Academic literature on the topic 'French-speaking writers and classical literature'
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Journal articles on the topic "French-speaking writers and classical literature"
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Pack, R. "Symbolism in French literature." Literator 11, no. 1 (May 6, 1990): 67–76. http://dx.doi.org/10.4102/lit.v11i1.794.
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To talk of Symbolism in French literature may be ambiguous, as two different categories of writers have been grouped under this generic term: the symbolists stricto sensu, such as Moréas or Viélé-Griffin, who were mostly minor poets, and some great figures of French literature. The aim of this article is to show that, although Symbolism as an organized movement did not produce any important contribution, the nineteenth century witnessed indeed the emergence of a new trend, common to several poets who were inclined to do away with the heritage of the classical school. These poets - of whom Baudelaire, Verlaine, Rimbaud and Mallarmé are the most renowned, although they did not really associate with the symbolist school, created individualistic poetry of the foremost rank.
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Junkiert, Maciej. "Ancient Revolutions in the Literature of Polish Romanticism." Comparative Critical Studies 15, no. 2 (June 2018): 207–26. http://dx.doi.org/10.3366/ccs.2018.0289.
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This article aims to examine the Polish literary reception of the French Revolution during the period of Romanticism. Its main focus is on how Polish writers displaced their more immediate experiences of revolutionary events onto a backdrop of ‘ancient revolutions’, in which revolution was described indirectly by drawing on classical traditions, particularly the history of ancient Greeks and Romans. As this classical tradition was mediated by key works of German and French thinkers, this European context is crucial for understanding the literary strategies adopted by Polish authors. Three main approaches are visible in the Polish reception, and I will illustrate them using the works of Zygmunt Krasiński (1812–1859), Juliusz Słowacki (1809–1849) and Cyprian Norwid (1821–1883). My comparative study will be restricted to four works: Krasiński's Irydion and Przedświt (Predawn), Słowacki's Agezylausz (Agesilaus) and Norwid's Quidam.
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Huebner, Steven. "Classical Wagnerism." Journal of Musicology 34, no. 1 (January 1, 2017): 115–47. http://dx.doi.org/10.1525/jm.2017.34.01.115.
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The works of Richard Wagner have been celebrated for their impact on progressive elements in European culture, as a bridge from romanticism to modernism. In France the influence of Wagner on symbolist writers and artists, and musicians sympathetic to them, has emerged as particularly significant. But there was also a conservative response to Wagner that has received much less attention in the scholarly literature. This filiation is exemplified in the figure of Albéric Magnard and his opera Bérénice (1911), which he claimed was influenced by a “classical” Wagner. This article considers the classicism of Bérénice and its composer from several perspectives: portrayals of temperament that demonstrate consonance with classical precepts, political readings that emphasize classical values, the legacy of the French theater of the seventeenth century, and strategies of tonal organization and motivic development related to the German symphony extending back to Beethoven.
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Sanko, Hélène. "Considering Molière in Oyônô-Mbia's Three Suitors: One Husband." Theatre Research International 21, no. 3 (1996): 239–44. http://dx.doi.org/10.1017/s0307883300015352.
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Juxtaposed these quotations, which are separated by three centuries and two continents, suggest that seventeenth-century classical French drama serves as a model for African theatre of the early post-colonial period. The first quotation is, of course, from Moliere, the Old Regime's brilliant comic writer. The second is taken from a play by Oyônô-Mbia, a contemporary dramatist from Cameroon. Given the powerful grip France held over its colonies, it is not surprising to find residual influence of France's theatrical culture on African drama. By the end of World War One, French authority in sub-Saharan Africa extended from Cape Verde to the Congo river. The Third Republic established French schools in the larger colonial towns which attracted the children of well-to-do urban families. France therefore held strong political and cultural sway over the development of African leaders and writers.
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Hibbitt, Richard. "Against haute littérature? André Gide's Contribution to the World Literature Debate." Comparative Critical Studies 17, no. 3 (October 2020): 391–411. http://dx.doi.org/10.3366/ccs.2020.0371.
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In 1909 André Gide published three short articles in the journal La Nouvelle Revue française, subsequently grouped under the title ‘Nationalisme et littérature’ (Nationalism and literature). They were written as his response to a survey by the young French journalist Henri Clouard, ‘Enquête sur la littérature nationale’ (Survey on National Literature), in which contemporary writers and critics answered questions regarding possible definitions of French literature. Gide questions the value of the term ‘national literature’ and objects to the view that haute littérature (good literature) is synonymous with neo-Classical values, arguing instead for a conception of literature that embraces curiosity and innovation. For Gide the term haute littérature is problematic because it implies a hierarchical, regimented and limited view of both literature and culture tout court. The first part of this article argues that Gide's critique of both national literature and haute littérature can be read as a preference for a literariness that is liberated from the constraints of balance and imitation. The second part reads Gide's agronomic metaphor for literary innovation through the lens of Alexander Beecroft's theory of overlapping literary ecologies. Beecroft's model of different ecologies of world literature helps us to locate what I propose to be Gide's own contribution to the world literature debate: an emphasis on literariness that transcends the national-literature ecology and reclaims the notion of haute littérature for a different aesthetic.
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Averkina, Svetlana Nikolajevna, Diana Vladimirovna Mosova, Sergei Matveivich Fomin, and Alexey Sergeevich Shimichev. "Francophone literature in search of happiness." SHS Web of Conferences 122 (2021): 05003. http://dx.doi.org/10.1051/shsconf/202112205003.
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The article deals with modern French-language literature on the loss of a person’s sense of happiness and harmony. The study authors explore the work of Western European novelists, who not only record the next decline of Europe but also try to return a sense of dignity to their fellow citizens. For centuries, literature has offered various forms of describing the uniqueness of human interaction with the world. If realism gives rise to a literature of explication that thinks aloud, and modernism tries to free the art of realists from layers of pretense, then the oppositional postmodern aesthetics proposes the so-called pluralism of reading practices, which frees both the reader and the literary critic from the need to search for forerunners and origins. Having experienced postmodern delight at the turn of the 21st century, the modern Western European writer en masse returns into the fold of realistic literature, in which a person is determined both socially and historically. At the same time, preference is given to documentary literature, which includes both memoirs, diaries, and essays, and the auto-fictional novel, known today as the “non-fiction” novel which has been in the focus of scholars’ attention for many years. Whatever forms modern literature may use to disguise itself, even if these forms are the most flowery, its main task is to describe a contemporary who lives with an inescapable feeling of the end of the world, trying to regain the meaning of life, to find footholds that are described in such detail by centuries of aesthetic practice. Therefore, the subject of the study is the classical categories: life, family, love, and peace of mind. The purpose of the study is to describe the current state of literature in Western European countries, identify the trends of its development and genre preferences of the experts of culture. The novelty of the study consists in the fact that the concept of “happiness” is investigated for the first time using the example of French-language literature, and the works of writers little studied in Russian criticism, such as A. Makine and Catherine Lovey, are introduced into academic circulation.
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Leinman, Colette. "Le « Musée de poche »: collection productrice d'un patrimoine artistique." Nottingham French Studies 58, no. 3 (December 2019): 382–95. http://dx.doi.org/10.3366/nfs.2019.0264.
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In 1955 a polychrome and affordable collection of writers' biographies was created, allowing a large and young audience to easily access contemporary art, especially abstract art. This is hardly a given in the context of post-war, where the return to classical French aesthetics clashes with Socialist Realism. This study of ‘The Pocket Museum’ (1955–1965), shows how the collection fits into art writing, between art criticism and poetic writing, and how it enables the reader to discover abstract works. An ideal place for mediation and transmission, the collection, as an editorial strategy, helps to transform these new aesthetic creations into a national cultural heritage. Through a discursive analysis of ten books from the collection, three processes that have contributed to the promotion of abstract art are highlighted: the legitimacy of the author's discourse, whether he is an art critic, a poet, writer or journalist; the representation of the artist in question, whose difficult path is both stereotyped and singular, but always valorized; and finally, a series of analogies between abstract art and nature or comparisons with music, or else metaphorical expressions manifesting the ‘collapse of time’ where the universality of abstract art is part of the past, the present and the future.
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Авраменко, В. И. "Soren Kierkegaard’s Philosophy and its Influence on French Existentialist Novels." Вестник Рязанского государственного университета имени С.А. Есенина, no. 1(70) (March 17, 2021): 128–36. http://dx.doi.org/10.37724/rsu.2021.70.1.013.
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В статье выявляются предпосылки, обусловившие модификацию формы французского философского (экзистенциалистского) романа в середине XX века. На примере творчества Сёрена Кьеркегора показана связь поэтики экзистенциалистского произведения с философией. Определено существенное влияние на творчество французских экзистенциалистов не только идей датского мыслителя, но и соответствующей этим идеям найденной им формы философского поиска. Выявлены особенности этой формы: философское исследование параллельно в художественной и трактатной (или эссеистской) формах, их вступление в диалог, в ходе которого обе части поясняют и дополняют друг друга. Такой способ развития философской идеи и сама специфика экзистенциалистской философии определяют характер философского романа. Исчезает присущая «классическому» философскому роману необходимость прямого изложения идей. С помощью различных средств развивается выражение философии, а не ее высказывание. Отсюда — исчезновение в романе героя-резонёра, отсутствие исходной философемы (заданности философской проблемы) и другие особенности поэтики, которые еще предстоит изучить. Материалы исследования могут быть использованы при создании учебников и различных пособий по французской и зарубежной литературе, при разработке курсов лекций и практических занятий по литературе в высших учебных заведениях, при написании курсовых и дипломных работ. The article treats the prerequisites for the transformation of French existentialist novels in the middle of the 20th century. Soren Kierkegaard’s philosophy is used to show the connection between philosophy and existentialist poetics. The author of the article maintains that French existentialist writers were influenced not only by the Danish philosopher, but also by the latter’s method of philosophical inquiry. The author singles out some characteristics of the method: philosophical inquiry develops parallel with literary development, literary and philosophical patterns intertwine and complement each other. The method of philosophical inquiry and the peculiarities of existential philosophy determine the peculiarities of philosophical novels. The direct presentation of ideas typical of classical philosophical novels is no longer required, philosophical expressiveness prevails over philosophical description. The characters of existentialist novels no longer need to philosophize, philosophical problems don’t have to be set. The materials of the research can be used to create textbooks and manuals on French and foreign literature, to create lectures and seminars in literature in higher education institutions, to write term papers and graduation papers.
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Nguyen, Tho Ngoc, and Phong Thanh Nguyen. "Philosophical Transmission and Contestation." Asian Studies 8, no. 2 (May 20, 2020): 79–112. http://dx.doi.org/10.4312/as.2020.8.2.79-112.
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Southern Vietnam was reclaimed by the Vietnamese in the mid-seventeenth century. They first brought their folk Buddhism and various popular religions to new land; however, the bureaucratic system then forced the Chinese Han–Song dynasties’ institutionalized and politicalized Confucianism on the population. The arrival of the Chinese from overseas since the late seventeenth century marked the introduction of Qing Confucianism into Southern Vietnam, shaping the pro-Yangming studies among local literati. Many writers claim that Qing Confucianism had no impact on Vietnam. Obviously, however, these writers ignored the diversity of Vietnamese Confucianism in the new frontiers in the South. Qing Confucianism was truly absorbed into many aspects of life among the local gentry, popularizing the so-called pro-Yangming studies.The article aims to study the transmission, contestation, transformation, and manipulation of Qing Confucianism in Southern Vietnam by penetrating deeper into the life, career, mentality, merits, and influence of local Confucianists and reviving the legacies of practical learning in local scholarship. The research discovers that the practical learning of Qing Confucianism dominated the way of thinking and acting of local elites, affecting ideological, educational, cultural and socio-economic domains of local society. However, the domination of the classical Confucian orthodoxy and the lack of state-sponsored institutionalization in late feudal periods, as well as the later overwhelming imposition of Western civilization under French colonial rule, seriously challenged and downgraded the impacts of Qing Confucianism in Vietnam. Therefore, Yangming studies were once transmitted but had limited impact on Vietnam.
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Zabyaka, Ivan. "A EUROPEAN WITH A UKRAINIAN SOUL." Almanac of Ukrainian Studies, no. 22 (2017): 111–20. http://dx.doi.org/10.17721/2520-2626/2017.22.19.
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The article deals with Vasyl Gorlenko, one of the most prominent Ukrainian culturologists of the late nineteenth century – beginning of the XX century. Whose name on the one hand did not belong to the forgotten names: it is fixed in all professional encyclopedias, many articles have been written about it, it is mentioned in the memoirs of contemporaries, there are even three monographs, on the other hand all this is very small, going out from what was done by Vasily Petrovich. There are a lot of problems raised in the writings of V. Gorlenko. There are some that are extremely important. It was established that studying at the famous Sorbonne, he passed the beautiful school of the French theoretician of literature and art critic Ivan T., French classical literature and art, thus receiving a high level of education, education of the best spiritual traits of behavior, possessed at least 5 foreign languages. It was discovered that when V.Gorlenko returned to his homeland, he first met in St. Petersburg with many prominent figures who came from his native land. One of these places of acquaintances is "Tuesdays" by M. Kostomarov. It was on them that V. Gorlenko was a true school of Ukrainian studies. And when Ukraine appeared periodicals that were in line with its patriotic interests, V. Gorlenko began to work with them. In the newspaper Trud, after twenty years of actual silence about T. Shevchenko, the first in Ukraine is a fragment of Russian tales of Taras Shevchenko "A walk with pleasure and not without morality" and the story "The Musician" with some reproach to everyone else who hadn’t done it already. It was found out that the Ukrainian elite rallied around the magazine "Kievan old woman" (1882-1906): V. Antonovich, D. Bagaliy, M. Belyashivsky, P. Golubovsky, V. Domanytsky, P. Efimenko, P. Zhitetsky, O. Lazarevsky, O. Levitsky, M. Sumtsov, V. Tarnovsky and many others. Here were M. Drahomanov, M. Kostomarov, V. Vynnychenko, Panas Mirnyi, I. Franko, M. Staritsky and dozens of other Ukrainian scholars and writers. Among them Vasyl Horlenko. Currently, 114-th of his publications, contained in this publication, are known. Articles, reviews, reviews of publications, information, folk records - each of these publications is an example of scientific conscientiousness and responsibility of the author. It was here that his multifaceted talent of journalist, literary critic and historian, ethnographer and folklorist, art historian, expert in Ukrainian antiquity was revealed. Quite often, V.n Gorlenko was the first, who write about the works of P. Mirny, I. Franko, I. Karpenko-Karyi, M. Kropivnitsky, I. Manzhuro and many others. Invaluable source in the study of both the personality of V. Gorlenko and his environment is his correspondence. Currently, there are about 40 recipients and more than 700 letters to him and partly to him. He corresponded with many Ukrainian and foreign writers, scholars, and cultural figures. He loved Ukraine most of all and was afraid of those revolutions that were devastated, death, spiritual impoverishment, barbarism; advocated the steadfast development of society, feeling as an integral part of its people, small and great Nature. Therefore, it remained for us a bright star of the unimpeded space of culture.
Dissertations / Theses on the topic "French-speaking writers and classical literature"
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Bahsoun, Jihad. "Du sens et de l'utilité des réécritures dans la littérature comparée. Maryse Condé, Assia Djebar, Nédim Gürsel, Abdelwahab Meddeb." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040211.
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Nous avons tenté dans ce travail de mettre en évidence le sens et l’utilité des réécritures dans la littérature comparée. Pourquoi et comment les écrivains s’emparent-ils d’une œuvre ou d’un texte en général (un texte sacré par exemple) et les transforment-ils ? Les écrivains francophones (ou imprégnés de culture française) des XXe et XXIe siècles s’inspirent de certains modèles de réécritures présents dans la littérature classique européenne ; ils apportent cependant une richesse supplémentaire aux hypotextes sur plusieurs plans : culturel, philosophique et esthétique. Un parallèle entre les arts du verbe et de l’image est établi, les seconds étant censés jeter un éclairage sur les premiers, aider à mieux saisir comment se réalise le passage d’une œuvre de création à une autre dans la continuité et la rupture. Plusieurs auteurs ― dont Maryse Condé, Assia Djebar, Nedim Gürsel et Abdelwahab Meddeb ― usent de la réécriture ― qui peut être interprétation ou travail esthétique sur l’écriture même (pastiche, parodie, etc.) ― pour exprimer leurs pensées et faire passer plus amplement leurs messages. Notre thèse se propose de dévoiler ces pensées et ces messages et d’essayer de les interpréter en faisant ressortir les mobiles ou les motifs des écrivains. Les œuvres sont à la fois des signaux (c’est-à-dire le sens voulu par les auteurs, ce qu’ils souhaitent consciemment exprimer, leur projet intentionnel) et des symptômes (ce que les œuvres révèlent en plus au lecteur)In this work, we have attempted to highlight the meaning and usefulness of rewriting in comparative literature, whether this literature is European or is derived from French-speaking countries in other parts of the world. Why and how do writers seize a work or text in general (sacred text, for example) and transform it ? We recall that the French-speaking (or inhabited by French) writers of the 20th and 21st centuries are inspired by models of rewriting present in classical literature; they nevertheless bring hypotexts to a great wealth on several levels: cultural, philosophical and aesthetic. A parallel between the arts of the verb and the image is established, the latter being supposed to shed light on the first, to help better grasp the passage from one work of creation to another in continuity and rupture. Several authors - including Maryse Condé, Assia Djebar, Nedim Gürsel and Abdelwahab Meddeb - use rewriting - which can be interpretation or aesthetic work on writing itself (pastiche, parody) - to express their thoughts and pass messages that matter to them. It is these thoughts and messages that our thesis proposes to unveil and try to understand by bringing out the motives of writers
Books on the topic "French-speaking writers and classical literature"
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Wetherill, Peter Michael. Marcel Proust, Du côté de chez Swann. Glasgow, Scotland: University of Glasgow French and German Publications, 1992.
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Chaplin, Peggy. Guy de Maupassant, Boule de suif. Glasgow: University of Glasgow French and German Publications, 1988.
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Durfort, Duras Claire de. Ourika: The original French text. New York: Modern Language Association of America, 1994.
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Homer. The Iliad for speaking. Breitbrunn am Ammersee, West Germany: Porpentine Press, 1990.
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Orr, Mary. Claude Simon: The intertextual dimension. Glasgow: University of Glasgow French & German Publications, 1993.
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Durfort, Duras Claire de. Ourika. Exeter [England]: University of Exeter Press, 1993.
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Durfort, Duras Claire de. Ourika: An English translation. New York: Modern Language Association of America, 1994.
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Duras, Claire de Durfort. Ourika: Roman. Saint-Pourçain-sur-Sioule: Bleu autour, 2006.
Find full textBook chapters on the topic "French-speaking writers and classical literature"
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BURCEA, Dan. "ENTRETIENS AVEC CINQ ÉCRIVAINES ROUMAINES DE LANGUE FRANÇAISE." In Scriitori români de expresie străină. Écrivains roumains d’expression étrangère. Romanian Authors Writing in Foreign Tongues, 153–209. Pro Universitaria, 2021. http://dx.doi.org/10.52744/9786062613242.13.
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Cristiana Eso is a Franco-Romanian poet and artist born in Constanta, Romania and emigrated at the age of fifteen to France. After earning a master’s degree in French literature at the Faculty of Letters of Nancy, she studied classical singing at the Lorraine Conservatory. She has published several collections of poetry in Romanian or in bilingual editions and she is a member of the Writers’ Union of Romania. This chapter contains two interviews with her.
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James, Alison. "Introduction." In The Documentary Imagination in Twentieth-Century French Literature, 1–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859680.003.0001.
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The introduction challenges prevalent accounts that see French literature turning away from realist concerns in the twentieth century. While the realist and naturalist novels of the nineteenth century give an increasingly central place to documentary materials, they integrate these documents into autonomous fictional worlds. Both continuing and breaking with this tradition, many twentieth-century writers make the document into the nexus of their experiments in nonfiction form. Also shaped by developments in photography and cinema, literature reflects on the referential status of images versus text, as well as questioning the ontological status of facts. The twentieth century sees the emergence in French literature of a documentary imagination that simultaneously idealizes documents as fragments of reality that speak for themselves (the “speaking fact”) and reveals their mediated and constructed nature (facts must be spoken).
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Lerner, Robert E. "Frederick II." In Ernst Kantorowicz, 101–17. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691183022.003.0008.
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This chapter details the success of Ernst Kantorowicz's biography of emperor Frederick II, Kaiser Friedrich der Zweite, which was published at the end of March 1927 with an initial run of 2,600 copies. Several qualities mentioned in the reviews account for the book's attractiveness for large numbers of readers. Not least was its “brilliant” style. Kantorowicz was a forceful writer, taken to employing high-flown rhetoric, alliteration, and sometimes archaic diction for dramatic effect. The book featured memorable portraits, brightly colored scenes, literary allusions. References to classical Latin literature and mythology also served for flavor. Half a century after its publication the work was excerpted in a French literary magazine for its literary qualities.
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Christie, Nancy. "The Making of Britannicus Canadensis." In The Formal and Informal Politics of British Rule In Post-Conquest Quebec, 1760-1837, 88–154. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851813.003.0003.
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This chapter examines the growing political opposition among English-speaking political commentators against the Quebec Act of 1774 which protected French Canadian interests by preserving their right to practice their Catholic religion and use French civil law. It shows the way in which classical republican discourse diverged from that in the Thirteen Colonies and Britain: it absorbed Wilkite and radical Whig tenets into Country Whig principles, and these became increasingly inflected by a rabidly anti-Catholic and anti-French Canadian perspective as opposition writers sought to repeal and replace the Quebec Act. This chapter also traces the development of voluntary associations and clubs which functioned as an out-of-doors political opposition prior to the establishment of an assembly under the Canada Act of 1791, thereby elucidating the emergence of a public sphere which fostered a variety of local projects aimed at subverting French Canadian political rights, French law, and the seigneurial system.
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Uden, James. "Introduction." In Spectres of Antiquity, 1–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190910273.003.0001.
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The book begins by briefly surveying the origin and history of the word Gothic from the Roman Empire to the first canonical novel of the English Gothic tradition, Horace Walpole’s The Castle of Otranto (1764). It then surveys relevant debates about the classical world and its legacy in eighteenth-century England, including the aftershocks of the French “Quarrel of the Ancients and Moderns” and appropriations of classical ideas and images in politics, art, and literature. The Gothic was a “pan-European” phenomenon. Although this book focuses largely on literary works from Britain and America, the allusive connections with Classical literature remind us that the impact of the Gothic was not limited to the English-speaking world.
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Elhariry, Yasser. "Heliotropic Exit." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0007.
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Ryoko Sekiguchi’s Héliotropes is deeply informed by Giorgio Agamben and Daniel Heller-Roazen’s work on the ‘end of the poem’ and on ‘speaking in tongues,’ and so Sekiguchi perfectly unites classical Arabic literature, modernist poetics, and contemporary philosophical and critical inquiry into prosody. As the youngest of the five authors studied in Pacifist Invasions, she draws on recent innovations in critical poetic theory, and the complex linguistic, prosodic and thematic arrangements of the muwashshaḥa and the history of its scholarship. Her poetry provides a spectacular, particularly poignant exemplar for where we may begin with the language question, now that we have ended. Her solution to the inescapable problems facing French poetics represents an extreme departure: to exit altogether the Francophone literary idiom, and back toward its beginning as prise de conscience or ‘awakening,’ mediated by a Franco-Arabic tradition of unprecedented poetic innovation. Her Franco-Arabic composition deforms and unfurls a language undone. As with Saussure and Stétié’s aporetic notion of a ‘pacifist invasion’ of language, with Sekiguchi this linguistic transformation takes less the form of Francophonie’s initial surrealism- tinged linguistic destruction than a rediscovery and resurrection within and through a French language surface of classical Arabic literature and mystical Islam and Sufism. In this light, the poetics of the muwashshaḥa marks an exceptional site of transference between languages in passage, a liminal moment of transit where languages are placed at one another’s thresholds, freely interwoven into one another, becoming other languages, becoming something other than language as such, that is, characterized by a basic correspondence between visual sign and uttered sense.