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Journal articles on the topic 'Fantasy literature, French'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Nesci, Catherine, Rachael Siciliano, and Rae Beth Gordon. "Ornament, Fantasy, and Desire in Nineteenth-Century French Literature." SubStance 24, no. 3 (1995): 130. http://dx.doi.org/10.2307/3685014.

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2

Harpham, Geoffrey Galt. "Book Review: Ornament, Fantasy, and Desire in Nineteenth-Century French Literature." Philosophy and Literature 19, no. 2 (1995): 364–65. http://dx.doi.org/10.1353/phl.1995.0069.

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3

Williams, Alison, and James R. Simpson. "Fantasy, Identity and Misrecognition in Medieval French Narrative." Modern Language Review 99, no. 2 (2004): 485. http://dx.doi.org/10.2307/3738785.

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Murray, Timothy. "Philosophical Antibodies: Grotesque Fantasy in a French Stoic Fiction." Yale French Studies, no. 86 (1994): 143. http://dx.doi.org/10.2307/2930281.

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Roccati, G. Matteo. "James R. Simpson, Fantasy, Identity and Misrecognition in Medieval French Narrative." Studi Francesi, no. 142 (XLVIII | I) (July 1, 2004): 156. http://dx.doi.org/10.4000/studifrancesi.40263.

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Seago, Karen, and Lavinia Springett. "Dzikie bohaterki? Problematyka płci kulturowej i gatunku literackiego w przekładach Northern Lights Philipa Pullmana." Przekładaniec, no. 40 (2020): 22–50. http://dx.doi.org/10.4467/16891864pc.20.002.13165.

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Savage Heroines? The Treatment of Gender and Genre in Translations of Philip Pullman’s Northern Lights Philip Pullman’s Northern Lights is the first instalment of his award-winning trilogy His Dark Materials. In this alternate-worlds fantasy and children’s literature classic, Lyra and her daemon Pan are catapulted from the relative stability of Oxford to negotiate an increasingly threatening world in a quest to protect free will from cataclysmic adult zealotry. According to prophecy, Lyra is the chosen one; she conforms to the tropes of the fantasy quest performing the paradigmatic steps of th

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Skibińska, Elżbieta. "Les quatrièmes de couverture comme lieu d’inscription d’une représentation de la littérature traduite : romans canadiens d’expression française en traduction polonaise (2000-2016)." Między Oryginałem a Przekładem 25, no. 45 (2019): 117–38. http://dx.doi.org/10.12797/moap.25.2019.45.06.

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The Back Cover as a Place for Creating an Image of Translated Literature: Polish Translations of French-Canadian Novels (2000-2016) The back cover of a book contains peritext added by the publisher, with a double function of information (about the author and the work) and invitation to read the book. That is why it also becomes the place where publishers decide on a certain image of the books. For this study, we have collected back cover texts from French-Canadian novels which were published in the Polish translation in the years 2000-2016, and we have considered them as a certain image

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Rodríguez Martínez, Manuel Cristóbal. "La variación fraseológica intencional en traducción de la ciencia ficción como recurso estilístico." Çédille, no. 18 (2020): 649–64. http://dx.doi.org/10.25145/j.cedille.2020.18.26.

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"Phraseology is considered nowadays a well-established and promising field of study. However, phraseological variation is a real phenomenon that, in certain contexts, is a deliberate decision. Therefore, we suggest with this article an approach to phraseological variation as a stylistic device for the translation of fantasy and science fiction literature. To do so, we analyze the cases of phraseological variation drawn from the novel La Plaie, written by the French author Nathalie Henneberg, as a resource that encourages the contextualization of the readers within a fictional universe thanks t

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Mihkelev, Anneli. "Emigration in Estonian Literature: “Self” and “Other” in the Context of European Literature." Interlitteraria 22, no. 2 (2018): 341. http://dx.doi.org/10.12697/il.2017.22.2.12.

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The experience of emigration generated a new paradigm in Estonian culture and literature. After World War II Sweden became a new homeland for many people. Estonian culture and literature suddenly became divided into two parts. The political terror imposed restrictions on literature in homeland and the national ideology limited literature in the initial years of exile. Both were closed communities and were monolingual systems in a cultural sense because these systems avoided dialogue and the influence of other signs. It was a traumatic experience for nation and culture where the totalitarian po

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Kristjanson, Gabrielle. "Meaning in (Translated) Popular Fiction: An Analysis of Hyper-Literal Translation in Clive Barker’s Le Royaume des Devins." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (2014): 159. http://dx.doi.org/10.21992/t94k9s.

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Most translation theorists agree that source text fidelity results in a translation that aptly transmits the foreign cultural values and meaning embedded within the source language to a target culture. While the preservation of foreignness might be beneficial for the propagation of international artistic diversity, when translating works of popular fiction, domestication is key to a novel’s successful incorporation into the target literary system. In popular fiction translation, the goal is accessibility rather than artistic influence or cultural exchange, yet the necessary domestication can b

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Mesquita, Mayte Cabral, and Marcelo De Rezende Pinto. "The exercise of female sexuality between fantasy and discourse in the consumption of online pornography." Revista de Gestão 27, no. 3 (2020): 247–62. http://dx.doi.org/10.1108/rege-02-2019-0035.

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PurposeThe purpose of the study is to understand how the consumption of online pornography runs through fantasy, discourse and the exercise of female sexuality.Design/methodology/approachFirst, the study analyzed a few information obtained from a secret group of the social media Facebook. Secondly, the research was developed based on the information gathered during the observation period; 11 in-depth interviews were conducted with women that participated in the aforementioned group. In order to analyze the data, the study used the French discourse analysis as methodological tool.FindingsIt was

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Béord, Théry, and Achim Alan Merlo. "Orientalism in Celluloid: The Production of the ‘Crazy Year’." Social and Management Research Journal 14, no. 2 (2017): 109. http://dx.doi.org/10.24191/smrj.v14i2.5495.

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This article introduces a journey in the orientalist movement that characterises the cinema of the ‘crazy years’ between 1919 and 1929. Attention will be turned on the peculiarities of this period, including the socio-cultural dimension of that epoch. The role of the woman in cinematographic art will be considered as an appropriate tool for the interpretation of orientalism in the European society during the interwar period. Period of the creation of a popular culture or popularisation of culture, Orientalism became a mean to escape with fantasy the everyday way of life of modern European soci

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Novakova, Iva. "Phraseological motifs for Distinguishing Between Literary Genres. A Case Study on the Motifs of Verbal and Non-Verbal Communication." Kalbotyra 74 (September 15, 2021): 160–81. http://dx.doi.org/10.15388/kalbotyra.2021.74.9.

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The present paper is based on the assumption that the language of the novel is characterized by a statistically relevant overrepresentation of certain linguistic units (e.g. lexemes, key words, collocations and colligations, Siepmann 2015). First steps towards checking the validity of this hypothesis had been undertaken in pioneering works in the 1990s/2000s (e.g. Stubbs & Barth 2003). These studies were however limited by the small size of their (exclusively English) corpora. The present study explores the role of some patterns (phraseological motifs) in distinguishing French literary sub

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Klimek, Sonja. "Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman." Journal of Literary Theory 12, no. 1 (2018): 29–54. http://dx.doi.org/10.1515/jlt-2018-0003.

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Abstract This paper explores why unreliable narration should be considered as a concept not only applying to single works of fiction, but also to whole series of fiction, and why impersonal (›omniscient‹) narration can also be suspected of unreliability. Some literary genres show a great affinity to unreliable narration. In fantastic literature (in the narrower sense of the term), for instance, the reader’s »hesitation« towards which reality system rules within the fictive world often is due to the narration of an autodiegetic narrator whose credibility is not beyond doubt. Detective stories,

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Allan, Michael. "Scattered Letters." Philological Encounters 2, no. 1-2 (2017): 180–98. http://dx.doi.org/10.1163/24519197-00000021.

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In Assia Djebar’s L’amour, la fantasia, the narrator describes the linguistic resonance of her mother’s claim that her daughter “reads”—by which she implies, via Arabic, that her daughter studies. The circularity of an Arabic expression spoken in French makes the scene both descriptive and performative of the sorts of migrations, displacements and appropriations at play in this Algerian novel. In what language ought such multilingual work be read? By looking at inter and intra-lingual travels, this article emphasizes slippages between texts and readers, French and Arabic, and postcolonial and

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16

Prochaska, David. "Fantasia of the Photothèque: French Postcard Views of Colonial Senegal." African Arts 24, no. 4 (1991): 40. http://dx.doi.org/10.2307/3337043.

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17

Tanesya, Agiska, and Myrna Laksman-Huntley. "Le niveau d’équivalence de l’interjection dans Spirou et Fantasio et sa traduction en Indonésien." Digital Press Social Sciences and Humanities 3 (2019): 00002. http://dx.doi.org/10.29037/digitalpress.43275.

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<p class="Papertitle" style="margin-top:0in">This article deals with the level of correspondence of the translations of French interjections into Indonesian in the comics <font face="Cambria, serif"><span style="font-size: 10pt;">Spirou et Fantasio</span></font> and its translation. Using qualitative methods and literature techniques, data were analyzed based on Leech's (1981) component analysis theory and Williams' equivalence theory (2013). Types of shape changes were analyzed using Catford's (1965) shift theory. The results t

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18

Waugh, Robin. "Wilfrid Laurier University." Florilegium 20, no. 1 (2003): 83–84. http://dx.doi.org/10.3138/flor.20.024.

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Smaller universities can preside over profound achievements in disciplines such as medieval studies through the fostering of commitment and focus. For instance, the profile of medieval studies has developed significantly in the last three years at Wilfrid Laurier University, where, in December of 2002, an interdisciplinary program in medieval studies was approved by the university’s senate. Prior to the development of this program, medieval material was taught largely within the traditional disciplines. The new program is designed to include course subjects from a variety of national and relig

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19

"Ornament, fantasy, and desire in nineteenth-century French literature." Choice Reviews Online 30, no. 06 (1993): 30–3162. http://dx.doi.org/10.5860/choice.30-3162.

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"French science fiction, fantasy, horror and pulp fiction: a guide to cinema, television, radio, animation, comic books and literature from the Middle Ages to the present." Choice Reviews Online 38, no. 04 (2000): 38–1897. http://dx.doi.org/10.5860/choice.38-1897.

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21

Davies, Elizabeth. "Bayonetta: A Journey through Time and Space." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1147.

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Art Imitating ArtThis article discusses the global, historical and literary references that are present in the video game franchise Bayonetta. In particular, references to Dante’s Divine Comedy, the works of Dr John Dee, and European traditions of witchcraft are examined. Bayonetta is modern in the sense that she is a woman of the world. Her character shows how history and literature may be used, re-used, and evolve into new formats, and how modern games travel abroad through time and space.Drawing creative inspiration from other works is nothing new. Ideas and themes, art and literature are f

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22

De Vos, Gail. "News and Announcements." Deakin Review of Children's Literature 5, no. 2 (2015). http://dx.doi.org/10.20361/g2qk5x.

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Autumn is not only a gloriously colourful time of the year, it is a time when a plethora of children’s book related events and awards take place. Just see what is happening in the next few months:IBBY: “Silent Books: Final Destination Lampedusa” travelling exhibit In response to the international refugee crisis that began last year, the Italian arm of the International Board on Books for Young People has launched a travelling picture-book exhibit to support the first children’s library on the island of Lampedusa, Italy where many African and Middle Eastern refugees are landing. After stops in

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23

Larsson, Chari. "Suspicious Images: Iconophobia and the Ethical Gaze." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.393.

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If iconophobia is defined as the suspicion and anxiety towards the power exerted by images, its history is an ancient one in all of its Platonic, Christian, and Judaic forms. At its most radical, iconophobia results in an act of iconoclasm, or the total destruction of the image. At the other end of the spectrum, contemporary iconophobia may be more subtle. Images are simply withdrawn from circulation with the aim of eliminating their visibility. In his book Images in Spite of All, French art historian Georges Didi-Huberman questions the tradition of suspicion and denigration governing visual r

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24

Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d

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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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Tofts, Darren, and Lisa Gye. "Cool Beats and Timely Accents." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.632.

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Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” tha

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Brien, Donna Lee. "Bringing a Taste of Abroad to Australian Readers: Australian Wines & Food Quarterly 1956–1960." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1145.

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IntroductionFood Studies is a relatively recent area of research enquiry in Australia and Magazine Studies is even newer (Le Masurier and Johinke), with the consequence that Australian culinary magazines are only just beginning to be investigated. Moreover, although many major libraries have not thought such popular magazines worthy of sustained collection (Fox and Sornil), considering these publications is important. As de Certeau argues, it can be of considerable consequence to identify and analyse everyday practices (such as producing and reading popular magazines) that seem so minor and in

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McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an

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Petzke, Ingo. "Alternative Entrances: Phillip Noyce and Sydney’s Counterculture." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.863.

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Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you sim

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Hill, Wes. "Harmony Korine’s Trash Humpers: From Alternative to Hipster." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1192.

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IntroductionThe 2009 American film Trash Humpers, directed by Harmony Korine, was released at a time when the hipster had become a ubiquitous concept, entering into the common vernacular of numerous cultures throughout the world, and gaining significant press, social media and academic attention (see Žižek; Arsel and Thompson; Greif et al.; Stahl; Ouellette; Reeve; Schiermer; Maly and Varis). Trash Humpers emerged soon after the 2008 Global Financial Crisis triggered Occupy movements in numerous cities, aided by social media platforms, reported on by blogs such as Gawker, and stylized by multi

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Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho

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34

Shiloh, Ilana. "A Vision of Complex Symmetry." M/C Journal 10, no. 3 (2007). http://dx.doi.org/10.5204/mcj.2674.

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   The labyrinth is probably the most universal trope of complexity. Deriving from pre-Greek labyrinthos, a word denoting “maze, large building with intricate underground passages”, and possibly related to Lydian labrys, which signifies “double-edged axe,” symbol of royal power, the notion of the labyrinth primarily evokes the Minoan Palace in Crete and the myth of the Minotaur. According to this myth, the Minotaur, a monster with the body of a man and the head of a bull, was born to Pesiphae, king Minos’s wife, who mated with a bull when the king of Crete was besieging Athen

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Ambrosetti, Angelina. "The Portrayal of the Teacher as Mentor in Popular Film: Inspirational, Supportive and Life-Changing?" M/C Journal 19, no. 2 (2016). http://dx.doi.org/10.5204/mcj.1104.

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The mediocre teacher tells. The good teacher explains. The superior teacher demonstrates. The great teacher inspires. — William Arthur WardIntroductionThe first documented use of the term Mentor can be traced back to the 8th century BC poem by Homer entitled Odyssey (Hay, Gerber and Minichiello). Although this original representation of Mentor is contested in the literature (Colley), historically the term mentor has evolved to imply a wise and trusted other who advises, teaches, protects and supports someone younger who is inexperienced and not so knowledgeable with the ways of the world. The

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O'Meara, Radha, and Alex Bevan. "Transmedia Theory’s Author Discourse and Its Limitations." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1366.

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As a scholarly discourse, transmedia storytelling relies heavily on conservative constructions of authorship that laud corporate architects and patriarchs such as George Lucas and J.J. Abrams as exemplars of “the creator.” This piece argues that transmedia theory works to construct patriarchal ideals of individual authorship to the detriment of alternative conceptions of transmediality, storyworlds, and authorship. The genesis for this piece was our struggle to find a transmedia storyworld that we were both familiar with, that also qualifies as “legitimate” transmedia in the eyes of our prospe

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Ettler, Justine. "When I Met Kathy Acker." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1483.

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I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I u

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