Flaubert. Flaubert, Madame Bovary. [Paris?]: Magnard, 1988.

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Roberts, James Lamar. CliffsNotes on Flaubert's Madame Bovary. New York: John Wiley & Sons, Ltd., 2002.

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Orr, Mary. Madame Bovary. Bern: Lang, 1999.

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Savage reprisals: Bleak house, Madame Bovary, Buddenbrooks. New York: W.W. Norton, 2002.

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Madame Bovary: Gustave Flaubert. Paris: Nathan, 1989.

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Gengembre, Gérard. Gustave Flaubert, Madame Bovary. Paris: Presses universitaires de France, 1990.

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Madame Bovary, Gustave Flaubert. Paris: Bertrand-Lacoste, 1991.

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Defaye, Thomas. Gustave Flaubert, "Madame Bovary". Rosny-sous-Bois: Bréal, 1998.

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Gustave Flaubert, Madame Bovary. Cambridge: Cambridge University Press, 1992.

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Degering, Thomas. Gustave Flaubert, Madame Bovary. Stuttgart: Philipp Reclam jun., 2007.

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Book chapters on the topic "Bovary, Charles, Flaubert, Gustave"

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Roe, David. "Madame Bovary." In Gustave Flaubert, 32–49. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19956-3_4.

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Roloff, Volker. "Flaubert, Gustave: Madame Bovary." In Kindlers Literatur Lexikon (KLL), 1–4. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3598-1.

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Stanitzek, Georg. "Die Republik vom 8. Mai 1980: "Gustave Flaubert: 12. Dezember 1821 - 8. Mai 1880"." In »Madame Bovary, c'est nous!« - Lektüren eines Jahrhundertromans, 193–214. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839452844-012.

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"Madame Bovary (Gustave Flaubert and Jean Renoir)." In Images of Idiocy, 63–82. Routledge, 2017. http://dx.doi.org/10.4324/9781315252704-10.

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Gruber, Joachim. "Gustave Flaubert und der Prozess um „Madame Bovary“." In Das Recht als Rahmen für Literatur und Kunst, edited by Hermann Weber. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110540833-005.

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"Chapter One. Gustave Flaubert: Emma Bovary Goes to Hollywood." In Dirt for Art's Sake. Ithaca, NY: Cornell University Press, 2017. http://dx.doi.org/10.7591/9780801460371-004.

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"48. Gustave Flaubert, Madame Bovary, Paris, Michel Lévy frères, 1857." In Savants et écrivains, 289–91. Artois Presses Université, 2015. http://dx.doi.org/10.4000/books.apu.17618.

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Beatrice Costa, Cynthia. "Análise de adaptações cinematográficas baseadas em obras canônicas da literatura: os casos de Jane Eyre e Madame Bovary." In E por falar em tradução, 14–28. Canal 6 Editora, 2021. http://dx.doi.org/10.52050/9786586030600.c1.

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Abstract:

Clássicos da literatura sempre estiveram presentes nas telas. Dois desses clássicos, Jane Eyre (1847), de Charlotte Brontë, e Madame Bovary (1856), de Gustave Flaubert, acumulam, respectivamente, cerca de 30 e de 15 adaptações televisivas e cinematográficas – uma história multimidiática que impacta a renovação constante desses romances em nosso imaginário.

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Geheber, Philip Keel. "‘Nous ne suivons pas la même route’: Flaubertian Objectivity and Mansfield’s Representations of Travel." In Katherine Mansfield and Translation. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474400381.003.0007.

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This chapter offers a reading of Mansfield’s ‘Urewera Notebook’, which features notes on Gustave Flaubert as well as diary entries and vignettes of travelling lone women, to first situate Mansfield’s early aesthetic interests in objectively representing characters in transit. It then argues that Mansfield’s 1915 story ‘An Indiscreet Journey’ is a feminist transposition of the infamous cab ride of Madame Bovary into a French WWI setting. Mansfield’s translation of Flaubertian objectivity and tropes from Madame Bovary to suit her own perspective and context exemplifies how this mode of thematic and aesthetic translation functions as a generative mode of literary production.

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Stanitzek, Georg. "Die Republik vom 8. Mai 1980: „Gustave Flaubert: 12. Dezember 1821 – 8. Mai 1880“." In »Madame Bovary, c'est nous!« - Lektüren eines Jahrhundertromans, 193–214. transcript Verlag, 2021. http://dx.doi.org/10.1515/9783839452844-012.

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