Relevant bibliographies by topics / French novelists

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'French novelists'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "French novelists"

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Lamri, Mohammed. "Identity crisis of Algerians diaspora between self-culture and foreign language." مجلة قضايا لغوية | Linguistic Issues Journal 4, no. 2 (June 15, 2023): 85–98. http://dx.doi.org/10.61850/lij.v4i2.53.

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The Algerian novel, written in French, addressed various issues relating to Algerian man, as it was able to portray his reality and express his personality with creative artistic insights. However, the problems of identity and religious, ethnic and ideological affiliation continued to occupy the minds of Algerian immigrant novelists who lived away from the homeland and language. Hence, was the Algerian novelist able to overcome the identity crisis in his journey of searching for the Algerian self and expressing its cultural particularities in his literature? Or did the language barrier prevent it? The research therefore highlights the issue of proving national identity while writing in the language of the other among Algerian novelists such as Malek Haddad, who likened French language writings to exile.
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Knapp, Bettina L., and Lucille Frackman Becker. "Twentieth-Century French Women Novelists." World Literature Today 64, no. 1 (1990): 74. http://dx.doi.org/10.2307/40145818.

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Tomé, Mario. "La actual narrativa francesa (y II)." Estudios Humanísticos. Filología, no. 10 (December 1, 1988): 205. http://dx.doi.org/10.18002/ehf.v0i10.4352.

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<p>Presentación y breve comentario de la obra más significativa de los actuales novelistas franceses. Grandes figuras actuales: Michel Tournier, J.M.G. Le Clézio, Patrick Modiano. Premios literarios y éxitos editoriales: Romain Gary, Yves Navarre, Angelo Rinaldi, Dominique Fernández, Frédérick Tris-tan, Héctor Bianciotti, Marguerite Duras, Yann Queffelec.</p><p>A short introduction of the most outstanding works of some recent French novelists. Top novelists: Michel Tournier, J.M.G. Le Clézio and Patrick Modiano. Literary Prizes and best-sellers: Emile Ajar, Yves Navarre, Angelo Rinaldi, Dominique Fernández, Frédérick Tristan, Héctor Bianciotti, Marguerite Duras, Yann Queffélec.</p>
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Verderame, Michael. "English Novelists Read the French Revolution." Eighteenth Century 53, no. 1 (2012): 129–33. http://dx.doi.org/10.1353/ecy.2012.0004.

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Davies, Eirlys E. "Shifting voices: A comparison of two novelists’ translations of a third." Meta 52, no. 3 (November 21, 2007): 450–62. http://dx.doi.org/10.7202/016731ar.

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Abstract This paper compares the English and French translations of Mohamed Choukri’s autobiographical work originally written in Arabic under the title Al khubs al hafi. The translations are somewhat unusual in that both were published long before the source text became available, and in that they were done by two renowned novelists (Paul Bowles and Tahar Ben Jelloun) while Choukri himself was a completely unknown writer. The comparison reveals many contrasts. The English version favours a fragmentary, often disjointed style, with simple everyday vocabulary and frequent repetition, while the French version uses more sophisticated syntax and more specialised and varied lexis. There are also differences in content; the English version often remains more implicit than the French and yet provides more horrific details, and it frequently opts for foreignization where the French features the strategy of domestication. It is suggested that these contrasts reflect the ways in which the novelists’ own voices have influenced the way in which they express the voice of Choukri.
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Varga, Zsuzsanna. "The Networks of Consecration: The Journey of Magda Szabó and László Krasznahorkai’s International Reputation One." Porównania 27, no. 2 (December 15, 2020): 219–33. http://dx.doi.org/10.14746/por.2020.2.11.

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This chapter focuses on the international reputation of the work of two Hungarian novelists the late twentieth and early twenty-first centuries: the reception of the novels of Magda Szabó and László Kraszahorkai in German, French and English literary cultures. Though different in novelistic approach, genre and aesthetics, they belong to a small group of Hungarian writers whose work found resonance with the international readership. The chapter argues that their international circulation, reception and popularity are much entwined with very tangible processes of mediation through networks of translators and other cultural agents active in the international economy of letters.
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Nettelbeck, Colin. "Novelists and their Engagement with History: Some Contemporary French Cases." Australian Journal of French Studies 35, no. 2 (May 1998): 243–59. http://dx.doi.org/10.3828/ajfs.35.2.243.

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FALLAIZE, E. A. "Review. French Women Novelists: Defining a Female Style. King, Adele." French Studies 45, no. 3 (July 1, 1991): 364. http://dx.doi.org/10.1093/fs/45.3.364.

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Schuster, Marilyn R. "French Women Novelists: Defining a Female Style (review)." Philosophy and Literature 15, no. 2 (1991): 333–35. http://dx.doi.org/10.1353/phl.1991.0000.

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Ladani, Safoura Tork, and Sanaz Bayat. "Grace in Marilynne Robinson’s Gilead and Georges Bernanos’s The Diary of a Country Priest." International Letters of Social and Humanistic Sciences 56 (July 2015): 107–15. http://dx.doi.org/10.18052/www.scipress.com/ilshs.56.107.

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Marilynne Robinson’s Gilead (2007), a meditative letter written by an aging minister, probes the need for forgiveness and grace. George Bernanos’s The Diary of a Country Priest (1936) pictures the suffering and sacrifice of an unnamed young priest in his attempt to open his parishioner’s heart to the love of God. Both novelists explore themes such as forgiveness, love, peace, faith, and grace. This paper first discusses the prevalent Christian themes in these novels, and the ways each novelist presents the saving and life-giving power of God’s grace in healing and restoring human soul, and then compares their treatment of these issues. The Protestant Robinson’s sensibility regarding these religious themes seems very similar to that of the Catholic Bernanos. Indeed, the American writer seems to be considerably influenced by her French predecessor.
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Dissertations / Theses on the topic "French novelists"

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Margrave, Christie L. "Women and nature in the works of French female novelists, 1789-1815." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6391.

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On account of their supposed link to nature, women in post-revolutionary France were pigeonholed into a very restrictive sphere that centred around domesticity and submission to their male counterparts. Yet this thesis shows how a number of women writers – Cottin, Genlis, Krüdener, Souza and Staël – re-appropriate nature in order to reclaim the voice denied to them and to their sex by the society in which they lived. The five chapters of this thesis are structured to follow a number of critical junctures in the life of an adult woman: marriage, authorship, motherhood, madness and mortality. The opening sections to each chapter show why these areas of life generated particular problems for women at this time. Then, through in-depth analysis of primary texts, the chapters function in two ways. They examine how female novelists craft natural landscapes to expose and comment on the problems male-dominant society causes women to experience in France at this time. In addition, they show how female novelists employ descriptions of nature to highlight women's responses to the pain and frustration that social issues provoke for them. Scholars have thus far overlooked the natural settings within the works of female novelists of the late eighteenth and early nineteenth centuries. Yet, a re-evaluation of these natural settings, as suggested by this thesis, brings a new dimension to our appreciation of the works of these women writers and of their position as critics of contemporary society. Ultimately, an escape into nature on the part of female protagonists in these novels becomes the means by which their creators confront the everyday reality faced by women in the turbulent socio-historical era which followed the Revolution.
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Joubert, Lucie 1957. "L' ironie dans la prose fictionnelle des femmes du Québec: 1960-1980." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41624.

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This thesis explores the various manifestations of irony in prose-fiction by women in Quebec from 1960 to 1980. Traditionally used by men, irony is gradually becoming more widespread in women's writing, which in itself is an interesting reversal: more often "objects" of irony, women now reverse the rules of the game and become ironizing "subjects". The first part of the thesis investigates explicit irony; that is, irony which is duly identified and already decoded for the reader; for example, the author might emphasize an ironic fate or destiny for her characters, or might invest a character with an attitude, a smile, or remarks that are ironic. Explicit irony most often appears in works published during the first decade of our corpus; use of this form of irony constitutes a critical initial phase in women's writing because it enabled women authors to learn about the resources of irony and employ them in their work.
Explicit irony, therefore, operates within the text and requires minimal competence in the reader for its decoding; the decoding of the text will play a central role in implicit irony, which will be focus of part two of the thesis. Implicit irony manifests itself in the text in three principal forms: rhetorical, structural, and chromosomic. Rhetorical irony emerges from knowledge of the language and requires the reader to identify occurrences of antiphrases, innuendoes, metaphors, and other types of word-games in the text; structural irony depends upon the inner-workings of the text and demands an aptitude for discerning instances of parody, structural paradox, or intertextuality; that form of irony which we have named chromosomic requires a specific decoding that is effected in function of the author's feminine gender.
Following part two, which highlights the reader's role in the process of interpreting irony, the third and final part reveals the principal targets of irony in these women's writings. This tableau of "victims" completes our study by identifying the types of persons, institutions, or ideas that provoke the criticism of women writers. Such a broad range of types, comprising the clergy, education, the family, and foreigners, among others, tends to point toward a common denominator: Power. The authors scrutinize power relationships in all their forms; inspired by their "collective destiny", that persists, even today, in excluding them from positions of decision-making, women now propose a different vision of the world. Irony in the feminine permits an original reading of their struggle and their demands.
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Philo-Gill, Samantha Adele. "Novelists and women in WW1: challenging traditional binarisms: a critical essay, and, The half painted war: an original novel." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/9245.

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Academic study of women and WW1 literature has taken place since the 1970s, with a focus on female novelists published pre-1939. Despite the variety of studies, questions remain as to whether the breadth of women’s roles in WW1 is accurately represented in fiction. The purpose of this study was to examine female characters in WW1 novels (published in Britain) who challenge traditional war binarisms i.e. war (male)/peace (female), by taking on war work. It specifically compared novels published pre-1939 and historical (post-1939) novels written by both female and male novelists. The methods employed were the critical reading of forty novels, as well as data collection related to the roles of female characters and the language used to describe them. he study found that there is little representation of women’s war work in the forty novels. A key factor is that they are by middle class authors and written from a middle class point of view. Although historical novels are often used to re-imagine the role of women, WW1 is an exception. Key factors here include the perpetuation of stereotype and nervousness around detracting from the horrific experiences of the male soldier. Challenges to binarisms in subsequent wars (e.g. women in the armed services) have not stimulated a re-visioning of women’s roles in WW1. Society will continue to accept and endorse traditional binarisms, if they are not challenged by cultural representations of war. There is no novel based on the female military experience of WW1. In response, I was inspired to write a historical novel: The Half-Painted War. The protagonist is a female artist who enrols in the Women’s Army Auxiliary Corps (WAAC). It is intended as an act of remembrance but also allows the reader to consider the role of women in the military, both in WW1 and today.
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Wrenn, Angus James. "A reading of the fiction of Henry James within the context of the French literature of the Second Empire, with particular reference to novelists published in the Revue Des Deux Mondes." Thesis, King's College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404666.

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Serfaty, Anne. "Les 'Vilaines nouveautez' de Pigault-Lebrun (1753-1835) : l'écriture populaire, de la transgression à la réception." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273024.

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Hurcombe, Martin John. "Forming the modern mind : a reappraisal of the French combat novel of World War One." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/bbf9a8b4-fc54-474e-b46e-d07f4d269586.

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Bastin, Nina. "World games : constructing and configuring the worlds of Queneau's novels." Thesis, University of Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324341.

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Welch, Edward. "A Catholic novelist in context : suggestions for a reassessment of the work of Francois Mauriac." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:73570115-4495-4492-a21f-59ee6b6543d0.

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This thesis focuses on a writer who was a constant presence in the French literary field for a large part of the 20th Century and who, by the time of his death, had established himself as one of the major post-war intellectuals, yet who is increasingly typecast simply as a 'Catholic Novelist'. The thesis aim to counter this tendency by highlighting other, intriguing and overlooked aspects of his work and career : the pervasive presence of the body in his novels, his Sartrean sensitivity to the problem of intersubjectivity, or his post-war intervention over decolonisation, and the ethical questions this forced him to confront. The distinctiveness of the thesis lies in its stress on the need to resituate literary texts and other works of art in their socio-cultural contexts - that is to say, in the context of other discourses or representations of the world in circulation at the same time. Thus, Part 1 explores how both his artistic theory and practice are shaped, in unpredictable ways, by the ideological framework of Catholicism into which he is inserted in his early years. Part 2 argues that despite, or perhaps because of, his innate conservatism, Mauriac emerges as a writer who is sensitive to, and captures the nature of, the modern world, and the experience of living in that world. His modern sensibility is reflected in his preoccupation with intersubjectivity, one he shares with other writers of the period who are, perhaps, more recognisably modern. Part 3 examines how his political interventions, and his corresponding transformation from novelist to intellectual, are managed by L'Express magazine, and how in fact he came to collaborate with a journal whose politics were radically different from his own. Overall, through an approach which can be described as materialist and, from a religious perspective, agnostic, the thesis aims to demonstrate how Mauriac can still be seen to have relevant and interesting things to say to a contemporary audience.
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Bénard, Élodie. "Les Vies d’écrivains français : développement et mutations d’un genre (1570-1770)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040027.

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On a souvent considéré qu’au cours du XVIIIe siècle s’opérait une mutation dans l’histoire du genre biographique, qui se manifestait par le passage des « Vies » aux « biographies ». Pourtant d’importantes transformations affectent la manière de raconter la vie dès la fin du XVIe siècle. Ces changements sont particulièrement sensibles dans un sous-genre de la biographie, la Vie d’écrivain. En effet, outre l’affaiblissement de la pression rhétorique qui touche les pratiques narratives dans leur ensemble, celle-ci est modifiée par une nouvelle habitude éditoriale qui consiste à inclure une Vie de l’auteur en avant-propos de l’oeuvre et par l’évolution du statut de l’écrivain qui commence à se différencier des autres hommes de lettres. Pour comprendre la spécificité du genre, il convient de définir les conditions de production de la Vie d’écrivain, liées aux nouvelles exigences de l’historiographie et au développement de la culture mondaine, en particulier de l’art de la conversation. La Vie d’écrivain permet, par ailleurs, de mesurer l’évolution du régime de l’exemplarité, à travers la régression des modèles éthiques traditionnels, l’apparition de nouveaux modèles, mais aussi la recherche de plus en plus affirmée d’une singularité de l’auteur. Il faudra enfin s’interroger sur l’apport particulier des Vies d’écrivains à l’histoire littéraire, en relation avec la place accordée à la narration, qui constitue l’évolution majeure du genre au XVIIIe siècle. Ces différentes questions, rencontrées au fil de notre travail, nous aideront à mieux comprendre les ressorts d’une démarche inhérente à la biographie d’écrivain : le va-et-vient entre la vie et l’oeuvre
It has often been considered that, throughout the 18th century, there took place a profound change in the history of biographical genre, expressed by the shift from “Lives” to “biographies”. However, important transformations have affected the way of telling life as far back as the end of the 17th century. The changes are particularly noticeable in one subgenre of biography, the Lives of writers. Actually, besides the weakening of the rhetorical pressure which concerns the narrative practices, as a whole, it is altered by a new editorial habit which consists in including a Life of the author as a preface to the works and by the evolution of the status of the writer who, then, starts differing from other men of letters. So as to understand the specificity of the genre, it is advisable to define the conditions of production of the Lives of writers, linked to the new demands of historiography and to the development of society culture, particularly the art of conversation. Furthermore, the Lives of writers allows to assess the evolution of the system of exemplarity, through the regression of traditional ethical models, the appearance of new models, but also the search – more and more emphasized – for the writer’s peculiarity. At last, we shall have to wonder about the particular contribution made by the Lives of writers to literary history, in relation to the place granted to narration, which constitutes the major evolution of the genre in the 18th century.These different questions, raised throughout our work, will help understand the motives of a process inherent in biographies of writers, namely, going back and forth between life and works
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Côté, Jean-François. "Lucie Delarue-Mardrus femme de lettres oubliée /." 1999. http://wwwlib.umi.com/cr/yorku/fullcit?189065.

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Thesis (M.A.)--York University, 1999.
Typescript. Includes bibliographical references (leaves [97-100]). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL:http://wwwlib.umi.com/cr/yorku/fullcit?189065.
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Books on the topic "French novelists"

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1934-, Brosman Catharine Savage, ed. French novelists since 1960. Detroit, Mich: Gale Research, 1989.

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1934-, Brosman Catharine Savage, ed. French novelists, 1900-1930. Detroit, Mich: Gale Research Co., 1988.

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1934-, Brosman Catharine Savage, ed. French novelists, 1930-1960. Detroit, MI: Gale Research, 1988.

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1934-, Brosman Catharine Savage, ed. French novelists, 1900-1930. Detroit, MI: Gale Research Company, 1988.

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1934-, Brosman Catharine Savage, ed. French novelists, 1930-1960. Detroit, Mich: Gale Research Inc., 1988.

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Whale, Winifred Stephen. French novelists of to-day. 2nd ed. London: J. Lane, 1997.

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King, Adele. French Women Novelists: Defining a Female Style. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7.

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King, Adele. French women novelists: Defining a female style. New York: St. Martin's Press, 1989.

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Strohmeyr, Armin. George Sand: "glauben Sie nicht zu sehr an mein satanisches Wesen" ; eine Biografie. Leipzig: Reclam, 2004.

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Jack, Belinda Elizabeth. George Sand: A woman's life writ large. New York: Knopf, 1999.

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Book chapters on the topic "French novelists"

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Sanders, Valerie R., and Joanne Wilkes. "‘The Old Saloon: French Contemporary Novelists’." In The Selected Works of Margaret Oliphant, Part III Volume 14, 439–40. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003513247-41.

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King, Adele. "Ideas of Difference." In French Women Novelists: Defining a Female Style, 1–23. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_1.

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King, Adele. "Theories of Language." In French Women Novelists: Defining a Female Style, 24–40. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_2.

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King, Adele. "Forms and Themes." In French Women Novelists: Defining a Female Style, 41–56. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_3.

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King, Adele. "Colette." In French Women Novelists: Defining a Female Style, 57–84. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_4.

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King, Adele. "Nathalie Sarraute." In French Women Novelists: Defining a Female Style, 85–107. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_5.

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King, Adele. "Marguerite Yourcenar." In French Women Novelists: Defining a Female Style, 108–33. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_6.

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King, Adele. "Marguerite Duras." In French Women Novelists: Defining a Female Style, 134–63. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_7.

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King, Adele. "Monique Wittig." In French Women Novelists: Defining a Female Style, 164–88. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_8.

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King, Adele. "Is There a Conclusion?" In French Women Novelists: Defining a Female Style, 189–96. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08815-7_9.

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Conference papers on the topic "French novelists"

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Bakešová, Václava. "The poetics of reconciliation in French literary work of the 20th century. From Marie Noël to Sylvie Germain." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-18.

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Because of the Holocaust, World War II is the focal point for capturing spiritual experience in the 20th-century literature. How did the transformation of French spiritual literature from the poet Marie Noël in the 1st half of the century to the novelist Sylvie Germain at its end come about? Using examples from their work, this paper shows both authors’ sources of inspiration and highlights the means of expressing spirituality of a person going through an inner struggle. Although the authors describe a dark night, both of them they have a desire to overcome it, to reconcile with God, with the world and with themselves.
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Galay, K. "THE FORGOTTEN EHRENBURG IN THE CONTEXT OF THE FRENCH MEDIA." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3749.rus_lit_20-21/303-307.

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I.G. Ehrenburg was a writer, poet, publicist, whose creative legacy can be called an important asset of Russian literature of the twentieth century. The writer, who lived for a long time both in Russia and abroad, was also known in France - his figure was quite significant for the French readers and he was mentioned in various French weeklies. Moreover, he was invited as a journalist, wrote articles himself and gave interviews to French newspapers and magazines. A huge interest in the personality of Ilya Ehrenburg appeared during the Second World War: he was spoken of as a “combat writer”, as a supporter of Franco-Soviet relations, and as a great traveller. And, of course, the French media could not miss Ehrenburg's novel “The Fall of Paris”. In the 90s of the twentieth century, various biographical books about Ehrenburg are published, in which he, from one point of view, was called “a mediocre novelist”, “a weak writer”, but “the embodiment of the era”, and from another point of view - “a travelling Jew” and “a man of conviction”, “a nomad of the world” and “a missionary of culture”. In modern times, we only encounter references to the name of Ilya Ehrenburg as an outstanding journalist, a writer from the 'first wave' of emigration, who stood as a symbol of his era.
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Correard, Nicolas. "¿Lazarillo Libertin? Sobre la primera recepción en Europa del Norte: traducciones e inspiraciones anticlericales." In Simposio internacional El Lazarillo y sus continuadores: Facultad de Ciencias de la Educación, 10 y 11 de octubre de 2019, Universidade da Coruña: [Actas]. Servicio de Publicaciones. Universidade da Coruña, 2021. http://dx.doi.org/10.17979/spudc.9788497497657.29.

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It has often been argued that the picaresque genre derived from the Lazarillo castigado, if not from the Guzmán de Alfarache, more than from the original Lazarillo. Such an assumption neglects the fact that the first French and English translations did rely on the 1554 text, whose influence, conveyed by the 1555 sequel also translated in French in 1598, did last until the early 17th century. Probably designed in an Erasmian circle, the anticlerical satire, enhanced by provoking allusions to certain catholic dogmas, did not pass unnoticed: the marginal comments of the translations, for instance, testify for a strong interest for this theme. It is no wonder, therefore, if the first satirical narratives freely inspired by the Lazarillo, such like The Unfortunate Traveller by Nashe, the Euphormio Lusinini Satyricon by Barclay, or the Première journée by Viau, adapted its religious satire to their own actuality: in the context of the rise of libertine thinking, characters of Jesuits and Puritans could become new targets for novelistic scenes based on an obviously “lazarillesque” model.
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You might also be interested in the extended bibliographies on the topic 'French novelists' for particular source types:
Journal articles Books
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