Academic literature on the topic 'France, fiction'
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Journal articles on the topic "France, fiction"
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Holmes, Diana. "Women’s Fiction in Postfeminist France: Léonora Miano, Camille Laurens, and Chick-Lit or Romances urbaines." Nottingham French Studies 61, no. 3 (December 2022): 294–306. http://dx.doi.org/10.3366/nfs.2022.0361.
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Women make up a significant majority of fiction readers, in France as elsewhere, and the novel has long been – and remains – a widely shared medium that both reflects and reflects on gender norms and their effects on women’s lives. My paper examines three contemporary female-authored novels covering the spectrum from ‘literary’ to popular fiction, each of which might be described as a postfeminist story for a postfeminist France. The texts are: Camille Laurens’ Celle que vous croyez (2016); Marie Vareille’s Je peux très bien me passer de toi (2015); Léonora Miano’s Blues pour Élise (2010). My analysis asks in what ways the contemporary ‘women’s novel’ reflects postfeminist culture, in its negative sense as a market-oriented co-optation of feminist aims and achievements but also in its more positive sense, as a new stage in feminist struggles. To what extent can pleasurable fictions not only acknowledge the realities of a postfeminist climate, but also question and challenge them?
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Reyns-Chikuma, Chris. "La Fiction d’affaires en France: de la fiction anti-affaires à l’anti-fiction d’affaires." Neophilologus 98, no. 1 (March 2, 2013): 61–76. http://dx.doi.org/10.1007/s11061-013-9348-2.
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Miller, Mary Ashburn. "A Fiction of the French Nation." Historical Reflections/Réflexions Historiques 44, no. 2 (June 1, 2018): 45–66. http://dx.doi.org/10.3167/hrrh.2018.440204.
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This article examines fictional representations of the emigration of the French Revolution. It focuses on the novels Eugénie et Mathilde, Les Petits émigrés, and Le Retour d’un émigré, which were published in France between 1797 and 1815 as émigrés were seeking to return to the nation they had fled. It argues that these novels should be interpreted as making claims about the ability of émigrés to reintegrate within the nation. The sentimental novels responded to two key anxieties about the émigrés’ return by demonstrating that émigrés had not been transformed into foreigners during their time abroad and that they were not seeking to reconstitute Old Regime France. These novelists redefined the émigré as an isolated and pitiable wanderer, and redefined France as a nation bound by common suffering and sentiment.
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Moroz, Grzegorz. "Provençal Landscapes in Aldous Huxley’s Fiction and Non-Fiction." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 357–67. http://dx.doi.org/10.36575/2353-2912/1(7)2019.357.
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The paper focuses on the analysis of different ways in which Aldous Huxley chose to represent Provençal landscapes in his novels, such as Eyeless in Gaza or Time Must Have a Stop, as well as in his essays, such as “Music at Night” or “The Olive Tree”. The analytical tools which have been developed by scholars of the so called ‘spatial turn’ have been used (particularly the notion of ‘polysensory landscapes’), while Huxley’s representations of Provence are considered in the context of Aldous Huxley’s biography and the political situation in France in particular and in the world in general in the 1930s.
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Parent, Arnaud. "Science in Eighteenth-Century French Literary Fiction: A Step to Modern Science Fiction and a New Definition of the Human Being?" Acta Baltica Historiae et Philosophiae Scientiarum 10, no. 1 (May 24, 2022): 78–103. http://dx.doi.org/10.11590/abhps.2022.1.05.
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In eighteenth-century France, scientific progress and its spreading met a growing interest among public, an enthusiasm that was to be reflected in literature. Fictional works including scientific knowledge in their narrative made their appearance, paving the ground for a genre promised to a growing success in the following centuries—science fiction. The article presents three eighteenth-century French literary works, each one centered on a different domain of science: Voltaire’s Micromégas (1752), Charles-François Tiphaigne’s Amilec, or the Seeds of Mankind (Amilec, ou la graine d’hommes, 1753) and François-Félix Nogaret’s The Mirror of Current Events, or Beauty to the Highest Bidder (Le miroir des événements actuels, ou la belle au plus offrant, 1790). The first one, an iconic Enlightenment work that promotes critical thinking, relies on discoveries made in astronomy and optics. Tiphaigne de la Roche is far from sharing the fame of Voltaire, but his odd Amilec is noteworthy as it is possibly the very first science-fiction work in which biology is central. Written in the unique atmosphere of the French revolution, Nogaret’s work The Mirror of Current Events depicts androids-like interacting with humans. Our purpose is to show that these works were a precursor (proto science fiction) of the science fiction genre in literature, to describe how and what science or technology was depicted in them, and how they influenced the view of Man (humans) in eighteenth-century France.
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Cook, Malcolm. "La Fiction courte en France, 1790-1800." Eighteenth-Century Fiction 13, no. 2-3 (2001): 197–212. http://dx.doi.org/10.1353/ecf.2001.0038.
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Wesseling, H. L. "France, Germany and Europe." European Review 10, no. 3 (July 2002): 301–4. http://dx.doi.org/10.1017/s1062798702000224.
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In 1999, a book appeared in Paris with the rather alarming title De la prochaine guerre avec l'Allemagne (‘On the future war with Germany’). It had not been written by some sensationalist science-fiction writer, but by none other than Philippe Delmas, a former aid to Roland Dumas, who was twice minister of Foreign Affairs under the Mitterrand administration.
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Bruna, Giulia. "Ian Maclaren's Scottish Local-Colour Fiction in Transnational Contexts: Networks of Reception, Circulation, and Translation in the United States and Europe." Translation and Literature 30, no. 3 (November 2021): 307–31. http://dx.doi.org/10.3366/tal.2021.0479.
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This article analyses the early circulation, reception, and translation history of Ian Maclaren's bestselling Scottish local-colour fiction in the United States, the Netherlands, France, and Switzerland. It sketches a comparative model which illuminates the agents of transnational cultural mediation crucial to the international popularity of local-colour fiction in the late nineteenth century. In the USA, key factors for Maclaren's popularity were the interconnected transatlantic publishing world and audiences already receptive to dialect literature. In Europe, while the bestselling quality of his collections and readers’ previous familiarity with regional fiction played a significant role, additional factors included: in the Netherlands, Maclaren's clerical background and the place of established religion in publishing; in France and Switzerland, periodicals attentive to international trends in fiction and to internal regionalist phenomena, along with the initiative of a translator with a flair for Breton regionalism and well connected to the Swiss and Parisian literary milieux.
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Muravyova, L. E. "Criticism and fiction: An autofiction experience. Serge Doubrovsky and Raymond Federman." Voprosy literatury, no. 1 (August 14, 2023): 65–85. http://dx.doi.org/10.31425/0042-8795-2023-1-65-85.
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The article looks at the origins of the concept of autofiction and compares S. Doubrovsky’s and R. Federman’s theories, emphasising the influence of American criticism on the concept’s development. Although often referred to as a hybrid genre first emerging in France in the 1970s and combining fictional and factual events, ‘autofiction’ at its inception was understood as a special narrative practice of traumatic self-reflection through the concept of fiction. In Doubrovsky’s critical works, fiction emerges not as a product of imagination but as a psychoanalytical practice of entrusting one’s experiences to writing. In parallel with Doubrovsky, another scholar, the French-American novelist of Jewish descent Raymond Federman, challenges the limitations of the traditional autobiography. His manifesto, Surfiction (1973), reflects on the boundaries between reality and fiction and questions the very possibility of an autobiographical experience representation. Along with Doubrovsky, Federman views autobiographical writing as an attempt to render a not-to-be-represented and traumatic experience.
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Koller, Sylvie. "D’autres nouvelles du monde. Les nouveaux chroniqueurs latino-américains." Études Février, no. 2 (January 26, 2016): 75–85. http://dx.doi.org/10.3917/etu.4224.0075.
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Alors que les croisements entre fiction et non-fiction sont à la mode, les chroniques latino-américaines sont curieusement encore mal connues en France. Elles donnent pourtant lieu à une production très riche dans laquelle de grands auteurs s’impliquent. Il n’est pas trop tard pour en découvrir la richesse.
Dissertations / Theses on the topic "France, fiction"
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Kershaw, Angela. "Gender, politics and fiction in 1930s France." Thesis, University of Nottingham, 1998. http://eprints.nottingham.ac.uk/14337/.
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This study examines French political fiction of the 1930s, taking gender as its primary category of analysis. It considers texts by female novelists whose work has been largely excluded from critical attention, in order to bring their particular contribution to inter-war French literature to light. It integrates this analysis into a consideration of relevant and representative texts of the exclusively male canon of French political fiction dating from the 1930s, exploring points of contact and divergences to show how the work of the female authors relates to the wider context of French inter-war literary activity. Texts by eight writers are considered in detail, namely Madeleine Pelletier, Edith Thomas, Henriette Valet, Louise Weiss, Louis Aragon, Pierre Drieu la Rochelle, André Malraux and Paul Nizan. The analysis of the female-authored novels informs the study of their male counterparts, whose texts also offer fertile ground for an analysis in terms of gender. The corpus is approached, in broad terms, through the themes of commitment, sexuality and the body. These themes permit an investigation of the gendering of politicization as it is manifested in 1930s literature.
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Hall, Daniel James Alan. "Gothic fiction in France and Germany (1790-1800)." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324030.
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Kolingar, Victoire. "L'étendue de la fiction dans le lien de filiation." Paris 2, 2007. http://www.theses.fr/2007PA020108.
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Selon Monsieur Benabent, "l'état de l'enfant consiste dans le lien de filiation qui le relie à son père et sa mère". Or, dans notre droit de la filiation, on a souvent défini la filiation biologique comme étant le lien de droit qui existe entre l'enfant et son père ou sa mère. Mais qu'en est-il alors de la filiation fictive? La filiation fictive résulte d'un acte de volonté, on parle d'une "filiation imitation". Cette filiation ne repose pas sur une réalité biologique mais sur une réalité affective, qui proclame juridiquement le statut de parent et enfant à deux individus. La filiation fictive est donc par définition la filiation qui ne correspond pas à la vérité biologique mais repose sur une vérité affective. Cette constatation, nous amène à nous interroger sur la place que le droit accorde à la fiction dans la filiation. Si l'on se réfère à la pensée de Mr Benabent, il ne fait pas de doute que la fiction occuperait une place tout aussi importante que cette "fameuse vérité biologique". Or, dans notre droit positif, le conflit semble être tranché au profit de la primauté accordée à la vérité biologique. Ainsi, nous tenterons d'analyser cette filiation fictive en tenant compte des nouveaux modes de procréation et nous verrons également comment le législateur crée des mensonges pour légaliser ce type de filiation. Nous essayerons également de démontrer que selon la nature du lien de filiation, le droit va organiser tantôt un mensonge tantôt une vérité.
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Bou, Hachem Amal. "L'étranger dans le cinéma de fiction français : essai d'interprétation sociologique." Paris 5, 2008. http://www.theses.fr/2008PA05H102.
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Dans cette thèse, nous nous proposons de travailler sur la figure de l'étranger et sur la place que lui assigne le cinéma de fiction français. Nous essayons de retracer les présentations liées à cette figure en montrant dans un premier temps, comment la sociologie a étudié l'étranger mais aussi comment elle a étudié le cinéma indépendamment. Dans notre étude, la sociologie du cinéma est utilisée comme une méthode de recherche basée sur l'œuvre cinématographique elle-même et qui s'étale sur la totalité des films de fictions. Notre recherche de terrain s'inspire des axiomes de la sociologie compréhensive et considère le "fait cinématographique" comme un fait institutionnel et sociologiqueIn this thesis, we are intending to work on the figure of the foreigner and which place it has been assigned to in the French fiction cinema. We are trying to recount the presentations bound to this figure. We show at first how sociology studied the foreigner but also how sociology studied the cinema independently. Then we use sociology of the cinema as a method to make research. Our method is based on the film work itself and spreading on the totality of the fiction films. Our research for ground is inspired by the axioms of the comprehensive sociology and also who considers the film fact as an institutional and sociological fact
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Chalut, Michèle. "La presse municipale d'information en Auvergne : réalité ou fiction politique ?" Clermont-Ferrand 1, 1998. http://www.theses.fr/1998CLF10193.
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La presse municipale fait, plus encore en Auvergne, partie de l’apanage du maire. Elle est l’outil de communication le plus ancien le plus utilisé. « Presse » est un bien grand mot. Elle n’a pas les caractéristiques journalistiques. Elle est irrégulière, gratuite, peu originale. Les articles sont anonymes et se limitent à la cité. Le budget est essentiellement constitué de fonds publics. La publicité est soumise au véto du maire. « Demain Clermont-Ferrand » est l’exemple choisi dans cette étude. « L’information » n’est pas apolitique. Les articles les plus intéressants (les plus journalistiques) sont les moins traités pour leur manque de faire valoir. Peu soumise à la surveillance s’appliquant à la presse (la réglementation des dépôts n’est pas respectée) elle est avant tout réglementée comme acte administratif et comme objet de propagande en période électorale. « Demain Clermont-Ferrand » est aussi le reflet de la personnalité du maire-créateur. C’était un Homme de Lettres, la culture y était très présente. En Europe, on retrouve là où le maire est élu les mêmes caractéristiques. En conclusion, le journal municipal est avant tout un excellent journal d’entreprises.
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Fouano, Rodolphe. "Les adaptations théâtrales de textes de fiction narrative en France depuis 1968." Paris 4, 1992. http://www.theses.fr/1992PA040158.
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Les adaptations théâtrales de romans, de récits, de contes et de nouvelles sont de plus en plus nombreuses sur la scène française. Les écrivains les plus souvent adaptés, la nature des œuvres-sources, les différents procédés d'adaptation, l'origine et le statut des auteurs de transpositions sont analysés à partir d'un corpus de 992 spectacles qui s'étendent sur la période 1968-1992. Le développement des adaptations de textes de fiction narrative illustre la confusion entre les genres littéraires (littératures narrative, littératures dramatique) d'une part, et des arts du spectacle (théâtre, cinéma) d'autre part. La théâtralité ne cesse d'être redéfinie et étendue. Certains textes, réputés jusque-là non théâtraux sont aujourd'hui admis sur scène sans réécriture dramaturgique. Les formes actuellement en voie de reconnaissance théâtrale n'ont sans doute ainsi jamais été aussi variées. Mais c'est la moins le signe d'une richesse de la création que d'une profonde crise d'identité du théâtre. Une approche à la fois littéraire et dramaturgique, qui n'oublie pas les réalités économiques et les conditions actuelles d'exercice des professions du spectacle, permet de souligner les profondes mutations des pratiques théâtrales, en France, depuis les années "70", dont l'adaptation de textes de fiction narrative est l'un des principaux effetsDramatization of novels, narratives, tales and short stories are more and more numerous in France. Writers, whose works are adapted, nature of works staged, adaptation processes, origin and status of adaptors are analyzed from a corpus of 992 plays which run from 1968 to 1992. The development of dramatization illustrates the confusion between literary manners (fiction drama) on the one hand, and spectacle (plays movies) on the other hand. Which writing is susceptible of being staged and which is not: the question is not yet settled. Some writings formerly known as non-theatrical are staged today without being written over again. Writings now acknowledged as theatrical have never been so numerous and varied. However, it is less the sign of the wealth of creation, than of a deep crisis of identity in the theatre. A study concerning both fiction and drama, which does not forget actual professional and economical facts, and stresses on the large alterations to theatre in France, since the seventies. .
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Quaquarelli, Lucia. "Objets de fiction, quelques fonctions narratives de l'objet romanesque (France-Italie 1980-1990)." Paris 3, 2003. http://www.theses.fr/2003PA030088.
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Ce travail se consacre à une étude des objets romanesques. De ces objets magiques il trace un chemin d'analyse " fonctionnelle ", effectué sur la base, textuelle, d'un étroit nombre de romans italiens et français parus au cours des années Quatre-vingts. Bien que les objets du roman gardent généralement, tout comme leurs pareils dans le monde réel, une dimension essentielle d'usage (par une nécessité de vraisemblance et de motivation interne), ils possèdent également, toujours, un rôle fictionnel et fonctionnel qui la dépasse. Un rôle qui s'affirme, d'une fois à l'autre, sur le rapport que les objets instaurent avec les personnages et les événements de l'histoire, ou encore, à un autre niveau, avec la narration. Un rôle, enfin, qui enregistre des constantes au sein de l'histoire du roman, à partir desquelles il est intéressant de mesurer l'écart, ainsi que les points de contact (et de reprise), qui marquent la plus récente production romanesque. C'est pourquoi cette étude propose deux parcours distincts parmi les objets qui pointillent les romans des années Quatre-vingts. Le premier suit les traces du rapport qui lie les objets fictifs aux personnages et le deuxième enquête sur les fonctions des objets fictifs à l'égard de la narration. Deux parcours seulement dans l'ample et articulé réseau de rapports invisibles au cœur duquel se trouve l'objet de fiction, qui se déplient bien loin de toute volonté de taxonomie et d'exhaustivité. Deux itinéraires d'analyse qui répondent à la nécessité de rendre compte de la spécificité du corpus romanesque choisi avec, comme toile de fond, une dimension littéraire diachronico-dialectique à partir de laquelle cette spécificité peut véritablement être saisieThis work deals with the study of objects in novels. It lays out a " functional " analytical path of these magical objects, based on the reading of a number of Italian and French novels from the Eighties. Although these fictive objects generally manifest an important utility profile - in a similar way to their cousins in the real world (by the necessity of resemblance and internal motivation) - they equally always possess a fictional and functional role which goes beyond such a profile. It is a role which appears around the relation the objects establish with the characters and the events of the story or, on another level, with the narration. A role which registers constants within the history of the novel, from which it is interesting to measure the distance, rather than the points in common, which mark the most recent production. This is the reason why this study proposes two distinct paths between the objets which punctuate the novels of the Eighties. The first follows the traces of the relation which ties the fictive objects to the characters and the second questions the functions of the fictive objects with regard to the narration. Only two paths are proposed in the vast and complex network of invisible relations at the heart of which the object can be found; two paths which pan out far from the will to taxonomize or be exhaustive. Two analytic itineraries which respond to the necessity to account for the specificity of the corpus of fiction chosen, with for a backdrop a diachronic-dialectic literary dimension from which this specificity can be grasped
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Bréan, Simon. "La science-fiction en France de la Seconde Guerre mondiale à la fin des années soixante-dix." Electronic Thesis or Diss., Paris 4, 2010. https://www.numeriquepremium.com/content/books/9782840508502.
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Après la Seconde Guerre mondiale, la littérature de science-fiction s’est développée en France sous la forme d’un sous-champ isolé au sein du champ littéraire, avec ses collections, ses critiques et ses lecteurs spécifiques. Cette littérature produit des univers fictionnels en tension entre la réalité conventionnelle et des états alternatifs de cette réalité, selon une modalité dénommée dans la thèse le « régime ontologique matérialiste spéculatif ». Le corpus des romans a été analysé d’abord dans une perspective diachronique, en présentant une histoire des acteurs, des structures éditoriales et des thèmes de la science-fiction en France, articulée à une réflexion sur les conditions et les perspectives d’écriture des auteurs français. Les romans ont ensuite été analysés de manière à permettre une théorisation à plusieurs niveaux de l’écriture de la science-fiction : le mot et le texte de science-fiction, les mondes fictionnels extrapolés à partir du monde réel et enfin la mémoire collective mise en place par l’ensemble des œuvres, que nous nommons le « macrotexte » de la science-fiction. Notre contribution principale à l’histoire littéraire est l’étude de la manière dont évoluent les représentations communes en science-fiction, sous la forme de paradigmes dominants successifs où les écrivains réinterprètent les images et idées de la science-fiction. Nous avons établi selon quelles modalités le corpus des romans de science-fiction fournit à l’analyse du discours narratif, à la théorie de la fiction et à l’étude de l’intertextualité, des exemples remarquables en raison des dispositifs destinés à mettre les univers de science-fiction en concurrence avec la réalitéAfter the Second World War in France, science fiction literature took the form of an isolated subaltern field within the literary field, featuring specific publishing series, critics and readership. In science fiction novels, fictional worlds are created by mixing conventional reality and alternate states of reality, a process I call “régime ontologique matérialiste spéculatif” (“speculative materialistic ontological status”). I have studied French science fiction novels first from a historical perspective, by describing the protagonists, the publishers and the themes of French science fiction, as well as by assessing how and to what end French science fiction writers wrote their novels. I have then studied these novels at several levels: how words and texts are shaped in science fiction, how fictional worlds are extrapolated from the real world and how science fiction texts generate a collective memory, which I call the “macrotext” of science fiction. Our thesis contributes to literary history by studying how the perception of science fiction gradually changes over time, each main paradigm morphing into a new one as writers adapt science fiction images and ideas to their needs. I have also pointed out how science fiction novels may prove of a keen interest to narrative discourse analysis, fiction theory and intertextuality approach, because of various devices meant to allow science fiction worlds to compete with reality
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Bréan, Simon. "La science-fiction en France de la Seconde Guerre mondiale à la fin des années soixante-dix." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040125.
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Après la Seconde Guerre mondiale, la littérature de science-fiction s’est développée en France sous la forme d’un sous-champ isolé au sein du champ littéraire, avec ses collections, ses critiques et ses lecteurs spécifiques. Cette littérature produit des univers fictionnels en tension entre la réalité conventionnelle et des états alternatifs de cette réalité, selon une modalité dénommée dans la thèse le « régime ontologique matérialiste spéculatif ». Le corpus des romans a été analysé d’abord dans une perspective diachronique, en présentant une histoire des acteurs, des structures éditoriales et des thèmes de la science-fiction en France, articulée à une réflexion sur les conditions et les perspectives d’écriture des auteurs français. Les romans ont ensuite été analysés de manière à permettre une théorisation à plusieurs niveaux de l’écriture de la science-fiction : le mot et le texte de science-fiction, les mondes fictionnels extrapolés à partir du monde réel et enfin la mémoire collective mise en place par l’ensemble des œuvres, que nous nommons le « macrotexte » de la science-fiction. Notre contribution principale à l’histoire littéraire est l’étude de la manière dont évoluent les représentations communes en science-fiction, sous la forme de paradigmes dominants successifs où les écrivains réinterprètent les images et idées de la science-fiction. Nous avons établi selon quelles modalités le corpus des romans de science-fiction fournit à l’analyse du discours narratif, à la théorie de la fiction et à l’étude de l’intertextualité, des exemples remarquables en raison des dispositifs destinés à mettre les univers de science-fiction en concurrence avec la réalitéAfter the Second World War in France, science fiction literature took the form of an isolated subaltern field within the literary field, featuring specific publishing series, critics and readership. In science fiction novels, fictional worlds are created by mixing conventional reality and alternate states of reality, a process I call “régime ontologique matérialiste spéculatif” (“speculative materialistic ontological status”). I have studied French science fiction novels first from a historical perspective, by describing the protagonists, the publishers and the themes of French science fiction, as well as by assessing how and to what end French science fiction writers wrote their novels. I have then studied these novels at several levels: how words and texts are shaped in science fiction, how fictional worlds are extrapolated from the real world and how science fiction texts generate a collective memory, which I call the “macrotext” of science fiction. Our thesis contributes to literary history by studying how the perception of science fiction gradually changes over time, each main paradigm morphing into a new one as writers adapt science fiction images and ideas to their needs. I have also pointed out how science fiction novels may prove of a keen interest to narrative discourse analysis, fiction theory and intertextuality approach, because of various devices meant to allow science fiction worlds to compete with reality
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Barbillon, Chrystelle. "Mode narratif, mode dramatique : l’adaptation théâtrale de fiction narrative au XVIIe siècle en France." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040006.
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Souvent décriée comme production d’une littérature de seconde main, constamment pratiquée par le théâtre contemporain, l’adaptation, mal définie, négligée par la critique, est rarement théorisée par ceux qui la pratiquent. À partir d’un corpus composé d’une trentaine d’œuvres narratives, allant de L’Astrée d’Honoré d’Urfé (1607-1625) au Dom Carlos de Saint-Réal (1672), et de près de quatre-vingts adaptations, cette étude analyse l’adaptation théâtrale de fiction narrative comme une pratique d’écriture unifiée, que reprend et amende chaque dramaturge. Définissant rigoureusement l’adaptation, ce travail construit, par l’étude des textes et une contextualisation théorique circonstanciée, des outils d’analyse qui identifient et évitent les apories des théories de l’adaptation. Cette grille de lecture rhétorique permet alors de suivre dans ses principaux procédés le geste d’écriture adaptatif, de la sélection de la matière romanesque à la composition puis l’écriture de la pièce de théâtre, jusqu’à son actualisation sur scène : se définit ainsi une poétique de l’adaptation transmodale, qui perturbe le fonctionnement des parties de la rhétorique et met en jeu les potentialités du medium dramatique. Cette pratique, qui confirme ou infirme les genres dramatiques, dans une dynamique tantôt topique, tantôt créatrice, comporte ainsi des enjeux esthétiques. Lieu de circulation et d’invention des formes littéraires, d’un jeu intertextuel complexe dont le miroitement est démultiplié par une réception à plusieurs niveaux, l’adaptation théâtrale exhibe sa littérarité, et mérite une place dans le paysage littéraire français du XVIIe siècle, dont elle restaure l’épaisseur et la richesseOften dismissed as the production of second-hand literature, though constantly used by modern stage directors and playwrights, adaptation has frequently been neglected by critics; barely theorised by those who practice it, it has been approached with an approximate definition. Through the study of thirty novels and short stories − ranging from Honoré d'Urfé's L’Astrée (1607-1625) to Saint-Réal’s Dom Carlos (1672) − and the study of some eighty theatrical adaptations, this work analyses the theatrical adaptation of narrative fictions as a coherent writing practice, which each and every play embodies in a different way. Starting with a clear definition of what theatrical adaptation means, then proceeding with a careful reading of the works and a detailed review of contemporary theories, we build tools to analyse this corpus and avoid the aporias adaptation theories have usually been confronted with. This reading of adaptation, based on rhetorics, enables us to follow the process of adaptative writing step by step through its various techniques − from the selection of material within the novel to the designing and actual writing of the play to its final staging. Thus we define the poetics of a transmodal adaptation, which reinvents the working of rhetorical categories and questions the potentiality of drama as a semiotic medium. Adaptation therefore challenges literary genres − sometimes confirming their topoï, sometimes creating new forms − and thus tackles aesthetics-related issues. Theatrical adaptation appears as a field of literary experimentation and formal innovation, within which intertextual references reverberate and multiply in various levels of reading. Exhibiting its second-hand nature and therefore its literary quality, theatrical adaptation rightly deserves to be read as a major contribution to the French seventeenth-century dramatic literature, to which it gives back its density and richness
Books on the topic "France, fiction"
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Brosman, Catharine Savage. Visions of war in France: Fiction, art, ideology. Baton Rouge: Louisiana State University Press, 1999.
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Samuels, Maurice. Inventing the Israelite: Jewish fiction in nineteenth-century France. Stanford, Calif: Stanford University Press, 2010.
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Samuels, Maurice. Inventing the Israelite: Jewish fiction in nineteenth-century France. Stanford, Calif: Stanford University Press, 2010.
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Samuels, Maurice. Inventing the Israelite: Jewish fiction in nineteenth-century France. Stanford, Calif: Stanford University Press, 2010.
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Harrod, Mary, and Raphaëlle Moine, eds. Is it French? Popular Postnational Screen Fiction from France. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-39195-8.
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Donald, Maddox, and Sturm-Maddox Sara, eds. Melusine of Lusignan: Founding fiction in late medieval France. Athens: University of Georgia Press, 1996.
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Bréan. La Science-Fiction en France. PUPS, 2012. http://dx.doi.org/10.14375/np.9782840508502.
Full textBook chapters on the topic "France, fiction"
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Ory, Pascal. "The Introduction of Science Fiction into France." In France and the Mass Media, 98–110. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-11208-1_8.
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Mutch, Deborah. "Anatole France, ‘Crainquebille', trans. Jacques Bonhomme (1902)." In British Socialist Fiction, 1884-1914, Volume 3, 203–13. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003553380-22.
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Bruguière, Catherine, and Denise Orange Ravachol. "Problematisation, Narrative and Fiction in the Science Classroom." In Shaping the Future of Biological Education Research, 21–34. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-44792-1_2.
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AbstractThis paper focusses on the didactic functions of problematisation, narrative and fiction in the science classroom. The approach we propose to address these issues takes into account the epistemological specificities of biology (functionalist and historical sciences). Based on this epistemological foundation, we will first present the theoretical framework of problematisation developed over more than 20 years in France, before exploring the more recent notion of realistic fiction by situating it in relation to work in biology didactics that borrows from the frameworks of narrative and/or fiction. Our two-part paper aims to initiate a dialogue between these different theoretical frameworks and to question their points of convergence and divergence through examples taken from our research work (blood circulation, molecular renewal, animal metamorphosis). To what extent can fictional narratives contribute to constructing problematised biological knowledge? How does the shift to extra-ordinary modes of reasoning allow us to move away from storytelling?
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Solterer, Helen. "The Freedoms of Fiction for Gender in Premodern France." In Gender in Debate from the Early Middle Ages to the Renaissance, 135–63. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-07997-8_8.
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Acquisto, Joseph. "Pessimism and the Novel: Fiction and the “As-If”." In Living Well with Pessimism in Nineteenth-Century France, 151–224. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-61014-2_4.
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Amir, Lucie. "How Does Crime Fiction ‘talk politics’? Figures of Political Action in Contemporary French Crime Writing." In Contemporary European Crime Fiction, 187–208. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21979-5_11.
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AbstractWhat can crime stories tell us about the imaginary of political commitment? In France as in other European countries, the connections between writers and radical left activists were a strong feature of 1980s and 1990s crime fiction, in the wake of French néo-polar. In contrast, twenty-first-century thrillers seem to be inhabited by disillusioned and disoriented cops, and undecided or fatal commitments. Rather than exploring political issues emerging from crime fiction, this chapter focuses on the representation of political attitudes themselves in contemporary French Noir, to better understand the role played by uncertainty and disarray in European political sensibilities. The analysis is based on a large corpus of French crime fiction, from the early 1970s néo-polar by Jean-Patrick Manchette, to the novels of Caryl Férey, Dominique Manotti, Frédéric Paulin and Olivier Norek.
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Mackay, Elizabeth Ann. "50 Shades of Elizabeth; or, “Doing History” in Pop Fiction." In Remembering Queens and Kings of Early Modern England and France, 259–78. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22344-1_14.
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Harrod, Mary, and Raphaëlle Moine. "Correction to: Is it French? Popular Postnational Screen Fiction from France." In Palgrave European Film and Media Studies, C1—C2. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-39195-8_14.
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Marcus, Ivan G. "The Historical Meaning of Hasidei Ashkenaz: Fact, Fiction or Cultural Self-Image?" In Jewish Culture and Society in Medieval France and Germany, XIV 103—XIV 114. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003421054-14.
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White, Nicholas. "Gender Difference and Cultural Labour in French Fiction from Zola to Colette." In The Labour of Literature in Britain and France, 1830-1910, 221–36. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-55253-2_13.
Full textConference papers on the topic "France, fiction"
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Jacxsens, E., H. Van den Ameele, J. De Fruyt, Y. Vandekerckhove, F. Vancoillie, and V. Grootaert. "DI-021 Qt prolongation in an acute psychiatric setting: fact or fiction?" In 22nd EAHP Congress 22–24 March 2017 Cannes, France. British Medical Journal Publishing Group, 2017. http://dx.doi.org/10.1136/ejhpharm-2017-000640.268.
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Zammit, Sarah-Jane. "Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5050pxtvl.
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Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.
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D'Aprile, Marianela. "A City Divided: “Fragmented” Urban and Literary Space in 20th-Century Buenos Aires." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.22.
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When analyzing the state of Latin American cities, particularly large ones like Buenos Aires, São Paolo and Riode Janeiro, scholars of urbanism and sociology often lean heavily on the term “fragmentation.” Through the 1980s and 1990s, the term was quickly and widely adopted to describe the widespread state of abutment between seemingly disparate urban conditions that purportedly prevented Latin American cities from developing into cohesive wholes and instead produced cities in pieces, fragments. This term, “fragmentation,” along with the idea of a city composed of mismatching parts, was central to the conception of Buenos Aires by its citizens and immortalized by the fiction of Esteban Echeverría, Julio Cortázar and César Aira. The idea that Buenos Aires is composed of discrete parts has been used throughout its history to either proactively enable or retroactively justify planning decisions by governments on both ends of the political spectrum. The 1950s and 60s saw a series of governments whose priorities lay in controlling the many newcomers to the city via large housing projects. Aided by the perception of the city as fragmented, they were able to build monster-scale developments in the parts of the city that were seen as “apart.” Later, as neoliberal democracy replaced socialist and populist leadership, commercial centers in the center of the city were built as shrines to an idealized Parisian downtown, separate from the rest of the city. The observations by scholars of the city that Buenos Aires is composed of multiple discrete parts, whether they be physical, economic or social, is accurate. However, the issue here lies not in the accuracy of the assessment but in the word chosen to describe it. The word fragmentation implies that there was a “whole” at once point, a complete entity that could be then broken into pieces, fragments. Its current usage also implies that this is a natural process, out of the hands of both planners and inhabitants. Leaning on the work of Adrián Gorelik, Pedro Pírez and Marie-France Prévôt-Schapira, and utilizing popular fiction to supplement an understanding of the urban experience, I argue that fragmentation, more than a naturally occurring phenomenon, is a fabricated concept that has been used throughout the twentieth century and through today to make all kinds of urban planning projects possible.
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Omacini, Lucia. "« Je m’arrête à […] l’envahissement total de la France par les armées étrangères, et c’est là que je finis mes considérations historiques. » (Madame de Staël)." In Les fins intermédiaires dans les fictions narratives des XVIIe et XVIIIe siècles. Fabula, 2019. http://dx.doi.org/10.58282/colloques.5975.
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Connan-Pintado, Christiane. "Métamorphoses d’une histoire d’eau en littérature de jeunesse (1865-2004) Perspectives scientifiques/ littéraires/pédagogiques." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2489.
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En lien avec l’axe littéraire du colloque, la présente contribution à la réflexion s’attachera à trois « histoires d’eau » publiées en France pour la jeunesse, en l’espèce trois fictions qui ont en commun de prendre pour protagoniste une goutte d’eau : Métamorphoses d’une goutte d’eau, de Zulma Carraud (Hachette, « Petite Bibliothèque rose illustrée », 1864), Histoire de Perlette goutte d’eau de Marie Colmont (Flammarion, « Père Castor », ill. Béatrice Appia, 1936 et Gerda Muller, 1960) et Histoire courte d’une goutte de Beatrice Alemagna (Autrement jeunesse, 2004). Dans la mesure où la littérature pour la jeunesse se caractérise séculairement par la double visée d’instruire et de plaire, on pourra s’interroger sur la manière dont elle accomplit cette mission en jouant de l’anthropomorphisation de l’inanimé et de la fictionnalisation des phénomènes naturels. La perspective diachronique adoptée invite à observer l’évolution de l’édition et de la création pour la jeunesse sur le long terme. Individualisée, humanisée, féminisée, la goutte d’eau devenue personnage prend la parole pour raconter son histoire avec le soutien d’une iconographie de plus en plus prégnante au cours de l’itinéraire qui conduit du livre illustré à l’album contemporain. Si nombre de ressources littéraires sont convoquées pour rendre le savoir plus aimable et le mettre à la portée des enfants, la leçon scientifique semble peu à peu marquer le pas au profit d’un projet poétique, esthétique et/ou idéologique où l’imaginaire de l’eau prend toute sa place. Cette étude prendra appui sur nombre de travaux qui se penchent sur la production pour la jeunesse, afin de mettre en valeur son intérêt historique, littéraire, artistique et pédagogique.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2489