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Journal articles on the topic 'France, fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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.

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11

Villette, Agnès. "Viral Fictions: Navigating Time in Search of Memorial Markers for the Radio-Toxic Landscape of La Hague." Acta Academiae Artium Vilnensis, no. 100 (June 1, 2020): 238–73. http://dx.doi.org/10.37522/aaav.100.2021.63.

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Nuclear events have inscribed the 20th century into a new chemical temporality, that generally escapes our scrutiny due to radioactivity’s invisibility. Radioactive particles keep falling back to earth since nuclear tests peaked during the Cold War, they form an iterative invisible presence that is coated in political invisibility. Through films and fictions, the paper traces haunted images that keep coming back. Two distinct geographies are weaved together, that of West Coast American deserts, where numerous tests were conducted, and that of the nuclear peninsula of La Hague, in France. The recurring metaphors of dust and mist, not only characterise the two landscapes, but illustrate how radioactive particles literally journey and affect natural environments and activate the trope of contamination. Viral Fictions address the issue of creating a nuclear marker for La Hague’s burial site. Underlying the fragility of material cultures and the aporia of projecting knowledge through deep time, the article creates a possible im- material fictional nuclear marker for La Hague. Merging a set of references from local folk oral legends with the ability of fiction to transmit forms of knowledge and imaginary archetypes, Viral Fictions uses AI algorithmic software to generate speculative forms of fictions and visuals.

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12

Sherzer, Dina, and Catherine Savage Brosman. "Visions of War in France: Fiction, Art, Ideology." South Central Review 18, no. 1/2 (2001): 128. http://dx.doi.org/10.2307/3190307.

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13

Gouanvic, Jean-Marc. "La traduction et le devenir social : le cas de l’irruption de la science-fiction américaine en France après la Seconde Guerre mondiale." TTR : traduction, terminologie, rédaction 7, no. 1 (February 27, 2007): 117–52. http://dx.doi.org/10.7202/037171ar.

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Résumé La traduction et le devenir social: le cas de l'irruption de la science-fiction américaine en France après la Seconde Guerre mondiale. À partir de la théorie de Pierre Bourdieu (concepts de champ, de capital et de biens symboliques, d'habitus et d'ïllusio), cette étude propose une sociologie de la traduction appliquée à l'importation de la science-fiction américaine en France dans les années 1950. C'est d'un « nouveau genre littéraire » d'origine américaine que Boris Vian, Raymond Queneau et Michel Pilotin se font les initiateurs dans l'espace socio-culturel français. Or, si les textes de SF des auteurs américains sont traduits massivement dans la culture française de l'époque, cette traduction n'a lieu que moyennant l'importation des structures institutionnelles américaines autonomes (en particulier des magazines et des collections spécialisées) qui ont émergées à la fin des années 1920 et à la naturalisation du modèle subculturel américain qui aboutissent à la constitution d'un champ de science-fiction autonome dans l'espace culturel français. Dès lors, la question traductologique essentielle que pose l'importation de la science-fiction américaine en France est la suivante. Lorsqu'un type de texte (ou un genre) prend corps dans un groupe social d'un espace culturel (source) et qu'il est traduit dans un autre espace culturel, par quel groupe social ce type de texte ou ce genre est-il reçu dans l'espace culturel cible? L'auteur fait l'hypothèse que la translation (au sens mathématique du terme) de la science-fiction américaine (textes et structures institutionnelles) réussit parce que, d'une part, il existe en France une ou des catégories sociales qui sont les homologues de la petite bourgeoisie américaine technophile des années 1920 et parce que, d'autre part, il existe une adhésion plus ou moins consciente à l'American way of life comme le modèle de société qui s'impose comme allant de soi dans de larges pans de l'espace social français de l'après-guerre. Dans ces conditions, la traduction contribue à renforcer le modèle américain dans sa prétention à l'universalité, quelles qu'aient été à l'origine les vertus de changement social que les agents d'implantation Vian, Queneau et Pilotin avaient reconnues dans la science-fiction et sur lesquelles ils s'appuyaient pour la présenter comme un « genre nouveau ».

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14

Schabert, Ina. "English Fiction in France: A Cross-Channel Dialogue at the Turn of the Twenty-First Century." Nottingham French Studies 61, no. 1 (March 2022): 45–59. http://dx.doi.org/10.3366/nfs.2022.0338.

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After a period of postmodern innovation, readers as well as some writers in France have developed a taste for English fiction, preferably for texts that invite immersive reading. In contrast to earlier cross-Channel studies with their emphasis on French influence on English literature, an enquiry into current Anglo-French literary relations might show the reverse being true. For a start, this article discusses creative responses to English works in three French novels: Sylvia Tabet represents the Franco-British literary dialogue as an encounter with a variety of Victorian and post-Victorian voices; Julie Wolkenstein stages it as a negotiation between a novel by Henry James and her own fiction; and Jacqueline Harpman replies to Virginia Woolf’s Orlando with an updated version of the myth of the androgyne. Like the English pre-texts, the French offshoots encourage identificatory reading, yet by their mise en abyme techniques they also provoke critical reflection.

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15

Bystrova, Tat’yana A. "INTRODUCTION TO BIOFICTION. HISTORY AND BIOGRAPHY BY THE MODERN ITALIAN WRITERS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 282–90. http://dx.doi.org/10.28995/2686-7249-2023-3-282-290.

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The article highlights the specific features of the hybrid genre of biographical writing (also known as «fictional biography»), which has been theorized since the 1990s in France. The biographical novel is a fictional work about a real-life person with elements of authorial fiction. On the textual level, the subject of “hybridization” in biofiction can be both the content plan (speculation of events built around the documentary basis) and the form plan (use of indirect speech, stream of consciousness, insertion of other people’s text, etc.). At the pragmatic level, there is a breakdown of the traditional relationship between reader and text, as information recognized by the reader as fiction is presented as a biographical fact. The article also maps out a circle of questions for researchers and literary critics to address, in particular, the issue of genre boundaries and the development of terminology, the issue of the relationship between a character of biofiction and his historical prototype, the issue of relationship between an author and his work, the issue of the influence of new cultural and media factors on genres of biographical writing.

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16

Schmitt, Arnaud. "Sam Ferguson's Diaries Real and Fictional in Twentieth-century French Writing." European Journal of Life Writing 9 (June 12, 2020): R6—R11. http://dx.doi.org/10.21827/ejlw.9.36160.

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Over the last two decades, Philippe Lejeune’s research has established diary-writing as maybe the only form of life-writing immune from panfictionalism. In an oft-quoted article (Lejeune 2007), the French theorist famously expressed his fiction and autofiction fatigue (‘[…] j’ai créé “antifiction” par agacement devant “autofiction”, le mot et la chose’, 3) and set up an insurmountable ontological barrier between autobiographies and diaries: ‘autobiography has fallen under the spell of fiction, diaries are enamored with truth’ (‘[…] l’autobiographie vit sous le charme de la fiction, le journal a le béguin pour la verité’, 3).1 In his more recent book, Aux Origines du Journal Personnel: France, 1750–1815 (2016), Lejeune not only reasserted this privileged connection between diaries and truth/reality—not unlike Barthes’s claim in La Chambre claire that photography cannot be distinguished from its referent— but went as far as removing diaries from the field of literary studies as, according to him, they do not constitute a literary genre (or only as an epiphenomenon). In Diaries Real and Fictional in Twentieth-Century French Writing, Sam Ferguson opts for an altogether different approach.

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17

Ginsburg, M. P. "Inventing the Israelite: Jewish Fiction in Nineteenth-Century France." Modern Language Quarterly 73, no. 1 (January 1, 2012): 108–12. http://dx.doi.org/10.1215/00267929-1459781.

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18

Noort, Kimberly Philpot van. "Visions of War in France: Fiction, Art, Ideology (review)." Nineteenth Century French Studies 30, no. 1 (2001): 173–74. http://dx.doi.org/10.1353/ncf.2001.0051.

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19

Pioffet, Marie-Christine. "Nouvelle-France ou France nouvelle : les anamorphoses du désir." Tangence, no. 90 (September 2, 2010): 37–55. http://dx.doi.org/10.7202/044339ar.

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Ce texte explore la perception imaginaire de la Nouvelle-France chez les voyageurs français depuis Verrazano et Cartier jusqu’à Charlevoix, en passant par Marc Lescarbot, Gabriel Sagard, Paul Lejeune, Chrétien Leclercq et même Marie de l’Incarnation. À peine peuplé, ce vaste territoire devient le théâtre des rêves expansionnistes et missionnaires les plus ambitieux. En raison de ses contours incertains et des failles de la cartographie, cette France d’Amérique nourrit les fantasmes des explorateurs qui y cherchent tantôt un passage vers la Chine, tantôt des villes prospères et populeuses, tantôt un nouvel Eldorado situé au Saguenay ou quelque part dans le Mississipi. La fiction déborde la géographie et se répercute sur un axe temporel, que ce soit par des échappées dans un avenir glorieux ou encore dans un passé magnifié, celui des Gaulois, intrépides navigateurs aux yeux de Lescarbot, ou des croisés enrôlés dans une guerre sainte, à en croire Paul Lejeune. Dans ce contexte, l’image de la Nouvelle-France, fabrication idéo-politique, spatiale mais aussi historique, voire eschatologique, se construit pour panser les espoirs déçus.

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20

T., E., Roland Lehoucq, and Émilie Querbalec. "L’extraterrestre, le scientifique et l’autrice de science-fiction." Multitudes 94, no. 1 (March 6, 2024): 207–12. http://dx.doi.org/10.3917/mult.094.0207.

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« Mais pourquoi diable les humains, sur leur petite planète bleue, s’intéressent-ils à ce point à moi, qui ne suis qu’un extraterrestre ? » : telle est la question que pose un E. T. parmi tant d’autres, depuis l’espace intersidéral, à une autrice de science-fiction qui a transformé ce genre littéraire qu’est le space opéra et à un astrophysicien qui est aussi le président du plus grand festival de sciences et de science-fiction en France : les Utopiales à Nantes.

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21

Martone, Eric. "Defining the Scope of Alexandre Dumas’s La Drame De La France: Problems, Considerations, and Debates." European Journal of Language and Literature 7, no. 1 (May 15, 2021): 71. http://dx.doi.org/10.26417/778lxl63q.

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Alexandre Dumas’s interment in the Panthéon in 2002 prompted a steady reevaluation of his literary reputation, resulting in his increased prominence among his nineteenth-century peers. Several studies have resurrected Dumas’s 1857 argument that his works comprise a vast series entitled La Drame de la France. This argument has become so ubiquitous that it has become an uncontested fact. However, there are certain challenges in studying Dumas’s La Drame de la France. Dumas did not repeatedly make this assertion, which was announced toward the latter portion of his life, and whether it was something that consciously and continuously drove his plans when developing future ideas and concepts for his historical fiction novels is debatable. Therefore, while not disputing the existence of La Drame de la France, its nature (and the nature of its creation) nevertheless makes it so that which novels specifically comprise it has never been definitively established. Coming to some degree of consensus on this point is needed as a first step to advance studies of Dumas in this area. This article seeks to initiate this literary discussion by presenting Dumas’s 36 major historical fiction novels set in France, briefly examining the problems, considerations, and debates that exist in whether each could be accepted as part of the series.

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22

Pakhsaryan, Natalia. "THE CROSSROADS OF CULTURES AND METAMORPHOSES OF TIME IN ANDREI' MAKINE 'S NOVELS." Herald of Culturology, no. 2 (2022): 111–26. http://dx.doi.org/10.31249/hoc/2022.02.06.

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The article discusses several novels by Andrei' Makine, a modern writer, in whose work Russian and French cultures are closely intertwined. The author of such works as The French Testament, Requiem for the East, The Woman Who Waited, etc., having emigrated to France in 1987, writes his novels in French. But in all his works the Russian theme is presented in one way or another. Besides the Russian literary tradition is important for the writer. The experience of I.A. Bunin, in particular, is especially revered by Andrei Makine. In his novels, this Franco-Russian author refers to different stages of Russian history of, including those that had occurred before his birth. On the one hand, he relies on the events of his own biography, introduces autobiographical elements into the plot of novels, on the other hand he constantly mixes these elements with fiction, shifts and pushes the boundaries of time. Fictional metamorphoses in A. Makine’s works allow him to express nostalgia for Russia in the artistic canvas of the text in French.

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23

Deslandres, Dominique. "« … alors nos garçons se marieront à vos filles, & nous ne ferons plus qu’un seul peuple1 » : religion, genre et déploiement de la souveraineté française en Amérique aux XVIe-XVIIIe siècles – une problématique2." Revue d’histoire de l’Amérique française 66, no. 1 (January 7, 2014): 5–35. http://dx.doi.org/10.7202/1021080ar.

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Cet article revisite l’histoire de la fiction du métissage, sous l’éclairage croisé de la religion, du genre et des Imperium Studies. Les premiers résultats de l’analyse montrent qu’entre les années 1500-1680, les Autres pouvaient facilement s’assimiler à la société des Français par les voies privilégiées et éminemment genrées qu’étaient le baptême et le mariage. Or mettre en regard ces voies d’assimilation avec l’échec que fut la chimère (tout aussi genrée) de faire un seul peuple franco-amérindien, permet de faire ressortir des mécanismes mentalitaires qui jouèrent en faveur de la tentation impérialiste – celle du roi de France, en veine d’absolutisme, comme celle de l’Église de Rome, catholique et donc universelle.

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24

Vinuela, Ana. "Television documentary production in France." Critical Studies in Television: The International Journal of Television Studies 13, no. 2 (April 26, 2018): 227–43. http://dx.doi.org/10.1177/1749602018763681.

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This article discusses the regulatory framework within which the television documentary production industry operates in France, and how public policies have created and then adapted a support system in response to the active agency of professionals. I give particular attention to the reform of the support system implemented between 2014 and 2017, which has privileged certain categories of non-fiction programmes and affected the patterns of production. I will look at the definition of quality criteria in documentary funding, focusing on the pivotal, though controversial, notion of ‘creative documentary’, and on the diverse approaches that inform French audiovisual policy. By focusing on policy interventions, the article will address the economic and political history of television documentary in France between 1986 and 2017.

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25

Chaniac, Régine. "La fiction en série : évolution de la programmation en France." Quaderni 9, no. 1 (1989): 41–54. http://dx.doi.org/10.3406/quad.1989.1968.

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26

Roberts, Warren, and Faith E. Beasley. "Revising Memory: Women's Fiction and Memoirs in Seventeenth-Century France." American Historical Review 97, no. 4 (October 1992): 1225. http://dx.doi.org/10.2307/2165582.

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Ranum, Orest, Faith Beasley, and Joan Dejean. "Revising Memory, Women's Fiction and Memoirs in Seventeenth-Century France." MLN 107, no. 4 (September 1992): 810. http://dx.doi.org/10.2307/2904921.

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28

Lethbridge, Robert, and William J. Berg. "Imagery and Ideology: Fiction and Painting in Nineteenth-Century France." Modern Language Review 103, no. 4 (October 1, 2008): 1128. http://dx.doi.org/10.2307/20468069.

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29

Tilby, M. "Imagery and Ideology: Fiction and Painting in Nineteenth-Century France." French Studies 63, no. 1 (January 1, 2009): 103–4. http://dx.doi.org/10.1093/fs/knn199.

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30

Richetti, John. "Enlightenment Fiction in England, France, and America (review)." Eighteenth-Century Fiction 17, no. 1 (2004): 127–30. http://dx.doi.org/10.1353/ecf.2004.0006.

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31

Taylor, E. Derek. "Enlightenment Fiction in England, France, and America by William Donoghue." Scriblerian and the Kit-Cats 38, no. 2 (2006): 314–15. http://dx.doi.org/10.1353/scb.2006.0006.

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32

Ooghe, Jean-Maurice, and Fabien Wille. "De la fiction dans la médiatisation du Tour de France." MédiaMorphoses 11, no. 1 (2004): 68–71. http://dx.doi.org/10.3406/memor.2004.1902.

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33

Chekalov, Kirill A. "Protoscience fiction and formation of the genre nomenclature in French paraliterature." Vestnik of Kostroma State University 28, no. 1 (April 20, 2022): 77–84. http://dx.doi.org/10.34216/1998-0817-2022-28-1-77-84.

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Formation of the paraliterature in France was inextricably linked to strengthen the feuilleton novel (as a major publication form) and was followed by the creation of an appropriate genre nomenclature. The term «science fiction» became part of it only after World War II. Although the samples of the corresponding narrative had already appeared in the period of Belle Époque. The earliest stage of the French science fiction development (main works, genre features, publishing strategies, genre reflection) is considered in the article and the role of the works by Jules Gabriel Verne in the genesis of science fiction discourse is briefly analysed. The “scientific-wondrous” (“merveilleux scientifique”) is given great consideration, that was reflected in details by the famous writer Maurice Renard.

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Szewczenko, Ludmiła. "Жанровый синкретизм книги Богдана Образа Киев–Париж. В поисках застывшего времени." Studia Wschodniosłowiańskie 23 (2023): 93–118. http://dx.doi.org/10.15290/sw.2023.23.06.

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Bogdan Obraz’s book Kyiv–Paris. In Search of Frozen Time is non-fiction literature. It is a written testimony of a young resident of Kiev, staying in the capital of France as a student and trainee. The text of this ego-document is a fusion of elements of various genres. The autobiographical reflections of the narrator- protagonist on his identity, his psychological introspection in the course of his walks with his partners in Paris are intertwined with the material of a guide to the two capitals, selected and structured by him. Moreover, the encyclopedism of copious data on the life of the two cities is striking in its abundance of descriptions of loci that were previously out of sight of the authors of books about Paris and Kyiv. Here, excerpts from an undated personal journal appear side by side with mini-essays about famous figures in the history of France and Ukraine, quotes from song, poetry and prose, references to the works of artists, films, performances – intertwined with texts by sociologists, market analysts, social psychologists, as non-fiction merges with fiction. All this contributes to the transformation of the declared genre forms in the book, and their contamination leads to the emergence of a new borderline genre.

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

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

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Rykner, Arnaud. "Theatre Photography in Nineteenth Century France: Document, Archive or Pure Fiction?" Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (October 30, 2021): 47–72. http://dx.doi.org/10.24193/subbdrama.2021.2.04.

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"Indoor performance photography, which was born in France on the occasion of the Paris World Exhibition in 1889, remains a problematic theatrical and media object to this day. But at the Belle Epoque and until the Second World War at least, it requires to be approached with all the more caution because it is always the fruit of multiple manipulations, either at the time of the making of the shots (mandatory posing of actors, specific lighting, etc.), or at the time of their “post-production” (printing, but especially edition in review or volume). A complex and particularly rich object that must be studied in its context (publications or archives), stage photography is then offered as much as a document to be deciphered as a fiction to be deconstructed. Keywords: theatre photography, France, Belle Epoque, document, photographic archives. "

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Cornick, Martyn. "Representations of Britain and British Colonialism in French Adventure Fiction, 1870–1914." French Cultural Studies 17, no. 2 (June 2006): 137–54. http://dx.doi.org/10.1177/0957155806064438.

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Recent scholarship has rediscovered the plural manifestations of a colonial culture in France, emerging after 1870 and reaching its apogee in the early 1930s. The period between 1870 and 1914, when France was undergoing rapid modernisation and was fully engaged in the process of consolidating its distinct national identity, constitutes the richest period for the impregnation of French society by this culture. This article reveals how images of British colonialism contrasted with representations of French colonial practice across a number of examples of popular adventure novels written between 1867 and 1903 by contemporaries and imitators of Jules Verne: Alfred Assollant, Paul d'Ivoi and Colonel Driant.

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Kapor, Vladimir. "La Vogue des archéofictions au XIXe siècle: le passé ressuscité et le passé interprété." Nottingham French Studies 51, no. 1 (March 2012): 54–65. http://dx.doi.org/10.3366/nfs.2012.0006.

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Through the concept of archeofictions, this article rethinks the interface between fiction and archaeology in nineteenth-century France. By rejecting conventional categories such as ‘archaeological novel’, the corpus of fictional works under scrutiny is expanded, to encompass lesser-studied authors such as Bibliophile Jacob (Paul Leroux) and Gustave Toudouze, in addition to Gustave Flaubert and Théophile Gautier. Throughout the nineteenth century, archaeology was a discipline-in-the-making, dominated by textual methods, and lacking institutional recognition. The analysis aims to show the ways in which nineteenth-century imaginative literature encapsulated early archaeology's quest for epistemic autonomy and methodological struggles, while embracing the new patterns of thought for framing the past promoted by the nascent discipline.

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NGAMALEU, Jovensel. "De l’usage de la vie intime d’autrui comme fond littéraire." Revue Mosaïques, Volume 1, Numéro 5 (December 22, 2022): 95–104. http://dx.doi.org/10.17184/eac.3021.

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La fiction/l’autofiction contemporaine, notamment en France, est devenue un véritable phénomène sous-tendu parfois par le pillage de la vie des autres. Plusieurs écrivains se singularisent par cette pratique scripturaire libertaire et cynique. Cet article interroge la problématique de l’exploitation littéraire de la vie intime d’autrui dans Les Petits de Christine Angot. Nous convoquons conjointement les concepts de posture auctoriale et d’horizon d’attente afin d’explorer les contours de la manœuvre littéraire déployée par Angot et sa réception. Il en ressort que Les Petits illustre la posture transgressive et provocatrice d’Angot qui opère une supercherie littéraire préjudiciable, sous le couvert d’une pseudo-fiction.

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Lempereur, Johann. "Cinéma & Séries." Revue Défense Nationale N° 868, no. 3 (March 12, 2024): 123–28. http://dx.doi.org/10.3917/rdna.868.0123.

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La série Cœurs noirs diffusée récemment sur France 2 met en avant les forces spéciales françaises dans une mission complexe se situant en Irak. Le réalisme du scénario et la qualité de la réalisation méritent d’être retenus, permettant ainsi de découvrir – dans un cadre de fiction – une réalité opérationnelle trop méconnue.

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Paige, Nicholas. "Rococo Fiction in France, 1600–1715: Seditious Frivolity by Allison Stedman." French Review 87, no. 3 (2014): 280. http://dx.doi.org/10.1353/tfr.2014.0404.

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Letourneux, Matthieu. "Serializing imports and importing series: France and foreign mass-produced fiction." Journal of European Popular Culture 5, no. 1 (April 1, 2014): 31–41. http://dx.doi.org/10.1386/jepc.5.1.31_1.

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Linton, Anne E. "Mutating Bodies: Reproductive Surgeries and Popular Fiction in Nineteenth-Century France." Contemporary French and Francophone Studies 22, no. 5 (October 20, 2018): 579–86. http://dx.doi.org/10.1080/17409292.2018.1582169.

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Gethner, Perry. "Rococo Fiction in France, 1600–1715: Seditious Frivolity by Allison Stedman." French Forum 39, no. 1 (2014): 166–68. http://dx.doi.org/10.1353/frf.2014.0015.

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Podol'nikov, Vladimir Pavlovich. "People's War in France, 1870-1871, in Historical Literature and Fiction." UNIVERSITY NEWS. NORTH-CAUCASIAN REGION. SOCIAL SCIENCES SERIES, no. 2 (2016): 54–60. http://dx.doi.org/10.18522/0321-3056-2016-2-54-60.

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R. Welch, Ellen. "A Review of “Rococo Fiction in France, 1600–1715: Seditious Frivolity”." Symposium: A Quarterly Journal in Modern Literatures 68, no. 4 (October 2, 2014): 233–34. http://dx.doi.org/10.1080/00397709.2014.969669.

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Lussier, Alexis. "Une scène imaginaire en Nouvelle-France." Études 32, no. 3 (October 11, 2007): 91–106. http://dx.doi.org/10.7202/016580ar.

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Résumé La correspondance d’Isaac Jogues (1607-1646) trace un itinéraire sacré dans le tissu d’un langage qui n’est jamais que la répétition d’une autre écriture reconnue et autorisée par l’institution. Mais dans l’espace de celui qui écrit, une fiction a lieu où vient se produire un corps inventé dans la matière du récit et dans le champ imaginaire du sujet parlant — sujet divisé entre le silence et l’éclat, le désir souterrain et les manifestations de l’obéissance. Des premières lettres à sa mère, en passant par l’écriture des rêves et des visions, jusqu’à la dernière missive qui signe la fin de la correspondance en même temps que la mort de son auteur, cette écriture rappelle une détresse physique et spirituelle, où le corps du missionnaire n’est plus que la réécriture d’un autre corps institué dans le texte de l’autre.

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Marcoline, Anne. "George Sand and Music Ethnography in Nineteenth-Century France." Nineteenth-Century Music Review 12, no. 2 (September 10, 2015): 205–25. http://dx.doi.org/10.1017/s1479409815000300.

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In Les Visions de la nuit dans les campagnes (1851–1853), George Sand responded to the French government’s newly announced project of collecting the ‘popular’ or folk songs of France, with a critique of their methods of collection as perfunctory. Sand was adamant not only about a more rigorous approach to amassing the nation’s folk songs but also about the inclusion of the music with the lyrics, and her concise, insightful critique of archival methods came after nearly two decades of her own occupation with rendering music in her fiction and, more immediately, a decade focused on folk music in many of what are known as her ‘rustic’ novels. In particular, I bring to the fore in this article discussions in Sand’s expansive novel Consuelo; La Comtesse de Rudolstadt (1842–1844) which both insist upon the historical, cultural and personal significance of the preservation of folk music and navigate the tensions of preserving an art form that is fundamentally non-static and ephemeral, in order to articulate the value Sand places on musical sensibility, memory and heritage. I argue that Les Visions de la nuit dans les campagnes stands along with Sand’s fiction as an ardent defense against the loss of the musical heritage of provincial France in the hands of the state’s archivists. This article thus situates George Sand’s investment in the cultural production from the Berry region within the early history of nineteenth-century music ethnography in France, while maintaining Sand’s own understanding of her cultural production as poetic rather than scientific.

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Motzkin, Gabriel. "Memoirs, Memory, and Historical Experience." Science in Context 7, no. 1 (1994): 103–19. http://dx.doi.org/10.1017/s0269889700001617.

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The ArgumentAgainst the idea that modern historiography developed in the eighteenth century as a completely new way of looking at the past, this paper argues that modern historical science borrowed its sense of experience from seventeenth-century memoirs. However, seventeenth-century rnemorialists made very different as sumptions than modern historians about the relations between time, memory, and history. One consequence of their introduction of lived subjectivity into the depiction of the past was a debate in early eighteenth-century France about the relations between history and fiction, some arguing that fiction is a better way of grasping the subjective truth of the past. These debates about the relations between history and memory and between history and fiction have resurfaced recently. The historical moods that are one context for paradigm shifts share common motifs, such as a sense of defeat, of distance between the present and the immediate past, and a need for consolation through the elaboration of a new mode of experiencing the past.

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Macé, Eric. "Les récits journalistiques à l'épreuve des stratégies de communication. «2005-2007 : violences urbaines ou émeutes de la mort ?»." MédiaMorphoses 24, no. 1 (2008): 86–91. http://dx.doi.org/10.3406/memor.2008.2239.

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Éric Macé observe la médiatisation des émeutes en France en 2005 et 2007. Il s’étonne de ce que sont devenues les informations en cas de crise : prises dans les stéréotypes des industries médiatiques, défigurées par les communications ministérielles, promises à la fiction des industries culturelles. Comment dans ces conditions penser le métier de journaliste et, a fortiori, la formation des journalistes ?

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