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Journal articles on the topic 'La Princesse de Clèves'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Michot, Jacques-Henri. "Princesse de Clèves." Lignes 33, no. 3 (2010): 66. http://dx.doi.org/10.3917/lignes.033.0066.

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2

Paige, Nicholas. "Lafayette's Impossible Princess: On (Not) Making Literary History." PMLA/Publications of the Modern Language Association of America 125, no. 4 (October 2010): 1061–77. http://dx.doi.org/10.1632/pmla.2010.125.4.1061.

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The branch of literary history occupied with generic evolution customarily views masterworks as the drivers of formal change: their success causes later writers to follow their innovations. This article considers the case of the comtesse de Lafayette's La princesse de Clèves, which broke from received Aristotelian ideas on the use of history by focusing on an invented heroine; because the princess was invented, she blocked traditional reading strategies and allowed instead for readerly identification. It is tempting to conclude from this that the novel's innovations made it a harbinger of the future, an ancestor of the nineteenth-century novel. Yet writers of Lafayette's time did not follow her cue, and no trail leads from the princesse de Clèves to later fictive protagonists. Theories of literary evolution must take into account that in many cases there may be no reassuring causal relation between masterworks and broader literary practice.

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3

Jappe, Anselm. "La princesse de Clèves, aujourd'hui." Lignes 23-24, no. 2 (2007): 262. http://dx.doi.org/10.3917/lignes.023.0262.

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4

Campbell, John. "La 'modernité' deLa Princesse de Clèves." Seventeenth-Century French Studies 29, no. 1 (August 2007): 63–72. http://dx.doi.org/10.1179/175226907x187492.

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5

Stemberger, Martina. "Classical Cinema: TransmediatingLa Princesse de Clèves." Romance Studies 35, no. 4 (October 2, 2017): 209–25. http://dx.doi.org/10.1080/02639904.2017.1413846.

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6

Gregorio, Laurence A. "A Quarrel inLa Princesse de Clèves: Ancient Princess and Modern Nemours." Seventeenth-Century French Studies 29, no. 1 (August 2007): 81–87. http://dx.doi.org/10.1179/175226907x187528.

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7

Molinié, Georges. "Approches stylistiques de La Princesse de Clèves." L Information Grammaticale 43, no. 1 (1989): 23–26. http://dx.doi.org/10.3406/igram.1989.1976.

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8

Niderst, Alain. "Les défauts de La Princesse de Clèves." Littératures classiques. Supplément 12, no. 1 (1990): 55–64. http://dx.doi.org/10.3406/licla.1990.1220.

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9

Worvill, Romira. "Emilia Galotti and La Princesse de Clèves." Neophilologus 92, no. 4 (October 12, 2007): 667–79. http://dx.doi.org/10.1007/s11061-007-9079-3.

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10

Chapco, Ellen Hunter. "La Princesse de Clèves: Reading the Ending." Women in French Studies 2002, no. 1 (2002): 39–57. http://dx.doi.org/10.1353/wfs.2002.0045.

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11

Pavel, Thomas. "La Princesse de Clèves : histoire et singularité." Romanic Review 108, no. 1-4 (January 1, 2017): 181–93. http://dx.doi.org/10.1215/26885220-108.1-4.181.

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12

Muratore, M. J. "Historical Impostors, Fictional Truths:La Princesse de Clèves." Symposium: A Quarterly Journal in Modern Literatures 54, no. 4 (January 2001): 245–58. http://dx.doi.org/10.1080/00397700109598303.

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13

Chang, Leah. "Blushing and Legibility inLa Princesse de Clèves." Romance Studies 30, no. 1 (January 2012): 14–24. http://dx.doi.org/10.1179/174581512x13221535571731.

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14

Gevrey, Françoise. "L'aventure dans La Princesse de Montpensier et dans La Princesse de Clèves." Littératures 21, no. 1 (1989): 39–51. http://dx.doi.org/10.3406/litts.1989.1479.

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15

Mesnard, Jean. "Morale et métaphysique dans La Princesse de Clèves." Littératures classiques. Supplément 12, no. 1 (1990): 65–78. http://dx.doi.org/10.3406/licla.1990.1221.

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16

Coulet, Henri. "Sur le dénouement de La Princesse de Clèves." Littératures classiques. Supplément 12, no. 1 (1990): 79–85. http://dx.doi.org/10.3406/licla.1990.1222.

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17

Siouffi, Gilles. "Après une lecture de La Princesse de Clèves." Dix-septième siècle 265, no. 4 (2014): 727. http://dx.doi.org/10.3917/dss.144.0727.

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18

Montier, Jean-Pierre. "Arrêt sur image dans La Princesse de Clèves." Littérature 119, no. 3 (2000): 3–20. http://dx.doi.org/10.3406/litt.2000.1682.

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19

Gregorio, Laurence A. "Ideals and Ideas: Platonism inLa Princesse de Clèves." Neophilologus 88, no. 1 (January 2004): 43–60. http://dx.doi.org/10.1023/b:neop.0000003815.11724.16.

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20

Garapon, Jean. "La Princesse de Clèves et l'esthétique de la tragédie." Littératures classiques. Supplément 12, no. 1 (1990): 21–32. http://dx.doi.org/10.3406/licla.1990.1218.

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21

Van der Schueren, Éric. "Le portrait dans La Princesse de Clèves. Lectures pascaliennes." Littératures 40, no. 1 (1999): 95–134. http://dx.doi.org/10.3406/litts.1999.1793.

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22

Kelly, Michael G. "Model Behaviour: Cocteau, Radiguet and La Princesse de Clèves." Neophilologus 98, no. 1 (March 9, 2013): 23–40. http://dx.doi.org/10.1007/s11061-013-9347-3.

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23

Löcherbach, Anne. "La Princesse de Clèves et le processus de civilisation." Pratiques, no. 151-152 (December 15, 2011): 101–16. http://dx.doi.org/10.4000/pratiques.1802.

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24

Moriarty, Michael. "Discourse and the body in La Princesse de Clèves." Paragraph 10, no. 1 (October 1987): 65–86. http://dx.doi.org/10.3366/para.1987.0012.

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25

Matoré, Georges. "Remarques sur le vocabulaire galant de La Princesse de Clèves." L Information Grammaticale 44, no. 1 (1990): 8–12. http://dx.doi.org/10.3406/igram.1990.1962.

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26

Delacomptée, Jean-Michel. "Jalousie et rapports de parenté dans la Princesse de Clèves." Littérature 67, no. 3 (1987): 112–27. http://dx.doi.org/10.3406/litt.1987.1437.

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27

Genuist, Paul. "La Princesse de Clèves est-elle ouverte au discours féministe ?" Cahiers de la littérature du XVIIe siècle 8, no. 1 (1986): 231–47. http://dx.doi.org/10.3406/licla.1986.1075.

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28

Fosalba, Eugenia. "Retazos de novela sentimental castellana: Hacia La Princesse de Clèves." Bulletin Hispanique 108, no. 2 (2006): 389–420. http://dx.doi.org/10.3406/hispa.2006.5261.

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29

Muratore, M. J. "Fiction Triumphant: Illusions of History in La Princesse de Clèves." L'Esprit Créateur 31, no. 2 (1991): 5–13. http://dx.doi.org/10.1353/esp.1991.0057.

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30

Kupper, Nelly Grossman. "A Woman's Choice: Duty and Desire inLa Princesse De Clèves." Symposium: A Quarterly Journal in Modern Literatures 55, no. 2 (January 2001): 95–105. http://dx.doi.org/10.1080/00397700109598307.

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31

Gevrey, Françoise. "Lectures à clés de La Princesse de Clèves au XVIIIe siècle." Littératures classiques N° 54, no. 2 (2004): 191. http://dx.doi.org/10.3917/licla.054.0191.

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32

Cahné, Pierre. "L'Éternité n'est pas de trop : réécriture de La Princesse de Clèves." Revue de littérature comparée 322, no. 2 (2007): 245. http://dx.doi.org/10.3917/rlc.322.0245.

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33

Ripplinger, Isabelle, Jessica Carpenter, and Brigitte Roussel. "La Princesse de Clèves: Analyse de la scène du portrait dérobé." Chimères 19, no. 2 (October 1, 1988): 45. http://dx.doi.org/10.17161/chimeres.v19i2.6439.

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34

Gevrey, Françoise. "Lectures à clés de La Princesse de Clèves au XVIIIe siècle." Littératures classiques 54, no. 1 (2005): 191–203. http://dx.doi.org/10.3406/licla.2005.2105.

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35

CAMPBELL, JOHN. "THE CLOUD OF UNKNOWING: SELF-DISCOVERY IN LA PRINCESSE DE CLÈVES." French Studies XLVIII, no. 4 (1994): 402–15. http://dx.doi.org/10.1093/fs/xlviii.4.402.

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36

Lançon, Philippe. "Nicolas Sarkozy et la princesse de Clèves : une Love Story contemporaine." Critique 750, no. 11 (2009): 931. http://dx.doi.org/10.3917/criti.750.0931.

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37

Day, Shirley Jones. "Questions of Interpretation in "La Princesse de Clèves" (review)." Eighteenth-Century Fiction 9, no. 4 (1997): 508–9. http://dx.doi.org/10.1353/ecf.1997.0023.

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38

Videau, André. "Nous, princesses de Clèves." Hommes & migrations, no. 1291 (May 1, 2011): 155. http://dx.doi.org/10.4000/hommesmigrations.702.

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39

Cunha, Viviane. "Uma romancista francesa e um diretor português: relação entre literatura e cinema." Revista do Centro de Estudos Portugueses 30, no. 43 (June 30, 2010): 89. http://dx.doi.org/10.17851/2359-0076.30.43.89-107.

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<p>Este artigo tem como objetivo estabelecer uma comparação entre o romance do século XVII, <em>A Princesa de Clèves </em>e o filme <em>A Carta</em>, do diretor português Manoel de Oliveira, cujo argumento tem como ponto de partida o romance de Madame de La Fayette. Enquanto o primeiro aborda uma temática cortês, de época, tendo o discurso epistolar como motivo principal, o segundo transpõe a trama para Paris atual, guardando, porém, aquilo que é essencial na obra da escritora francesa: a idéia do jansenismo. Em ambas as obras essa questão está apenas implícita, mas, as personagens principais e as tramas em si mesmas incorporam a ideologia jansenista.</p> <p>Cet article a pour but une étude comparative entre le roman de Madame de La Fayette<em>, La Princesse de Clèves </em>et le filme <em>La Lettre</em>, du réalisateur portugais Manoel de Oliveira, transposé dans le Paris contemporain, d’après le roman de Madame de La Fayette. Si le premier aborde un thème courtois du XVIIe siècle avec comme motif principal le discours épistolaire, le deuxième aborde ce qui est au coeur de l’ouvrage de l’écrivaine française: l’idée du jansénisme. Dans les deux oeuvres cette question est seulement implicite, mais les personnages principaux et les trames en elles-mêmes incorporent l’idéologie janséniste.</p>

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40

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

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

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41

GÜNDAY, Rıfat. "Mme De Lafayette'in Princesse De Clèves ve Mehmet Rauf'un Eylül Adlı Romanlarınd." Journal of Turkish Studies 13, Volume 13 Issue 20 (January 1, 2018): 475–99. http://dx.doi.org/10.7827/turkishstudies.14143.

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42

Biet, Christian. "Droit et fiction : la représentation du mariage dans La Princesse de Clèves." Littératures classiques. Supplément 12, no. 1 (1990): 33–54. http://dx.doi.org/10.3406/licla.1990.1219.

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43

Masson, Pierre. "Le pouvoir des lettres. Sur un épisode de La Princesse de Clèves." Littératures 34, no. 1 (1996): 33–41. http://dx.doi.org/10.3406/litts.1996.1710.

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44

Scott, Virginia M., Cara L. Wilson, and Todd Hughes. "Digital Tasks for Advanced Learners: The Case of La Princesse de Clèves." French Review 90, no. 4 (2017): 186–200. http://dx.doi.org/10.1353/tfr.2017.0201.

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45

Li, Miao. "La naissance de l’agentivité romanesque : une lecture féministe de La Princesse de Clèves." Convergences francophones 1, no. 1 (June 2, 2014): 48–66. http://dx.doi.org/10.29173/cf130.

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Notre réflexion porte sur La Princesse de Clèves (1678) de Madame de La Fayette au travers du concept d’agentivité. Issu des théories féministes nord-américaines, ce concept repose sur les divers facteurs menant à l’autonomie des femmes. Nous chercherons notamment à déterminer dans quelle mesure la protagoniste devient agente à travers les situations personnelles et sociales auxquelles elle fait face. Nous montrerons comment l’auteure, dans la représentation de la protagoniste, représente sa compréhension du rôle ainsi que des influences de la femme dans la société. L’étude de la protagoniste et de sa créatrice permettra d’éclairer la question de la naissance de l’agentivité romanesque au XVIIe siècle français, tout en mettant au jour l’évolution de la pensée féminine qui caractérise cette période.

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46

Zoberman, Pierre. "Genre et littérature au XVIIe siècle : « La Princesse de Clèves » et ses enjeux politiques." Lublin Studies in Modern Languages and Literature 43, no. 1 (April 30, 2019): 5. http://dx.doi.org/10.17951/lsmll.2019.43.1.5-14.

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<p>This article explores the political implications, both at the time and for present-day readers, of the way La Princesse de Clèves calls into question gender norms/roles. Analyzing plots and characters in Lafayette’s text and readers/critics’ reactions in various contexts, it foregrounds the unsettling potential of a text that paradoxically moved from the position of hapax-cum- media-sensation to that of a paradigm of the early-modern novel. By focusing on its continued efficacy in disturbing heteronormative stereotypes, it sheds light on the way literature from before the modern era can contribute to identifying and analyzing queerness and gender dissidence in past historical contexts.</p>

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47

Peterson, Nora Martin. "Competing Codes and Involuntary Confessions of the Flesh in La Princesse de Clèves." Romanic Review 103, no. 1-2 (January 1, 2012): 233–53. http://dx.doi.org/10.1215/26885220-103.1-2.233.

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48

Gevrey, Françoise. "Les registres de la jalousie dans quelques imitations de la « Princesse de Clèves »." Cahiers de l'Association internationale des études francaises 41, no. 1 (1989): 25–40. http://dx.doi.org/10.3406/caief.1989.1701.

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49

Hélène, Bilis, and Peter Mawhorter. "Mapping Social Networks in La Princesse de Clèves: The ‘Commerce’ of Lafayette’s Court." French Studies 75, no. 2 (April 1, 2021): 184–204. http://dx.doi.org/10.1093/fs/knab036.

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50

이충훈. "Etude sur le mot « éclat » dans La Princesse de Clèves de Madame de Lafayette." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 21 (November 2010): 635–69. http://dx.doi.org/10.18022/acfco.2010..21.023.

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