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Journal articles on the topic 'French satire'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Fraser, Matthew. "Caricatures, Canards, and Guignols: Satirical Journalism in France from the French Revolution to Fifth Republic." Journalism and Media 5, no. 1 (2024): 123–34. http://dx.doi.org/10.3390/journalmedia5010009.

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The special status of satire in France is examined historically from the French Revolution to the Fifth Republic. It is argued that satire in France functions with a normative reference to the secular, universalist Jacobin values (hostile to church, aristocracy, and monarchy) that underpinned the foundation of the French Republic. Since the French Revolution, French journalistic satire has, in different ways, perpetrated what can broadly be categorized as either lèse majesté or blasphemy. Given France’s turbulent history over the past two centuries, satire has frequently been used as an instru

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2

Collovald, Annie, and Erik Neveu. "Political satire on French television." Modern & Contemporary France 7, no. 3 (1999): 339–49. http://dx.doi.org/10.1080/09639489908456501.

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Tsymbal, Inna, and Anastasiia Rudenko. "MEANS OF CREATING A COMIC IN FRENCH AND UKRAINIAN SATIRICAL EDITIONS (A STUDY OF CHARLIE HEBDO NEWSPAPER AND THE PERETS MAGAZINE)." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 14(82) (2022): 75–78. http://dx.doi.org/10.25264/2519-2558-2022-14(82)-75-78.

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The article deals with the peculiarities of creating a comic in French and Ukrainian satirical editions on the basis of the French newspaper Charlie Hebdo and the Ukrainian magazine Perets. Comic forms including humor and satire are described. Humor helps to overcome stress, and satire, which aims to ridicule the politicians etc., is an effective mouthpiece that conveys the popular dissatisfaction, helps to cope with the vices of society. Each satirical magazine, as the center of this information struggle, has its own means of creating a comic, exposing effect. Unlike Perets's satire, Charlie

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4

Williams, Stephanie. "Satire, prints and theatricality in the French Revolution." French History 32, no. 2 (2018): 289–91. http://dx.doi.org/10.1093/fh/cry011.

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Thygesen, Mads. "Dit hjem er et minefelt!" Peripeti 4, no. 8 (2021): 77–88. http://dx.doi.org/10.7146/peri.v4i8.110158.

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Collins, Ross F. "A Battle for Humor: Satire and Censorship in Le Bayard." Journalism & Mass Communication Quarterly 73, no. 3 (1996): 645–56. http://dx.doi.org/10.1177/107769909607300311.

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Research on humorous and satiric publications during wartime is scarce, and studies of World War I humorous publications suggest that such publications emphasized patriotic material supporting the war and ridiculing the enemy. This study of a French weekly satiric publication, Le Bavard, indicates that, at least in France, the conventional assumption needs to be reassessed. Despite heavy censorship, Le Bavard criticized French politicians and lampooned government leadership. The protest-minded approach of Le Bavard may be attributed to its association with leftist politics.

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Cowart, Georgia. "Carnival in Venice or Protest in Paris? Louis XIV and the Politics of Subversion at the Paris Opéra." Journal of the American Musicological Society 54, no. 2 (2001): 265–302. http://dx.doi.org/10.1525/jams.2001.54.2.265.

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Abstract After Louis XTVs banishment of the Comédie-Italienne in 1697, its costumes and masks became increasingly fashionable among a public disenchanted with absolutist politics. This article reveals the manner in which the plots, characters, and subversive satire of the Comédie-Italienne inform two ballets of André Campra, Le Carnaval de Venise (1699) and Les Fêêtes vénitiennes (1710). Following the satiric strategies used by the Comédie-Italienne, Campra and his librettists employ an exotic Venetian setting as a mask for the libertine entertainments of a French public sphere. Reversing the

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8

Burrows, Daron. "“Ele boute son doi en son con…”." Reinardus / Yearbook of the International Reynard Society 27 (December 31, 2015): 33–57. http://dx.doi.org/10.1075/rein.27.02bur.

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Across the Middle Ages, Continental French texts satirised the French spoken by Englishmen, with particular comic value attached to their alleged tendency unwittingly to use foutre and other obscene terms. Since the Anglophones’ jargon relies on grotesque parody of attested morpho-syntactical and phonological features of Insular French, this article assesses whether there may also be a lexical kernel of truth underlying the satire by exploring the frequency and context of occurrence of specific items of sexual vocabulary in Anglo-Norman texts, including fabliaux, comic monologues and dialogues

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9

Butterworth, Emily. "Reforming French Culture: Satire, Spiritual Alienation, and Connection to Strangers." French History 33, no. 1 (2019): 118–19. http://dx.doi.org/10.1093/fh/crz026.

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10

Berard, Christopher. "King Arthur’s Charter: A Thirteenth-Century French Satire Against Bretons." Journal of the International Arthurian Society 8, no. 1 (2020): 3–37. http://dx.doi.org/10.1515/jias-2020-0002.

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AbstractOn the verso of the last leaf of a twelfth-century manuscript containing the poetry of Hilarius, a student of Abelard, appears a faux charter purporting to have been issued by Arthur, king of the Britons, in the hundredth year of his immortality. In the act, Arthur thanks the descendants of his British subjects for their fidelity and grants them an exclusive franchise to fish in secret rivulets. The privilege contains two prohibitions: one prohibiting Britons from wearing shoes and the other prohibiting them from owning cats. This article provides a diplomatic edition, English translat

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11

Hoffmann (book author), George, and Jane Couchman (review author). "Reforming French Culture: Satire, Spiritual Alienation, and Connection to Strangers." Renaissance and Reformation 41, no. 4 (2019): 245–47. http://dx.doi.org/10.33137/rr.v41i4.32482.

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12

Bennett, Kristen Abbott. "Rhetorical Swordfighting and Satire in Thomas Watson’s Hekatompathia." Explorations in Renaissance Culture 48, no. 1 (2022): 6–39. http://dx.doi.org/10.1163/23526963-04801001.

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Abstract Thomas Watson’s critics have suggested that The Hekatompathia, Or Passionate Centurie of Love ambitiously aspired to be a pedagogical text, but if this work is designed to teach, then this essay suggests Watson’s manipulations of genre, style, and intertexts combine to offer a pedagogy for poets, a compilation of rhetorical postures one may employ to simultaneously deliver and disguise socio-political satire in Elizabethan England. This essay first discusses how Hekatompathia additionally signals its satirical aims by participating in the pasquinade tradition, and positioning a “pasqu

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Trakhtenberg, L. A. "«The Breams», a Fable by I. A. Krylov, and its French Source." Russkaya literatura 1 (2020): 99–102. http://dx.doi.org/10.31860/0131-6095-2020-1-99-102.

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The article shows that I. A. Krylov’s fable «The Breams» is based on J.-J. Boisard’s fable «The Pikes». It demonstrates how Krylov transformed the source plot, turning a static situation into a dynamic story, spotlighting a minor image and supplementing humour with satire.

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Mazur, N. N. ""A Simile of This and That": Connotations of Champagne in the Russian Poetry of the 1810s — 1830s." Russkaya literatura 3 (2020): 34–50. http://dx.doi.org/10.31860/0131-6095-2020-3-34-50.

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Not only champagne, but also its descriptions in the Russian poetry of 1810s — 1830s were French by their origin: Voltaire’s satire "Le Mondain" and its translation by Dmitry Baranov provided the motif base for such descriptions. Baranov’s decision to omit Voltaire’s comparison between the French national character and champagne, encouraged Russian poets to introduce new analogies to fill the gap. Thanks to this competition in versifi cation skills, champagne gained a wide spectrum of symbolic, political and poetic connotations, described in our article.

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15

Mainz, Valerie. "Satire, Prints and Theatricality in the French Revolution. By Claire Trévien." French Studies 71, no. 4 (2017): 579–80. http://dx.doi.org/10.1093/fs/knx169.

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Piet, Remi. "Satire and Religious Tolerance: How Acceptance/Rejection of Satire is Determined by the Capacity of Religious and Political Forces to Agree on a Modern Civic Contract." International Journal of Public Theology 10, no. 3 (2016): 302–23. http://dx.doi.org/10.1163/15697320-12341453.

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The January 2015 assassination at the Charlie Hebdo offices and the dozen ensuing terrorist attacks in France over the last eighteen months are the manifestation of a structural opposition between a civic identity whose most controversial manifestation is political satire and a religious identity hijacked by radicals. This paper explains how political satire is deeply entrenched in French culture and how it has been used as a democratization and liberating tool by a society eager to counterbalance the existing religious establishment. Similarly, it then addresses satire in the Muslim world and

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Couchman, Jane. "Hoffmann, George. Reforming French Culture: Satire, Spiritual Alienation, and Connection to Strangers." Renaissance and Reformation 41, no. 4 (2018): 245. http://dx.doi.org/10.7202/1061944ar.

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18

Carroll, Stuart. ":Reforming French Culture: Satire, Spiritual Alienation & Connection to Strangers." Sixteenth Century Journal 49, no. 3 (2018): 896–97. http://dx.doi.org/10.1086/scj4903153.

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Nonnenmacher, Hartmut. "<i>El Jueves</i> - eine Satirezeitschrift für Spanien aus Barcelona." Zeitschrift für Katalanistik 25 (July 1, 2012): 201–28. http://dx.doi.org/10.46586/zfk.2012.201-228.

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Summary: The first part of this contribution focuses on the characteristics of the Barcelona-based magazine of humor and satire, El Jueves, which was founded in 1977. Compared to its French and German counterparts – Le canard enchaîné and Titanic – this Spanish magazine has a particularly high level of visual content in relation to script and also contains the greatest amount of comic strips. The second part discusses the way Catalan nationalism and Catalans in general are portrayed in El Jueves. Occasionally the magazine resorts to humor based on regional stereotypes but still maintains an eq

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20

Flower, John. "Book Review: French Studies: Joan of Arc in French Art and Culture (1700-1855). From Satire to Sanctity." Journal of European Studies 37, no. 1 (2007): 80–81. http://dx.doi.org/10.1177/004724410703700106.

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21

Kotick, Andrew. "Le Rire and the Meaning of Cartoon Art in Fin-de-Siècle France." French Politics, Culture & Society 41, no. 2 (2023): 1–25. http://dx.doi.org/10.3167/fpcs.2023.410201.

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Abstract As the foremost organ of the French satirical and illustrated press, the weekly Le Rire captivated a broad reading public in the final decade of the nineteenth century. At the crossroads of commercial entertainment and mass media, Le Rire sought to champion caricature and comic illustration as art forms worthy of serious merit and to make humor a powerful tool for political, cultural, and social commentary. This article aims to assess the periodical's impact in its time, and furthermore, contends that Le Rire was a determinative force in reshaping public mores toward comedy and satire

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22

Simankov, V. I. "D. I. Fonvizin as the «Russian Boileau»: Towards the Origin of the Titulatory Formula in N. I. Novikov’s Satirical Journals." Russkaya literatura 2 (2020): 25–34. http://dx.doi.org/10.31860/0131-6095-2020-2-25-34.

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The present article deals with the question of attributing Nicolas Boileau’s Russian translations originally published by Nikolay Novikov in the magazine "Zhivopisets" (1772). Given the fact that Fonvizin was frequently called the «Russian Boileau» by his contemporaries, as well as taking into consideration the textual parallels between the anonymous Russian translation of "Sur l’Homme and An Epistle to My Servants" (1769) by Fonvizin, it seems possible to conclude that Fonvizin might be the translator of the French satire into Russian.

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23

Renner, Bernd. "Reforming French Culture. Satire, Spiritual Alienation, and Connection to Strangers by George Hoffmann." French Forum 46, no. 2-3 (2021): 299–301. http://dx.doi.org/10.1353/frf.2021.0020.

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Persels, Jeff. "Reforming French Culture: Satire, Spiritual Alienation, and Connection to Strangers. By George Hoffmann." French Studies 73, no. 1 (2018): 112. http://dx.doi.org/10.1093/fs/kny300.

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25

Trakhtenberg, Lev A. "N. I. STRAKHOV’S WORKS OF SATIRE AND ‘THE FASHIONABLE BOOK’ BY L.-A. CARACCIOLI." Вестник Пермского университета. Российская и зарубежная филология 13, no. 3 (2021): 112–17. http://dx.doi.org/10.17072/2073-6681-2021-3-112-117.

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In 1790–1793 Nikolai Strakhov publishes The Satirical Bulletin (1790–1792), A Handbook for Winter Moscow Visitors (1791), The Correspondence of Fashion and The Lamentations of Fashion over the Expulsion of Fashionable and Expensive Goods (1793). The paper shows that The Fashionable Book by the French writer Louis-Antoine Caraccioli, published in Russian translation in 1789, could have been one of their literary sources. All the Strakhov’s works mentioned above share a common topic with the book by Caraccioli: fashion. In A Handbook, The Correspondence and The Lamentations of Fashion, as well a

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Agozino, Biko. "The Ire of Satire Meets the Error of Terror." Sociological Research Online 20, no. 4 (2015): 200–204. http://dx.doi.org/10.5153/sro.3791.

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The reign of terror named terrorism as a state ideology during the French revolution but the practice of terrorism as public policy predated cries of liberte, egalite et fraternite, given the unprecedented peculiar history of Maafa or the African holocaust that went on for centuries, first across the Sahara and then across the Atlantic, under the sponsorship of various states. The error in terrorism is that it presumes that human beings are such scary cats that fear would be an effective policy for domination or liberation. On the contrary, human beings are a strange piece of work capable of f

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Aldrian, Aldrian, Septi Lestari, and M. Anwar Mas'adi. "Islamophobia Values in The French Magazine Charlie Hebdo's Cartoons." JURNAL PENELITIAN KEISLAMAN 20, no. 1 (2024): 17–32. http://dx.doi.org/10.20414/jpk.v20i1.9801.

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This study analyzes two cartoons from Charlie Hebdo, employing six elements of Roman Jakobson's semiotics. It's a descriptive qualitative study using cartoon. The results of the study show that: 1) the cartoon edition 1011 consists of one addresser, Jean Cabut; two addressees, Prophet Muhammad SAW and Islam; one contact, Charlie Hebdo magazine; two contexts, social and religious-social; three codes with their respective messages, it can be concluded with the caricaturist's satire towards the whipping law found in Islamic Sharia; 2) the cartoon with the subtitle "L'amour, plus fort que la haine

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Scripnic, Gabriela, and Diana Elena Popa. "From hostile humour to stereotyping in televised satire Les Guignols de l’Info." Constructing and Negotiating Identity in Dialogue 5, no. 1 (2015): 90–106. http://dx.doi.org/10.1075/ld.5.1.05scr.

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Humour displayed by today’s media targets both individuals and communities and the degree to which it is perceived as a mere humoristic act or, more seriously, as an insult depends on a series of factors which point to: its creator (the goal he/she (c)overtly assumes to reach), its addressee (whether he/she is a witness or a target), and the context in which the act is performed (institutionalized vs non-institutionalized). This study takes into account several examples from the French show Les Guignols de l’Info in order to bring forth the language tools and discourse strategies by means of w

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LESSMANN, BENEDIKT. "Appropriations of Gregorian Chant in Fin-de-siècle French Opera: Couleur locale – Message-Opera – Allusion?" Journal of the Royal Musical Association 145, no. 1 (2020): 37–74. http://dx.doi.org/10.1017/rma.2020.7.

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AbstractThis article compares three French operas from the fin de siècle with regard to their appropriation of Gregorian chant, examining their different ideological and dramaturgical implications. In Alfred Bruneau’s Le rêve (1891), the use of plainchant, more or less in literal quotation and an accurate context, has often been interpreted as naturalistic. By treating sacred music as a world of its own, Bruneau refers to the French idea of Gregorian chant as ‘other’ music. In Vincent d’Indy’s L’étranger (1903), a quotation of Ubi caritas does not serve as an occasional illustration, but becom

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Burrows, Daron. "The Stereotype of the Priest in the Old French Fabliaux. Anticlerical Satire and Lay Identity." Romanische Forschungen 119, no. 3 (2007): 381–84. http://dx.doi.org/10.3196/003581207781887591.

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Kleppinger, Kathryn. "When parallels collide: social commentary and satire in French rap before and after Charlie Hebdo." Contemporary French Civilization 41, no. 2 (2016): 197–216. http://dx.doi.org/10.3828/cfc.2016.10.

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Omrani, Belkheir Ahmed. "The Approach of Imam Abdul Hamid ibn Badis to Sufi Methods." Al-Jami'ah: Journal of Islamic Studies 61, no. 2 (2023): 477–96. http://dx.doi.org/10.14421/ajis.2023.612.477-496.

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This research is about Shaikh Abdul Hamid ibn Badis, the president of the Algerian Association of Muslim Scholars, who led the reformist movement during the French occupation and was one of the leaders of reformation in the Muslim world. The research aims to reveal how the Shaikh dealt with the reality of Sufism and its spiritual authority and broad influence embedded in Algerian society. The author addresses issues within Algerian society during the French occupation, the position of the Shaikh as a man of satire in general, and his relationship with the elders’ zawaya of Sufi methods. The re

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33

Trakhtenberg, Lev A. "O. Goldsmith’s Oriental Parable in the Magazine Ni To Ni Sio (Neither This Nor That)." Studia Litterarum 6, no. 1 (2021): 382–95. http://dx.doi.org/10.22455/2500-4247-2021-6-1-382-395.

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The essay argues that the oriental parable “Ziou-Zioung. A Chinese Anecdote” published in No. 9 of the magazine Ni To ni Sio (“Neither This nor That”) on April 25, 1769, is a fragment of “The Citizen of the World, or Letters from a Chinese Philosopher” by Oliver Goldsmith (1760–1761, book edition 1762), translated with some changes. The translation is presumably attributed to Fyodor Lazinsky. The paper traces the way of Goldsmith’s plot from the English original to the Russian version. The parable is taken from the French translation of Goldsmith’s book by P. Poivre (1763) and reprinted in the

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Stroev, Alexandre F. "Bulgakov and Laboulaye (To the Issue of Sources of “Heart of a Dog”)." Literary Fact, no. 23 (2022): 231–42. http://dx.doi.org/10.22455/2541-8297-2022-23-231-242.

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The article deals with the European literary tradition presenting the dog as a protagonist. The author claims that the magical story of the French politician and writer Édouard Laboulaye (1811 –1883) “The Poodle-Prince” (1867) is one of the literary sources for Mikhail Bulgakov’s novella “Heart of a Dog” (1925). The fact that Laboulaye was very popular in Russia in his time is confirmed by Laboulaye’s reception in the 1860s –1920s analysis presented in the article. Laboulaye’s work containing the dominant characteristics of the distopia and social and political satire influenced the texts of A

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Golikova, Guzel. "Poetics of the game in the M. A. Bulgakov’s novel “Master and Margarita”: the image of cat Begemoth." Przegląd Wschodnioeuropejski 9, no. 1 (2018): 321–29. http://dx.doi.org/10.31648/pw.3447.

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The article deals with the question of the functioning of the game code of M. Bulgakov’s novel “Master and Margarita”. The focus of the researcher is the image of the cat Begemoth, one of the members of the Woland suite. The article explores the connection between the image of the cat and the figure of Hans Sachs, a well-known representative of the German Renaissance. Principles of game conjugation of two figures are buffoonery, carnival, satire. At the same time, the three hypostases of the cat Begemoth (the cat – fat man – a boy with a knight (pazh) refer the reader to the figure of Leo Taxi

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Ruixi, Wang. "The Characteristics of Molière’s Comedy Writing —Centred on Harpagon’s Characterisation." Studies in Linguistics and Literature 8, no. 3 (2024): p20. http://dx.doi.org/10.22158/sll.v8n3p20.

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The works of the French classical comedian Molière are of exceptional value. In his satirical comedies, Molière often creates sensible, vivid, contemporary, and real characters through descriptions of detailed behavior and the setting of coincident and conflicts. Harpagon, for instance, has become a global synonym for miserliness due to Molière’s extreme focus on this single character trait. Critics of his time labeled Harpagon as a “flat character”, yet it is precisely this “flatness” that makes the character memorable. Molière possessed a serious spirit of realism and a democratic tendency,

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37

Saenger, Michael. "Interlinguicity and The Alchemist." English Text Construction 6, no. 1 (2013): 176–200. http://dx.doi.org/10.1075/etc.6.1.09sae.

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Ben Jonson animates The Alchemist with an intersection of languages. In this moral satire, he captures the layered dialects, specialized vocabularies, and social desires of London and holds them up for view. This essay examines the play’s negotiation of ‘vertical’ and ‘horizontal’ modes of translation, also with reference to Shakespeare’s treatment of overlapping languages, and to the use of multiple languages in a contemporary Catholic treatise on translation, A Discoverie of the Manifold Corruptions of the Holy Scriptures. Jonson’s conclusion is that the friction between languages offers opp

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Harty, Kevin J. "Joan of Arc in French Art and Culture (1700-1855), From Satire to Sanctity by Nora M. Heimann." Arthuriana 16, no. 2 (2006): 104–5. http://dx.doi.org/10.1353/art.2006.0082.

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Johnston, Jay. "Joan of Arc in French Art and Culture (1700–1855): From Satire to Sanctity - by Nora M. Heimann." Journal of Religious History 32, no. 1 (2008): 128–29. http://dx.doi.org/10.1111/j.1467-9809.2008.00622_10.x.

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40

Schultheiss, Katrin. "Joan B. Landes, Visualizing the Nation: Gender, Representation, and Revolution in Eighteenth-Century France. Ithaca, New York: Cornell University Press, 2001. 254 pp. $40.00 cloth; $18.95 paper." International Labor and Working-Class History 65 (April 2004): 180–82. http://dx.doi.org/10.1017/s014754790425013x.

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Even the most casual student of the French Revolution cannot fail to be struck by the variety and sheer quantity of political imagery produced during that era. Despite the revolutionaries' explicit distrust of visual images, which they associated with the idolatry of the Old Regime, politically inspired pictorial caricature, satire, and allegory poured forth from the presses, reaching ever-wider audiences, both literate and illiterate. Until twenty years ago, historians tended to dismiss this visual record as a holdover from the era of absolutist monarchy, focusing instead on the “foundational

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Gil-Torres, Alicia, and Cristina San José-de la Rosa. "La Unión Europea en la serie ‘Parlement’ (2020). Entre la ficción y el realismo." INDEX COMUNICACION 12, no. 01 (2022): 151–74. http://dx.doi.org/10.33732/ixc/12/01launio.

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The interest of this research resides in the analysis of the only fiction series dealing with the functioning of the European Union: the French- Belgian-German production Parlement (Émilie Noblet and Jérémie Sein, 2020). Through a qualitative methodology, it seeks to answer a threefold re- search objective: (1) to analyze the main characters and their characteristic elements; (2) to identify the space-time relationship and the political actions addressed in fiction in order to provide realism to its development through the scenarios and arguments presented; and (3) to detect the existence of p

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Hayes, Bruce. "Reforming French Culture: Satire, Spiritual Alienation, and Connection to Strangers. George Hoffmann. Oxford: Oxford University Press, 2017. xvi + 264 pp. $70." Renaissance Quarterly 72, no. 2 (2019): 661–63. http://dx.doi.org/10.1017/rqx.2019.174.

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43

Jensen, Claudia R., and John S. Powell. "‘A Mess of Russians left us but of late’: Diplomatic Blunder, Literary Satire, and the Muscovite Ambassador's 1668 Visit to Paris Theatres." Theatre Research International 24, no. 2 (1999): 131–44. http://dx.doi.org/10.1017/s0307883300020757.

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In October 1672, a highly select audience in Moscow witnessed the court's first theatrical production, a setting of Artakserksovo deistvo (The Play of Ahasuerus) based on the biblical story of Esther. A month later, in contrast, Parisians would witness the escalating rivalry between Molière and Lully—as the former continued to capitalize on their tragédie-ballet, Psyché (with Lully's music), while the latter prepared to launch his first French opera, Les Fêtes de l'Amour et de Bacchus (with Molière's lyrics).1 At first glance there would seem to be little connection between the fledgling Musco

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Eliassen, Knut Ove, and Anne Fastrup. "Det orientalske despotis afvikling i Montesquieus Lettres persanes." 1700-tal: Nordic Journal for Eighteenth-Century Studies 9 (December 9, 2014): 12–38. http://dx.doi.org/10.7557/4.3234.

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Montesquieu’s Dismantlement of Oriental Despotism in Persian Letters.Montesquieu’s epistolary novel, Persian Letters, is often presented as a satire of the mores of the French under the reign of Louis XIV, and an early example of what became a well-established literary trope: the de-familiarizing perspective of the foreign visitor. Others have emphasized that the novel’s political horizon is best understood by taking into account Montesquieu’s later work, the Spirit of the Laws, and that the Persian letters anticipates insights that were to be more broadly developed in the author’s chef-d’oeuv

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Стогова, А. В. "A look at power and the city with and without spectacles: Descriptions of Paris and London in 1698." Диалог со временем, no. 76(76) (August 17, 2021): 330–46. http://dx.doi.org/10.21267/aquilo.2021.76.76.012.

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Статья посвящена рассмотрению двух связанных между собой текстов – «Путешествия в Париж в 1698 году», составленного английским медиком и ученым, членом Лондонского королевского общества Мартином Листером на основе личных наблюдений в ходе поездки, и пародии на это сочинение, «Путешествия в Лондон в 1698 году» юриста, поэта и сатирика Уильяма Кинга. Анализ этих произведений показывает, как приложение к изучению города идеи ученого, на чьи наблюдения не должны влиять существующие авторитетные мнения, и который не должен обращать вни-мание лишь на то, что бросается в глаза, становится для Листера

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Pajares, Eterio. "Censura y traducción." Babel. Revue internationale de la traduction / International Journal of Translation 52, no. 1 (2006): 17–38. http://dx.doi.org/10.1075/babel.52.1.02paj.

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Abstract Britain’s involvement in the War of the Spanish Succession was such a heavy burden for this country that many essays were written against prolonging the struggle. To this, John Arbuthnot (this satire was wrongly attributed to Swift for many years) contributed with The History of John Bull, a collection of fine satirical pamphlets designed to put and end to the campaign, and advocating a return to peace and common sense. It was soon translated into French and, from this language, Juan Ignacio de Ayestaran tried to produce a Spanish version. However, this version was not authorised by t

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Goncharova, E. I. "P.P. Pertsov and gazeta «Novoye vremya» (1898–1901) (New aspect of creative biography)." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 157–68. http://dx.doi.org/10.17588/2076-9210.2020.3.157-168.

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The article examines the early stage of cooperation between the writer and philosopher P.P. Pertsov and the conservative newspaper Novoe Vremya (1868–1917). Fragments of Pertsov's archival correspondence with the philosophical writer V.V. Rozanov, Pertsov's father and the critic of the liberal magazine «Russian wealth» A.G. Gornfeld are partially introduced into scientific circulation. The author analyzes the reasons for Pertsov's difficult attitude to the publisher and editor of Novoye Vremya, the playwright and founder of the Maly theater in St. Petersburg, A.S. Suvorin. The author substanti

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Colahan, Clark. "Imágenes y personajes del «Quijote» transfigurados en la «Galatée» de Florian." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 93. http://dx.doi.org/10.17811/cesxviii.26.2016.93-109.

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RESUMENFlorian fue un autor de éxito popular y académico de ideas francesas ilustradas, pero de frecuente temática española. Ganó renombre como fabulista, dramaturgo y autor de novelas pastoriles, entre ellas su adaptación de La Galatea cervantina. Su Galatée combina un estilo delicado con los ideales fraternales de la época revolucionaria que vivió y emplea imágenes y personajes cervantinos revestidos de tonos y significados nuevos. No se ha comentado en la obra floriana la sistemática transfiguración en pastoril idealizada de lo caballeresco paródico del Quijote, ni siquiera la mera presenci

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Klyushina, Elena V., and Eleonora M. Glinternik. "“La Revue Blanche”: The History of Illustrating." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 127–49. http://dx.doi.org/10.21638/spbu15.2021.108.

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The article reconstructs the illustrating history of “La Revue Blanche”, the leading French literary and artistic magazine of the fin de siècle epoch. Leaving out the analysis of literary content, the authors considers the petite revue through the prism of its most significant artistic achievements. In order to achieve this goal, a rather wide range of graphic artists who collaborated with “La Revue Blanche” at one time or another is outlined, and the conditional genre ranking of engravings published and distributed with the help of the journal is carried out. Based on the data obtained, a per

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Lekkas, Demetrios E. "The true “punching bag” behind Molière’s The Middle-Class Nobleman." Epistēmēs Metron Logos, no. 2 (June 8, 2019): 11. http://dx.doi.org/10.12681/eml.20569.

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Summary In 1670, the new ballet comedy The middle-class gentleman (Le bourgeoisgentilhomme) premiered at the theatre of the French palace before “theSun King” Louis XIV, on a text by Molière with music by Lully, hispermanent collaborator. Both were acting on stage. Since then, no one hasraised the question who is the real punching bag of the play’s aggression.The present author decided to research towards understanding it, in orderto compose new music responsibly for a performance at the MunicipalRegional Theatre of Crete, an island paradoxically connected directly withthe initial impetus behi

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