Contents
Academic literature on the topic 'French-Canadian Novel And Short Story'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'French-Canadian Novel And Short Story.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "French-Canadian Novel And Short Story"
1
Toorawa, Shawkat M. "The Modern Literary (After)lives of al-Khiḍr." Journal of Qur'anic Studies 16, no. 3 (October 2014): 174–95. http://dx.doi.org/10.3366/jqs.2014.0172.
Full textAbstract:
Prominent examples of major Qur'anic characters in modern world literature include Joseph (and Zulaykha) -like characters in the 1984 Arabic novel, al-Rahīna (The Hostage) by the Yemeni writer Zayd Muṭīʿ Dammāj (d. 2000) and the fictionalised portrayal of the women around the Prophet Muḥammad in Algerian filmmaker and novelist Assia Djebar's 1991 French novel, Loin de Médine (Far from Medina). In this article I focus, rather, on a ‘minor’ Qur'anic character, al-Khiḍr (cf. Q. 18:65–82). I begin by looking briefly at the evolution of al-Khiḍr in Islamic literatures generally and then focus on his deployment in several short fictional accounts, viz. the 1995 French novella L'homme du livre (Muhammad, A Novel) by Moroccan author Driss Chraïbi (d. 2007); Victor Pelevin's 1994 Russian short story, ‘Prints Gosplana’ (Prince of Gosplan); the 1998 short story, ‘The Mapmakers of Spitalfields’, by Bangladeshi-British writer Manzu Islam; and Reza Daneshvar's 2004 Persian tale, ‘Mahboobeh va-Āl’ (‘Mahboobeh and Ahl’). I characterise the ways in which these modern authors draw on the al-Khiḍr type, persona, and legend, and go on to suggest how and why the use of al-Khiḍr in modern literature is productive and versatile.
2
Tokarev, Dimitri. "Le rôle et les métamorphoses des quatre éléments dans de sartre et de beckett." Samuel Beckett Today / Aujourd'hui 20, no. 1 (December 1, 2008): 233–41. http://dx.doi.org/10.1163/18757405-020001019.
Full textAbstract:
This article presents a comparative analysis of the representation of the four elements in Sartre's novel and in – Beckett's first "French" novella, which was later renamed . The second part of the novella wasn't published in because of a misunderstanding; it seems that Beckett constructs the second part of his short story and especially its finale as a polemic remark to . We will see that in both texts the elements and especially water play a very important role.
3
Couti, Jacqueline, and Jason C. Grant. "Man up! Masculinity and (Homo)sexuality in René Depestre’s Transatlantic World." Humanities 8, no. 3 (September 16, 2019): 150. http://dx.doi.org/10.3390/h8030150.
Full textAbstract:
The question of homosexuality in Francophone Caribbean literature is often overlooked. However, the ways in which the Haitian René Depestre’s Le mât de cocagne (The Festival of the Greasy Pole, 1979) and “Blues pour une tasse de thé vert” (“Blues for a Cup of Green Tea”), a short story from the collection Eros dans un train chinois (Eros on a Chinese Train, 1990) portray homoeroticism and homosexuality begs further study. In these texts, the study of the violence that surrounds the representation of sexuality reveals the sociopolitical implications of erotic and racial images in a French transatlantic world. Hence, the proposed essay “Man up!” interrogates a (Black) hegemonic masculinity inherited from colonialism and the homophobia it generates. This masculinity prescribes normative traits that frequently appear toxic as it thrives on hypersexuality and brute force. When these two traits become associated with violence and homoeroticism, however, they threaten this very masculinity. Initially, Depestre valorizes “solar eroticism,” a French Caribbean expression of a Black sexuality, free and joyful, and “geolibertinage,” its transnational and global expression. Namely, his novel and short story sing a hegemonic and polyamorous heterosexuality, respectively, in a postcolonial milieu (Haiti) and a diasporic space (Paris). The misadventures of his male characters suggest that eroticism in transatlantic spaces has more to do with Thanatos (death) than Eros (sex). Though Depestre formally explores the construction of the other and the mechanisms of racism and oppression in essays, he also tackles these themes in his fictional work. Applying Caribbean feminist and gendered lenses to his fiction bring to light the intricate bonds between racism, sexism and homophobia. Such a framework reveals the many facets of patriarchy and its mechanism of control.
4
Ellis, Juniper. "Tatau and Malu: Vital Signs in Contemporary Samoan Literature." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 687–701. http://dx.doi.org/10.1632/003081206x142823.
Full textAbstract:
In two contemporary Samoan works, Albert Wendt's short story “The Cross of Soot” (1974) and Sia Figiel's novel They Who Do Not Grieve (1999), tattooing produces and proclaims the psychological and social place of the tattoo bearer. The tattoo signals the splitting or doubling of subjectivity, a mechanism by which the individual human subject is produced continually and repeatedly. The Samoan tatau creates not only Samoan subjects but also the English word tattoo and the French tatouage. Wendt and Figiel treat the production and movement of the tattoo in the Pacific and the world; they thus invite a cross-cultural critique of Lacan's theories of subjectivity, which present the tattoo as constitutive of the subject. Whereas Lacan's tattoo is disembodied and nonlocalized, Wendt and Figiel account for the tattoo's material and corporeal effects, its origins in Oceania, and its function in inaugurating a collective Samoan subject. (JE)
5
Rogacheva, Natalia A., and Anastasiia O. Drozdova. "NABOKOV’S REFLECTION ON HIS OWN AND OTHERS’ WORKS IN THE SHORT NOVEL “VASILIY SHISHKOV” AND POEM “THE POETS”." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.
Full textAbstract:
The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the first time in its connection with the methods of creation of the “phantom” fictional world. Our research subject includes the poem “The Poets” and the short story “Vasiliy Shishkov”. The texts are considered within the literary-critical and artistic contexts. The purpose of this article is to determine how the reflection of one’s own and other people’s creativity is built in these works, taking into account that perceptual imagery serves as tools for aesthetic assessment for Nabokov. The main research method in the work is structural-semiotic analysis: perceptual images are characterized by the variety of their localization, by the method of creation and distribution, by their attitude to the background, etc. The structural-semiotic approach to the analysis of literary texts has revealed the value of “phantom” or “distinctness” in Nabokov’s artistic optics. The intensity of sensations is directly related to the status of the subject of perception and to its position in the hierarchy of fictional worlds (Vasily Shishkov is the fiction of the narrator, the narrator is the fiction of the emigrant writer Nabokov). The impossibility of reliable perception, its continuity and limitation within the framework of an entire era or individual life are assessed by Nabokov as important conditions for creative development, especially significant in a situation of reflection on a new addressee art creation.
6
Babikov, Andrei. "Ada’s Penmanship To the publication of an excerpt from the Russian translation of Nabokov’s novel." Literary Fact, no. 16 (2020): 8–67. http://dx.doi.org/10.22455/2541-8297-2020-16-8-67.
Full textAbstract:
The material offered to the readers is a translation into Russian, with extensive notes, of an excerpt from the First Part of Vladimir Nabokov’s novel Ada, or Ardor: A Family Chronicle (1969). The published material consists of a translator’s Preface, five chapters from the novel, notes by V.V. Nabokov and the translator’s annotations. The Preface to the publication describes the creative and biographical circumstances of the creation of one of the most significant and controversial novels of the twentieth century, and indicates the sources of its conception, which goes back to the English short story of Nabokov Time and Ebb (1944), and considers its formal peculiarities. The Preface outlines the basic principles of Ada’s poetics, which distinguish it from the number of other works of the outstanding master and innovator of prose and affect it’s readers perception, such as: deliberate complexity of the narrative technique and an unprecedented variety of language tools used by Nabokov. The author of the Preface draws attention to the fact that the subtitle of the novel, indicating that it belongs to the genre of family chronicles, serves as one of the elements of Nabokov’s game poetics, since the classical tradition becomes the subject of parody in Ada. The novel is considered by the author of the Preface and translator of Ada as a grand compendium of European literature of Modern period, as an experiment in combining many varieties of the novel, from pastoral and Enlightenment utopian fiction of the 16– 17 centuries to the Nouveau roman of the 1950s and 1960s. The new Russian version of Nabokov’s most untranslatable novel took into account detailed annotations (in progress) by B. Boyd, works by A. Appel, Jr., and other researches, observations by one of the German translators of Ada, D. Zimmer, and the text of the French translation of the novel, which was prepared under Nabokov’s supervision. The Preface to the publication and the translator’s annotations involve archival material, in particular the draft of several chapters of the Russian translation of Ada, prepared by Véra Nabokov.
7
Stanton, Anna Ziajka. "Spatial Attractions: The Literary Aesthetics of Female Erotic Experience in the Colony." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 2 (April 2021): 253–69. http://dx.doi.org/10.1017/pli.2020.42.
Full textAbstract:
This article examines the aesthetics of representing female sexuality within colonial narratives of the West–East encounter. I consider two literary works whose female characters challenge the gendered metaphors of empire that predominated in a tradition of colonial literature and its postcolonial rewriting: the short story “La femme adultère” by the French-Algerian writer Albert Camus, and the novel Wāḥat al-ghurūb by Egyptian writer Bahāʾ Ṭāhir. In each text, the standard heterosexual troping of imperial conquest as a male activity directed at or against a feminized other is inverted to place a European woman’s sexually aroused body at the center of the drama of colonial contact. Reading these two texts against the grain of the aesthetic formulas that they employ to contemplate the political stakes of cross-cultural intimacies in a colonial setting, I argue that the phenomenological immediacy of how the female protagonist in each is shown to experience the eroticism of colonial space introduces a break in these formulas. The loss of narrative plausibility in each text that follows from these erotic interludes, I propose, ultimately testifies to the irreducibility of the body to either enforcing or disputing the epistemologies of the colonial project.
8
Morgan, N. "Van Tempeltronk tot katedraal: die kruisweg van Lodewyk XVII." Literator 28, no. 1 (July 30, 2007): 47–70. http://dx.doi.org/10.4102/lit.v28i1.150.
Full textAbstract:
From the Temple to the cathedral: the calvary of Louis XVII In 2004, more than 200 years after his death in the Temple prison, the heart of Louis XVII, the successor to France’s last king of the Ancien Régime, Louis XVI, was buried in the royal necropolis of Saint-Denis. Despite numerous publications on the destiny of the Little Prince, the chronology of his short life was not determined by historians and biographers, but by scientists who, in 2000, performed DNA tests on the petrified organ, which was miraculously preserved. Before this date, the biographies of the many pretenders to Louis XVII’s throne (that of Naundorff in particular) were better-known than the lifehistory of Marie Antoinette’s youngest son. Since then, various publications have changed this state of affairs, including an historical novel by one of France’s most knowledgeable authors on the monarchy of the 17th and 18th centuries and a biographical novel by a member of the Bourbon family. Antonia Fraser’s (2001) biography on Marie Antoinette and Sofia Coppola’s (2006) film on her life have rekindled interest in the events of the French revolution. The story of Louis XVII, who was used as a pawn by the revolutionaries, is one the most tragic of that period in the country’s history. This article provides an overview of key events gleaned from various sources, translated into Afrikaans for the first time.
9
Sloistova, Maria S. "TYPOLOGY AND STRATEGIES OF CREATIVE RECEPTION: A CASE STUDY OF ENGLISH POSTMODERNIST POETRY AND PROSE." Вестник Пермского университета. Российская и зарубежная филология 12, no. 2 (2020): 110–19. http://dx.doi.org/10.17072/2073-6681-2020-2-110-119.
Full textAbstract:
The paper focuses on complex research and description of creative reception theory and typology. There are provided definitions of such terms as reception, creative reception, creative reception strategies, and others. The author builds the typology of creative reception on the basis of works by E. V. Abramovskikh, S. Ye. Trunin, M. V. Zagidullina, V. I. Tyupa, and M. Naumann. This typology includes two types (or levels) of creative reception, defined as classic and postmodernist. Each of the types is characterized by a number of strategies, i. e. ways of representing an artistically received text in one’s own work. The classic type strategies (formal, authentic, neutral and antithetical) focus primarily on plot transformation. As for the postmodernist level, the author singles out two strategies: congenial and play. The theory and typology of creative reception is substantiated with some examples of reminiscences and allusions to English and world poetry. The examples under analysis are taken from the following prose works by the outstanding English postmodernist writer John Robert Fowles (1926–2005): the novel The French Lieutenant’s Woman (1969), the collection of long short stories The Ebony Tower (1974), the philosophic book The Aristos (1964), and also the lyric collection Selected Poems, published posthumously in 2012. The collection has not been translated into Russian yet. Therefore, the poem under analysis (Islanders) has been translated into Russian by the author of the present paper. The paper also deals with indirect Biblical reception which is found in the allusion to the ivory tower. The allusion gave the title The Ebony Tower both to Fowles’ long short story and collection as a whole. The author of the paper draws a conclusion about the dominant creative reception strategies in the literary works under analysis and also about the possible use of the presented creative reception typology in analyzing works by other writers.
10
Volkov, Ivan O., and Emma M. Zhilyakova. "Ivanhoe by Walter Scott in the Creative Perception of Ivan Turgenev. Article One." Vestnik Tomskogo gosudarstvennogo universiteta, no. 460 (2020): 5–15. http://dx.doi.org/10.17223/15617793/460/1.
Full textAbstract:
In the article, on the material of Ivan Turgenev’s library and his short story “The Jew”, the issue of reading and creative perception is examined. Turgenev’s perception of Ivanhoe by Walter Scott is in the focus. The research attention is developing from the interpretation of several Turgenev’s notes left in the English version of the novel to the analysis of the creative perception of the images of Isaac and Rebecca, which became the ideological and semantic basis of “The Jew”. The reading of Ivanhoe in the original in the early 1840s became for the writer a penetration into Scott’s individual writing system. Turgenev’s few notes indicate that he became acquainted with Scott’s creative manner: the ability to voluminously weave comic elements into the pathetic-heroic atmosphere of action, the combination of historical and artistic material, the boldness of the ironic tone, and the mastery of speech characteristics. The reader’s perception of Scott’s novel was soon replaced by its creative interpretation, as a result of which “The Jew” appeared. Following the example of the English novelist, the object of Turgenev’s artistic reflection is a Jewish father and his daughter, who find themselves in a socio-historical and moral-psychological crisis — the Patriotic War of 1812 and the Foreign Campaigns of the Russian Army. There is an obvious similarity between Scott’s Rebecca and Turgenev’s Sarah: from the elements of the external description and the details of the portrait to the moral and psychological characteristics. The two young girls are especially united by the sense of pride and the awareness of their dignity, which clearly manifest themselves in the moments of danger that threatens them. Besides, the relationship between the Jewish girl and the Russian officer in Turgenev’s story vaguely resembles the situation of Rebecca and Ivanhoe. But the love line in “The Jew” does not develop in full. Considering William Shakespeare’s and Gotthold Lessing’s experience, following Walter Scott, Turgenev reflects on the universal nature of the “humiliated tribe”. The Russian writer depicts the psychology of the experiences of the Jew Girshel, accused of spying for the French. In the tradition of objectivity and epic literature, inherited from Scott, Turgenev draws a tragic line related to the position of an ordinary person. But, unlike the English novelist, Turgenev brings the torment of the character to the highest limit – the death penalty. At the same time, the Russian writer explicates sharp contradictions in the image of his character that turns out to be a carrier of suffering, on the one hand, and a source of laughter, on the other. This shows Turgenev’s orientation on the features of Shakespeare’s image of a person, in which the tragic invariably coexists with the comic. Walter Scott sensitively learned the law of ambivalence from Shakespeare, too.
Books on the topic "French-Canadian Novel And Short Story"
3
The Portuguese letters: Love letters of a nun to a French officer. 3rd ed. New York, N.Y: Bennett-Edwards, 1986.
Find full text
5
Jean-François, Saint-Lambert. Contes américains: L'Abenaki, Ziméo, Les deux amis. Exeter: University of Exeter Press, 1997.
Find full text
6
MacMillan, Carrie. Silenced sextet: Six nineteenth-century Canadian women novelists. Montreal: McGill-Queen's University Press, 1992.
Find full text
8
Fernande, Gontier, ed. Creating Colette. South Royalton, Vt: Steerforth Press, 1999.
Find full text
10
Korman, Gordon. If I Were... / Si J'etais...: 204 Stories By Canadian Children with a New Short Story By Gordon Korman. [Markham, Ont. Canada]: Business Depot, 2002.
Find full textBook chapters on the topic "French-Canadian Novel And Short Story"
1
Nelson, Brian. "4. ‘A work of truth’." In Émile Zola: A Very Short Introduction, 45–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198837565.003.0005.
Full textAbstract:
‘A work of truth’ looks at the novel L’Assommoir, the first to represent how the workers—the new French industrial proletariat—really lived. The story of Gervaise Macquart, a washerwoman whose modest desires are thwarted by unreliable men, a predisposition to drink, and a hostile environment, caused an uproar. Zola uses contemporary slang to replicate working-class speech; and an effect of empathy is created by his innovative use of narrative voice, whereby the lines between the characters and the narrator become blurred. It is as if the workers themselves tell their own story. L’Assommoir made Zola famous. Ironically, given its subject matter, it also made him rich.
2
Williams, Joel. "I Had Bandini: Reading Ask the Dust in Prison." In John Fante's Ask the Dust, 193–200. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287864.003.0012.
Full textAbstract:
Williams recounts the true story of how he was well into his third decade of a 27-year-to-life prison sentence for murder when he discovered Ask the Dust. The gritty-poetic voice of the novel and its tragicomic treatment of the struggles of Arturo and Camila spoke so directly to him that his love of reading grew into a need to write, and he set to work crafting his own short stories. A serendipitous encounter with a visitor who put him in contact with Fante biographer Stephen Cooper turned into a long and transformative correspondence, mentorship, and friendship. The results: a book of short stories in French translation entitled Du sang dans les plumes, brought out in 2012 by the Paris publisher 13E Note Editions; and then, after 28 years behind bars, parole and freedom.
3
Ransom, Amy J. "Laurent McAllister." In Lingua Cosmica, 129–50. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.003.0008.
Full textAbstract:
This chapter introduces the work of Laurent McAllister, the collaborative pseudonym of the French-Canadian science-fiction writers Yves Meynard and Jean-Louis Trudel. It briefly situates the careers of Meynard and Trudel within the contexts of science fiction in Québec and the larger context of science-fiction and fantasy writing, surveying their collaborative oeuvre as McAllister. It then analyses how the Suprématie cycle (comprised of the novel by McAllister and several solo short stories by Trudel) presents a fictional universe best understood through the lens of Gilles Deleuze and Félix Guattari’s “rhizome.” Finally, it examines the cycle’s engagement with contemporary science fiction’s most compelling topics, transhumanism and the posthuman.