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Journal articles on the topic 'Flaubert'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Zhernokleyev, Denis. "BAKHTIN ON FLAUBERT: THE POETICS OF THE “ALL-NEGATING IMAGE”." Literaturovedcheskii Zhurnal, no. 4 (2021): 166–78. http://dx.doi.org/10.31249/litzhur/2021.54.10.

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The article analyzes a lesser-known text of Mikhail Bakhtin’s “On Flaubert”. While this inquiry pays particular attention to the significance of Bakhtin’s carnivalesque reading of Rabelais for his reading of Flaubert, it also treats the fragment in the broader context of Bakhtin’s philosophy. The article argues that Bakhtin’s approach to Flaubert is apophatic in nature. For Bakhtin, The Temptation of Saint Anthony is the most important text of Flaubert, and through its ascetic aesthetic, he interprets all other novels of Flaubert. The significance of animals in Flaubert emerges as an important

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2

Morzhenkova, Natalia V. "The Мaking of an Avant-garde Artist: G. Stein in Dialogue with W. James, G. Flaubert and P. Cézanne". Literature of the Americas, № 16 (2024): 291–316. http://dx.doi.org/10.22455/2541-7894-2024-16-291-316.

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Analyzing Gertrude Stein's early short story “The Good Anna”, included in the trilogy Three Lives (1909), the article examines the dialogical process of the formation of the author's poetics at the intersection of various discourses dealing with the concept of habituality. Written under the influence of the ideas of W. James and the aesthetic principles of G. Flaubert and P. Cézanne, the story can be read as a “space” within which scientific and aesthetic representation of ordinary interact. I argue that we can treat this juxtapositions of names (Stein, James, Flaubert and Cézanne), not as a r

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3

Meiner, Carsten. "Flaubert's Love Topoi: The Aesthetics of Prostitution." French Forum 48, no. 1 (2023): 31–47. http://dx.doi.org/10.1353/frf.2023.a932966.

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Abstract: The article shows how Flaubert dismantles the notion of romantic love in L'Education sentimentale through a double use of traditional love topoi. Flaubert stages a number of literary scenes where romantic love usually is at large, scenes where authentic or spontaneous feelings of love historically have thrived. At the same time, he inserts unconventional elements into these scenes. In that way Flaubert not only disassembles the notion of romantic love but he also signals how post-romantic love can be reactivated through the idea of prostitution. The article then analyzes what consequ

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4

TERIĆ, Marijana. "“MADAME BOVARY – C'EST MOI” (Gustave Flaubert: Madame Bovary)." Lingua Montenegrina 17, no. 1 (2016): 199–211. https://doi.org/10.46584/lm.v17i1.496.

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In this paper, attention is paid to the narrative techniques used by Gustave Flaubert in constituting his most famous work, “Madame Bovary”. In the novel, Flaubert applied almost all narrative strategies that characterize his novelistic art. Through the character of the heroine Emma Bovary, the author points to a number of modulations in the narrative, which distinguish Flaubert as the original author, ready to surprising twists in which his art of varying different storytelling methods triumphs. Finally, the conclusion of the paper is that “Madame Bovary” is not only latent author’s “self”, b

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SOUSSOU, Moulay Youssef. "Le « jeune » Flaubert et l’apprentissage des genres littéraires." FRANCISOLA 3, no. 1 (2018): 34. http://dx.doi.org/10.17509/francisola.v3i1.11889.

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RÉSUMÉ. L’étude des premiers écrits de Flaubert est un domaine encore inexploré. Une telle étude est tellement salutaire pour saisir la formation de l’écrivain et décrire l’évolution de son style à travers les différentes étapes de son œuvre de jeunesse marquée par l’exploration de plusieurs genres littéraires. Pourquoi le jeune écrivain privilégie-t-il deux genres majeurs, le genre autobiographique qui lui permet de concrétiser sa faculté lyrique et le genre théâtral où se révèle sa nature oratoire ? Le style de Flaubert est animé par les deux dimensions lyrique et oratoire, lesquelles dimens

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6

Mercier, Christophe. "Flaubert avant Flaubert." Commentaire Numéro 97, no. 1 (2002): 240–42. http://dx.doi.org/10.3917/comm.097.0240.

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7

Nikolaev, Nikolai. "LEV V. PUMPYANSKII ON GUSTAVE FLAUBERT." Literaturovedcheskii Zhurnal, no. 3 (2021): 120–30. http://dx.doi.org/10.31249/litzhr/2021.53.08.

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The article addresses the views of Lev Vasil’evich Pumpyanskii (1891-1940), the prominent philologist and thinker, the friend and colleague of M.M. Bakhtin, on the artistic method of G. Flaubert. L.V. Pumpyanskii in his work «Turgenev and Flaubert» (1930) as well as in his unpublished book «Literature of Modern West and Amerika: 1920-1929» (1930) and unpublished note (1928) about K.A. Fedin’s novel The Brothers describes the artistic method of G. Flaubert as artisticism. For L.V. Pumpyanskii artisticism means the existence of strict creative distance, orientation on someone else’s word, styliz

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8

Necef, Mehmet. "Sex og orientalisme - med Gustave Flaubert i hamam." Dansk Sociologi 18, no. 1 (2007): 35–52. http://dx.doi.org/10.22439/dansoc.v18i1.1795.

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Mehmet Ümit Necef: Sex and Orientalism – with Gustave Flaubert in Hamam  In his influential study “Orientalism“ Edward Said almost demonises the intimate and sexual relations between Orientals and Western intellectuals and authors, who in the 1800’s and early 1900’s visited the Orient. His main target among these travellers is Gustave Flaubert. This article discusses the question as to why Said silences Flaubert’s homoerotical interests. I posit the thesis that this is because Flaubert’s multifaceted sexuality does not fit nicely into Said’s theoretical ideas about the hierar

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9

Bray, Patrick M. "“Dried Fruits”: Flaubert, Marx, and the Literary-Historical Event." Modern Language Quarterly 81, no. 4 (2020): 419–40. http://dx.doi.org/10.1215/00267929-8637898.

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Abstract This essay looks at Gustave Flaubert’s L’éducation sentimentale as a “literary-historical event,” that is, an event that becomes legible only by a literary text. Flaubert’s novel attempted to turn the ambiguous political events of 1848 and the coup d’état of Napoleon III into a literary manifesto and a history of his generation. One of the novel’s early titles was “Dried Fruits,” which conveys a sense of preserved youth or even lost potential that can be exploited later. Flaubert’s novel explores what changes over time and what inevitably repeats in apparently singular historical even

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10

Bagno, Vsevolod E., and Tatiana V. Misnikevich. "O seeking Flaubert, you have foreseen us (The Russian translations of Salambbô as an indicator of the change of cultural epochs)." Vestnik of Saint Petersburg University. Language and Literature 19, no. 3 (2022): 414–26. http://dx.doi.org/10.21638/spbu09.2022.301.

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Gustave Flaubert is one of those writers who had a significant impact on the formation and the development of the Russian literary process; being the brightest representative of French literature of the era of realism, Flaubert played a significant role in Russia’s transitional epoch. Working on the novel Salambbô (1862), Flaubert foresaw its ill fortunes in modern France and in the modern epoch as a whole. Since the 1890s, many representatives of Russian modernism saw a teacher and a predecessor in the French writer and translated his works (I.Bunin, D.Merezhkovsky, K.Balmont, M.Gorky, N.Mins

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11

Chaves, Ana Carolina Calenzo. "A palavra muda de Rancière através de um diálogo entre Flaubert e Ibsen | Rancière's mute speech through a dialogue between Flaubert and Ibsen." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 2 (2021): 192–224. http://dx.doi.org/10.22456/2596-0911.117412.

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A palavra muda é um conceito importante na compreensão da literatura estética por propor modos específicos de trato com a letra e com as contradições decorrentes da quebra com os pressupostos representativos. Por isso, este trabalho tem como objetivo investigar a reflexão que Rancière propõe sobrea obra de Gustave Flaubert em diálogo com o teatro. Visto que a palavra muda enlaça formas de expressão que encontram, na arte, um lugar (mesmo que impermanente), esta abordagempode ajudar a vislumbrar caminhos para o pensamento de outros modos do fazer artístico e o trânsito entre eles. Por fim, busc

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12

Chekalov, Kirill. "MAURICE LEBLANC - “GRANDSON OF FLAUBERT”?" Literaturovedcheskii Zhurnal, no. 3 (2021): 84–99. http://dx.doi.org/10.31249/litzhur/2021.53.05.

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Maurice Leblanc, Gustave Flaubert’s countryman, author of the famous series of novels and short stories about adventures of “gentleman-burglar” Arsène Lupin, from his youth had an interest in works of the author of Madame Bovary . The interest was shared by his sister Georgette Leblanc, a singer, actress and writer. This essay critically examins the early prose of Maurice Leblanc, its connections with the traditions of Flaubert and with typical for “fin de siècle” erotic prose of decadence. A special attention is paid to the novel A woman and its parallels and allusions to Madame Bovary . This

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13

Cohen, Margaret. "Flaubert lectrice : Flaubert Lady Reader." MLN 122, no. 4 (2008): 746–58. http://dx.doi.org/10.1353/mln.2008.0001.

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14

Fock, Ignac. "Flaubertove "Idées reçues" v konverzaciji: izhodišče za slovenski prevod." Linguistica 53, no. 1 (2013): 143–54. http://dx.doi.org/10.4312/linguistica.53.1.143-154.

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Pričujoči članek je prevodoslovna študija izraza "idées reçues", kot ga je uporabil Gustave Flaubert v svojem delu Dictionnaire des idées reçues, zlasti v luči prevoda tega besedila v slovenščino. Avtor prouči trenutno pomensko vrednost besedne zveze in povzame njen zgodovinski razvoj ter pojasni Flaubertov prispevek k njeni rabi in pomenu. Poudari svojskost Flaubertovih "idées reçues" ter ob tem prikaže problematičnost njihovega prevoda v slovenščino, ki ne pozna etimoloških in družbeno-zgodovinskih vzporednic, opomni pa tudi na dvoumnost "ideje" v tem kontekstu. Avtor, sicer tudi prevajalec

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15

Pakhsaryan, Natalia. "GUISTAVE FLAUBERT AS LITERARY CRITIC." Literaturovedcheskii Zhurnal, no. 3 (2021): 72–83. http://dx.doi.org/10.31249/litzhur/2021.53.04.

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The article analyzes the uniqueness of the literary-critical position of Gustave Flaubert, a writer who did not leave large theoretical texts about literature, did not write manifestos or critical articles, but constantly reflects on writing in his correspondence. Through the epistolary reflection of Flaubert about literature, one can clarify his aesthetic position, understand the peculiarities of his relationship to the form and style of narration. The writer’s position was not stable and unambiguous: starting with attempts to create notes in the spirit of “romantic writing”, he comes to reje

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16

Jine, Kyong-Nyon. "A Study on Women in Madame Bovary and A Life." Global Convergence Research Academy 1, no. 2 (2022): 63–72. http://dx.doi.org/10.57199/jgcr.2022.1.2.63.

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Maupassant was the disciple of Flaubert, who was the friend of his uncle. Our subject is a study of heroins of two novels 'Madame Bovary' and 'A life'. Emma of 'Madame Bovary' had read the romantic novels in the abbey, and thought that herself had been the heroins. Emma's misery had begun from her marriage. She had felt ennui of marriage and fled into adultery. She had been transformed into mascular person. On the contrary, Jeanne was very passif and could decide nothing. She obeyed first to her father and then her husband. She lost the possession because of her son. Finally it was Rosalie her

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17

Makhlin, Vitaliy. "“NEXT TO GENIOUS”: G. FLAUBERT IN M.M. BAKHTIN’S THINKING." Literaturovedcheskii Zhurnal, no. 3 (2021): 131–42. http://dx.doi.org/10.31249/litzhur/2021.53.09.

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The article analyzes Bakhtin’s 1944 notes on Flaubert. Under discussion is, first, some general background of Bakhtin’s philosophical and scientific methodology as expressed in the notes, secondly, the notes themselves. Bakhtin’s views on Flaubert and the novel of the 19th century are re-presented in connection with the Russian thinker’s theories of the “grotesque realism” and “novelization”as opposed to the “ideological culture of the new times”. The article discusses some principal methodological difficulties of Bakhtinian approach to literary texts as expressed in his notes on Flaubert. In

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18

Culler, Jonathan. "Flaubert’s Provocation." Text Matters, no. 7 (October 16, 2017): 55–70. http://dx.doi.org/10.1515/texmat-2017-0003.

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Madame Bovary, which was scandalous in its own day for its focus on the adultery of a provincial woman, has had a strange, complex fate. Flaubert remade the image of the novelist, as pure artist, for whom style was all that mattered, and disrupted novelistic technique, in ways that critics and writers have found exemplary, treating this as the novel novelists cannot overlook; yet for readers Madame Bovary is not a “book about nothing” but provides a searing portrait of provincial life and of the condition of women. The vividness and complexity of the character Flaubert created here made Emma a

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19

Friedrich, Hugo. "Flaubert." Littérature 141, no. 1 (2006): 115. http://dx.doi.org/10.3917/litt.141.0115.

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20

Kale, Steven. "Flaubert." History: Reviews of New Books 45, no. 6 (2017): 152–53. http://dx.doi.org/10.1080/03612759.2017.1364092.

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21

Goddard, Stephen. "Flaubert." French History 31, no. 2 (2017): 254–55. http://dx.doi.org/10.1093/fh/crx029.

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22

Rees, Kate. "Flaubert." French Studies 70, no. 2 (2016): 239–47. http://dx.doi.org/10.1093/fs/knw003.

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23

Baxtiyorovna, Majidova Laziza, and Rakhimberdieva Makhliyo Ilkham qizi. "Lexical Contradiction andIdiomatic Tension inThe Style ofGustave Flaubert." International Journal Of Literature And Languages 5, no. 5 (2025): 13–17. https://doi.org/10.37547/ijll/volume05issue05-04.

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This article investigates the stylistic and linguistic features of Gustave Flaubert’s prose, with a particular focus on lexical contradiction and idiomatic tension. Through a close analysis of key works such as Madame Bovary, L’Éducation sentimentale, and Bouvard et Pécuchet, the study highlights how Flaubert’s writing systematically juxtaposes opposing semantic registers—romantic idealism and mundane realism, poetic elevation and trivial detail. These lexical contradictions not only enrich narrative depth but also underscore the disillusionment and irony characteristic of Flaubert’s modern vi

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24

Belyaeva, I. A. "Turgenev vs Flaubert, or Literary Polemic about Sancta Simplicitas." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 83, no. 6 (2024): 60–70. https://doi.org/10.31857/s1605788024060052.

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The article is devoted to a particular issue within the framework of the voluminous theme “Turgenev and Flaubert”. This issue is based on a well-known fact, namely: the Russian writer’s refusal to translate Flaubert’s story “Simple Soul”, which was part of cycle called “Three Tales” and was combined with two others (“Legend of St. Julian” and “Herodias”) the problem of holiness. Turgenev was also interested in the phenomenon of holiness, especially the question of its representation in modern life. At the legendary level, which is presented in “Legend of St. Julian” and “Herodias”, Turgenev fo

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Teklik, Natalia. "Pani Bovary na Polesiu. „Pani Bovary" Gustave’a Flauberta a „Ulana" Józefa Ignacego Kraszewskiego (paralela)." Poznańskie Studia Polonistyczne. Seria Literacka, no. 47 (December 30, 2024): 375–89. https://doi.org/10.14746/pspsl.2024.47.20.

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This article presents a comparative analysis of the plot, character building and poetics in Gustave Flaubert’s Madame Bovary and Józef Ignacy Kraszewski’s Ulana. Flaubert and Kraszewski shaped the character of their protagonists in a similar manner in that both women attempt to, in line with the idea of bovarysme, become someone different that they truly are. What connects the two characters: Emma engrossed with sentimental novels and bored of provincial life and Ulana for whom an affair was supposed to be an escape from marital unhappiness, are certainly stubbornness, impetuousness and tenden

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LITVINENKO, N. "G. FLAUBERT’S NOVEL MADAME BOVARY: HORIZONS OF AESTHETIC TRANSFORMATIONS." Literaturovedcheskii Zhurnal, no. 3 (2021): 30–48. http://dx.doi.org/10.31249/litzhur/2021.53.02.

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The article examines the peculiarities of the poetics of Flaubert’s novel Madame Bovary which occupies a central place in French novelism of the 1850s and is associated with the literary trends of the time in many ways. The article discusses the transformation of Balzac’s canon of realism, the differences in the artistic principles of depicting contemporary reality between Flaubert and such representatives of the school of realism as Chanfleury and Duranty; the proximity of certain elements of poetics of the novel and the portrayal of heroes to naturalism (the role of social motives, temperame

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Ceylan, M. Mirac. "“Holes Tied Together with String”: Grief in Julian Barnes’ Flaubert’s Parrot." Gaziantep University Journal of Social Sciences 23, no. 4 (2024): 1433–43. http://dx.doi.org/10.21547/jss.1507038.

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Julian Barnes’ Flaubert’s Parrot (1984) is an experimental novel in which the narrator Geoffrey Braithwaite searches for parrots, multiple biographies, and truth(s) about the life of Gustave Flaubert. On the other hand, the novel has an infrastructure about Braithwaite’s personal life and grief that flows simultaneously with the surface layer of the narrative. All these concepts are treated as ‘holes tied together with string’ in the narrative of Flaubert’s Parrot, a phrase used for the definition of biography writing in the novel. With its intertextual, fragmented, parodic, and self-reflexive

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Gassin, Jean. "Flaubert plagiaire de Flaubert dans Madame Bovary?" Australian Journal of French Studies 33, no. 1 (1996): 107–19. http://dx.doi.org/10.3828/ajfs.33.1.107.

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Elez, Vesna. "A Matter of Taste: The Political Catastrophe of 1848 in Flaubert’s L’éducation sentimentale as an Aesthetic Fiasco." L'Esprit Créateur 65, no. 1 (2025): 72–87. https://doi.org/10.1353/esp.2025.a962055.

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Abstract: Flaubert’s famous novel L’éducation sentimentale describes the bitter collapse of all values in 1848 and the equally perplexing aftermath, the coup d’état of 1851. This article argues that the role of taste in this novel is crucial, as the concept of taste is based on the ability to make subtle judgments. Flaubert’s preoccupation with theories of art (the painter Pellerin) is used to show that Flaubert not only criticizes what he considers to be erroneous theories of art (socially engaged art, the fusion of socialism and Christianity, Arnoux’s oxymoronic Art industriel ), but also ar

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Knight, Diana, and David Roe. "Gustave Flaubert." Modern Language Review 86, no. 3 (1991): 737. http://dx.doi.org/10.2307/3731085.

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Girard, Danièle. "Numériser Flaubert." Études Normandes 56, no. 4 (2007): 9–16. http://dx.doi.org/10.3406/etnor.2007.1696.

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Unwin, Tim. "Gustave Flaubert." Modern & Contemporary France 26, no. 2 (2017): 216–17. http://dx.doi.org/10.1080/09639489.2017.1412945.

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Vendrell, Luis Larios, Miquel Angel Riera, and Basilio Losada. "Isla Flaubert." World Literature Today 66, no. 1 (1992): 118. http://dx.doi.org/10.2307/40147931.

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Raffi, Maria Emanuela. "Gustave Flaubert." Studi Francesi, no. 188 (LXIII | II) (August 1, 2019): 380–82. http://dx.doi.org/10.4000/studifrancesi.20096.

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Bourget, Paul, and Nancy O’Connor. "On Flaubert." New England Review 33, no. 4 (2013): 10–30. http://dx.doi.org/10.1353/ner.2013.0026.

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Chaline, Jean-Pierre. "Flaubert, iconographe ?" Études Normandes 1, no. 1 (2017): 68–74. http://dx.doi.org/10.3406/etnor.2017.3511.

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L’abondante iconographie dont nous disposons sur Rouen au XIXe siècle a pu faire penser, parfois, que plusieurs de ces gravures ou, le plus souvent, de ces lithographies, s’inspiraient du roman Madame Bovary dont elles auraient cherché à illustrer les pages concernant la ville. Nous-même, avouons-le, frappé par la correspondance étrange entre telle image et telle scène rouennaise de l’oeuvre de Flaubert, en avions esquissé l’hypothèse dans un article ancien d’Études normandes (1-1981). Or le développement, depuis, d’études approfondies tant sur l’imagerie de l’époque que sur la gestation du ro

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Pérez Bernal, Ángeles Ma del Rosario. "Baroque Ethos in Borges: Resistance and Creation." LETRAS, no. 71 (January 2, 2022): 107–25. http://dx.doi.org/10.15359/rl.1-71.5.

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Jorge Luis Borges' essays on Walt Whitman (“The Other Whitman,” “Note on Walt Whitman”) and on Gustave Flaubert (“Flaubert and His Exemplary Destiny”) are inserted into the Baroque trend as Latin American aesthetics via two processes that illustrate its ethos: resistance and creation. Borges finds his reflection in the figures of Whitman and Flaubert for an anamorphic becoming-other.

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Butler, R. "Flaubert et Boileau." Revue d'histoire littéraire de la France o 86, no. 5 (1986): 856–64. http://dx.doi.org/10.3917/rhlf.g1986.86n5.0856.

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Résumé Cet article a pour but de démontrer les profonds retentissements qui se firent ressentir dans l'esthétique grâce à la réévaluation de Boileau que Flaubert entreprit à des moments déterminants de sa carrière d'écrivain. L'étude des lettres adressées par Flaubert à Louise Colet en 1846 et en 1853 dans le cadre de la rédaction de la première Education sentimentale et de Madame Bovary permet de retracer l'éducation classique de Flaubert. L'unité de construction, l'économie, l'ordre et la méthode, l'harmonie de la pensée et de l'expression, dans laquelle la clarté de la première ou de « la c

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Lucey, Michael. "How You Read Madame Bovary." Representations 156, no. 1 (2021): 27–54. http://dx.doi.org/10.1525/rep.2021.156.2.27.

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Prompted by the prior work of critics like Ross Chambers and sociologist Pierre Bourdieu, this article pursues the possibility that there would be a way of reading Madame Bovary that is not just about learning to be a sophisticated and refined enough reader of Gustave Flaubert to appreciate all that he managed to achieve in that novel. Rather, while sophistication and refinement may constitute a typical first step in becoming a reader of Flaubert’s novel, the novel also, from a different perspective, offers a critical experience of the symbolic violence of a cultural universe structured by hie

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Traninger, Anita. "„Messieurs les démons, laissez-moi donc!“ Das Sichtbare und das Sagbare in Flauberts Tentation de saint Antoine." Romanistisches Jahrbuch 69, no. 1 (2018): 198–224. http://dx.doi.org/10.1515/roja-2018-0008.

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Abstract That Gustave Flaubert found inspiration for his Tentation de saint Antoine in a painting ascribed to Breughel the younger, which he saw during his Italian travels in Genoa, has often been noted and commented on. Yet while the source has been named regularly, it has often been reduced to a mere thematic inspiration. This article seeks to show how the painting, together with an etching by Jacques Callot owned by Flaubert, informed seminal structural decisions, above all the dramatic form. The article provides a discussion of both the images of the saint conceived in the textual traditio

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Kibalnik, Sergei. "FLAUBERT’S HYPERTEXTS IN CHEKHOV’ WORKS (ON THE CONCEPT OF “CONSTRUCTIVE CRYPTO-PARODY”)." Literaturovedcheskii Zhurnal, no. 3 (2021): 100–111. http://dx.doi.org/10.31249/litzhur/2021.53.06.

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The article addresses the hypertexts of Flaubert in Chekhov’s works. The hypertextuality in Chekhov’s story Duel (1891) is connected with Flaubert’s novel Madame Bovary (1856), and is hybrid and optional. The story The Jumping Girl (1891) written shortly after, is already a fairly obvious hypertext of Flaubert’s novel: the scheme of the plot and the semantic of the original source is transformed to a much lesser extent. One more explicit hypertext of Flaubert’s A Simple Soul (1877) could be found in Chekhov’s late story Darling (1899). The article both describes and analyzes in all these texts

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Pogorelskaia, Elena I. "The motives of the works of Flaubert and Maupassant in the prose of Isaac Babel." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 114–21. http://dx.doi.org/10.20339/phs.5-22.114.

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The article examines some motifs of G. Flaubert and G. de Maupassant in the stories of I. Babel of the 1920s and 1930s. Stylistic and genre comparisons of Babel’s works with the works of French writers were noticed by critics in the first half of the 1920s. Similarities with Maupassant in the structure of the novella, with Flaubert — in the structure of the phrase were noted. Maupassant’s novella and Babel’s novella have a lot in common, first of all, brevity, saturation, paradoxicity. However, there is a significant difference: Maupassant almost never narrates in the first person, Babel, on t

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Logvinova, Irina. "I.S. TURGENEV, A.A. BLOK, M.A. VOLOSHIN AND “THE LEGEND OF ST JULIAN THE HOSPITALIER” BY G. FLAUBERT." Literaturovedcheskii Zhurnal, no. 3 (2021): 112–19. http://dx.doi.org/10.31249/litzhur/2021.53.07.

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Flaubert’s “The Legend of St Julian the Hospitable” was first translated into Russian by I.S. Turgenev, and more recently - in beginning of the 20th century - by M.A. Voloshin and A.A. Blok. The paper addresses Voloshin’s “Preface to the translation of Flaubert’s ‘The Legend of St Julian the Hospitable’”, which he wrote in polemics with Turgenev’s translation. The analysis of the reason of Voloshin’s interest in the text by Flaubert shows that “The legend of St Julian” attracted the poets of the Silver Age with its unusual content, peculiar mysticism and particular - Flauberian - style of pres

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Guinand, Cécile. "La Caricature littéraire : L’Éducation sentimentale de Flaubert." Quêtes littéraires, no. 5 (December 30, 2015): 65–77. http://dx.doi.org/10.31743/ql.239.

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In the fictional universe of L’Éducation sentimentale, caricature is practiced in several ways by some characters who design caricatural portraits, play the role of famous caricatural characters and perform literary caricature in their press releases. Present and produced in the fictional universe, Flaubert also integrates it in the narration. He builds a literary caricature on the basis of graphical caricature. Based on the principle of distance, he highlights the gap between the pretensions of the characters and the paltry result of their efforts. He restores the device of the framework of l

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Jiménez Gómez, Cristina Alejandra. "Ciudad-Política-Teatro: Flaubert y el teatro espontáneo." CALLE14: revista de investigación en el campo del arte 10, no. 17 (2016): 128. http://dx.doi.org/10.14483/udistrital.jour.c14.2015.3.a10.

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RESUMENA partir de la investigación-creación “Flaubert 20 rutas” (el registro en video de diferentes intervenciones en el transporte público de Bogotá) se pone de manifiesto cómo los buses se pueden convertir en un escenario móvil para el teatro espontáneo. Este contexto da lugar a las reflexiones de una actriz, adaptadas de textos de Gustave Flaubert que tratan de la urbanidad y convivencia social en lo que él llama la buena sociedad. Se establece la identificación de un espacio escénico habitado cotidianamente por pasajeros que al mismo tiempo son personajes reconocibles del entorno urbano.

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Henry, Freeman G., Naomi Schor, and Henry F. Majewski. "Flaubert and Postmodernism." South Atlantic Review 50, no. 3 (1985): 122. http://dx.doi.org/10.2307/3199447.

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Lacoste, Francis. "L'Orient de Flaubert." Romantisme 33, no. 119 (2003): 73–84. http://dx.doi.org/10.3406/roman.2003.1181.

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Wetherill, P. M., Naomi Schor, and Henry F. Majewski. "Flaubert and Postmodernism." Modern Language Review 81, no. 1 (1986): 209. http://dx.doi.org/10.2307/3728808.

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Unwin, Timothy, A. W. Raitt, and Aimee Israel-Pelletier. "Flaubert: 'Trois Contes'." Modern Language Review 89, no. 1 (1994): 220. http://dx.doi.org/10.2307/3733204.

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Neefs, Jacques. "Flaubert, œuvres complètes ?" Études Normandes 37, no. 3 (1988): 7–13. http://dx.doi.org/10.3406/etnor.1988.2777.

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