Journal articles: 'Giraudoux, Jean. Giraudoux, Jean'

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Buyse, Kris. "Jean Giraudoux." Documenta 8, no. 4 (May 3, 2019): 196–203. http://dx.doi.org/10.21825/doc.v8i4.11074.

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Korzeniowska, Victoria B. "Jean Giraudoux." French Studies 60, no. 4 (January 1, 2006): 534–35. http://dx.doi.org/10.1093/fs/knl146.

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KORZENIOWSKA, V. B. "JEAN GIRAUDOUX: 'resolument feministe'?" French Studies Bulletin 9, no. 32 (January 1, 1989): 1–3. http://dx.doi.org/10.1093/frebul/9.32.1.

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Kovalenko, Georgy. "Pavel Tchelitchew and Jean Giraudoux’s Ondine." Experiment 23, no. 1 (October 11, 2017): 286–315. http://dx.doi.org/10.1163/2211730x-12341316.

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Abstract The article treats of the artistic collaboration between writer Jean Giraudoux, actor Louis Jouvet and painter Pavel Tchelitchew (Chelishchev) in Paris in the 1930s. While reference is also made to precedents such as Christian Bérard’s interpretations at the Théâtre de l’Athénée, the main subject of discussion is the production of Giraudoux’s Ondine in 1939 with Madelaine Ozeray in the lead role and with Tchelitchew’s eccentric stage sets, backdrops and lighting—and costumes for dramatis personae Ondine, Bertha and Hans. Also discussed are the connections between these designs and Tchelitchew’s major studio paintings such as Hide and Seek.

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Ziviani, Maria Cristina Elia. "Aurora de sangue." Cadernos de Linguística e Teoria da Literatura 11, no. 22-24 (December 30, 2016): 148. http://dx.doi.org/10.17851/0101-3548.11.22-24.148-161.

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Resumo: Interrogação sobre o aspecto revolucionário do teatro de Jean Giraudoux, em especial na peça Electre, através do estudo do significante "luz" e do valor simbólico da "aurora" na obra desse autor. Résumé: Interrogation sur l'aspect révolutionnaire du théâtre de Jean Giraudoux, surtout dans sa pièce Electre, par le biais de l'étude du signifiant "lumière" et de la valeur symbolique dans l'aurore de cet auteur.

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May, Georges. "Jean Giraudoux: Academicism and Idiosyncracies." Yale French Studies, no. 96 (1999): 18. http://dx.doi.org/10.2307/3040713.

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Teissier, Guy, and Mauricette Berne. "Jean Giraudoux : lettres à Guitte." Revue d'histoire littéraire de la France 116, no. 2 (2016): 425. http://dx.doi.org/10.3917/rhlf.162.0425.

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Blanchot, Maurice. "De Jean-Paul a Giraudoux." Alea : Estudos Neolatinos 12, no. 1 (June 2010): 167–72. http://dx.doi.org/10.1590/s1517-106x2010000100012.

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Debray, Q. "La psychologie de Jean Giraudoux." PSN 9, no. 4 (October 21, 2011): 234–38. http://dx.doi.org/10.1007/s11836-011-0177-8.

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Gómez Cortell, Clara. "Motivos del más allá griego en Jean y Jean-Pierre Giraudoux." Anuario de Estudios Filológicos 40 (2017): 47–62. http://dx.doi.org/10.17398/2660-7301.40.47.

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Tessier, Guy. "Simon de Jean Giraudoux : les versions 1914 retrouvées." Genesis 29, no. 1 (2008): 165–69. http://dx.doi.org/10.3406/item.2008.1449.

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JOHN, S. B. "Review. Jean Giraudoux, ou l'impossible eternite. Niderst, Alain." French Studies 51, no. 1 (January 1, 1997): 98. http://dx.doi.org/10.1093/fs/51.1.98.

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Pérez Winter de Tamburini, María J. "El universo mágico de Nerval en Aurélia." Cuadernos de Literatura, no. 7 (June 12, 1996): 79. http://dx.doi.org/10.30972/clt.073262.

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<p>Aurélia (1855), el poema en prosa de Nerval, es la expansión del sueño en la vida real, como lo afirma Jean Giraudoux. Y no olvidemos que la esencia de lo fantástico reside, en todo caso, en un cierto clima en el que, sutilmente, sueño y realidad se interpenetran hasta el punto de que toda linea de demarcación desaparece. Raramente continúa Giraudoux un poeta ha sabido ubicarse con esta justeza sobre la linea que separa el mundo real del mundo interior y adosarse en medio de tanto sol contra un muro iluminado de luz infernal.</p><p> </p>

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Giard, Anne. "Les interactions verbales dans une scène de Giraudoux." Études françaises 35, no. 1 (March 15, 2006): 137–46. http://dx.doi.org/10.7202/036130ar.

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Résumé Le fonctionnement du dialogue dans un extrait de Intermezzo de Jean Giraudoux est observé à la lumière des travaux sur l'interaction verbale, tels qu'ils sont récapitulés et prolongés par la «linguistique interactionniste». On montre comment la dynamique de l'échange verbal perturbe les relations interpersonnelles et les rapports de force, dans une situation de communication qui semblait être la moins propice à l'évasion hors des rôles prescrits.

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15

Marie, Charles P. "La Haine D'Electre—Un Regard Essentiel Sur Jean Giraudoux." Nottingham French Studies 25, no. 1 (May 1986): 22–33. http://dx.doi.org/10.3366/nfs.1986.003.

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Coyault, Sylviane. "Fantaisies et (dé)raisons de l’oubli chez Jean Giraudoux." Svět literatury 30, no. 62 (October 26, 2020): 101–8. http://dx.doi.org/10.14712/23366729.2020.3.8.

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Di Méo, Nicolas. "Le Sens de l’harmonie: l’habitus national chez Jean Giraudoux." French Review 84, no. 2 (2010): 299–310. http://dx.doi.org/10.1353/tfr.2010.0073.

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Rousseau Rivard, Joëlle. "L’otage, vecteur de guerre ou de paix ?" Cahiers d'histoire 35, no. 2 (June 12, 2018): 93–116. http://dx.doi.org/10.7202/1047870ar.

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Cet article propose de réfléchir sur la façon dont s’articulent les états de guerre et de paix par le biais de la figure de l’otage, envisagée comme un espace de tensions et de négociations qui tantôt a apaisé, tantôt envenimé les conflits. Nous nous intéresserons à son évolution historique à partir de deux textes du 20e siècle dont le rapprochement s’est d’abord fait par les titres : une pièce de théâtre de Jean Giraudoux, La guerre de Troie n’aura pas lieu (1935), et un essai de Jean Baudrillard, La guerre du Golfe n’a pas eu lieu (1991).

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Abdulrahman, Ari M. "La Recherche de la Pureté dans Électre de Jean Giraudoux." Koya University Journal of Humanities and Social Sciences 4, no. 1 (June 30, 2021): 28–34. http://dx.doi.org/10.14500/kujhss.v4n1y2021.pp28-34.

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Électre, le protagoniste de la pièce de théâtre de Giraudoux, était à la recherche de l’absolu dans son existence. Elle cherchait à rétablir la justice, la pureté et la vérité. Contrairement à tous les autres personnages de la pièce, elle n'a pas accepté le bonheur médiocre qui lui était offert. Sa recherche de la vérité résultait de la recherche de la pureté, en particulier dans sa famille. La plupart des personnages de la pièce souffraient d'impureté dans leurs relations familiales. La famille d'Électre est impure en raison des crimes commis et d'inceste implicite. Elle cherche à retrouver la pureté de la famille, mais la seule solution à cette impureté profondément enracinée est la mort et la destruction totale afin de commencer une nouvelle vie dès le début. La pureté de la pièce est représentée par un certain nombre d'éléments différents tels que la nature, l'enfance et la lumière. L'enfance, qui représente une existence innocente, joue un rôle majeur dans la pièce et constitue la cause principale de conflit entre Électre et sa mère. La nature est le seul élément pur et beau et elle conserve sa pureté tout au long de la pièce, mais elle ne peut toujours fournir un remède au dilemme éprouvé par Électre. Electra, the protagonist of Giraudoux’s play, was in a desperate search of the ultimate absolute in her existence. She seeks to restore justice, purity, and truth. Unlike all the other characters of the play, she has not accepted the mediocre happiness offered to her. Her search of truth resulted from the pursuit of purity, especially in her family. Most of the characters in the drama suffer from impurity in their familial relationships. Electra's family has been impure due to crimes committed and implied incest. She seeks to recover the purity of the family but the only solution to this deeply rooted impurity is death and destruction of everything in order to start a new life from the beginning. The purity in the play is represented by a number of different elements such as nature, childhood, and light as well. Childhood, that's innocence, plays a major role in the play and it is the overarching cause of conflict between Electra and her mother. Nature is the only beautiful and pure element and it preserves its purity throughout the play but still, it cannot provide a remedy to the dilemma Electra is experiencing.

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Mercier, Christophe. "Le cinéma de Jean Anouilh." Études littéraires 41, no. 1 (October 5, 2010): 157–70. http://dx.doi.org/10.7202/044577ar.

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Comme quoi « le cinéma de Jean Anouilh » n’est pas une affaire simple. À côté de films qu’il a signés, écrits entièrement, et dont on aimerait voir les textes publiés (comme ceux de Giraudoux), il a participé, de près, d’un peu plus loin, adaptant ici, rajoutant là une séquence, un dialogue (comme Marcel Aymé), à nombre de films qui ne sont pas entièrement de lui, mais où il est présent, malgré tout, et qui portent sa griffe. Nous n’avons pas parlé de La citadelle du silence (L’herbier, 1937), auquel Anouilh aurait participé, ni de Piège pour Cendrillon, ni du mystérieux Temps de l’amour. D’ici quelques années, ils auront sans doute refait surface, et réservent peut-être des surprises. Le cinéma de Jean Anouilh est encore un domaine à explorer...

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Duroisin, Pierre. "Les petites Odyssées de Jean Giraudoux : Elpénor, et de Jean Giono : Naissance de l'Odyssée." Bulletin de l'Association Guillaume Budé 1, no. 1 (2005): 172–210. http://dx.doi.org/10.3406/bude.2005.2186.

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Voldman, Daniele, and Cecile Chombard-Gaudin. "Jean Giraudoux et le debat sur la ville 1928-1944." Vingtième Siècle. Revue d'histoire, no. 43 (July 1994): 154. http://dx.doi.org/10.2307/3771525.

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23

Norwood, James. "The Director-Playwright Relationship of Louis Jouvet and Jean Giraudoux." Modern Drama 28, no. 3 (September 1985): 348–54. http://dx.doi.org/10.3138/md.28.3.348.

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Laforgerie, Gaëlle. "Jean Giraudoux et Hermann Kesten entre la France et l'Allemagne." Revue de littérature comparée 300, no. 4 (2001): 579. http://dx.doi.org/10.3917/rlc.300.0579.

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TANOKUCHI, Seigo. "^|^ldquo;The People^|^rsquo;s Theatre^|^rdquo; of Jean Giraudoux." Comparative Theatre Review 12, no. 2 (2013): 162–73. http://dx.doi.org/10.7141/ctr.12.162.

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Borghino, Elisa. "Aa. Vv., Jean Giraudoux: écrire/décrire ou le regard créateur." Studi Francesi, no. 174 (LVIII | III) (November 1, 2014): 631. http://dx.doi.org/10.4000/studifrancesi.1604.

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FREEMAN, E. "Review. Jean Giraudoux: The Legend and the Secret. Body, Jacques." French Studies 46, no. 3 (July 1, 1992): 353–54. http://dx.doi.org/10.1093/fs/46.3.353-a.

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Kinoshita, Miho. "A study on the possibilities of sport literature : Jean Giraudoux, Le Sport, (1928)." Taiikugaku kenkyu (Japan Journal of Physical Education, Health and Sport Sciences) 32, no. 2 (1987): 99–107. http://dx.doi.org/10.5432/jjpehss.kj00003391516.

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Costa, Lorena Lopes da. "Du héros à l’antihéros." Revista Archai, no. 30 (May 10, 2020): e03002. http://dx.doi.org/10.14195/1984-249x_30_2.

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En 1919, la même année où Jean Giraudoux fait son « Adieu à la guerre », il écrit « Les morts d’Elpénor ». En 1926, à côté de trois autres histoires, ce texte intégrera le corps d’Elpénor, déterminant l’ensemble, une collection de quatre textes écrits pendant dix-huit ans, le premier étant « Cyclope », écrit en 1908 ; le deuxième, « Sirènes », en 1912 ; le troisième en 1919 ; et le dernier en 1926, « Les nouvelles morts d’Elpénor ». Quand « Cyclope » et « Sirènes » (avec des titres légèrement modifiés) sortent respectivement chez Le Matin en 1908 et chez Paris-Journal en 1912 aucun d’entre eux ne mentionne Elpénor. Bref, c’est avec le développement des deux dernières histoires, que Elpénor, cette figure effacée chez Homère et absente dans les deux premiers textes de Giraudoux, vole la vedette. Cet article voudrait montrer comment la mise à jour du héros et de ses histoires est en dialogue avec la guerre vécue par l’auteur, pour proposer comment les vieilles histoires, lorsqu’elles sont renouvelées, participent à un processus qui leur permet d’élaborer les défis du présent, communiquant le présent, à travers un code déjà public, l’Odyssée.

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Maier, Felix K. "THE ALAMANNIC WAR WILL NOT TAKE PLACE—CONSTANTIUS’ II OPERATION AGAINST THE ALAMANNI IN 354." Classical Quarterly 68, no. 2 (October 23, 2018): 649–59. http://dx.doi.org/10.1017/s0009838818000356.

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In his playThe Trojan War will not take place(1955), French novelist and diplomat Jean Giraudoux has his protagonist Hector struggle tremendously with convincing both Trojans and Greeks alike to prevent the looming war. Despite coming very close to negotiating a truce, Hector fails in the end owing to the belligerent aspirations of some other protagonists led by the Trojan poet Demokos. Cassandra's famous final line, ‘war cannot be avoided’, comes true and, in contrast to the title of the play, the Trojan War does indeed take place.

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Costa, Lorena Lopes da. "Sobre os usos da tradição clássica: três leituras francesas da 'Odisseia'." Idéias 6, no. 1 (October 28, 2015): 185. http://dx.doi.org/10.20396/ideias.v6i1.8649483.

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Nos anos que se seguem à Grande Guerra (1914-1918), três autores franceses, ex-combatentes e recém-chegados da guerra, recriam a 'Odisseia'. Falsificando Homero, falsificando a ficção, mas sem prescindir da tradição, Jean Giono, Giraudoux e Louis Aragon encontram nela um meio de narrar o que dificilmente pode ser narrado: o retorno da guerra. Será, então, pelo uso que fazem da epopeia que os autores irão desconstruir a imagem do herói na guerra e o lado épico da verdade, bem como será por meio dela que irão renarrar o retorno daquele que volta da guerra, embora ele volte, por causa da guerra, muito mais pobre em experiência.

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Pinon, Stephane. "Las incertidumbres del constitucionalismo global." Teoría y Realidad Constitucional, no. 46 (December 16, 2020): 141. http://dx.doi.org/10.5944/trc.46.2020.29108.

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En los discursos jurídicos se multiplican las referencias al «constitucionalismo global», sobre todo desde que brotó la pandemia del covid19. El concepto en fase de construcción aparece a la vez como una solución y como un problema ante el desarrollo de la globalización y de la interacción entre los actores jurídicos. Nuestro estudio privilegia el segundo aspecto. El dramaturgo Jean Giraudoux planteó que «El derecho es la más poderosa escuela de la imaginación. Nunca poeta ninguno ha interpretado la naturaleza tan libremente como un jurista la realidad». Más allá de los sueños, preferimos poner de relieve tres puntos: la perspectiva de un nuevo tipo de oligarquía tras el constitucionalismo global, las amenazas de una combinación entre la depreciación del «político» y la centralidad del individuo, el discurso de la convergencia de los derechos humanos que desenmascara la presencia de un imperialismo cultural. Enfocado al constitucionalismo global, ¿qué hacer del derecho constitucional europeo: un modelo sugestivo o perturbador?In the juridical discourses the references to the global constitutionalism are multiplying themselves, in particular since the arrival of the Covid 19. This concept, in the middle of construction, appears as a solution as well as a problem, confronted to the development of the globalization and the interaction between the juridical actors. This study is prioritizing the second aspect. The playwright Jean Giraudoux used this formula: «the law is the most powerful of schools for the imagination. No poet ever interpreted nature as freely as a lawyer interprets the truth». Beyond the utopias, I’d rather underline three points: the perspective of a new type of oligarchy behind the global constitutionalism; the threats of a combination of the devaluation of the political power and the centrality of the individual; and eventually the discourse to the convergence of the human rights, which hides the presence of a cultural imperialism. To conclude, inside this reflexion about the global constitutionalism, how to consider the European constitutional law: as a role model to follow, or as a model to reject?

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Rothenberg, John, and Lise Gauvin. "Jean Giraudoux et l'ecriture palimpseste: Actes du colloque de la societe internationale des etudes giradulciennes." Modern Language Review 93, no. 3 (July 1998): 840. http://dx.doi.org/10.2307/3736565.

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Brody, Jules. "Deus ex machina, ou le mythe de l'intrusion divine dans le théâtre de Jean Giraudoux." Revue d'histoire littéraire de la France 102, no. 1 (2002): 57. http://dx.doi.org/10.3917/rhlf.021.0057.

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Korzeniowska, V. B. "Review: Sur trois pieces de Jean Giraudoux: 'La Guerre de Troie n'aura pas lieu', 'Electre', 'Ondine'." French Studies 58, no. 2 (April 1, 2004): 279–80. http://dx.doi.org/10.1093/fs/58.2.279.

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Bonomo, Daniel. "Aproximação à escola discursiva dos Robinsons." Aletria: Revista de Estudos de Literatura 31, no. 2 (June 30, 2021): 223–43. http://dx.doi.org/10.35699/2317-2096.2021.26029.

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O objetivo do texto é contribuir para a definição de uma escola discursiva fundada por Daniel Defoe em Robinson Crusoé, há trezentos anos. A hipótese de que o título inaugura uma tradição importante para o desenvolvimento do romance como gênero é sustentada pela observação de sua economia formal e de seus prováveis efeitos de leitura, que se transformam no tempo e nas diferentes realizações que repõem o modelo em novos contextos, mais ou menos distantes do original. Assim aparecem, aqui, além do primeiro e do segundo Robinson de Defoe, interpretações de O Robinson suíço (Johann David Wyss), A escola dos Robinsons (Júlio Verne), Suzana e o Pacífico (Jean Giraudoux), Sexta-Feira ou os limbos do Pacífico (Michel Tournier), A vida sexual de Robinson Crusoé (Michel Gall) e A invenção de Morel (Adolfo Bioy Casares), que representam configurações narrativas desiguais, mas relevantes para o entendimento em perspectiva das continuidades em jogo.

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Martin, Brian. "Forthcoming: The Roger L. Stevens Collection at the Library of Congress." Theatre Survey 38, no. 2 (November 1997): 159–61. http://dx.doi.org/10.1017/s0040557400002118.

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Roger Stevens has always been a visionary. His career began in real estate, where he gained national recognition for buying the Empire State Building for $51.5 million—at the time the highest price ever paid for one building—and selling it three years later for a ten-million dollar profit. As he expanded into theatre, he quickly became one of the nation's foremost producers on Broadway, producing more than 200 shows over the last half century, including West Side Story, A Man for All Seasons, Bus Stop, Cat on a Hot Tin Roof, Deathtrap, and Mary, Mary. He “discovered” playwrights such as Tom Stoppard, Peter Shaffer, and Terence Rattigan for New York audiences, and he has worked closely with others, already established, such as Eugene O'Neill, Tennessee Williams, Harold Pinter, Jean Giraudoux, and T.S. Eliot Three United States presidents have depended on Stevens for their arts and humanities policy, and the American theatrical community has benefitted from his intuitive vision.

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Lopes da Costa, Lorena. "AS ATUALIZAÇÕES ODISSEICAS DE JEAN GIRAUDOUX EM ELPÉNOR (1926) OU SOBRE QUANDO A GUERRA NÃO PRODUZ HERÓIS." Phoînix 24, no. 2 (December 17, 2018): 167–85. http://dx.doi.org/10.26770/phoinix.v24.2.n9.

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Johnson, Roberta, Susan Nagel, and Jean Giraudoux. "The Influence of the Novels of Jean Giraudoux on the Hispanic Vanguard Novels of the 1920s-1930s." Hispania 75, no. 3 (September 1992): 562. http://dx.doi.org/10.2307/344110.

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TILBY, M. J. "Review. Lettres a Lisette Haas (1908-1914) suivies de six lettres de Jean Giraudoux. Texte etablie et presente par Jean-Louis Chevalier. Morand, Paul." French Studies 47, no. 1 (January 1, 1993): 102. http://dx.doi.org/10.1093/fs/47.1.102.

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SCHEELE, E. "LA PARODIE DE QUELQUES PRINCIPES DE MACHIAVEL DANS LA GUERRE DE TROIE N'AURA PAS LIEU DE JEAN GIRAUDOUX." French Studies Bulletin 19, no. 68 (January 1, 1998): 5–6. http://dx.doi.org/10.1093/frebul/19.68.5.

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Brémond, Mireille. "Dictionnaire Jean Giraudoux. Publié sous la direction d’André Job et Sylviane Coyault. Avec la collaboration de Pierre d’Almeida." French Studies 73, no. 2 (February 8, 2019): 308. http://dx.doi.org/10.1093/fs/knz006.

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Scheele, Elisabeth. "La Guerre et la Paix de Pierre-Joseph Proudhon et La guerre de Troie n'aura pas lieu de Jean Giraudoux." Les Lettres Romanes 50, no. 1-2 (February 1996): 101–17. http://dx.doi.org/10.1484/j.llr.4.00943.

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ROBERTS, S. "Review. The Influence of the Novels of Jean Giraudoux on the Hispanic Vanguard Novels of the 1920s-1930s. Nagel, Susan." French Studies 47, no. 1 (January 1, 1993): 102–3. http://dx.doi.org/10.1093/fs/47.1.102-b.

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Scheele, Elisabeth. "«La guerre de Troie n'aura pas lieu» de Jean Giraudoux et «procès de Lucullus» (das verhör des Lukullus) de Bertolt Brecht." Neohelicon 23, no. 2 (September 1996): 223–33. http://dx.doi.org/10.1007/bf02435508.

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Arons, Wendy. "Kurt Hirschfeld and the Visionary Internationalism of the Schauspielhaus Zürich." Theatre Survey 60, no. 03 (August 6, 2019): 385–413. http://dx.doi.org/10.1017/s0040557419000267.

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Outside Switzerland, the Schauspielhaus Zürich (Zürich Playhouse) is best known among theatre historians for the role it played in supporting and advancing the career of German playwright Bertolt Brecht during and just after World War II. We learn, from our studies of Brecht, that while he was living in exile in Finland and the United States his plays Mother Courage and Her Children, The Good Person of Szechwan, and Galileo all received their first productions in Zürich, and that when he returned to Europe from exile the city was also his initial destination. Brecht was not the only exiled playwright to find a producing home at the Schauspielhaus; the theatre has additionally long been recognized, particularly among German and Swiss theatre historians, for the important role it played in producing the work of many other exiled German and Austrian playwrights during World War II. Some American theatre historians have also made note of the quality of the work produced at the Schauspielhaus: for example, Oscar Brockett mentions the Zürich theatre in passing as “one of the best in Europe during the Nazi regime because so many refugees settled in Switzerland.” But what remains underrecognized among historians outside Switzerland is the pivotal role that both the Schauspielhaus and its dramaturg (and later artistic director) Kurt Hirschfeld played in keeping an international repertoire on life support in Europe when most of the Continent was under Nazi occupation (Fig. 1). A look at the list of wartime and postwar productions at the Schauspielhaus reveals a veritable who's who of the modern Western dramatic canon: productions of works by playwrights like Karel Čapek, Thornton Wilder, Jean Giraudoux, Jean-Paul Sartre, Paul Claudel, Federico García Lorca, T. S. Eliot, Arthur Miller, Tennessee Williams, Luigi Pirandello, and many, many—in fact, many dozens—of others.

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Noonan, Mary. "The Heroine as Social Redeemer in the Plays of Jean Giraudoux. By Victoria B. Korzeniowska. Bern: Peter Lang, 2001. Pp. 144. £18 Pb." Theatre Research International 28, no. 2 (June 26, 2003): 217–18. http://dx.doi.org/10.1017/s0307883303281098.

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48

Scheele, Élisabeth. "Les adieux d’Hector et d’Andromaque chez Homère, sur un vase grec et dans La guerre de Troie n’aura pas lieu de Jean Giraudoux." Les Lettres Romanes 57, no. 3-4 (August 2003): 285–90. http://dx.doi.org/10.1484/j.llr.3.80.

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KORZENIOWSKA, V. B. "Review. Jean Giraudoux et l'ecriture palimpseste. actes du colloque de la Societe internationale des etudes giralduciennes. Montreal, 26-29 septembre 1995. Gauvin, Lise (ed.)." French Studies 53, no. 1 (January 1, 1999): 88. http://dx.doi.org/10.1093/fs/53.1.88.

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Scheele, Elisabeth. "Quelques influences de leibniz, voltaire, du comte de las cases et d'henri barbusse sur «la guerre de troie n'aura pas lieu» de jean giraudoux." Neohelicon 24, no. 2 (September 1997): 341–52. http://dx.doi.org/10.1007/bf02558077.

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Journal articles on the topic 'Giraudoux, Jean. Giraudoux, Jean'

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