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Journal articles on the topic 'French literary culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Kurniawati, Novi. "Représentation des relations franco-maghrébines dans le roman Apocalypse bébé : apprendre la culture française-maghrébine à travers des textes littéraires." Digital Press Social Sciences and Humanities 3 (2019): 00034. http://dx.doi.org/10.29037/digitalpress.43307.

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<p class="MsoNormal" style="text-indent:0in">Learning a foreign language cannot be separated from literature and culture. One of the definitions of literature is a reflection of society; so through literature we can know the real image of society as well as the culture. Moreover, by knowing the foreign cultures of the countries from which we learn the language, we can not only read, but also understand the problems that appear in the texts studied. Similarly, French culture cannot be separated from Maghreb culture. The two cultures complement each other, later becoming the content of various literary, French literary and Francophone literary. The relationship between the two cultures is also part of the content of Virginie Despentes' novel <i>Apocalypse bébé</i>. Through this novel, we can see an image of the relationship between France and the Maghreb people in their social life. Thus, as a learner of French, we could know not only French culture through the textbooks published by French publishers, but also recognize the French culture associated with France both directly and indirectly. Therefore, the literary text entitled <i>Apocalypse bébé</i> can be an alternative source of learning French, not only in terms of language attached to vocabulary and grammar, but also to know French and Francophone culture so that students know the relationship for understanding and analyzing literary works.</p>

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2

Lomova, E., and А. Maimakova. "FRENCH MENTALITY IN THE RUSSIAN LITERARY TRADITION." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 260–65. http://dx.doi.org/10.51889/2020-4.1728-7804.54.

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France at in the Pushkin`s historical period was engaged in very important place in the cultural and spiritual atmosphere of Russian life. The French language was assault part in the mentality of the Russian nobility, became the guardian of the intellectual culture of the nation. These historical circumstances caused the appearing the special common language of culture accepted the both nationalities. Taking the liberty of French people wish category of historical time was combined, according their opinion, with innovation in all sites of culture, and social public life. Russian writers enlighted the elements of the French mentality in all its manifestations, the freedom of the individual, which was basic of generation European democracy. The tendency French nationality to performance daily life produced from Russian view one of the most characteristic features of French being and becalms a sign and symbol of French reality as well.

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3

Berlanstein, Lenard R. "AIDS in French Culture: Social Ills, Literary Cures (review)." Journal of the History of Sexuality 11, no. 4 (2002): 662–64. http://dx.doi.org/10.1353/sex.2003.0029.

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4

ROSS, JILL. "LANGUAGE, CULTURE, AND POWER IN GUILLEM DE TORROELLA’S LA FAULA." Catalan Review 35, no. 1 (June 1, 2021): 1–22. http://dx.doi.org/10.3828/catr.35.1.

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This article examines the role of French language and culture in the fourteenth-century Arthurian text, La Faula, by the Mallorcan, Guillem de Torroella. Reading the appropriation of French language and literary models through the lens of earlier thirteenth-century Occitan resistance to French political and cultural hegemony, La Faula’s use of French dialogue becomes significant in light of the political tensions in the third quarter of the fourteenth century that saw the conquest of the Kingdom of Mallorca by that of Catalonia-Aragon and the subsequent imposition of Catalano-Aragonese political and cultural power. La Faula’s clear intertextual debt to French literary models and its simultaneous ambivalence about the authority and reliability of those models makes French language into a space for the exploration of the dynamics of cultural appropriation and political accommodation that were constitutive of late fourteenth-century Mallorca.

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5

Platten, David, and Malcolm Cook. "French Culture since 1945." Modern Language Review 90, no. 3 (July 1995): 775. http://dx.doi.org/10.2307/3734379.

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6

Scavillo, Anthony. "The Socialists and Modern French Culture." Antioch Review 45, no. 3 (1987): 291. http://dx.doi.org/10.2307/4611748.

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7

Hopkins, Patricia, and David Carroll. "French Literary Fascism: Nationalism, Anti-Semitism, and the Ideology of Culture." Rocky Mountain Review of Language and Literature 50, no. 1 (1996): 66. http://dx.doi.org/10.2307/1348342.

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8

Arnold, A. James. "The erotics of colonialism in contemporary French West Indian literary culture." New West Indian Guide / Nieuwe West-Indische Gids 68, no. 1-2 (January 1, 1994): 5–22. http://dx.doi.org/10.1163/13822373-90002658.

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Argues that creolité, antillanité and Negritude are not only masculine but masculinist as well. They permit only male talents to emerge within these movements and push literature written by women into the background. Concludes that in the French Caribbean there are 2 literary cultures: the one practiced by male creolistes and the other practiced by a disparate group of women writers.

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9

Cook, Malcolm, Alex Hughes, and Keith Reader. "Encyclopedia of Contemporary French Culture." Modern Language Review 95, no. 1 (January 2000): 223. http://dx.doi.org/10.2307/3736428.

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10

Lebrun, Barbara, Jacqueline Dutton, and Colin Nettelbeck. "Jazz Adventures in French Culture." Modern Language Review 101, no. 2 (April 1, 2006): 551. http://dx.doi.org/10.2307/20466844.

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11

Owoeye, Tuesday. "Traduire la culture poétique du français en anglais." Babel. Revue internationale de la traduction / International Journal of Translation 57, no. 3 (November 10, 2011): 342–53. http://dx.doi.org/10.1075/babel.57.3.06owo.

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That literary texts appear to be more difficult to translate than technical ones is no longer a subject of debate. This truth is fundamentally as a result of obvious challenges the literary translator has to face, since he is under the obligation to translate not only the literal meaning of his source text, but also its literary style. Even within the literary field of translation, if the translator of prose or drama rarely has an easy task, the translator of poetry is likely to meet harder obstacles in the course of his exercise. Poetry — especially when it has to do with traditional poems – appears, thus, the most dreaded terrain for the translator.<p>This article presents a comparative study of the poetic culture of French and English with the principal objective of demystifying the theoretical and practical problems associated with poetic translation. Supported by a critical analysis of an English translation of a French sonnet, the paper argues that the work of the poetic translator would be made more simplified if priority is given to the culture of the target language. The article thus recommends faithfulness to the poetic culture of the target language in order to produce a translation that will be acceptable to the reader of that language.<p>

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12

Kim, Jeong-yeon. "Mondialisation de la littérature et littérature mondiale – Traduction d’une culture « mineure » vers une culture « centrale »." Lebende Sprachen 64, no. 1 (April 12, 2019): 122–39. http://dx.doi.org/10.1515/les-2019-0006.

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Abstract The present article attempts to analyze the particularities of the practice of literary translation from a language of peripheral culture to a language of central culture, based on the case of Korean literature. Because of the inequality that governs the relations between the two cultures involved, the transfer from one to the other raises extratextual problems. After briefly tracing the history of the translation of Korean literary works into widely spoken languages, especially in the French-speaking communities, this paper deals with the specific characteristics and modalities of this activity, as well as with their influence on the translations itself, focusing on the choice of works to be translated, the distinctive features of their translators, the translation processes they implement and the socio-cultural context in which the translation is done.

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13

Blanchard, Nelly. "Évolution du phénomène de traduction dans le domaine littéraire de langue bretonne." Nottingham French Studies 60, no. 2 (July 2021): 206–22. http://dx.doi.org/10.3366/nfs.2021.0317.

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Arguing that the concept of littérature-monde conceals unequal relations between literary cultures, this article examines the socio-economic contexts of literary translation from and into Breton from the fifteenth to the twenty-first century. The value of translation across the corpus of 1025 texts lies primarily in creating intercultural relationships and promoting cultural diversity. Translation into Breton represents a vital defence of a language with dwindling speaker numbers: in the late 1970s it increases dramatically, with littérature de jeunesse spearheading a change in state policy allowing regional languages to be taught in schools. Yet translation can also reinforce an existing power imbalance, highlighting the central role played by French in the linguistic and literary construction of Breton society. Poetry, songs and contes translated from Breton often perpetuate stereotypes of a bardic, oral culture, while nationalist writers reject self-translation into French as capitulation before the dominant culture. Since the 1980s, many have chosen to bypass French by translating into languages such as Welsh, Scottish, Irish or Catalan, creating a network of minority literatures. Since the market for Breton translation is so small, however, such texts serve as valuable identity markers, a symbolic, affective force articulating a quest for socio-political legitimacy via literature.

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14

Looseley, David. "French Popular Culture: An Introduction." French Studies 59, no. 2 (April 1, 2005): 278–79. http://dx.doi.org/10.1093/fs/kni124.

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15

Hawkins, Peter. "Jazz Adventures in French Culture." French Studies 60, no. 4 (January 1, 2006): 559–60. http://dx.doi.org/10.1093/fs/knl145.

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16

Lozier, Claire. "Empowering Signs: Writing and e-motions in Michel Houellebecq’s Platform." Open Cultural Studies 2, no. 1 (December 1, 2018): 668–75. http://dx.doi.org/10.1515/culture-2018-0060.

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Abstract This article explores the working of the cultural literacy concepts of rhetoricity and textuality in Michel Houellebecq’s third novel Platform through the lens of French philosopher Frederic Lordon’s affect theory, with a view to understanding the way emotions and motion operate jointly through writing in this post-travel literature text dealing with the contemporary travel industry, sex tourism, and emotional alienation. As such, it contributes to the current reassessment of the role played by emotions in human interactions. By exploring the specific layered textuality of Platform, which purposefully recycles a series of discursive cliches and tropes, I show how Houellebecq’s writing style demands to be considered not only for its literary value but also for its potent, and perhaps unexpected, moving effects, or rhetoricity, which invite readers to reconsider their perception of alterity-i.e. the world and the other-but also of the performative power of art and literature. In order to demonstrate this, the article looks first at the failure of travel writing orchestrated in the novel; it then analyses alternative textual modalities of affect mediation trialed in the text; and finally, it considers the strategies used in Platform to “empowerise” signs and, as a result, those who read them.

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17

Korol, Larysa. "FRENCH AND UKRAINIAN CULTURAL SPACES IN IVAN BABYCH’S LANGUAGE PERSONALITY." ГРААЛЬ НАУКИ, no. 7 (September 3, 2021): 188–91. http://dx.doi.org/10.36074/grail-of-science.27.08.2021.034.

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The article is dedicated to the integrative essence of the language personality of a representative of the Ukrainian school of literary translation Ivan Babych. It is pointed out that I. Babych, as a person of European culture whose native land was France, was the disseminator of its fundamental values in Ukraine. At the same time, he promoted national culture, the Ukrainian word in French-speaking countries. Two cultural spaces have determined the specific function of intercultural mediation, in the context of which the linguistic personality of the master of literary translation should be considered.

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18

Glencross, Michael. "Relic and Romance: Antiquarianism and Medievalism in French Literary Culture, 1780-1830." Modern Language Review 95, no. 2 (April 2000): 337. http://dx.doi.org/10.2307/3736136.

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19

Baty, Devan, and Floyd Gray. "Gender, Rhetoric and Print Culture in French Renaissance Writing." SubStance 31, no. 2/3 (2002): 292. http://dx.doi.org/10.2307/3685494.

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20

DeJean, Joan, and Peter France. "Politeness and Its Discontents: Problems in French Classical Culture." Comparative Literature 47, no. 3 (1995): 273. http://dx.doi.org/10.2307/1771493.

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21

Hayes, J. C. "Dice, Cards, Wheels: A Different History of French Culture." Modern Language Quarterly 68, no. 4 (December 1, 2007): 575–78. http://dx.doi.org/10.1215/00267929-2007-016.

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22

Conley, T. "Baroque Bodies: Psychoanalysis and the Culture of French Absolutism." Comparative Literature 56, no. 2 (January 1, 2004): 198–201. http://dx.doi.org/10.1215/-56-2-198.

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23

Ferguson, Priscilla Parkhurst. "Consuming Culture: The Arts of the French Table (review)." Nineteenth Century French Studies 34, no. 3 (2006): 393–95. http://dx.doi.org/10.1353/ncf.2006.0012.

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24

Tarif, Julie. "(Re)Translating as Re-membering." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 1 (July 17, 2016): 38. http://dx.doi.org/10.21992/t9bs7z.

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This paper explores how (re)translation – interlingual and intersemiotic – can be perceived as a way of both remembering the literary legacy of other cultures but also as a way of re-membering/re-generating the body of literature(s) of the importing culture. It focuses on what is called “a classic” and anchors its reflexion in polysystem theory and in the metaphorical vision of literary works as an organic living body. To do so, it concentrates on the British literary classic Oliver Twist and its translations and adaptations into French. The article addresses the following questions: What is to be remembered of certain works? Why, how and by whom are those works remembered?

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25

Watson, Janell. "Culture and the Future of French Studies." Contemporary French and Francophone Studies 14, no. 5 (December 2010): 477–84. http://dx.doi.org/10.1080/17409292.2010.525119.

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26

Kleine-Ahlbrandt, Wm Laird. "French Literary Fascism, Nationalism, Anti-Semitism, and the Ideology of Culture (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 15, no. 1 (1996): 191–93. http://dx.doi.org/10.1353/sho.1996.0125.

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27

Scullion, Rosemarie. "French Literary Fascism: Nationalism, Anti-Semitism and the Ideology of Culture (review)." L'Esprit Créateur 37, no. 2 (1997): 92–93. http://dx.doi.org/10.1353/esp.0.0151.

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28

TAME, P. D. "Review. French Literary Fascism: Nationalism, Anti-Semitism and the Ideology of Culture. Carroll, David." French Studies 51, no. 2 (April 1, 1997): 228. http://dx.doi.org/10.1093/fs/51.2.228.

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29

Linn, Stella. "‘Because we’re worth it’: Young banlieue writers in France striving for inclusion." International Journal of Francophone Studies 23, no. 1-2 (July 1, 2020): 73–97. http://dx.doi.org/10.1386/ijfs_00011_1.

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French banlieue literature written by immigrant and ‘post-migration’ writers often involves a paradoxical mix of both ‘high’ and ‘low’ language varieties – use of slang alternating with poetic utterances – as well as references to popular culture alternating with ‘high culture’, which may range from American movies to intertextual references to canonized authors. What is the extratextual message of this intriguing mix, what do the predominantly young writers aim at, and what audience do they address in this way? By distinguishing four different strategies, this article argues that this hybrid blend is intended to act as a signal to the French reader, and thus indirectly to publishers and critics, that the writers conform to national standards and values, show full integration into French society, and therefore are entitled to claim a legitimate place in the French literary field.

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30

Festa, L. "Trading Places: Colonization and Slavery in Eighteenth-Century French Culture." Modern Language Quarterly 74, no. 4 (January 1, 2013): 545–49. http://dx.doi.org/10.1215/00267929-2345415.

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31

Lathers, Marie. "The Nude in French Art and Culture, 1870-1910 (review)." Nineteenth Century French Studies 32, no. 3 (2004): 361–62. http://dx.doi.org/10.1353/ncf.2004.0021.

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32

Warner, Keith Q. "Awakening Spaces: French Caribbean Popular Songs, Music, and Culture (review)." Research in African Literatures 33, no. 3 (2002): 233–34. http://dx.doi.org/10.1353/ral.2002.0097.

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33

Stigler, Stephen M. "Dice, Cards, Wheels: A Different History of French Culture (review)." Nineteenth Century French Studies 35, no. 2 (2007): 456–57. http://dx.doi.org/10.1353/ncf.2007.0032.

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34

Ceulemans, Adelheid. "'Het apenspel'. De Franse paradox in de Vlaams-Belgische literatuur uit de vroege negentiende eeuw." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 73, no. 3 (September 29, 2014): 226–49. http://dx.doi.org/10.21825/wt.v73i3.12143.

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In 1842 verscheen Poëtische luimen, de vierde poëziebundel van de Antwerpse dichter Theodoor Van Ryswyck (1811-1849). De bundel bevat een veertigtal dichtstukken van uiteenlopende aard (komisch, poëticaal-literair, politiek of sociaal geëngageerd), waaronder ‘Het apenspel’. In dit gedicht klaagt Van Ryswyck het kopieergedrag aan van de Belgen ten aanzien van de Franse cultuur en gewoonten; de Belgen apen de Fransen op velerlei gebied na. Om dit probleem aan de kaak stellen, maakt Van Ryswyck gebruik van Franse woorden en van een Frans motto. ‘Het apenspel’ is zowel inhoudelijk als formeel exemplarisch voor de paradoxale omgang met de Franse taal en cultuur bij Vlaamsgezinden in de jonge Belgische natiestaat: de Belgen kopiëren gedrag, zeden, gewoonten en literatuur van een natie die ze zelf verachten.Dit artikel onderzoekt de dubieuze relatie met de Franse taal en cultuur aan de hand van het poëtische oeuvre van Theodoor Van Ryswyck. De functie van de Franse taal en literatuur in Van Ryswycks poëzie wordt bestudeerd; zowel woordenschat, motto’s als melodieaanduidingen komen daarbij aan bod. Er worden verschillende dichtbundels van Van Ryswyck aangehaald om zo een representatief beeld te schetsen van de aanwezigheid van de Franse taal en letterkunde in Van Ryswycks oeuvre. Deze tekstuele functieanalyse zal leiden tot een interpretatie van de paradoxale relatie met de Franse taal en cultuur in de vroegnegentiende-eeuwse, Vlaams-Belgische letterkunde.________‘The Ape Game’: The French paradox in the Flemish-Belgian literature of the early nineteenth century 1842 saw the publication of Poëtische luimen (Poetical whims), the fourth collection of poems by the Antwerp poet Theodoor Van Ryswyck (1811-1849). The volume consists of around forty poems of varying genres (comical, poetical-literary, politically or socially committed) including ‘Het Apenspel’ (the ‘Ape Game’). In this poem Van Ryswyck denounces the copycat behaviour of the Belgians with respect to French culture and customs; the Belgians imitate the French in many areas. In order to denounce this problem, Van Ryswyck uses French words and a French motto. ‘The Ape Game” exemplifies in form and content the paradoxical way in which the French language and culture is dealt with by the supporters of the Flemish Movement in the young Belgian nation state: the Belgians copy behaviour, morals, customs and literature of a nation, which they despise themselves.This article researches the dubious relationship with the French language and culture based on the poetical work of Theodoor Van Ryswyck. It studies the function of the French language and literature in Van Ryswyck’s poetry by reviewing his use of vocabulary, mottos and indications of tunes. Various collections of poems by Van Ryswyck are quoted in order to present a representative picture of the presence of French language and literature in the literary work of Van Ryswick. This textual functional analysis is the basis for an interpretation of the paradoxical relation with the French language and culture in the early nineteenth century Flemish Belgian literature.

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35

Kaplan, Alice Yaeger. "Taste Wars: American Professions of French Culture." Yale French Studies, no. 73 (1987): 156. http://dx.doi.org/10.2307/2930201.

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36

Лапаева, Е. Ю. "PAROEMIAS’ RENOMINATION IN THE LITERARY TEXTS TRANSLATED INTO FRENCH." НАУЧНЫЙ ЖУРНАЛ СОВРЕМЕННЫЕ ЛИНГВИСТИЧЕСКИЕ И МЕТОДИКО-ДИДАКТИЧЕСКИЕ ИССЛЕДОВАНИЯ, no. 4(48) (December 22, 2020): 129–41. http://dx.doi.org/10.36622/vstu.2020.68.42.009.

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Постановка задачи. В данной статье анализируются способы реноминации паремий и входящих в их состав разговорно-просторечных единиц в текстах французских художественных переводов высокой степени национальной окраски. Результаты. Проведен сравнительный анализ паремий исходного и переводного текстов. Выявлены основные способы передачи во французском тексте русских пословиц и поговорок. Определены способы передачи разговорно-просторечных единиц. Проанализирована степень адаптированности элементов «чужой» лингвокультуры во французском переводном тексте. Выводы. Реноминация индивидуально-авторских паремий осуществлялась через «свои» паремии / устойчивые выражения и семантические кальки. Паремии, отраженные в словарях, реноминировались через свободные сочетания, семантические кальки с исходного текста и «свои» паремии / устойчивые выражения. Калькирование свойственно передаче авторских паремий, за счет чего происходит освоение «чужой» лингвокультуры и сохранение художественной и стилистической функции исходного текста. При передаче зафиксированных словарями паремий чаще использовались «свои» паремии, за счет чего достигается лингвокультурная адаптация «чужой» действительности. Реноминация паремий через свободные сочетания не встречается при передаче индивидуально-авторских паремий и очень немногочисленна при передаче паремий зафиксированных словарями. Реноминация разговорно-просторечных элементов осуществлялась средствами «своего» языка через элементы разных языковых уровней. Французская лингвокультура обладает широкими реноминативными возможностями для интеграции и адаптации «чужой» языковой и культурной действительности. Statement of the problem. T e ar icle analyzes e me ods of paroemias’ and e colloquial uni s’ renomina ion in the texts of French literary translations of a high degree of national color. Results. A comparative analysis of the paroemias of the source and target texts was carried out. The main ways of transferring Russian proverbs and sayings in the French text were revealed. The methods of transmission of colloquial and vernacular were determined. T e degree of adap a ion of e elemen s of «foreign» linguocul ure in Frenc was analyzed. Conclusion. T e renomina ion of individual au or's paroemias was carried ou roug eir «own» paroemias / fixed expressions and semantic calques. Paroemias fixed in dictionaries were renominated through free words combina ions, seman ic calques from e source ex , and eir «own» paroemias / fixed expressions. Calque is peculiar to the transfer of invented (occasional) paroemias, due to which there is familiariza ion wi «foreign» linguoculture and preservation of the artistic and stylistic function of the source text. When transferring paroemias fixed by dic ionaries, «own» paroemias were of en used, due o w ic e linguocul ural adap a ion of «foreign» reality is achieved. The renomination of paroemias through free words combinations does not occur in the transmission of invented (occasional) paroemias and is very few in the transmission of paroemias fixed by dictionaries. The renomination of colloquial and vernacular elemen s was carried ou by means of «own» language through elements of different language levels. The French linguistic culture has wide renominative possibilities for e in egra ion and adap a ion of «foreign» linguis ic and cul ural reali y.

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37

Larkin, Áine. "Introduction. Intermedialities: Dance in Modern and Contemporary French Culture." Forum for Modern Language Studies 55, no. 3 (July 1, 2019): 251–56. http://dx.doi.org/10.1093/fmls/cqz029.

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38

Savina, Anfisa D. "“The riddle that the critic must solve”: V. Bryusov about Villiers de l’Isle-Adam." Literary Fact, no. 19 (2021): 268–85. http://dx.doi.org/10.22455/2541-8297-2021-19-268-285.

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This publication concerned with the problems of Valeriy Bryusov’s critical works and his interest in French culture. The aim of the paper is to introduce into scientific circulation the Bryusov’s text relating to the late French Romanticist Au. Villiers de l'Isle- Adam. Our introductory article gives a brief description of the literary relations between the Russian poet and the French writer. It is noted that for a quarter of a century Brusov turned to the work of Villiers de l'Isle-Adam as an editor, as a translator and as a novelist, attentive to the creative search of his predecessors. The published materials are a draft of Bryusov's article, made after 1910. In this text Bryusov expresses his attitude towards the French writer in detail and turns to the analysis of his short stories. The critic sums up literary fate in Russia of Villiers de L'Isle-Adam and other poètes maudits. In addition, Bryusov gives his vision of the level of the Russian readership and determines the degree of familiarity of the “average reader” with the French literature.

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39

Mathy, Jean-Philippe, and Kristin Ross. "Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture." SubStance 25, no. 1 (1996): 131. http://dx.doi.org/10.2307/3685238.

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Polan, Dana, and Kristin Ross. "Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture." SubStance 25, no. 1 (1996): 135. http://dx.doi.org/10.2307/3685239.

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41

Cooper, S. "Haunting Presences: Ghosts in French Literature and Culture." French Studies 64, no. 3 (June 28, 2010): 384–85. http://dx.doi.org/10.1093/fs/knq069.

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Britton, C. "The French Atlantic: Travels in Culture and History." French Studies 65, no. 1 (December 17, 2010): 129–30. http://dx.doi.org/10.1093/fs/knq206.

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Raymond, G. G. "Review: French Culture and Society: The Essential Glossary." French Studies 56, no. 4 (October 1, 2002): 559–60. http://dx.doi.org/10.1093/fs/56.4.559.

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Reader, Keith. "Consuming Culture: The Arts of the French Table." French Studies 60, no. 2 (April 1, 2006): 275. http://dx.doi.org/10.1093/fs/kni391.

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Conley, Tom. "The Roman noir in Post-War French Culture." French Studies 60, no. 4 (January 1, 2006): 542–43. http://dx.doi.org/10.1093/fs/knl151.

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Hewitt, C. "Birth and Death in Nineteenth-Century French Culture." French Studies 62, no. 4 (October 1, 2008): 485–86. http://dx.doi.org/10.1093/fs/knn071.

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Simon, Julia. "Foreign Bodies: Gender, Language, and Culture in French Orientalism (review)." Comparative Literature Studies 42, no. 2 (2005): 320–23. http://dx.doi.org/10.1353/cls.2005.0040.

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Prince, Gerald. "Talking French." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1489–94. http://dx.doi.org/10.1632/pmla.2016.131.5.1489.

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I Am Not Particularly Sensitive to Space and Location, Except When it Comes to Real Estate. Still, I Cannot Help But Notice their increased importance in the human sciences: philosophers evoke heterotopies and dream of geophilosophy, historians explore lieux de mémoire (“sites of memory”), and distant reading or surface reading competes with close reading. It is as if to the end of history there corresponded a beginning of geography, and some scholars, like Michel Collot, have even spoken of a spatial turn (15).In teaching and studying French literature, which I have been doing for a long time, geographic forces have always had a significant role, because of the distance between France and the United States and because of the global situation of the two countries. That the distance has become less daunting in the past fifty or sixty years has led to more scholarly exchanges, smoother collaborations, easier access to subjects or objects, and the study of the literary extrême contemporain (“extremely contemporary”), say, or that of modern popular literature is now less problematic. As for the global situation, there has been a French loss and an American gain of cultural power, with less United States attention paid to French cultural products. This relative disaffection permeates many texts. I remember quite well how Donald Morrison buried French culture (Morrison and Compagnon), and I will not forget that Mark Bittman even argued in the New York Times that one ate better in London than in Paris. Across the ocean too, there was concern. As early as the 1990s, Jean-Marie Domenach deplored the twilight of French civilization. A few years later, Nicolas Baverez described a falling France.

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Pinheiro-Mariz, Josilene. "Maryse Condé e Yannic Lahens como vozes femininas antilhanas: resistência, construção e transgressão / Maryse Condé and Yannic Lahens as Female Voices from the Antilles: Resistance, Construction and Transgression." Caligrama: Revista de Estudos Românicos 25, no. 3 (December 18, 2020): 37. http://dx.doi.org/10.17851/2238-3824.25.3.37-56.

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Resumo: As letras antilhanas de língua francesa são a marca de uma literatura reveladora de denúncia, migração, resistência. Essa literatura, nas vozes de escritoras, representa contemporaneamente a singularidade de uma vasta região de língua francesa no continente americano que tem características peculiares e, ao mesmo tempo, similares, particularmente, quando pensada a língua francesa e seus traços culturais. Considerando esse contexto, damos destaque ao pensamento de escritoras antilhanas e evidenciamos duas autoras de obras literárias e reconhecidas pensadoras da cultura/ literatura (CONDÉ, 1993, 2013; LAHENS, 2019) como forma de pôr em relevo o pensamento feminino enquanto alicerce importante para se pensar a produção literária de países de língua francesa no continente da América Central.Palavras-chave: escritoras; Antilhas; Maryse Condé; Yannick Lahens.Abstract: French-language writing from the Antilles is the hallmark of a literature that reveals denunciation, migration and resistance. This literature, in the voices of female writers, currently represents the uniqueness of a vast French-speaking region on the American continent that has peculiar and, at the same time, similar characteristics, particularly when considering the French language and its cultural traits. Considering this context, we highlight the thought of Antillean female writers, especially two authors of literary works and recognized thinkers of culture/literature (CONDÉ, 1993, 2013; LAHENS, 2019) as a way to highlight female thought as an important foundation for thinking about the literary production of French-speaking countries on the continent of Central America.Keywords: writers; Antilles; Maryse Condé; Yannick Lahens.

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Stevenson, Jane. "Centres and Peripheries: Early-Modern British Writers in a European Context." Library 21, no. 2 (June 1, 2020): 157–91. http://dx.doi.org/10.1093/library/21.2.157.

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Abstract The ESTC has privileged a view of Britain's early print culture focused on London, while making it hard to look at British contributions to continental print cultures. But there were readers in early-modern Britain who were acculturated elsewhere. Scots bought most of their books on the continent, preferring Latin or French to English, and published on the continent, bypassing London. In Britain as a whole, there are effectively three centres for British print culture, London, ‘Rome’ and ‘Geneva’. The Netherlands printed for the English market, notably illicit bibles with Geneva notes, and particularly successful books were often issued there in Dutch or French, while British writers in Latin fed into continental literary fashions. Take-up of English literature as such was limited, partly because the Dutch did not admire English poetics. Most of what the Dutch translated from English was political or religious. Some English protestant writers were massively successful in translation, but translation into Dutch was almost always a first step from which their work was disseminated.

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