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Journal articles on the topic 'French writer'
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Wheatley, David, and John Pilling. "Making of a French Writer." Books Ireland, no. 215 (1998): 216. http://dx.doi.org/10.2307/20623677.
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Taganov, Alexander N. "Howlett S. Dostoevsky, Demon of Malraux. Review." Dostoevsky and world culture. Philological journal, no. 4 (2020): 242–59. http://dx.doi.org/10.22455/2541-7894-2020-9-242-259.
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The book here reviewed is particularly important in the field of comparative studies dedicated to Dostoevsky and Malraux, since it is the first attempt to generalize and systematize the connections that unite the creative heritage of the two writers. The interest of Howlett’s book lies in the fact that the author considers Malraux from three different points of view: as a reader, literary theorist, and writer; thus, he creates an original biography of the French writer through the prism of the impact of Dostoevsky’s ideas on him and at the same time a study that allows us to understand Dostoevsky’s role in the development of French literature in the 19th and 20th centuries. Trying to define the role of Dostoevsky in Malraux’s creative development, Howlett speaks of a demonic influence of the Russian writer: Dostoevsky predetermined Malraux’s place as a novelist and literary critic and predicted his fate, being at the same time a “guardian demon” and a tempter, constantly encouraging him to ask the cursed questions of existence. Extracting from Malraux’s texts statements about the Russian author and combining them with his own reflections and observations, Howlett seems to continue and realize Malraux’s unfinished plan to write a book about Dostoevsky.
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Pîrvu, Simina. "Nostalgia originii la Andreï Makine, Testamentul francez și Sorin Titel, Țara îndepărtată / The nostalgia of the place of birth in Andrei Makine's French Will and in Sorin Titel's The Aloof Country." Swedish Journal of Romanian Studies 2, no. 1 (2019): 34–41. http://dx.doi.org/10.35824/sjrs.v2i1.19193.
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In the Middle Ages, exile meant expatriation, the prolonged absence from the native lands, one can say that a person is in exile when it is not possible to return back home. Exile involves unsettlement; the expatriated suffers from nostalgia and tries to recover his origin, the center, his home. Thinking about the past involves an idealized representation of lived history, which may have the effect of a mythical evocation of the past.
 The nostalgia is one of the central ideas of the novels of the Russian writer Andreï Makine, who has hardly built his identity as a Russian writer of French, his literary beginnings being not simple. The theme of the nostalgia and the parallel between two different worlds are constantly found in Makine's novels, and in The French Will it gets a special note. Andreï Makine says in interviews that he chose to write in French, but his country of origin is always in his soul. Another writer – Romanian this time – in whose novels we find the nostalgia of origins is Sorin Titel, who reveals an unusual world, Banat, where the writer was born. The estrangement from Banat has beneficial consequences in almost all respects. Established in Bucharest, the author has the nostalgia of Banat and transforms it into an epic projection, reinvents Banat. The removal from the places of origin, the distancing, the alienation, are mandatory conditions of the pilgrimage to himself, for only by being far from Banat he could reinvent him, using the memories of his childhood. Even the title of his first book with which he begins the recuperation is enlightening: The Aloof Country, signifying both the Banat, geographically, and the age of childhood, at a symbolic level. This is the case with the two writers, Andreï Makine and Sorin Titel, writers who being far away from their native places, have fictionally translated what they feel for home - Russia and Banat.
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Homel, David. "I Can Do Better Than That!" TranscUlturAl: A Journal of Translation and Cultural Studies 4, no. 1 (2013): 5. http://dx.doi.org/10.21992/t9s91w.
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This paper builds on the notion of crypto-languages, or hidden languages, to narrate the author’s coming to writing and translation. His novels are discussed as all including one aspect or another of crypto-language. For example, Russian becomes the key to salvation for Sonya, who doesn’t know how to speak it, in Sonya & Jack, and a clinical psychologist in the former Yugoslavia admits in The Speaking Cure to knowing that his patients lie to him, but that behind every lie lies the truth. The author himself learned the difference between “real” foreign languages—French, German or Spanish—and cryto-languages—Polish, Czech or Yiddish—during his childhood in Chicago. The experience of learning French forged in him the desire to write, which in turn created the desire to translate that is described here as a kind of voyeurism. The title of the paper refers to the feeling one has while reading some translated fiction: “I can do better than that!” Translation, as a form of writing, can improve the original by correcting various mistakes, in the logic of the plot, for instance. But there is a difference between writing and translating: the writer writes to find out how the story will end but the translator already knows. As a result, the best way for a writer to translate is to resist reading the book before starting the translation.
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Klimas, Agnieszka. "Modernization of biographical narratology: Reflections on Arnold Zweig’s artistic novella Symphonie Fantastique." Germanica Wratislaviensia 145 (March 8, 2021): 19–28. http://dx.doi.org/10.19195/0435-5865.145.4.
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This article is devoted to the German-Jewish writer Arnold Zweig’s (1887–1968) biographical novella Symphonie Fantastique (1943), told from the perspective of a young musicologist participating in World War II, applied to the life and work of French composer Hector Berlioz. Arnold Zweig not only writes the biography of one of the most prominent French composers for Harold Breton, but he also confronts the Vichy Regime. The aim of this article is to capture the technique of Arnold Zweig, who combines history and the identification of an artist with a given object.
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Tam, Hao Jun. "Diasporic South Vietnam." Journal of Vietnamese Studies 15, no. 2 (2020): 40–86. http://dx.doi.org/10.1525/vs.2020.15.2.40.
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As Vietnam was caught in wartime narrative austerity from the 1950s to the 1970s, followed by the communist state’s intolerance of dissent, Vietnamese writers in the French and American diaspora have offered literary texts that challenge both Vietnamese discursive stricture and dominant perspectives in France and the United States. This essay studies two novel sequences from the diasporic Vietnamese literary archive: Vietnamese French author Ly Thu Ho’s trilogy and Vietnamese American writer Lan Cao’s pair of historical novels. Taking a historicist approach, the essay reveals complex nationalist expressions, aspirations, challenges, and desires in Ly Thu Ho’s and Lan Cao’s works of fiction.
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Mohammed QANBAR, Rana. "ASSERTIVE ADJECTIVES IN THE FORBIDDEN LOVE (AŞK-I MEMNU) BY HALID ZIYA UŞAKLIGIL." RIMAK International Journal of Humanities and Social Sciences 3, no. 4 (2021): 312–19. http://dx.doi.org/10.47832/2717-8293.4-3.31.
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Despite the fact that it has been over seven decades since the passing of the famous Turkish writer Halid Ziya Uşaklıgil (1865-1945), his fame has continued till now due to the writer's unique and remarkable literary works in poetry as well as in novel, storytelling as he was familiar with European literature, particularly French, cultural and intellectual movements. Halid Ziya is considered one of the first writers who adopts European style in his writings and his novel The Forbidden Love 1900 (Aşk-ı Memnu in the original) often considered his masterpiece. It is the first and greatest novel in the history of Turkish literature through which the writer shows his good linguistic knowledge proficiently concerning the configuration and vocabularies of Turkish language and its accurate details. The Forbidden Love has been numerously studied and filmed as a TV-series. And originally written and first published in Turkish. In brief, words in Turkish are formed through a system of affixes attached to word stems. The writer frequently uses assertive adjectives in his novel in order to give a meaningful sense of the word. The aim of this paper is to study the assertive adjectives in The Forbidden Love by Halid Ziya Uşaklıgil
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Modina, Galina I. "History of Publishing of G. Flaubert’s Philosophical Drama “The Temptation of St. Anthony”." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 50–55. http://dx.doi.org/10.25281/0869-608x-2009-0-3-50-55.
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“The Temptation of St. Anthony” is a work of the French writer Gustave Flaubert that is not very known to French and Russian readers and the least analyzed by the critics. The article reveals the peculiar “birth” of this text, features of its content and value in the art world of the writer, deals with the history of publication of this book, which was called by Flaubert “The work of the whole life” in Russia.
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McLaren, Yvonne. "Text structure and politeness in French and English corporate brochures." Languages in Contrast 2, no. 2 (1999): 231–54. http://dx.doi.org/10.1075/lic.2.2.06mcl.
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This paper reports on the findings of a contrastive study of argumentative text structure in a corpus of French and English corporate brochures. The texts in these brochures tend to be instances of 'through-argumentation', where a claim is made — this is the 'thesis cited' — and is then argued through, or 'substantiated'. In the corporate brochure this claim serves to evaluate the company in a highly positive manner. Although these features are common to all of the French and English brochures, there are identifiable differences in the text formats adopted: whereas the English writers tend always to cite the thesis in text-initial position, a significant proportion of the French writers prefer to delay thesis citation. This may be explained, at least partly, in terms of the writer-reader relationship and factors of linguistic politeness. It will be shown that the principles of Politeness Theory, hitherto applied almost exclusively in the study of spoken language, can be used to help analyse and explain certain features of written genres — including those at the level of text structure.
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Mosakowski, Marek. "Jean Chappe d’Autroche and his Voyage to Siberia (1768). Demystifying Russia under Catherine the Great." Cywilizacja i Polityka 16, no. 16 (2018): 121–31. http://dx.doi.org/10.5604/01.3001.0012.7603.
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Jean Chappe d’Autroche, the French scientists and prominent member of the Académie des Sciences, was sent in 1761 on a scientific mission to Siberia to observe a rare astronomical phenomenon, namely the transit of Venus over the sun’s disc. In 1768 he published in Amsterdam a book entitled Voyage en Sibérie (Voyage to Siberia), in which not only did he discuss the astronomical event in question, but also analyzed various aspects of the Russian socio-political reality. Extremely critical towards contemporary Russia, his account infuriated Catherine the Great to the point that she decided to write in French and then to publish in 1770 the Antidote, a curious booklet in which she attempted to discredit Autroche’s work and to contest the unfavorable image of her Empire presented by the French writer.
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Alakhverdieva, L. G. "Food Code in the French Writer Henri Troyat’s Works." Herald of Dagestan State University 35, no. 1 (2020): 60–68. http://dx.doi.org/10.21779/2542-0313-2020-35-1-60-68.
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Syvachenko, G. "VOLODYMYR VINNICHENKO IN THE DISCOURSE OF FRENCH MODERNISM." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 253–70. http://dx.doi.org/10.17721/2075-437x.2020.36.20.
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The article explores the works of the famous Ukrainian writer Volodymyr Vynnychenko in the context of French literature of the first half of the twentieth century, and modernist trends in particular. The Ukrainian writer, philosopher, and public figure arrived in France in the mid-1920s to live there for almost three decades. He was interested in French literature, corresponded with A. France, A. Gide, co-translated with his wife his own works into French. His late-1940s translation of the novel Nova Zapovid (The New Commandment ) marked his engagement with the French literary process. The novel was awarded a prize by a literary clubs, and demonstrated resemblance to the major trends in French modernism. The article focuses on defining the typological correspondences in the interpretation by Vynnychenko and M. Proust of such components as subjective consciousness, mixed impressionism, memoir discourse. The author’s attention has been turned towards the specifics of the typological similarity of Vynnychenko and A. Gide’s aesthetic views, their assertion of the ideas of individualism, the quest for harmonization of the self, and symbolic “artistry.” Vynnychenko’s works are also analyzed in the context of French existentialism, including the study of such typological similarities of the aesthetic and philosophical views of the Ukrainian writer and A. Camus as undisguised moralizing, a claim to be perceived as teachers of life in solving practical ethical problems of the human condition. The author examines the methods and aesthetic constructions of such concepts of existentialism as freedom, choice, death, anxiety, relationships between the self and the Other in the works of Vynnychenko, J.P. Sartre, and S. de Beauvoir. The correlation between the works of Vynnychenko and A. de Saint-Exupéry is separately studied within the paradigm of existentialism, including “honesty with oneself” and honesty with others; the idea of community and the instinct of public responsibility. The critical optics of research combines the historical specificity of the development of French modernism, its philosophical foundations, the ethnic identity of the Ukrainian writer, and the inherent incorporation of his poetics into the paradigm of French modernism. For researchers, teachers, students of philology and those interested in V. Vynnychenko’s oeuvres and problems of literary modernism.
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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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Savina, Anfisa D. "“The riddle that the critic must solve”: V. Bryusov about Villiers de l’Isle-Adam." Literary Fact, no. 19 (2021): 268–85. http://dx.doi.org/10.22455/2541-8297-2021-19-268-285.
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This publication concerned with the problems of Valeriy Bryusov’s critical works and his interest in French culture. The aim of the paper is to introduce into scientific circulation the Bryusov’s text relating to the late French Romanticist Au. Villiers de l'Isle- Adam. Our introductory article gives a brief description of the literary relations between the Russian poet and the French writer. It is noted that for a quarter of a century Brusov turned to the work of Villiers de l'Isle-Adam as an editor, as a translator and as a novelist, attentive to the creative search of his predecessors. The published materials are a draft of Bryusov's article, made after 1910. In this text Bryusov expresses his attitude towards the French writer in detail and turns to the analysis of his short stories. The critic sums up literary fate in Russia of Villiers de L'Isle-Adam and other poètes maudits. In addition, Bryusov gives his vision of the level of the Russian readership and determines the degree of familiarity of the “average reader” with the French literature.
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Sipos, George T. "Journeys of Political Self-Discovery: The Writings of Miyamoto Yuriko and Panait Istrati from late 1920s Soviet Russia." Human and Social Studies 7, no. 3 (2018): 113–54. http://dx.doi.org/10.2478/hssr-2018-0029.
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Abstract This study reopens the question of the nature of political commitment and its causes during a time that drastically altered the history of the 20th century, the 1920s and 1930s. Focused largely on a body of texts produced by Japanese female writer Miyamoto Yuriko (1899-1951) who returned from a three-year long trip to the Soviet Union in late 1920s as a convinced communist, the study offers a comparison with communism renunciation writings produced by leftist Romanian French writer Panait Istrati (1894-1935), as well as other communist and fellow travelers who experienced the same Soviet realities as Miyamoto but with opposite outcomes, such as French writer André Gide (1869-1951). What made those members of the intelligentsia so passionately embrace or renounce certain political ideologies that ultimately changed the face of modern history?
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Locic, Simona. "Reinventing the fairy tale’s heroine in the novel 'Barbe bleue' of Amélie Nothomb." Thélème. Revista Complutense de Estudios Franceses 34, no. 2 (2019): 377–92. http://dx.doi.org/10.5209/thel.63252.
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In the 20th and the 21st centuries, many writers have shown an interest in rewriting traditional fairy tales. In contemporary literature, fairy tales are thus reinvented, adapted to the historical reality, the vices, the weaknesses and the imperfections of contemporary human beings. This study analyses the reinvention of the fairy tale’s heroine in Barbe bleue, by French writer Amélie Nothomb, and published in 2012. This study will show how the rewriting of this millenary text questions the schematic and stereotyped relations between characters in traditional fairy tales.
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Kleimenova, Natal'ya Mikhailovna, and Anastasiya Borisovna Bragina. "INNOVATIVE LANGUAGE TECHNIQUES OF THE MODERN FRENCH WRITER C. DELAUME." Philological Sciences. Issues of Theory and Practice, no. 9 (September 2019): 276–80. http://dx.doi.org/10.30853/filnauki.2019.9.56.
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Gyasi, Kwaku A. "The African writer as translator: writing African languages through French." Journal of African Cultural Studies 16, no. 2 (2003): 143–59. http://dx.doi.org/10.1080/13696850500076344.
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Pham, Quang Van. "CONTEMPORARY FRENCH LITERATURE: SOME REFLECTIONS ON THE CREATION AND CRITIQUE." Science and Technology Development Journal 15, no. 4 (2012): 30–40. http://dx.doi.org/10.32508/stdj.v15i4.1830.
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What is the value of literature in society today? This question seems fundamental and has already become the focus for many writers and critics in contemporary French literature, especially after the appearance of Structuralism. The objective of this paper is not to question the function of literature in society but to insist on the existential aspect of the literature and his relationship with the world of language. Specifically, we focus on the language element as an “another” reality that becomes not only space of creation, but opens a visible way to critique. Thus, the dialectical relationship between creative writing and language itself argues contemporary literature. To justify this hypothesis, we take as example the case of Roland Barthes and Jacques Lacan, who implement the language in literary analysis. Towards the literary creation, Christian Prigent exemplifies contemporary writer who treats language as the essence of his literary works.
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Glazkova, Marina M., and Yana V. Ikonnikova. "Virtual-creative interethnic dialogue (A. Gide – F. Nietzsche – F. Dostoevsky) in French and Russian literary criticism." Neophilology, no. 25 (2021): 51–61. http://dx.doi.org/10.20310/2587-6953-2021-7-25-51-61.
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The review of literature on the problem of “Dialogue of cultures in A. Gide’s works” establish extensive contact and typological convergence, a rollcall of images and ideas, reveal new interpretation of the story. All this became the basis of intertextual analysis, which allows us to understand more deeply the intention of the artists of the word, especially F.M. Dostoevsky, with whom A. Gide enters into a virtual dialogue. The work purpose is to address the ethical and philo-sophical ideas of F. Nietzsche and F.M. Dostoevsky in the context of A. Gide’s works, which turns out to be the most important moment and the basis for understanding the essence of the work of prominent French writer. The system of analysis includes a peculiar dialogue between F. Nietzsche, A. Gide and F.M. Dostoevsky – artists belonging to different nationalities and cul-tures, who did not coincide in time, did not know each other personally, which turned out to be evidence of their inextricable cultural connection. We determine the study degree and A. Gide’s artistic world originality on the basis of the rich factual material contained in the studies of the creative heritage of the French writer, which allows us to trace the evolution of A. Gide’s work from the beginning of the 20th to the beginning of the 21st century, to determine the literary signi-ficance of the problems posed in his work. The methodology of the work includes an overview of what has already been done in French and Russian literary studies on this issue in the context of the embodiment of national ideas in their work, which is the novelty and relevance of this study. Conclusions: for A. Gide, an appeal to F.M. Dostoevsky was immersed in his literary texts in order to understand the Russian mentality in comparison with the Western European system of values. The French writer emphasized that in the Russian environment, depicted by F.M. Dostoevsky, love prevails, which is “inclusive”, so the writer called it “world responsiveness”. People go to such love through compassion, sacrifice, meekness and deep faith in the Savior and the Mother of God. Realizing their messianic role in the world, the Russian people, represented by F.M. Dostoevsky, according to A. Gide, in the future will renew the Catholic Church, which dis-torted Christianity and brought strife in the world community. The dialogical perspective requires a deeper study, because French, German and Russian writers-thinkers turn their gaze not only to the interpretative part, not only to the interpretation, interpretation of the works of F.M. Dos-toevsky, but also scattered in the works of A. Gide rolls with his thoughts, disputes with his heroes, allusions to his plots, to playing out individual episodes, which did not find a detailed study and justification in this interesting virtual dialogue.
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Ben-Ami, Naama. "Rituals of Memory in Contemporary Arab Women’s Writing." American Journal of Islam and Society 25, no. 4 (2008): 125–27. http://dx.doi.org/10.35632/ajis.v25i4.1438.
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Gender, an issue that has been in the headlines for decades now, has naturallyalso attracted the scholarly attention of both men and women. In thebook under review, Brinda Mehta, professor of French and FrancophoneStudies at Mills College, inquires into the subject of gender from the perspectiveof a select group of leading contemporary women writers in theArab world whose compositions express the complexities of life for Arabwomen in the Middle East (Lebanon, Syria, and Iraq), NorthAfrica (Egypt,Algeria, andMorocco), and the United States (LosAngeles). The authors areallArabs on both sides, except forDianaAbu-Jaber, daughter of a JordanianbornArab Muslim father and an American Christian mother. The novelschosen for analysis have widely varying plots, but all reflect the place ofwomen inArab society and how they cope with difficult circumstances.The book is divided into six chapters, each devoted to one ormore compositions(novels) by a writer or two, whose stimulation to write was derivedat least in part from their own personal experiences ...
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Myronova, Natalia. "GENDER MARKERS AS A DOMINANT FEATURE OF AMELIE NOTHOMB’S STYLE (based on the novel “The Character of Rain”)." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS 32 (2017): 89–98. http://dx.doi.org/10.17721/2663-6530.2017.32.09.
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McArthur, Tom, and John Pint. "Riders of the Purple Page." English Today 2, no. 4 (1986): 34–35. http://dx.doi.org/10.1017/s0266078400002479.
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Yilancioglu, S. Seza. "Simonian Writing According to Mireille Calle-Gruber." Human and Social Studies 3, no. 3 (2014): 59–66. http://dx.doi.org/10.2478/hssr-2013-0038.
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Abstract Mireille Calle-Gruber is not only a university professor and a writer, but also a leading scholar and critic of French literature and contemporary Francophone literature. Her works on Michel Butor, Claude Simon, Assia Djebar, Derrida and other contemporary writers (as well as those dealing with the history of the twentieth century literature) fill gaps in the contemporary literary history of the twentieth century. Her books not only scrutinize and analyze the writing of Claude Simon; they also shed new light on the analysis of the novel and autobiography in contemporary literature, through the memory of experience and perception
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Boyarskaya, T. Yu. "P. Merime’s Essay “Nikolai Gogol”." Nauchnyi dialog, no. 5 (May 28, 2021): 183–201. http://dx.doi.org/10.24224/2227-1295-2021-5-183-201.
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Merimee’s essay “Nikolai Gogol”, in which the author presented the Russian writer as an imitator of European models, a satirist who focused on portraying the flaws of Russian life, a writer who neglects the plausibility of the overall composition is considered in the article. The author of this article shows that such a superficial and biased approach to Gogol’s texts aroused indignation among Russian journalists in both 19th century capitals and continues to be criticized by Russian and French literary critics. The results of a comparative analysis of the essay “Nikolai Gogol” with reviews of French-speaking journalists who wrote about the author of “The Inspector General” and “Dead Souls” in Parisian magazines of the 1840s are presented in the article. The question is raised that the motives that prompted Merimee to turn to the work of Gogol, and the reasons for the bias in relation to his work are still unrevealed. The novelty of the research is seen in the fact that the essay by Mérimée is for the first time considered as a commentary on the stable aesthetic position of the French writer, discordant with the poetics of romanticism and realism. The author dwells on the study of a number of artistic devices of the works of Merimee in the 1820—1840s and his genre preferences in the 1850s.
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Mochalova, Victoria. "Jewish Theme in Prose of Capitals Fire-Raisers: Paul Morand and Bruno Jasienski." Judaic-Slavic Journal, no. 1 (2018): 59–84. http://dx.doi.org/10.31168/2658-3364.2018.1.2.1.
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French writer Paul Morand’s story «I Burn Moscow» (1925) served as an impetus for the novel «I Burn Paris» (1928) by the Polish writer Bruno Jasienski. With all the obvious differences between the two works (the story and the novel), they are brought together by some signicant topics. The article deals with a Jewish theme that plays a signicant role in both plots, with different strategies of Jewish characters (assimilation, or exodus).
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Sanders, Mathijs. "EEN UURTJE MET DIRK COSTER." De Moderne Tijd 1, no. 2 (2017): 118–33. http://dx.doi.org/10.5117/dmt2017.2.002.sand.
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AN HOUR WITH DIRK COSTER The self-fashioning of a literary informant In 1927, the French literary magazine La Nouvelle Littéraire published an interview with the Dutch writer Dirk Coster by the renowned critic Frédéric Lefèvre in the series ‘Une heure avec ...’. Coster used the opportunity to present himself as an international cultural mediator and as a spokesman of a humanistic conception of literature. This article analyses the interview by focussing on the way Coster was portrayed in front of a French audience and by interpreting his statements concerning both Dutch and French literature.
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Fomin, Sergei M. "Insights of Blaise Pascal (about the Book “France and Russia: around Blaise Pascal”)." Studia Litterarum 6, no. 1 (2021): 414–25. http://dx.doi.org/10.22455/2500-4247-2021-6-1-414-425.
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The monograph edited by K.Yu. Kashlyavik contains contributions of the speakers at the international conference “France and Russia: around Blaise Pascal,” held at the Department of Humanities of the Higher School of Economics — Nizhny Novgorod in 2018. This is the first collective monograph in national philology dedicated to the French writer and thinker of the 17 th century, which includes studies of Pascal’s legacy in French, English, and Russian cultures.
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Warholm Haugen, Marius. "« Voyageons avec lui »." 1700-tal: Nordic Journal for Eighteenth-Century Studies 17 (June 24, 2020): 57–76. http://dx.doi.org/10.7557/4.5526.
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This article examines the use of travel metaphors in French periodical reviews of non-fiction travelogues at the turn of the eighteenth and the nineteenth century. The French periodical press took an increasing interest in travel literature in this period, forming an important instance of mediation between travel writers and the reading public. In travel-book reviews, journalists would frequently make use of a rhetoric aimed at presenting the periodical text as a double co-experience: an imaginary travel in the wake of the travel writer and a ‘travel’ through the journalist’s own reading experience. The article shows how this metaphor appears as a diverse rhetorical device that served different functions within the periodical text. Clearly aimed at engaging the reader in the text, the metaphor can also be read as conveying a meta-discourse that highlights the reviewers’ appropriation and remediation of the travelogue. The article analyses occurrences of the travel metaphor in reviews taken from a varied set of periodicals – journals, advertisers, and newspapers – in order to shed light on how the French periodical press operated in retransmitting literary travel experiences in a golden age of non-fiction travel writing.
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Pogorelskaia, E. I. "“On the Edge of Siberia with Ivanov”. An Article in the Newspaper “L’Humanité”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 53–62. http://dx.doi.org/10.25205/2410-7883-2020-2-53-62.
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Since May of 1926 and till December of 1928, Leon Bazalgette (1873–1928), French writer, translator, and literary critic who was a close friend of Stefan Zweig, wrote the weekly column Foreign literature in the French Communist party newspaper L’Humanité. Among the materials published in the newspaper there are articles about Soviet writers and their most famous works. The article dedicated to Vsevolod Ivanov was published on March 14, 1928, after the publication of materials about Boris Pilnyak, Lidia Seifullina, Konstantin Fedin, and before the publication of an article about Isaac Babel. In this paper we publish a translation from French of Bazalgette’s article about Ivanov. This article provides a brief outline of Ivanov's biography, which is based on his Autobiography, written for the VOX Bulletin in 1927, before his trip abroad, to France and Germany. This part of the article deals with several stages of his youth, his work in the printing house and performances in the circus, his participation in the revolutionary events in Siberia and the beginning of his writing career. To introduce the French reader to the work of Ivanov, Bazalgette chose the works of the writer of the early 1920s, united by the theme of Civil war and partisan struggle: the novella Armored Train 14-69, which was well known in Russia and was published by that time in Paris in French translation, the stories Bull of times and Child. Bazalgette highlights the main problem raised by Ivanov in these works – the cruelty and devaluation of human life in the conditions of class struggle. Analyzing the three named works of Ivanov, the author of the ar- ticle characterizes the features of his style, says about the saturation of his texts with convex, strong, unexpected and vividly outlined images. At the same time, as the author of the article notes, these three works reflect only the stage of Ivanov’s creativity, which went far ahead in his stories and novellas written by him in the middle of 1920s. The notes to the translation of Bazalgette’s article comment on the realities mentioned in the article and correct the mistakes and inaccuracies made in this article.
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Markowska, Helena. "Euzebiusz Słowacki – Writer and Literary Critic." Ruch Literacki 58, no. 1 (2017): 1–13. http://dx.doi.org/10.1515/ruch-2017-0011.
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Summary This article examines the relationship between literary practice and literary criticism in Polish late Neoclassicism in the work of Euzebiusz Słowacki, who combined the roles of writer and critic in a way not untypical at that time. Born in 1773, he made his reputation as a playwright, literary critic, poet and translator, and in 1811 became Professor of Poetry and Elocution at the University of Wilno. First, the article sets out to prove that both his literary work and his criticism are greatly indebted to the late eighteenth-century doctrine of taste, of which he wrote at length himself. The second part is concerned with a comparison of his theoretical reflections about tragedy and his own tragedies. The analysis of their form shows that Euzebiusz Słowacki not only strove to scale the ultimate tragic heights but also to create a Polish version of the neoclassic tragedy. His tragedy follows the best French and ancient models - especially Racine (whom he probably translated into Polish) - but also questions them in a way which shows that Słowacki was no mere imitator.
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Moyes, Lianne. "From one colonial language to another: Translating Natasha Kanapé Fontaine’s “Mes lames de tannage”." TranscUlturAl: A Journal of Translation and Cultural Studies 10, no. 1 (2018): 64–82. http://dx.doi.org/10.21992/tc29378.
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Signed and posted to the internet on July 6, 2012 in the months following the “Printemps érable” and leading up to Idle No More, “Mes lames de tannage” is one of Natasha Kanapé Fontaine’s most important slams. In analysing my English translation of this slam, published in Canadian Literature in 2016, this essay speaks to the relationship between Indigenous literatures and European languages. It participates in a conversation about what it means to translate French-language Indigenous literature from Quebec into English. Such translation enables Indigenous writers across North America to make links with each other and foster a broader interpretive community for their writing. Given the flow of Indigenous literature and critical thought from English into French over the past decades, thanks to publishing houses in France, the recent wave of translations from French into English and the sharing of French-language work mark a significant shift in the field. At the same time, the gesture of translating into English a writer who works primarily in French but is in the process of relearning her maternal language, Innu-aimun, brings to the fore all the pitfalls of moving from one colonial language to another. The challenge for translation is not to lose sight of Kanapé Fontaine’s relationship to French and especially, the way she lends it her voice. In the slam, French is a language of contestation but also of collaboration. Drawing on what she calls a “poetics of relation to the land,” Kanapé Fontaine works toward a respectful cohabitation of the territory. In this context, my strategies of including the French alongside the English and leaving words un-translated aim to disrupt the English version, expose the mediating work of the settler-translator and turn attention to Kanapé Fontaine’s mobilization of French for a writing of decolonization.
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Lauwaert, Lode. "A Poststructuralist Interpretation of Art." Philosophy Today 62, no. 1 (2018): 199–214. http://dx.doi.org/10.5840/philtoday201838208.
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Among the French philosophers who discuss the literature of writer Marquis de Sade, Maurice Blanchot presents a unique interpretation. For Blanchot, literature is the theme par excellence on which his entire oeuvre has been built. It is not, however, the case that Blanchot reads several literary forms and invents new concepts to map out a certain form of literature. His thinking about literature is indeed accompanied by an ideal and his interest goes out to a particular kind of writer, namely the writer who feels closely related to revolution. This implies that Blanchot is interested in Sade because his literature is both an illustration of a certain ideal, and is stuck in the revolutionary moment of radical negation.
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Cornish, Francis. "Non-discrete reference, discourse construction, and the French neuter clitic pronouns." Journal of French Language Studies 1, no. 2 (1991): 123–38. http://dx.doi.org/10.1017/s0959269500000946.
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AbstractThis article examines a range of predicate- and proposition-anaphoric phenomena in French, chiefly involving the ‘neuter’ clitic pronouns le, y and en, from the point of view of their discourse motivation. One aim is to characterise the relatively little-studied phenomenon of ‘non-discrete’ reference in discourse. Another is to determine the extent to which the speaker\ writer can use an anaphoric expression in such a way as to ‘release’ the predicative element from within a co-occuring functionally non-perdicative expression or sequence, or to asssign a ‘third order’ entity status as a mutually validated fact to what in context has been interpreted as a predication. Such uses constitute what I am calling the ‘discourse-operator’ function which anaphoric expressions may fulfil in the appropriate discourse context. The speacker\writer's ability to use predicate anaphors in this kind of the way is constrained by the meta-discursive criterion of coherence.
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Trykov, V. "Lev Nikolaevich Tolstoy in the book “Russian novel” by E.-M. de Vogüé." Rhema, no. 2, 2019 (2019): 19–27. http://dx.doi.org/10.31862/2500-2953-2019-2-19-27.
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The article describes a problem of the reception of the shape of Leo Tolstoy by the French writer E.-M. de Vogüé (1848–1910), whose book “Russian Novel” (“Le roman russe”) (1886) never fully been translated into the Russian language, the influence of “neomisticism” and his interpretation of cultural situation in Europe at the end of the 19th century on the interpretation of the personality and creativity of the great Russian writer, revealed the ambiguity and contradictoriness of the assessment, which gives Vogüé to Tolstoy’s worldview.
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Stroev, Alexander. "“Germany and World”: Dmitry Merezhkovsky interviewed by the French journalist Marylie Markovitch." Literary Fact, no. 15 (2020): 175–92. http://dx.doi.org/10.22455/2541-8297-2020-15-175-192.
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The article is dedicated to the interview which Marylie Markovitch (1866 – 1926, born Amelie Neri), the French journalist and writer of the feminist trend, had with Dmitry Merezhkovsky. The meeting took place in the fall of 1915 during Markovitch’s stay in Russia as a special correspondent for “Le Petit journal” and “Revue des Deux Mondes”, however, unlike other Markovitch’s publications, the interview with Merezhkovsky was published behind time, on January 22, 1916. The author notes that both the writer and the journalist address directly to censorship, with Markovitch managing, however, to convey the position of the Russian liberal intelligentsia to the French reader. According to the author of the article, Markovitch represents Merezhkovsky not only as a famous author, well known in France, but as a prophet, quoting his article “Iron under the Hammer” in the first part of the interview. The original French text of the interview, accompanied with the Russian translation, is fully reproduced in the article. The publisher’s attention is focused on an attempt to reconstruct the subtext of the interview, which is profoundly affected by Markovich and Merezhkovsky’s conscious striving for a theatricalized dialogue.
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Gehrmann, Susanne. "Emerging Afro-Parisian ‘chick-lit’ by Lauren Ekué and Léonora Miano." Feminist Theory 20, no. 2 (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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Dannenfeldt, K. H. "Andre Du Laurens (1558-1609): An Early French Writer on the Aged." Gerontologist 27, no. 2 (1987): 240–43. http://dx.doi.org/10.1093/geront/27.2.240.
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Lungu-Badea, Georgiana. "La traduction n’est pas qu’une traduction. Quelques propos sur la traduction d’une écriture fragmentaire bilingue: Cuvântul nisiparniţă (Le Mot sablier) de Dumitru Tsepeneag." Translationes 9, no. 1 (2017): 25–39. http://dx.doi.org/10.1515/tran-2017-0001.
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Abstract Translation is not mere translation. A few remarks on the translation of a fragmentary bilingual text: Cuvântul nisiparniță (Le Mot sablier/The Hourglass Word) by Dumitru Tsepeneag The present paper will focus on the translation of a fragmentary bilingual writing. Interested both in his own monolingualism and in the monolingualism of the other (see Derrida 1996, and here mainly the monolingualism of the French reader who should constitute a kind of pseudo-source-audience3), Dumitru Tsepeneag turns his own bilingualism into a topic in his book Cuvîntul nisiparniță (published first in translation as Le Mot sablier in 1984). “This (im)possible appropriation becomes the generating reason of the creation and in the creation, then in the self-translation”; a “writing experience” where the writer cultivates his bilingualism and his biculturalism, and sheds light on the process of translation from a perspective that is at least double: that of the translated42 and self-translated writer, but also that of the translator-writer” (Lungu-Badea 2008, 20). What translation strategy would be appropriate for a book that begins in Romanian and ends in French? We could claim that its destiny is to show how one language replaces another and, consequently, renders translation useless for bilingual users. If this is but an argument for the counter-translation, the French translation, published by the P.O.L. publishing house, does not challenge it. It could respect neither “the psychological intention of the author” (Ladmiral 2006, 140), nor the “semantic intention of the text” (Ladmiral and Lipiansky 1995, 53).
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Savych, O. V. "Interpretation of the history of post-war France in Pascal Quignard’s “The American Occupation”." Science and Education a New Dimension IX(253), no. 45 (2021): 55–58. http://dx.doi.org/10.31174/send-hs2021-253ix45-13.
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The article deals with the specifics of the interpretation of the history of post-war France, made by a contemporary French writer Pascal Quignard in the novel "The American Occupation" (1994). The writer represents in detail the chosen historical period, emphasizing its socio-political and cultural peculiarities. In addition, the author pays attention to the phenomenon of modification of the national identity of the protagonists influenced by American mass culture. The depiction of a specific historical epoch in this work becomes part of Pascal Quignard's reflection on the meaning of history in its entirety.
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Maggio, Severine, Florence Chenu, Guillemette Bes de Berc, et al. "Producing written noun phrases in French." Written Language and Literacy 18, no. 1 (2015): 1–24. http://dx.doi.org/10.1075/wll.18.1.01mag.
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This research compares the time-course of the written production of bare nouns to that of noun phrases. French adults named pictures of objects either using or not using determiners. Resulting pauses and writing rates were analyzed in relation to word-orthographic frequency, syllabic length, and phoneme-to-grapheme consistency at the end of words. More specifically, we showed that the noun production process begins as soon the determiner production is initiated (word frequency effect on latencies, length and consistency effects on determiner writing rate) and continued during the course of the noun production. When the determiner was absent, the management of writing was different: the writer slowed the production speed, probably in order to realize the lexeme processing that s/he could not do in the absence of the determiner production time. These results provided further evidence that some form of parallel processing occurs in written word production and led us to sketch the time-course of the noun spelling in written denomination of a noun phrase.
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Ågerup, Karl. "Action for Art’s Sake: Rethinking Jean Genet’s Political Turn." Interlitteraria 23, no. 2 (2019): 399–413. http://dx.doi.org/10.12697/il.2018.23.2.14.
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When recapitulating the career of the French writer Jean Genet, critics and biographers have gathered around the idea of a pivotal moment in the 1960s when Genet abandoned literature and turned to political activism. However, Genet continued to write and publish texts, many of which appear to be literary, up to his death in 1986. In this article, Genet’s late works are reviewed and the notion of the turn is questioned. It is argued that the construction of a political turn in Genet’s career unjustifiably reduced the weight of his late works and neglected their pioneering hybridity. Rather than abandoning literature, the late Genet enhanced his aesthetics of subversion by developing a more referential style.
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Zoulim, Constance. "« Un pont admirable entre visible et invisible » : approches picturales de la mort et de la vie chez Lorette Nobécourt." Quêtes littéraires, no. 5 (December 30, 2015): 191–200. http://dx.doi.org/10.31743/ql.252.
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Lorette Nobécourt is a living French writer (she was born in 1968). In her work takes place a quest of the "Word", the holy name she gives to literature. A great feeling of spirituality comes out from her texts. From 1999 to 2012 she wrote three texts about three different pictural works : La Raie by Chardin (french painter), L’Ordre du monde by Sujata Bajaj (indian artist) and L’Usage des jours by Guillaume Bardet (french designer). Trough her texts appears her literary and spiritual evolution. Literature proved to be a spiritual ritual, like a memento mori, but also an real prayer, an hymn in praise of the « living life ».
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Dimitriev, Viktor Mikhailovich. "«ISN’T THIS THE MOST AMAZING TRIUMPH OF SPIRIT?»: DOSTOEVSKY ANNIVERSARY SPEECH BY ANDRÉ SUARÈS." Russkaya literatura 3 (2021): 12–25. http://dx.doi.org/10.31860/0131-6095-2021-3-12-25.
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The publication presents a speech by the French writer and critic André Suarès, devoted to the anniversary of F. M. Dostoevsky. The celebration took place on December 24, 1921 at the Théâtre du Vieux-Colombier in Paris. The introduction offers a brief commentary on the celebration.
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Bradby, David. "A Theatre of the Everyday: the Plays of Michel Vinaver." New Theatre Quarterly 7, no. 27 (1991): 261–83. http://dx.doi.org/10.1017/s0266464x00005765.
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It has only been in the last few years that the plays of Michel Vinaver have begun to be discovered and produced in Britain. Yet he has been working as a playwright in his native France since 1955, and has become increasingly respected and widely produced there since overcoming a seven-year ‘writer's block’ in 1967. Here, David Bradby's introduction to Vinaver's dramaturgy is followed by a detailed analysis of one of his most recent plays, L'Emission de télévision, and this critical material is complemented by a chronology of Vinaver's career, excerpted statements by and about the writer – including an ‘auto-interview’ of Vinaver by Vinaver – and a bibliography. David Bradby is Professor of Drama and Head of the Department of Drama and Theatre Studies at Royal Holloway and Bedford New College, University of London: he has published widely, especially on the French theatre, and his major study, Modern French Drama, 1940–1990, has recently appeared in a revised edition from Cambridge University Press. He is currently working on a study of Vinaver for the University of Michigan Press. Michel Vinaver's own assessment of the present state of French theatre funding was included in NTQ25 (1991).
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Beley, M. "Precedent Names in B. Werber’s Postmodern Discourse: Communicative Aspect." Scientific Research and Development. Modern Communication Studies 10, no. 4 (2021): 18–22. http://dx.doi.org/10.12737/2587-9103-2021-10-4-18-22.
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This article reveals the peculiarities of the use of precedent names in the novels "Empire of Angels", "The Breath of the Gods" and "The Last Secret" by the contemporary French writer Bernard Werber. The communicative aspect is traced in the interaction of the cosmopolitan postmodern worldview of different peoples. Particular attention is paid to myths and the postmodern reading of ancient Greek myths in the author's works. The phenomenon of "speaking names" is also examined and their use in some works of French literature is traced.
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Axmedova, Shoira. "DEVELOPMENT OF PORTRAGRAPHY IN UZBEK AND FRENCH LITERARY CRITICISM." INTERNATIONAL JOURNAL OF WORD ART 6, no. 3 (2020): 21–28. http://dx.doi.org/10.26739/2181-9297-2020-6-3.
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Studying the literary work of writer and critic in close contact with his personality is one of the positive principles identified in literary criticism in recent years. Studying life, dream, character, interests and the artist’s youth is the key to revealing the secrets of craftsmanship and artistic aesthetics in his works. The genre of a literary portrait, which acts as an object of research, can fully reproduce this task, and its main goal is to recreate the image of the creator on the basis of his personal life, his own world, creativity and biography.
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Martin, Xavier. "La littérature à l'épreuve du réel : les jeux de Pascal Quignard avec les Lettres." Bergen Language and Linguistics Studies 10, no. 1 (2019): 11. http://dx.doi.org/10.15845/bells.v10i1.1431.
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The novel Les Larmes, by French writer Pascal Quignard, takes place in the ninth century, two twin brothers make totally different choices of life. Hartnid is always on the go. His twin, Nithard, is a pure scholar. His life is devoted to language. It is precisely his involment in language that allows him to write something that was never written before. He writes the Serments de Strasbourg (English: Oaths of Strasbourg, Latin: Sacramenta Argentariae) in 842, first written marks of a language that will become the French language.
 This novel offers a unique opportunity to sketch a thought on the ability of literature to speak about our relationship to reality. 
 The first part of the article questions the gesture of the novelist who acts on himself and on reality when writing, he really tries to change the world.
 The second part of the article studies the notion of realism and shows how Quignard finds a place in the history of literature that, today, stays away from realism, but, maybe, in order to better track down reality.
 Finally, in order to grasp the specificity of the Works of Quignard, my interest in the aesthetic of Les Larmes is threefold: its complex structure, the fascination for origin that it shows and, the question of identity and splitting with the twin brothers Hartnid and Nithard.
 The article concludes on the ability of artists to anticipate in their creations and, in advance, to tell about events that will occur in the future.
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Canovas, Frédéric. "De Gide à Denis ou de Cézanne à Athman : la relation peintre–écrivain face à la question du classicisme." Romanica Wratislaviensia 64 (October 27, 2017): 57–73. http://dx.doi.org/10.19195/0557-2665.64.6.
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FROM GIDE TO DENIS OR FROM CÉZANNE TO ATHMAN : THE PAINTER–WRITER RELATIONSHIP AND THE ISSUE OF CLASSICISMIn 1900, French writer André Gide purchased Maurice Denis’s Homage to Cézanne, nowadays in the collection of Musée d’Orsay. Considered a turning point in Denis’s career, the painting celebrates the new values of classicism that Denis discovered in the company of Gide while in Rome two years earlier. This essay discusses the similarities between the painter’s and the writer’s own definitions of classicism, while focusing also on the way in which each one of them applied this definition to their own work.
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Djemaï, Abdelkader. "What I Owe to Dib." Thélème. Revista Complutense de Estudios Franceses 35, no. 2 (2020): 139–41. http://dx.doi.org/10.5209/thel.69391.
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In 1963, a year after Independence, I discovered, not without pride, for the first time in college Algerian authors who were not in the curriculum of the French school I had attended. Among them, Mohammed Dib and his Grande Maison. At the age of 15, I thus crossed the threshold of this literature that would accompany me in my life as a reader and writer.
 Here I would like to tell my relationship with the diverse and rich work of Mohammed Dib, my encounters with the man and my view of some of his novels and poetry collections. In this personal testimony, I would like to evoke what he was able to bring to the writers of the Independence generation.