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Journal articles on the topic 'Edmond and Jules de Goncourt'

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Published: 4 June 2021
Last updated: 4 February 2022

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1

Merello, Ida. "Edmond et Jules de Goncourt, Journal." Studi Francesi, no. 157 (LIII | I) (May 1, 2009): 199. http://dx.doi.org/10.4000/studifrancesi.8326.

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2

Merello, Ida. "Edmond et Jules de Goncourt, Journal." Studi Francesi, no. 171 (LVII | III) (December 1, 2013): 636–37. http://dx.doi.org/10.4000/studifrancesi.2845.

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3

Merello, Ida. "Edmond et Jules De Goncourt, Journal." Studi Francesi, no. 148 (XLX | I) (April 1, 2006): 186–87. http://dx.doi.org/10.4000/studifrancesi.30656.

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4

Fonseca, Carlos Alberto da. "A Pátria em Perigo, de Jules & Edmond de Goncourt. Tradução e notas." Dramaturgias, no. 14 (September 28, 2020): 281–375. http://dx.doi.org/10.26512/dramaturgias14.34380.

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Merello, Ida. "Edmond et Jules de Goncourt, Œuvres complètes." Studi Francesi, no. 167 (LVI | II) (July 1, 2012): 351–52. http://dx.doi.org/10.4000/studifrancesi.4150.

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6

Merello, Ida. "Edmond et Jules De Goncourt, Œuvres complètes." Studi Francesi, no. 165 (LV | III) (December 1, 2011): 665. http://dx.doi.org/10.4000/studifrancesi.5089.

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7

Merello, Ida. "Edmond et Jules de Goncourt, Œuvres complètes, Œuvres romanesques." Studi Francesi, no. 164 (LV | II) (September 1, 2011): 444–45. http://dx.doi.org/10.4000/studifrancesi.5718.

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8

Piva, Franco. "Edmond et Jules de Goncourt, L’art du xviiie siècle." Studi Francesi, no. 157 (LIII | I) (May 1, 2009): 169–70. http://dx.doi.org/10.4000/studifrancesi.8252.

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9

Cabanès, Jean-Louis, Edmond de Goncourt, and Jules de Goncourt. "Edmond et Jules de Goncourt : « Le Roi des drôles »." Cahiers Edmond et Jules de Goncourt 1, no. 23 (2016): 125–28. http://dx.doi.org/10.3406/cejdg.2016.1201.

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10

Sadkowska, Agata. "Edmond et Jules de Goncourt en Pologne (1860-1918)." Cahiers Edmond et Jules de Goncourt 1, no. 13 (2006): 237–50. http://dx.doi.org/10.3406/cejdg.2006.1117.

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11

Duffy, L. "EDMOND & JULES DE GONCOURT: L'Art du XVIIIe siecle." French Studies 64, no. 1 (December 17, 2009): 92–93. http://dx.doi.org/10.1093/fs/knp189.

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12

Cabanès, Jean-Louis. "Lettres d'Ernest Chesneau à Edmond et Jules de Goncourt (1863-1884)." Cahiers Edmond et Jules de Goncourt 1, no. 11 (2004): 225–45. http://dx.doi.org/10.3406/cejdg.2004.941.

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13

Lucet, Sophie. "La Patrie en danger, de Jules et Edmond de Goncourt, un drame historique à contretemps ?" Cahiers Edmond et Jules de Goncourt 1, no. 13 (2006): 55–76. http://dx.doi.org/10.3406/cejdg.2006.968.

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14

Menezes, Hugo Lenes. "Retratos da vida." RUS (São Paulo) 11, no. 15 (June 8, 2020): 144–72. http://dx.doi.org/10.11606/issn.2317-4765.rus.2020.154250.

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O Impressionismo não constitui estilo exclusivo das estéticas plásticas, pois outras manifestações artísticas da etapa finissecular oitocentista e da Modernidade são tocadas pela tendência. Na Belle Époque, praticamente todos os artistas, literários ou não, são-lhe tributários. Entre os literatos lusófonos, destacamos Raul Pompeia, o último Machado de Assis e Eça de Queirós; Graça Aranha e Adelino Magalhães; todos no gênero narrativo. De línguas estrangeiras e mesmo gênero, mencionamos Edmond e Jules Goncourt, a pintar descrições cromático-verbais; Marcel Proust e Thomas Wolfe, num memorialismo das sensações; e Henry James, da perspectiva do impreciso. No teatro, citamos Anton Tchekhov, identificado com uma filosofia do momento. Dessa maneira, no presente artigo, abordamos o gênero dramático, sobretudo na Modernidade, em relação à pintura impressionista, mais exatamente numa visada sobre criações tchekhovianas para representação no palco, e detemo-nos por fim, com mais vagar, numa abordagem da peça As três irmãs (1901), obra-prima universal do Impressionismo cênico.
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15

Giraud, Barbara. "Edmond et Jules de Goncourt,Œuvres complètes. Œuvres romanesques, sous la direction d’Alain Montandon, ii:Sœur Philomène. Édition critique par Alex Lascar." French Studies 70, no. 4 (August 13, 2016): 610–11. http://dx.doi.org/10.1093/fs/knw191.

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16

Landrin, Jacques. "Jules Janin et les Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 1 (1992): 13–22. http://dx.doi.org/10.3406/cejdg.1992.1470.

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17

Gougelmann, Stéphane. "Jules Renard et l'Académie Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 10 (2003): 167–86. http://dx.doi.org/10.3406/cejdg.2003.917.

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18

Lühl, Jan, and Hélène Lühl. "Edmond de Goncourt et l'estampe japonaise." Cahiers Edmond et Jules de Goncourt 1, no. 4 (1995): 147–63. http://dx.doi.org/10.3406/cejdg.1995.1564.

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19

Baron, Philippe. "André Antoine et Edmond de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 13 (2006): 97–116. http://dx.doi.org/10.3406/cejdg.2006.970.

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20

Allen, Nancy S. "HOKUSAI. Matthi Forrer , Edmond de Goncourt." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 2 (July 1989): 107–8. http://dx.doi.org/10.1086/adx.8.2.27948073.

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21

Dufief, Pierre-Jean. "En marge : Hugues Rebell et Edmond de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 3 (1994): 50–52. http://dx.doi.org/10.3406/cejdg.1994.1286.

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22

Lefrère, Jean-Jacques. "Edmond de Goncourt dans le Journal de Brinn'Gaubast." Cahiers Edmond et Jules de Goncourt 1, no. 4 (1995): 290–94. http://dx.doi.org/10.3406/cejdg.1995.1579.

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23

Dufief, Pierre-Jean. "Lettres de Frédéric Masson à Edmond de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 12 (2005): 167–74. http://dx.doi.org/10.3406/cejdg.2005.958.

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24

Baron, Philippe. "Une correspondance Edmond de Goncourt - Emmy de Némethy." Cahiers Edmond et Jules de Goncourt 1, no. 16 (2009): 153–59. http://dx.doi.org/10.3406/cejdg.2009.1024.

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25

Tilby, Michael. "Flaubert, Edmond De Goncourt, and Gavarni’s ‘Immoral’ Débardeurs." French Studies Bulletin 39, no. 146 (2018): 1–6. http://dx.doi.org/10.1093/frebul/kty001.

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26

Galantaris, Christian. "L'illustration des romans d'Edmond et Jules de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 16 (2009): 105–11. http://dx.doi.org/10.3406/cejdg.2009.1021.

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27

Dufief, Pierre-Jean. "Edmond de Goncourt et la biographie historique : Mademoiselle Clairon." Cahiers Edmond et Jules de Goncourt 1, no. 17 (2010): 63–72. http://dx.doi.org/10.3406/cejdg.2010.1032.

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28

Raffi, Maria Emanuela. "Michael Tilby, Flaubert, Edmond de Goncourt, and Gavarni’s “Immoral” Débardeurs." Studi Francesi, no. 189 (LXIII | III) (December 1, 2019): 598. http://dx.doi.org/10.4000/studifrancesi.21556.

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29

Warner, Pamela J. "Jules de Goncourt aquafortiste : la rhétorique visuelle de l'eau-forte." Cahiers Edmond et Jules de Goncourt 1, no. 11 (2004): 93–102. http://dx.doi.org/10.3406/cejdg.2004.931.

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30

Dufief, Pierre. "Un chapitre inédit de La Fille Élisa, par Edmond de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 9 (2002): 189–91. http://dx.doi.org/10.3406/cejdg.2002.892.

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31

Gaviglio-Faivre d'Arcier, Catherine. "Le chassé-croisé de deux bibliophiles : Lovenjoul et Edmond de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 12 (2005): 175–94. http://dx.doi.org/10.3406/cejdg.2005.959.

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32

Warner, Pamela J. "La politique identitaire du japonisme : Edmond de Goncourt et Hayashi Tadamasa." Cahiers Edmond et Jules de Goncourt 1, no. 18 (2011): 83–101. http://dx.doi.org/10.3406/cejdg.2011.1055.

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33

Ferrari, Nicola. "Katherine Ashley, Edmond de Goncourt and the Novel: Naturalism and Decadence." Studi Francesi, no. 148 (XLX | I) (April 1, 2006): 188. http://dx.doi.org/10.4000/studifrancesi.30673.

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34

Ferrari, Nicola. "Katherine Ashley, Edmond de Goncourt and the Novel: Naturalism and Decadence." Studi Francesi, no. 148 (XLX | I) (April 1, 2006): 187. http://dx.doi.org/10.4000/studifrancesi.30657.

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35

Vantine, Peter. "Au bord de la Seine avec les Goncourt." Arborescences, no. 8 (January 31, 2019): 80–101. http://dx.doi.org/10.7202/1055885ar.

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Plusieurs romans d’Edmond et Jules de Goncourt (En 18.., Charles Demailly, Renée Mauperin, Manette Salomon) proposent de longues et riches descriptions de la Seine, que nous examinons afin d’en dégager la poétique commune, tout en relevant quelques exceptions marquantes. Les Goncourt interrompent volontiers la trame narrative d’un roman pour se complaire dans des compositions tout en nuances de couleurs, en effets de lumières et d’ombres, en contrastes de mouvements et en orchestrations de sons. Sans être des descriptions de tableaux réels, ces passages sont parfois inspirés d’une oeuvre ou d’un peintre en particulier, et trahissent parfois une tentative, de la part des romanciers, de rivaliser avec les artistes qu’ils admirent. Si leur situation géographique varie, ces scènes partagent un ton mixte qui combine la gaîté et la mélancolie. La Seine et ses bords fonctionnent souvent chez les Goncourt comme un locus amoenus trompeur ou révélateur : s’y déroulent de brefs interludes idylliques et amoureux qui annoncent néanmoins des naufrages imminents. Un ton mélancolique teinte aussi maintes mentions de la Seine dans le Journal, surtout sous la plume d’Edmond veuf de son frère.
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36

Desurvire, Emmanuel. "Charles Edmond Chojecki et les frères Goncourt, une amitié de trente-huit ans." Cahiers Edmond et Jules de Goncourt 1, no. 21 (2014): 213–29. http://dx.doi.org/10.3406/cejdg.2014.1185.

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37

Emery, Elizabeth. "Madame Desoye, “First Woman Importer” of Japanese Art in Nineteenth-Century Paris." Journal of Japonisme 5, no. 1 (December 18, 2019): 1–46. http://dx.doi.org/10.1163/24054992-00051p01.

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Abstract The shop run by Madame Desoye at 220, rue de Rivoli in Paris is legendary in Japonisme studies thanks to the writings of Edmond de Goncourt and Philippe Burty, yet the identity of the woman hidden behind this married name, like the extent of her participation in Japoniste activities, has long remained a mystery. The present article draws upon new archival research to provide information about the life of Louise Mélina Desoye, née Chopin (1836-1909) and her important contributions to the first wave of French Japonisme.
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38

Jordan, Tristan. "Le dossier Edmond de Goncourt dans les Archives de la Préfecture de police de Paris." Cahiers Edmond et Jules de Goncourt 1, no. 18 (2011): 155–58. http://dx.doi.org/10.3406/cejdg.2011.1061.

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39

Liston, Mairi. ""Le Spectacle de la rue": Edmond de Goncourt and the Siege of Paris." Nineteenth Century French Studies 32, no. 1 (2003): 58–68. http://dx.doi.org/10.1353/ncf.2003.0051.

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40

de Goncourt, Jules. "La copie de Jules de Goncourt au Concours Général d'Histoire de 1844 (classe de 5e)." Cahiers Edmond et Jules de Goncourt 1, no. 3 (1994): 53–59. http://dx.doi.org/10.3406/cejdg.1994.1288.

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41

Kawthar Daouda, Marie. "La Vanité à l’usage des demoiselles : savoir-vivre et savoir-mourir dans le roman d’éducation pour filles dans le Second Empire." Quêtes littéraires, no. 8 (December 30, 2018): 76–87. http://dx.doi.org/10.31743/ql.3482.

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Les années 1850 voient s’installer le Second Empire après un demi-siècle houleux où s’illustre la vanité du pouvoir temporel. Toutes deux légitimistes, Sophie Rostoptchine, comtesse de Ségur, et Victorine Monniot, ont laissé une empreinte profonde dans l’éducation des jeunes filles du Second Empire. Leur enseignement, fondé sur une interprétation concrète du catéchisme catholique, illustre les principes chrétiens de renonciation aux biens matériels enseignés par le memento mori tout en se faisant l’écho des angoisses de l’époque. L’article se propose d’étudier la présence de la vanité comme outil pédagogique dans Le Journal de Marguerite (1858) et le cycle de Sophie (1858-1859) et de mettre au jour les liens entre ces romans édifiants et les hantises exprimées par Baudelaire ou Edmond de Goncourt.
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42

SIMARD, Martin. "Les conceptions du Nord chez les géographes québécois." Cahiers de géographie du Québec 61, no. 173 (July 4, 2018): 253–72. http://dx.doi.org/10.7202/1049372ar.

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Le Nord québécois est un milieu géographique complexe et relativement peu connu. L’adoption du Plan Nord (2011) a suscité un renouveau d’intérêt à son égard, malgré la pertinence relative et les aléas du projet. Néanmoins, des géographes québécois s’intéressent au Nord depuis plusieurs décennies. Ces travaux, dont le pionnier est incontestablement Louis-Edmond Hamelin, offrent différentes lectures du Nord québécois ou canadien. Celles-ci se déclinent selon la dimension épistémologique ou selon un angle plus sociopolitique. Nous voulons donc comparer les diverses conceptions du Nord de quatre auteurs reconnus : Louis-Edmond Hamelin, Christian Morissonneau, Jules Dufour et Caroline Desbiens. Ils s’inscrivent dans un continuum temporel sur plus d’un demi-siècle, bien que leurs écrits sur le Nord ne présentent pas de continuité parfaite sur le plan des idées. Le résultat de cette recherche offrira un panorama des écrits de géographes québécois sur un territoire géographiquement important, voire sur une caractéristique, la nordicité, qu’on retrouve à différents degrés sur l’ensemble du territoire québécois.
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43

Lee, Jeehyun. "Le langage universel des beaux-arts : la promotion de l'art japonais par Edmond de Goncourt et Hayashi Tadamasa." Cahiers Edmond et Jules de Goncourt 1, no. 18 (2011): 69–82. http://dx.doi.org/10.3406/cejdg.2011.1054.

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44

Clark, Timothy T. "Hokusai. By Matthi Forrer, including text by Edmond de Goncourt. New York: Rizzoli International Publications, 1989. 399 pp. $85.00." Journal of Asian Studies 48, no. 4 (November 1989): 859. http://dx.doi.org/10.2307/2058164.

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45

Forino, Imma. "Living in “The Sense of the Past”: Solipsistic Impulses in the Domesticscapes of Edmond de Goncourt and Mario Praz." Interiors 2, no. 1 (March 2011): 7–26. http://dx.doi.org/10.2752/204191211x12980384100030.

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46

Mabin, Dominique. "La mort de Jules. Lecture croisée du Journal des Goncourt et des Cliniciens ès-lettres de Victor Segalen." Cahiers Edmond et Jules de Goncourt 1, no. 9 (2002): 167–87. http://dx.doi.org/10.3406/cejdg.2002.890.

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47

CONRY, YVETTE. "COMMENT A-T-ON PU TRE NO-LAMARCKIEN EN FRANCE (1843-1930)?" Nuncius 8, no. 2 (1993): 487–520. http://dx.doi.org/10.1163/182539183x00677.

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Abstracttitle RIASSUNTO /title Vengono qui studiate le diverse fasi e condizioni di possibilit del neolamarckismo in Francia nel periodo che va dal 1843 (data di pubblicazione dell'Essai de physiologie gnrale di Jules Gurin) al 1930 (data di pubblicazione di The genetical theory of natural selection di Ronald Fisher) e la filosofia generale che ispir le sue varie forme. Queste vengono caratterizzate come tentativi di convertire una storia della natura in una scienza unitaria della natura basata su una concezione meccanica dell'universo e su una fisiologia generale dell'adattamento. Tale scienza era unitaria quanto agli scopi ed alla visione globale della natura, ma non nei diversi modi in cui si tent di realizzarla. Per analizzare questo rapporto fra istanze comuni e procedure particolari l'attenzione si concentrata su un confronto fra l'opera di Edmond Perrier e quella di Alfred Giard.
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48

Thomas, Catherine. "De l’histoire au mythe personnel : usage du document source dans les Portraits intimes du XVIIIe siècle d’Edmond et Jules de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 23 (2016): 93–104. http://dx.doi.org/10.3406/cejdg.2016.1198.

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49

Silverman, Willa Z. "“The Most Passionate of All”." Journal of Japonisme 3, no. 1 (December 4, 2018): 1–51. http://dx.doi.org/10.1163/24054992-00031p01.

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Known primarily as a jeweler in the vanguard of Art nouveau and an important collector of the Impressionists, Henri Vever (1854-1942), as his private diaries make clear, was also a foremost connoisseur of Japanese art in fin-de-siècle France, “the most passionate of all,” to Edmond de Goncourt. Well-connected to networks of dealers, museum officials, publications, and sites of sociability such as the dîners japonais, Vever figures among the most prominent members of a second wave of Parisian enthusiasts of Japanese art, active from approximately 1880 to 1900. Under the tutelage of the Japanese art dealers Hayashi Tadamasa and Siegfried Bing and the fine art printer Charles Gillot, Vever constituted a renowned collection of not only Japanese prints but also other art objects previously disregarded by collectors. Vever’s multiple and intersecting identities as luxury craft producer, leading member of professional associations, art historian and critic, collector, and Republican mayor placed him at the forefront of efforts to legitimate the collection and appreciation of Japanese art in France. His diaries also underscore the connections between the worlds of Japanese and Impressionist art collectors, and between proponents of japonisme and Art nouveau. Further, they highlight the importance of the 1900 Paris Exposition universelle as a triumphant moment for japonisme in France, just as they signal the shift on the part of some japonisants, at the same time, from Japanese art towards the decorative arts of the Islamic world.
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50

Ehrhardt, John D., Don K. Nakayama, and J. Patrick O'Leary. "Carbolic Acid before Joseph Lister: Rail Ties, Sewage, Manure, and the Great Stink." American Surgeon 86, no. 3 (March 2020): 176–83. http://dx.doi.org/10.1177/000313482008600324.

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Before Joseph Lister's landmark Lancet publications on the use of carbolic acid wound dressings in 1867, surgeons Jules Lemaire in France and Enrico Bottini in Italy had already used carbolic acid on hundreds of patients to control suppurative wounds. After Friedlieb Runge isolated it from coal tar in 1834, a number of scientists recognized the efficacy of carbolic acid in preventing decay and neutralizing the stench of dead animals and human cadavers. Frederick Calvert, Alexander McDougall, and Angus Smith in Manchester promoted a powdered form of carbolic acid as a deodorizing agent to treat municipal sewage across the United Kingdom, most notably during London's famous “Great Stink” of 1858. Edmond Corne in France introduced his formulation, which Alfred-Armand-Louis-Marie Velpeau, Ferdinand LeBeuf, and Lemaire adapted for clinical use in 1859. Lemaire wrote extensively on carbolic acid and its surgical application in three publications from 1860 to 1862. In 1866, Bottini published his experience of 600 cases where it was used. In 1865, Lister began to use carbolic acid in open fractures after Thomas Anderson, his colleague in agricultural chemistry at the University of Glasgow, told him about its use in Carlisle sewage works. This article traces the rich history of carbolic acid from an unknown compound in coal to the cornerstone of Listerism in late-19th–century operating rooms.
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