Journal articles: '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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Parla, Jale. "The Wounded Tongue: Turkey's Language Reform and the Canonicity of the Novel." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 27–40. http://dx.doi.org/10.1632/pmla.2008.123.1.27.

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With little Ottoman and less French, the tragicomic hero of an early Turkish novel, Araba Sevdasι (1896; “The Carriage Affair”), finds himself at a semantic impasse before a line in a French poem that reads, “[K]elime şeyi resmetmeye borçlu ise” (“[I]f the word could represent the thing”). Frustrated, he throws the poem away, grumbling, “[T]ous les poètes sont fous” (“[A]ll poets are fools”). This defiant gesture marks the beginning of the linguistic issue the Turkish novelists confronted during the first century of the Turkish novel (1870–1970). The reformist objective of these novelists was the employment of a vernacular style to appeal to the readership of an emerging print culture. The subsequent nationalist attempts to simplify the Turkish language led, in Geoffrey Lewis's words, to the “catastrophic success” of the “language revolution” of the republican era and had dire consequences for the development of the novel in Turkey.

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Panchasi, Roxanne. "The Anticipation Novelists of 1950s French Science Fiction: Stepchildren of Voltaire." Modern & Contemporary France 20, no. 3 (August 2012): 387–88. http://dx.doi.org/10.1080/09639489.2012.691291.

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Landfried, Carrie C. "Barbara Bray: A champion of French ‘New Novelists’ on British radio." Radio Journal:International Studies in Broadcast & Audio Media 15, no. 2 (October 1, 2017): 299–315. http://dx.doi.org/10.1386/rjao.15.2.299_1.

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Pakhsaryan, Natalia. "REASONS FOR ACTION: PASSIONS AND INTERESTS IN THE 19TH-CENTURY FRENCH NOVEL. (REVIEW OF THE COLLOQUIUM AT SORBONNE, SEPTEMBER 22-23, 2019)." RZ-Literaturovedenie, no. 2 (2021): 170–78. http://dx.doi.org/10.31249/lit/2021.02.14.

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Scholars from various French and Italian universities presented results of their studies on the works of prominent realistic and naturalistic French writers of the 19th century in their talks for the reviewed colloquium later published on the Fabula website. The main issues discussed are the balance of rational and emotional in depicting characters’ actions in novels, the main sources of motivation for these actions, some distinct features of narrative discourse and psychological approach in the works by Stendhal, Balzac, Flaubert and other novelists of this period.

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Flower, John, and Malcolm Scott. "The Struggle for the Soul of the French Novel: French Catholic and Realist Novelists, 1850-1970." Modern Language Review 87, no. 3 (July 1992): 739. http://dx.doi.org/10.2307/3732985.

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Wesseling, H. L. "The Paris of Emile Zola." European Review 7, no. 2 (May 1999): 219–28. http://dx.doi.org/10.1017/s1062798700003999.

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Emile Zola (1840–1902) was one of the best known novelists of his time. In his work he gives a vivid description of French social and political life during the second Empire (1852–1870) and, in particular, of Paris. In this paper the author analyses the topography of the Paris of Emile Zola as described in one of his famous novels.

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Miller, Mary Ashburn. "A Fiction of the French Nation." Historical Reflections/Réflexions Historiques 44, no. 2 (June 1, 2018): 45–66. http://dx.doi.org/10.3167/hrrh.2018.440204.

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This article examines fictional representations of the emigration of the French Revolution. It focuses on the novels Eugénie et Mathilde, Les Petits émigrés, and Le Retour d’un émigré, which were published in France between 1797 and 1815 as émigrés were seeking to return to the nation they had fled. It argues that these novels should be interpreted as making claims about the ability of émigrés to reintegrate within the nation. The sentimental novels responded to two key anxieties about the émigrés’ return by demonstrating that émigrés had not been transformed into foreigners during their time abroad and that they were not seeking to reconstitute Old Regime France. These novelists redefined the émigré as an isolated and pitiable wanderer, and redefined France as a nation bound by common suffering and sentiment.

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Veshnyakov, Aleksey G. "In Searching of a Reader. The French New Novel in the 1950s." Bibliotekovedenie [Russian Journal of Library Science], no. 2 (March 31, 2010): 61–67. http://dx.doi.org/10.25281/0869-608x-2010-0-2-61-67.

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The article is concerned with the characteristic of the striking trend in the French literature of the second half of the 20th century called “New Novel”. The short review of the main features of new novelists’ poetics in the perspective of a writer and a reader relationship is made on the example of the following works: “Jealousy” by A. Robbe-Grillet, “Planetarium” by N. Sarraute, “Changing” by M. Butor.

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Hollister, Lucas. "Virginie Despentes’ queer crime fiction." French Cultural Studies 32, no. 4 (June 7, 2021): 417–27. http://dx.doi.org/10.1177/09571558211012987.

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Virginie Despentes has become one of France’s most commercially successful and celebrated novelists. However, while the French press has often labelled Despentes’ novels as crime fiction (‘polars’), there has been little in-depth scholarly discussion of how her work engages and transforms the conventions of the genre. Studies of Despentes’ queer/feminist themes and rhetoric would benefit from a more sustained attention to her ambivalent appropriations of the masculinist tropes of brutal crime fiction, and studies of French crime fiction would benefit from considering Despentes as key figure in the development of French queer/feminist crime fiction. Examining novels ranging from Baise-moi to Apocalypse bébé, this article argues for the interest in reading them as crime fiction, and notably as works that underline the risks that accompany efforts to rewire masculinist genres from within and orient them towards feminist and queer concerns.

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O'Callaghan, Raylene. "The Art of the (IM) Possible: The Autobiography of the French New Novelists." Australian Journal of French Studies 25, no. 1 (January 1988): 71–91. http://dx.doi.org/10.3828/ajfs.1988.7.

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Kelly, Gary. "Women Novelists and the French Revolution Debate: Novelizing the Revolution/Revolutionizing the Novel." Eighteenth-Century Fiction 6, no. 4 (1994): 369–88. http://dx.doi.org/10.1353/ecf.1994.0010.

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Leclerc, Catherine. "Between French and English, Between Ethnography and Assimilation: Strategies for Translating Moncton’s Acadian Vernacular*." TTR : traduction, terminologie, rédaction 18, no. 2 (May 17, 2007): 161–92. http://dx.doi.org/10.7202/015769ar.

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Chiac, the hybrid vernacular spoken by Acadians in the Moncton region, is increasingly used in works of fiction. By placing it on a par with French, Acadian novelists attempt to legitimize it as the language of a modern and urban Acadie. Their task is a difficult one, to which they respond with ambivalence: Chiac inscribes a difference which marginalizes them, whereas its absence amounts to a disappearance into the French norm. As a consequence, writers using Chiac face the challenge of making room for hybridity without dissociating themselves from their francophone identity. In their encounter with Chiac, translators of Acadian literature into English face a challenge of their own. Both multilingualism and vernacular languages have been deemed untranslatable, and Chiac happens to be at once multilingual and a vernacular. The dilemma faced by these translators is hence not too far from the dilemma of writers of Chiac: how much difference should they erase, how much should they insist on it at the risk of confirming stereotypes? How can they assist and pursue attempts at legitimization? How can they avoid assimilation into English on the one hand, and ethnography on the other? This article investigates the strategies brought into play by two translators who have tackled Chiac and its ambivalent use by Acadian novelists: Robert Majzels, translator of France Daigle, and Jo-Anne Elder, translator of Gérald Leblanc. Keywords: Chiac, Acadian literature, Acadian literature in translation, literary multilingualism, sociolects and vernaculars.

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GRIFFITHS, R. "Review. The Struggle for the Soul of the French Novel: French Catholic and Realist Novelists, 1850-1970. Scott, Malcolm." French Studies 45, no. 3 (July 1, 1991): 356. http://dx.doi.org/10.1093/fs/45.3.356.

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Schabert, Ina. "Translation Trouble: Gender Indeterminacy in English Novels and their French Versions." Translation and Literature 19, no. 1 (March 2010): 72–92. http://dx.doi.org/10.3366/e0968136109000776.

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In English literature, characters of indeterminate sex created by novelists range from the ambi-gendered narrators in Victorian novels to the protagonists of Virginia Woolf's Orlando, Brigid Brophy's In Transit, Angela Carter's The Passion of New Eve, and Jeanette Winterson's Written on the Body. A unique experiment in French is Anne Garréta's Sphinx. Translating such texts from one language into the other is a challenge; different strategies of ‘degendering’ have to be used in Germanic and Romance languages respectively. This essay discusses examples of translations which successfully preserve gender indeterminacy, but also translations which ignore authorial intentions and reintroduce gender markings. Typical strategies are observed as well as imaginative solutions for special situations.

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Tureková, Andrea. "La séduction de la vertu dans le roman libertin français : Crébillon, Laclos, Duclos." Studia Romanistica 24, no. 1 (July 2024): 75–85. http://dx.doi.org/10.15452/sr.2024.24.0004.

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The seduction of virtue in the French libertine novel: Crébillon, Laclos, Duclos. The French libertine novel depicts aristocratic society, mainly engaged in the “game” of seduction. In this game, the glory of the libertine is measured not only by the number of conquests; the greatest challenge is to triumph over virtue, to seduce a woman committed to honour and duty. A “fight” ensues between the cynical seducer and the virtuous woman: but through his manipulations, the libertine sometimes catches himself in his own trap. This paper examines three masterpieces of the 18th century French novel of libertinage, highlighting the parallels and counterpoints between the characters of Lord Chester (Les Heureux Orphelins by Crébillon) and the Vicomte de Valmont (Les Liaisons dangereuses by Laclos) on the one hand, and the Comte de *** (Les Confessions du comte de *** by Duclos) on the other. Between cynicism, denial and conversion, the novelists’ pessimism about the possibility of attaining the truth of feelings emerges.

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Vanzelli, José Carvalho. "A era Meiji nos textos de Eça de Queirós." Estudos Japoneses, no. 35 (March 7, 2015): 27–43. http://dx.doi.org/10.11606/issn.2447-7125.v0i35p27-43.

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Best known as one of the major Lusophone novelists, Eça de Queirós (1845-1900) was also a prolific journalist. He wrote since the 60s of the nineteenth century to the end of his life in various Portuguese, Brazilian and French journals. Although he never visited Japan, the author of Os Maias dedicated some texts (or parts of texts) to the Meiji society. In this article we intend to examine how the famous Portuguese writer represented the “Land of the Rising Sun” to his readers, verifying if there is a consonant or dissonant discourse with the Japonistic aesthetics, present in Europe’s fin-de-siècle.

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Talamante, Laura, and Jasmine Abang. "Education During the Enlightenment: Women Engaging Critical Inquiry." Inquiry: Critical Thinking Across the Disciplines 32, no. 1 (2021): 37–59. http://dx.doi.org/10.5840/inquiryct202111103.

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Until the late seventeenth-century, French women had limited access to education. This article explores the openings that the Enlightenment provided for reconceptualizing women’s education, and how women used their roles as salonnières and novelists to challenge gendered educational limits. Using the lenses of education and gender norms, we highlight women’s intellectual contributions to the French Enlightenment and the history of ideas and emphasize the role of critical thinking in creating gender equality. With this scholarship, we encourage students to reflect on the history of the Enlightenment and the importance of reading, writing, and critical thinking for tackling present issues of discrimination. Furthermore, for educators, we challenge them to see the benefits of centering marginalized voices in the history of the Enlightenment for what those voices offer, engaging students in critical thinking and education and addressing equity and social justice for both individuals and society at large.

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Gehrmann, Susanne. "Emerging Afro-Parisian ‘chick-lit’ by Lauren Ekué and Léonora Miano." Feminist Theory 20, no. 2 (February 24, 2019): 215–28. http://dx.doi.org/10.1177/1464700119831539.

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This article examines the novels Icône urbaine (2005, Urban Icon) by French-Togolese writer Lauren Ekué and Blues pour Elise (2010, Blues for Elise) by French-Cameroonian/Afropean writer Léonora Miano, with regard to their contribution to chick-lit in a broad sense. With a focus on urban working women, their love lives and consumerism, these novels fulfil a number of criteria of mainstream chick-lit. At the same time, however, a serious concern for structural power relations is inscribed into these texts. Both novelists make ample use of intermedial writing such as structural borrowing from and references to music, TV formats and the fashion press. I will analyse these narrative strategies and address how far Ekué and Miano copy, rewrite and reinvent the Anglo-American chick-lit genre from the transnational perspective of the African Diaspora in France and considering the peculiarities of black Paris as a space.

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Pillai, Shanthini. "Gastronomic Aesthetics of a French Catholic Missionary during the Japanese Occupation of Malaya." Southeast Asian Review of English 59, no. 2 (January 2, 2023): 39–57. http://dx.doi.org/10.22452/sare.vol59no2.5.

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Much has been written about British accounts of colonial Malaya from the perspective of travellers, explorers, novelists, historians and many more. Much also exists on the Malaysian responses to life under the Japanese Occupation. Yet there is a lacuna on scholarship on other European communities that existed alongside the British in Malaya. This paper traces the French oeuvre of the Japanese Occupation of Malaya, especially within the context of food and religiosity. Focusing on a diary written by a French Catholic missionary in Malaya during the Japanese Occupation, it interrogates the aspect of Catholic gastronomic aesthetics through the concepts of the imaginary of incorporation as well as biblical metaphors of commensality. In so doing, the paper presents a different and novel angle to existing conversations on European networks of knowledge production on colonial Malaya, especially within the context of food and colonialism, revealing that not all frameworks of the operations of European colonialism are the same. It also significantly intervenes into and alters the vestiges of a colonial palate that has heretofore remained predominantly British through the foregrounding of a French Catholic cultural perspective that perceptibly adds its own distinct flavour.

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Shorley, Christopher. "Novelists in Conflict: Ideology and the Absurd in the French Combat Novel of the Great War." French Studies 59, no. 4 (October 1, 2005): 568–69. http://dx.doi.org/10.1093/fs/kni260.

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Lemaître, Clément. "Cartographie des malaises français Soumission et Sérotonine de Michel Houellebecq." Intercâmbio: Revue d’Études Françaises=French Studies Journal, no. 14 (2021): 6–20. http://dx.doi.org/10.21747/0873-366x/int14a1.

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The critique of liberalism and its impact on all facets of life is a topic that structures Michel Houellebecq’snovels. His last two novels, Submissionand Serotonin, point out the dislocation of society into many parts that no longer communicate because they hold different values and occasionally end up clashing. Writing a work of fiction, like the Naturalist novelists, is a way to conduct political and social experiments toproduce an analysis of the contemporary world. This analysis is created by a singular voice that imposes its temperament, its obsessions,and its convictions on this representation of reality. This paperwill try to expose the character of this voice and the tensions it describes in French society.

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Mallart Brussosa, Myriam. "S’exposer au théâtre : l’émergence de dramaturges sénégalaises." Çédille, no. 24 (2023): 59–87. http://dx.doi.org/10.25145/j.cedille.2023.24.04.

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"After independence, few Senegalese female authors have written theatre plays in French. In the new millenium, however, there began a new tendency, maybe not very substantial, but that seems to be promising. This article offers a panoramic vision of female dramaturgy in Senegal. It examines the causes of this lack of involvement and explores how in a context not very inclined to public exhibition, each author exposes herself in her own way. Actresses have opted for writing when they cannot find engaging roles; novelists and poets have ventured into dramaturgy to reach a wider audience; and, exceptionally, women writers have made theater their favourite area of creation. All of them participate in the rewriting of the role of women through groundbreaking and non-victimist female characters."

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Bundalo, Anja. "French ‘Radiation’ in the Works of Serbian Female Novelists of the First-Half of the 20th Century." Филолог – часопис за језик књижевност и културу 21, no. 21 (June 30, 2020): 501–3. http://dx.doi.org/10.21618/fil2021501b.

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Albuquerque, Marly de, Carla A. Scorza, Ricardo M. Arida, Esper A. Cavalheiro, and Fulvio A. Scorza. "The mistery of Gustave Flaubert's death: could sudden unexpected death in epilepsy be part of the context?" Arquivos de Neuro-Psiquiatria 67, no. 2b (June 2009): 548–52. http://dx.doi.org/10.1590/s0004-282x2009000300038.

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Epilepsy is the most common serious neurological condition and sudden unexpected death in epilepsy (SUDEP) is the most important direct epilepsy-related cause of death. Information concerning risk factors for SUDEP is conflicting, but high seizure frequency is a potential risk factor. Additionally, potential pathomechanisms for SUDEP are unknown, but it is very probable that cardiac arrhythmias during and between seizures or transmission of epileptic activity to the heart via the autonomic nervous system potentially play a role. More than two decades ago, temporal lobe epilepsy was suggested as having been the ''nervous disease'' of Gustave Flaubert, one of the most important French novelists. In these lines, as the circumstances of his death were the subject of fabulous and mysterious speculations, we postulated in this paper that Falubert' death could be due SUDEP phenomenon.

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Faraj Tawfique, Mai. "L'Art et le Roman: Le Roman Traditionnel Face au Nouveau Roman Alain Robe- Grillet Literature and Novel: Classical novel in comparison to New Novel By Alain Robbe - Grillet." Journal of the College of languages, no. 42 (June 1, 2020): 182–202. http://dx.doi.org/10.36586/jcl.2.2019.0.40.0182.

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En vue de résumé, et en suivant les propos de Robbe-Grillet, nous dirons que le concept du Nouveau Roman ne constitue pas une Théorie, ni une école, ni même un groupe d'écrivains optant pour la même démarche. Il n'y a là qu'une appellation commode englobant tous ceux qui cherchent de nouvelles formes romanesques, capables d'exprimer ou de créer de nouvelles relations entre l'homme et le monde, tous ceux qui ont décidés à inventer le romen. C'est à-dire à inventer- l'homme comme le croit Alain. Robbe- Grillet. Modern French novel has gained a distinctive status in the history of French literature during the first half of the twentieth century. This is due to many factors including the new literary descriptive objective style adopted by novelists like Alain Robbe – Grillet that has long been regarded as the outstanding writer of the nouveau roman, as well as its major spokesman, a representative writer and a leading theoretician of the new novel that has broken the classical rules of the one hero and evolved, through questioning the relationship of man and the world and reevaluating the limits of contemporary fiction , into creating a new form of narrative.

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Prus, Elena. "The Dramatic Model of the 19th Century French Novel." Arta 32, no. 2(AAV) (December 2023): 60–65. http://dx.doi.org/10.52603/arta.2023.32-2.09.

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The dramatic model is associated with the entire generation at the end of the 19th century, a time of “generalized staging” with a predisposition for the spectacular. The city is perceived as a scenic place. A true phantasmagorical space, the urban space dramatizes the inhabitants who are transformed, in turn, into actors. Paris, in the 19th century, was not only the place of famous world exhibitions, it became itself an object of exhibition, thus spreading its influence over people and things. All the French novelists of the 19th century experienced theatrical training, having launched certain dramatic projects (Balzac, Baudelaire, Flaubert, Zola, Daudet, Flaubert, and Goncourt). The novel of the studied period has a visible organization, dramatic pattern, and vision associated with a time that presupposes a generalized dramatization of society. The theatrical metaphor appears frequently in the 19th century novel to denounce the hypocrisy of society which hides dubious things under honest appearances. This is the leitmotif of the realist/naturalist novel, which aims at revealing and develop realities in profusion. Social relations, places, behaviors are placed under the sign of appearance, of the mask. The itinerary of the characters consists in learning the scenic regularities behind the scenes of the sets, as well as the techniques, which precede the performance. The success of the hero is largely based on his skills to play the role. The drama of the novel speaks of the fragile boundary between genres in the 19th century and characterizes the new poetics of the novel.

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Lepetiuk, Lepetiuk. "The Functions of Speech Genres in the French Novel of XX c." Studia Linguistica, no. 13 (2018): 184–202. http://dx.doi.org/10.17721/studling2018.13.184-202.

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The research is based on the M. Bakhtin’s theory of the speech genres, according to which speech communication, including artistic communication, is realized through a variety of genres of speech. The artistic text is considered as a secondary speech genre, which arises in the conditions of cultural communication and in the process of its formation absorbs a variety of primary genres. The article presents the results of investigation of the plays and role of speech genres in the structure of French novel of XX c. It examines different forms of the presence of a great variety of speech genres in the novel as well as their functions. This article analyzes a semiotic character of a speech genre and interference of a speech genre and a context of a speech situation. It investigates the use by the French novelists of a speech genre for transfer implicit information.The dialogism is examined and analyzed in the text of French Novel. This phenomenon is associated with the intentional and synthetic aspects of the language: each language is associated with a certain form of the speaker, refers to a certain context and expresses the point of view and a certain world outlook. Consequently, the text of the novel may be presented as a system of different languages, as well as inserted speech genres, entering into various dialogical interactions, the functioning of which has been organized and directed by the author in accordance with their intentions.

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Birch, Edmund. "Alexandre Dumas's Odyssey: Race, Slavery, Narrative." PMLA/Publications of the Modern Language Association of America 137, no. 5 (October 2022): 809–23. http://dx.doi.org/10.1632/s0030812922000517.

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AbstractAlexandre Dumas père left behind few explicit reflections on race and slavery in the modern world, but he was not silent on these subjects. Before the tireless deeds of the musketeers, or the vengeful fantasies of the Count of Monte-Cristo, there was Georges, an 1843 novel of race and slave rebellion set on the island of Mauritius. This essay explores questions of homecoming, homelessness, and recognition in the novel. It argues that the text incorporates a series of references to the Homeric Odyssey and that these come to illuminate the complexities of a problem faced by metropolitan French novelists of the nineteenth century: What manner of plot might grasp, or fail to grasp, the interlocking injustices of racism and slavery? After all, Georges does not conclude with homecoming and recognition, as the model of the Odyssey might imply, but with homelessness.

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BELOZEROVA, Natalia N. "HOW FAR CAN A DEAD AUTHOR GO?" Tyumen State University Herald. Humanities Research. Humanitates 8, no. 1 (2022): 62–75. http://dx.doi.org/10.21684/2411-197x-2022-8-1-62-75.

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This article centers around the issue of “the death of the author” proposed by Roland Barthes, a French semiologist, in one of his essays. Three novels to a great extent “probabilistic” by two contemporary French novelists are chosen to verify the possibility of the “resurrection” of the author in the blended narratives overloaded with intertextual units both structural and semantic. These novels are: a detective story « La Police des Fleurs, des Arbres et des Forểts » by Romaun Puertolas, a “semiotic” detective novel « Qui a tué Roland Barthes ? La septième fonction du langage » by Laurent Binet and his “would-have-been” « Civilization ». The methodology rests upon Derridean deconstruction including « diffrance » principle, based upon two ideas: all things defer to the same field and differ at the same time. Several other approaches used concern the interrelation of the categories of the author, text and the reader. These approaches include theories by M. Bakhtin, R. Jakobson, D. Lodge etc. The analysis reveals that a vectoral outline of probable regressive or progressive development shapes the narrative chain. Another property is to be found in the fusion of genre forms, each evolving according to its rules. Communication practices in these novels obtain greater importance than physical events… That tendency in its turn has caused the revival of the Syncretic truth.

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Gheorghita, Ana. "The Impact of the Biographies of French Realist Novelists on the Use of Chromatic Elements in their Literary Works." Intertext, no. 1(61) (December 2023): 77–82. http://dx.doi.org/10.54481/intertext.2023.1.08.

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In order to interpret precisely and deeply the chromatic elements used in the works of several French realist novelists, such as Honoré de Balzac (A Woman of Thirty, The History of César Birotteau Rise and Fall), Gustave Flaubert (Madame Bovary, Salammbô), Stendhal (Red and Black), Guy de Maupassant (Bel-Ami) and Prosper Mérimée (Carmen), the thorough analysis of main biographical references in the authors life and creation is essential, because these could necessarily influence the writers coloristic predilections and, implicitly, their materialization modalities in artistic texts. The chromatic elements analysis performed through the prism of the authors' biographies certain aspects impact on their literary works, allows us to affirm that existential problems, personal experiences, relationship with the socio-human environment have a noteworthy and suggestive importance for artistic creation, in general, and for the modality of a literary work main idea conveying to the reader, in particular. The chromatic elements active use corresponds, most of the time, to important stages in the writers' lives, to psychotypical traits manifested by them both in their daily and creative activities. In the given context, chromatics serves as an effective tool to achieve the author's intention to focus reader's attention on the character inner world, to lead him to identify the psychological motivation of events that happened and to make him reflect on them.

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Popa, Marius. "Trois scènes de bal dans le roman français (« La Princesse de Clèves », « Madame Bovary », « Le Ravissement de Lol V Stein »)." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 221–42. http://dx.doi.org/10.24193/subbdrama.2020.2.11.

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"Three Ball Scenes in the French Novel (“La Princesse de Clèves”, “Madame Bovary”, “Le Ravissement de Lol V Stein”). This article aims to analyze – in a comparative manner – three ball scenes from novels belonging to leading authors of French literature (Madame de Lafayette, Gustave Flaubert and Marguerite Duras), highlighting a series of dramatic mechanisms used by novelists in the construction of such a diegetic plot. If La Princesse de Clèves describes a ball that takes place in the royal court, with all the typical scenes of the time (embodied in a real mixture of intrigue and gallantry specific to the living environment of the actors, which make the topos of the novel itself become a collective character), Madame Bovary describes, instead, a ball animated by the high society of the nineteenth century, with all the specifics of the realistic episteme (the ball becomes here an opportunity to evoke the painful contrast between different living environments, which the heroine cannot access and which causes her, consequently, to take refuge in an imaginary universe). Much closer to the spirit of contemporaneity, Le Ravissement de Lol V Stein, the famous “nouveau roman”, relies on an image of the harmful and destructive ball, paying particular attention to the psyche of the characters. These novels lean – starting from this narrative pretext of the ball – on some love stories built through specific strategies of the theatre, which is, in essence, the central object of our analysis. Keywords: ball scenes, French Novel, dramatic mechanisms, narrative pretext, love stories."

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Syrotinski, Michael. "Globalization, mondialisation and the immonde in Contemporary Francophone African Literature." Paragraph 37, no. 2 (July 2014): 254–72. http://dx.doi.org/10.3366/para.2014.0125.

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Taking as its theoretical frame of reference Jean-Luc Nancy's distinction between globalization and mondialisation, this article explores the relationship between contemporary Africa, the ‘world’ and the ‘literary’. The discussion centres on a number of present-day African novelists, and looks in particular at a controversial recent text by the Cameroonian writer and critic, Patrice Nganang, who is inspired by the work of the well-known theorist of postcolonial Africa, Achille Mbembe. For both writers ‘Africa’, as a generic point of reference, is seen in terms of a certain genealogy of Africanist thinking, from colonial times through to the contemporary postcolonial era, and the article reflects on what a radical challenge to this genealogy might entail. Using a more phenomenologically oriented reading of monde (world) and immonde (abject, literally un-world), this rupture could be conceived in terms of the kind of ‘epistemological break’ that thinkers like Althusser and Foucault introduced into common usage and theoretical currency in contemporary French thought back in the 1960s.

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Lamouria, Lanya. "FINANCIAL REVOLUTION: REPRESENTING BRITISH FINANCIAL CRISIS AFTER THE FRENCH REVOLUTION OF 1848." Victorian Literature and Culture 43, no. 3 (May 29, 2015): 489–510. http://dx.doi.org/10.1017/s1060150315000042.

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Punch's Mr. Dunupis indeed in an awful position. Having fled to France to escape his English creditors, he finds himself in the midst of the French Revolution of 1848. The question that he must answer – what is worse, revolution in France or bankruptcy in England? – is one that preoccupied Victorians at midcentury, when a wave of European revolutions coincided with the domestic financial crisis of 1845–48. In classic accounts of nineteenth-century Europe, 1848 is remembered as the year when a crucial contest was waged between political revolution, identified with the Continent, and capitalism, identified with Britain. According to Eric Hobsbawm, the failure of the 1848 revolutions to effect lasting political change ushered in “[t]he sudden, vast and apparently boundless expansion of the world capitalist economy”: “Political revolution retreated, industrial revolution advanced” (2). For mid-nineteenth-century Britons, however, the triumph of capitalism was by no means assured. In what follows, I look closely at how Victorian journalists and novelists imagined the British financial crisis of the 1840s after this event was given new meaning by the 1848 French Revolution. Much of this writing envisions political revolution and the capitalist economy in the same way as thePunchsatirist does – not as competing ideologies of social progress but as equivalent forms of social disruption. As we will see, at midcentury, the ongoing financial crisis was routinely represented as a quasi-revolutionary upheaval: it was a mass disturbance that struck terror into the middle classes precisely by suddenly and violently toppling the nation's leading men and social institutions.

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Parkinson, Gavin. "The Delvaux Mystery: Painting, the Nouveau Roman, and Art History." Nottingham French Studies 51, no. 3 (December 2012): 298–313. http://dx.doi.org/10.3366/nfs.2012.0029.

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Meant to signal in its parodic title both the causal, deductive conventions of academic art history and those of the detective story, this essay looks at the work of the Belgian artist Paul Delvaux (1897–1994), and discusses the uses to which that œuvre has been put by several of the pioneers of the twentieth-century novel, such as Michel Butor, Alain Robbe-Grillet, Claude Simon, Julio Cortázar, and J.G. Ballard. It goes on to speculate as to why so many French novelists from the 1950s who interrogated specifically narrative form, together with those inspired by their example, responded to Delvaux's work in their writing. Asking whether any gain can be made in art history's knowledge and understanding of art by viewing it back through the fiction or poetry generated by it, the essay suggests that fiction and poetry might inflect academic art history at the level of style, asking what the genre implications of such writing might be for a discipline in which writing and style have had such well-defined boundaries and limitations.

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Gauthier, Patricia. "Réappropriation du jansénisme dans quelques romans français contemporains." Romanica Wratislaviensia 66 (October 4, 2019): 109–20. http://dx.doi.org/10.19195/0557-2665.66.9.

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JANSENISM REDUX IN SOME CONTEMPORARY FRENCH NOVELS The presence of Jansenism in a number of contemporary novels should lead to questioning the notion of post-secularity rather than illustrating it. The study of three of these novels P. Quignard’s Tous les Matins du monde, L. Salvayre’s La Puissance des mouches and C. Pujade-Renaud’s Le Désert de la Grâce cannot be limited to interpreting them as heralds of a return to religion which some see as a defining feature of post-secularity while others deem it insufficient to define the notion. The analysis of the links between the royal authority and Port-Royal makes it possible to highlight the interest of novelists in the theme of persecution and the resistance of individuals to intolerance, while remaining at a distance from 17th century theological debates. Beyond being a plea for freedom of conscience, these texts put it into perspective in a secularized democratic society that fails to conceive the place of the religious, or to conceive of itself outside that place. Literature thus shows the strength of fiction and art when it comes to considering man’s place in the world.

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Ożarska, Magdalena. "Male and Female Characters’ Crying in Jane Austen’s “Sense and Sensibility” (1811) and Maria Wirtemberska’s “Malvina, or the Heart's Intuition” (1816)." Respectus Philologicus 28, no. 33 (October 25, 2015): 22–30. http://dx.doi.org/10.15388/respectus.2015.28.33.2.

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Published in 1816, Malvina, or the Heart's Intuition by Maria Wirtemberska appeared but five years after the publication of Jane Austen's Sense and Sensibility (1811). My paper stipulates that Wirtemberska's Malvina was to a large extent inspired by Austen's novel although no straightforward evidence exists to suggest that the Polish writer was familiar with the works of the English author. Austen's novels were not rendered into Polish in the nineteenth century: the first translation was published as late as 1934. But novels by Western European authors were read by educated Poles in their original language versions, or in French translations and adaptations. It is crucial to view Wirtemberska's romance as a specimen of the same genre as Austen's works because several parallels emerge in terms of the novel's structure, motifs and characters. My paper looks at the ways in which the motif and images of crying are used in Austen's and Wirtemberska's novels. The two works seem a good choice for this kind of comparative analysis as they tackle various aspects of sensibility, a phenomenon which invoked mixed feelings among the novelists' contemporaries, excitement and a sense of moral jeopardy included.

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Pakhsarian, Natalia. "C H E K A L O V K. A. OCHERKI ISTORII I TIPOLOGII FRANTSUZSKOY MASSOVOY PROZY XIX — NACHALA XX VEKA (ESSAYS ON THE HISTORY AND TYPOLOGY OF FRENCH MASS PROSE OF THE 19th– EARLY 20th CENTURY). — St.Petersburg: Nestor-History, 2022. — 286 pp." Lomonosov Journal of Philology, no. 6 (March 19, 2023): 217–23. http://dx.doi.org/10.55959/msu0130-0075-9-2022-6-217-223.

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The review analyses a book by K. A. Chekalov — a well-known scholar, Doctor of Philology, Head of the Department of Classical Literatures of the West and Comparative Literature Studies. His work continues the series of studies of mass French literature from its origins to the beginning of the last century. Th e author does not aim to cover all the phenomena of mass literature over a century and a half, trying at the same time to fi ll the gaps in their research, to turn to the least studied works of those novelists which his predecessors had already addressed (Eugène Sue, Alexandre Dumas, Maurice Leblanc), to the less explored writers (Paul Feval, Ponson du Terailles, Xavier de Montepin, etc.), as well as those famous writers whose relationship to mass literature is still ambiguous (Jules Verne). Comprising 11 essays, Chekalov’s monograph not only provides an insight into the poetics and function of the mass novel in nineteenth- and early twentieth-century France, but also shows the nature of its reception in Russia, from the fi rst published translations to the publications of the 2000s.

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Neklyudova, Maria. "«Мертвые Цари всегда должны по смерти своей быть судимы»: Посмертная судьба одного древнеегипетского обычая в русской и европейской словесности XVI – XIX вв. [“Dead Kings Must Always be Judged after Their Demise”: The Afterlife of an Ancient Egyptian Custom in the Russian and European Literature of the 16th to 19th Centuries]." Slavica Revalensia 8 (2021): 9–47. http://dx.doi.org/10.22601/sr.2021.08.01.

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In his Bibliotheca historica, Diodorus Siculus described a peculiar Egyptian custom of judging all the dead (including the pharaohs) before their burial. The Greek historian saw it as a guarantee of Egypt’s prosperity, since the fear of being deprived of the right to burial served as a moral imperative. This story of an Egyptian custom fascinated the early modern authors, from lawyers to novelists, who often retold it in their own manner. Their interpretations varied depending on the political context: from the traditional “lesson to sovereigns” to a reassessment of the role of the subject and the duties of the orator. This article traces several intellectual trajectories that show the use and misuse of this Egyptian custom from Montaigne to Bossuet and then to Rousseau—and finally its adaptation by Pushkin and Vyazemsky, who most likely became acquainted with it through the mediation of French literature. The article was written in the framework (and with the generous support) of the RANEPA (ШАГИ РАНХиГС) state assignment research program. KEYWORDS: 16th to 19th-Century European and Russian Literature, Diodorus Siculus (1st century BC), Jean-Jacques Rousseau (1712—1778), Alexander Pushkin (1799—1837), Prince Pyotr Vyazemsky (1792—1878), Egyptian Сourt, Locus communis, Political Rhetoric, Literary Criticism, Pantheonization, History of Ideas.

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Frick, John W. "The ‘Wicked City’ Motif on the American Stage before the Civil War." New Theatre Quarterly 20, no. 1 (January 5, 2004): 19–27. http://dx.doi.org/10.1017/s0266464x03000290.

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By the middle of the nineteenth century, the characterization of the big city as evil incarnate – a veritable latter-day Sodom – had achieved the status of national myth in both the United States and Britain, and had become a popular theme for journalists, novelists, and playwrights alike. John Frick examines this phenomenon – what came to be known as the ‘wicked city motif’ – as it manifested itself on the antebellum American stage. Originating in the urbanization of the eighteenth-century gothic novel and the French feuilleton roman and coalescing in Eugène Sue's Les Mystères de Paris and G. W. M. Reynolds's The Mysteries of London, the city mysteries narrative successfully negotiated the unstable border between the public and private spheres to examine the depravity and danger of the modern metropolis. Disseminated through populist politics, sensationalized journalism, popular fiction, and – the focus here – dramatic renderings, the apocalyptic vision of the modern city with its inexplicable and impenetrable secrets became commonplace in the 1840s and 1850s. John Frick is Professor of Theatre and American Studies at the University of Virginia and teaches in the M.Litt. program at Mary Baldwin College. His most recent book, Theatre, Culture, and Temperance Reform in Nineteenth-Century America, was published by Cambridge University Press in 2003.

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Masters, Joellen. "“A GREAT PART TO PLAY”: GENDER, GENRE, AND LITERARY FAME IN GEORGE MOORE’S A MUMMER’S WIFE." Victorian Literature and Culture 29, no. 2 (September 2001): 285–301. http://dx.doi.org/10.1017/s1060150301002030.

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An actor is one who repeats a portion of a story invented by another.— George Moore, “Mummer-Worship” (1891)THE COMPLEXITIES OF GEORGE MOORE’S CHARACTER, his reactions to Victorian life, and his experimentation with literary styles and genres make him a persistently marginal, albeit intriguing, character in literary studies. “[H]is best work,” Lloyd Fernando has observed, “rests to this day in an artistic as well as social limbo which resists complete definition” (10). A Mummer’s Wife (1885), his second novel, has been studied for Moore’s debt to French novelists, in particular Flaubert, or for the author’s reaction to the British circulating libraries’ power.1 In response to controversy over A Mummer’s Wife’s perceived crudeness, Moore claimed “I have a great part to play — I am fighting that Englishman [sic] may exercise a right which they formerly enjoyed, that of writing freely and sanely” (qtd. in Hone 114), even appointing himself “un ricochet de Zola en Angleterre.”2 Without exception then, author and scholars regard A Mummer’s Wife as a transitional work, the book that brought naturalism into the British tradition. The novel, however, suspended in that artistic and social limbo, has not come under scrutiny for additional and alternative readings.3

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Journal articles on the topic 'French novelists'

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