Relevant bibliographies by topics / Le Bourgeois Gentilhomme

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Le Bourgeois Gentilhomme'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Le Bourgeois Gentilhomme"

1

Robinson, Gabrielle, and Moliere. "The Bourgeois Gentilhomme." Theatre Journal 39, no. 3 (October 1987): 395. http://dx.doi.org/10.2307/3208164.

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Muller, David G. "Le Bourgeois Gentilhomme (review)." Theatre Journal 53, no. 4 (2001): 647–49. http://dx.doi.org/10.1353/tj.2001.0116.

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Stroganov, Mikhail. "LE BOURGEOIS GENTILHOMME В РОМАНЕ Л. Н. ТОЛСТОГО «ВОЙНА И МИР»." Проблемы исторической поэтики 18, no. 4 (November 2020): 248–62. http://dx.doi.org/10.15393/j9.art.2020.8703.

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L. N. Tolstoy does not make any direct statements about the great French Revolution, although a probe into the writer’s attitude to this historical event allows us to understand his interpretation of phenomena contemporary to him. In this sense, the analysis of the early drafts of the novel War and Peace (1864) conducted in this article is of great interest. In these drafts, French politicians of the Directory period are called ‘rich upstarts’ and ‘yesterday’s bourgeois gentilhommes.’ Bonaparte himself is referred to as “a clever, cunning and evil successful bourgeois.” And in the outline of the preface to the novel Tolstoy repeats this comparison again: “funny and disgusting, like a Philistine in the nobility.” All of these formulas date back to the famous comedy by J. B. Moliere Le Bourgeois Gentilhomme (1670). Although Napoleon Bonaparte was not a bourgeois by birth, his origins in the provincial Corsica led to a mention of him as a “bourgeois nobleman,” or parvenu in the drafts of War and Peace. This expression had a negative connotation due to the hereditary pride and prejudice of the aristocrat Tolstoy against the lower classes and his reaction to the novel by N. G. Chernyshevsky’s What Is to Be Done? (1863). In the final text of War and Peace, influenced by the news of the civil execution and exile of Chernyshevsky, Tolstoy removed these direct characteristics, although the overall negative assessment of Napoleon remained. Later Tolstoy repeatedly used images of this comedy, but did not attach negative connotations to them. Establishing the connection between the image of Napoleon and the “bourgeois gentilhommes” in the drafts for Tolstoy’s novel War and Peace allows us to more accurately determine the writer’s political views in the mid-1860s.
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Happé, Peter. "The Alchemist and Le Bourgeois Gentilhomme." Ben Jonson Journal 4, no. 1 (January 1997): 181–86. http://dx.doi.org/10.3366/bjj.1997.4.1.12.

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Rebuffat, René. "Mamamouchi. La métamorphose du Bourgeois gentilhomme." Bulletin de la Société Nationale des Antiquaires de France 2007, no. 1 (2009): 27–42. http://dx.doi.org/10.3406/bsnaf.2009.10719.

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Bourqui, Claude. "Molière autrement dit Bourgeois ou Gentilhomme?" Pierre d'angle 17 (2011): 103–30. http://dx.doi.org/10.5840/pda2011178.

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7

MASKELL, D. W. "Review. Moliere: 'Le Bourgeois Gentilhomme'. Whitton, David." French Studies 48, no. 4 (October 1, 1994): 464. http://dx.doi.org/10.1093/fs/48.4.464-a.

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Hossain, Mary. "The Chevalier D'arvieux and ‘Le Bourgeois Gentilhomme’." Seventeenth-Century French Studies 12, no. 1 (January 1990): 76–88. http://dx.doi.org/10.1179/c17.1990.12.1.76.

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Weeden, Kirk. "“Mon cher ami”: Friendship in Le Bourgeois gentilhomme." Australian Journal of French Studies 54, no. 2-3 (July 2017): 269–82. http://dx.doi.org/10.3828/ajfs.2017.20.

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10

Grande, Nathalie. "Un bourgeois gentilhomme ? Noblesse et société selon Francion." Littératures 43, no. 1 (2000): 95–106. http://dx.doi.org/10.3406/litts.2000.2142.

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Dissertations / Theses on the topic "Le Bourgeois Gentilhomme"

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Ksouri, Imen. "Étude traductologique des figures de la répétition sous le prisme de l'approche littérale : le Bourgeois Gentilhomme de Molière en anglais." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030179.

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La présente étude porte sur la manière dont est abordée la répétition dans la traduction anglaise du Bourgeois gentilhomme de Molière (1670), pièce de théâtre où la répétition lexicale et syntaxique foisonne. Pour ce faire, nous faisons une analyse contrastive de neuf versions anglaises de la pièce que nous comparons à l’original ainsi que les unes aux autres. Cette analyse qui prend comme fil conducteur la théorie de Berman aussi bien d’un point de vue théorique (la traduction de la lettre) que pratique (la critique des traductions et les tendances déformantes) nous permet de dégager les grandes tendances de chacune des traductions et, de ce fait, d’approfondir et de nuancer la réflexion sur la traduction littérale, en remettant en perspective la littéralité comme la solution la plus adéquate pour le traitement de phénomènes relevant de la forme dans un discours, tels que la répétition
This study examines the treatment of repetition in the English translations of Moliere’s play Le Bourgeois gentilhomme, a text where lexical and syntactic repetitions abound. This research is conducted by way of a contrastive analysis of nine English versions of the play that we compare to the original and to each other. Based on Berman’s principles both from a theoretical point of view (the translation of the letter) and a practical one (evaluation of translation and deforming tendencies), this analysis allows us to identify the general patterns of each translation, and thereby, deepen and nuance thinking about literal translation while reasserting the status of literalism as the most adequate solution for the handling of phenomena pertaining to the form of a given text or discourse, such as repetition
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Gros, Emmeline. "Moliere Et La Peinture Du Bourgeois Dans Un Siecle De Transition." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/mcl_theses/4.

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Depuis le Moyen Age, le personnage du bourgeois est souvent objet de comédies. Victime de farces qui se plaisent à souligner la balourdise de l’individu placé de par sa situation sociale dans l’inconfort de l’entre-deux, il est puissant par le jeu commercial et financier qu’il régit mais écarté du pouvoir, apanage de la noblesse (Rolland 79). Bien sûr, dans sa peinture du bourgeois, Molière cherche plus à distraire qu’à informer son public comme le ferait un véritable historien. Il ne faudrait donc pas considérer ce personnage de farce comme révélateur approprié des idéaux ou des vices d’une classe sociale définie. Il n’en demeure pas moins, comme le reconnaît Molière lui-même, que le but de la comédie est de présenter les défauts et les ridicules des hommes et en particulier ceux de son temps. Les œuvres de Molière, et en particulier Le Bourgeois Gentilhomme, apparaissent donc comme un outil non négligeable pour l’historien.
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Books on the topic "Le Bourgeois Gentilhomme"

1

Nick, Dear, ed. Le bourgeois gentilhomme. Bath: Absolute Classics, 1992.

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2

Luc, Bouvier, ed. Le bourgeois gentilhomme. Montréal: Beauchemin Chenelière éducation, 2007.

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3

Spierckel, Pierre. Le bourgeois gentilhomme. Lincolnwood, Ill: National Textbook Company, 1992.

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Spierckel, Pierre. Le bourgeois gentilhomme. Lincolnwood, Ill: National Textbook Company, 1992.

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5

Molière. Le bourgeois gentilhomme. Paris: Librio, 2007.

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6

Molière. Le bourgeois gentilhomme. Paris: Hachette, 1992.

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7

Clémence, Bouzitat, ed. Le bourgeois gentilhomme. Paris: L'aventurine, 2001.

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8

Molière. Le bourgeois gentilhomme. Paris: Bordas, 2003.

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9

Molière. Le Bourgeois Gentilhomme. Paris: Editions Larousse, 1988.

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10

Spierckel, Pierre. Le bourgeois gentilhomme. Lincolnwood, Ill: National Textbook Company, 1992.

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Book chapters on the topic "Le Bourgeois Gentilhomme"

1

Peter, Ingrid, and Gottfried Schwarz. "Molière: Le bourgeois gentilhomme." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13234-1.

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2

Powell, John S. "Le Bourgeois gentilhomme: Molière and music." In The Cambridge Companion to Moliere, 121–38. Cambridge University Press, 2006. http://dx.doi.org/10.1017/ccol0521837596.009.

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"The Great General and Le Bourgeois Gentilhomme." In Shakespeare’s Asian Journeys, 129–42. Routledge, 2016. http://dx.doi.org/10.4324/9781315442969-16.

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Berk, Philip R. "Getting Down to Business in Moliére's Le Bourgeois Gentilhomme." In Moliere Today 2, 56–75. Routledge, 2005. http://dx.doi.org/10.4324/9780203990711-4.

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5

Nyberg, David. "The Inevitability of Holding Philosophical Beliefs, or Le Bourgeois Undergraduate Gentilhomme." In Teaching Philosophy Today, 49–58. Philosophy Documentation Center, 2012. http://dx.doi.org/10.5840/tptoday201229.

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6

Dumas, Alexandre. "33 Where, Probably, MoliÈRe Formed His First Idea of the Bourgeois Gentilhomme." In The Man in the Iron Mask. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537259.003.0034.

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D’Artagnan found Porthos in the adjoining chamber, but no longer an irritated Porthos, or a disappointed Porthos, but Porthos radiant, blooming, fascinating, and chatting with Molière, who was looking upon him with a species of idolatry, and as a man would who had...
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7

Hampton, Timothy. "Distinguished Visitors." In Cultures of Diplomacy and Literary Writing in the Early Modern World, 41–53. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198835691.003.0002.

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Chapter 2 begins with the Turkish ambassador’s visit to the ambitious but foolish bourgeois Monsieur Jourdain in Molière’s 1670 play Le Bourgeois Gentilhomme, triggering both its denouement and a generic shift from comedic drama to musical ballet. The readings of Shakespeare’s Henry VIII and Calderón’s Constant Prince that follow explore the intersection between the plot motif in which a domestic location or closed space is intruded upon by a diplomatic figure, and the generic multiplicity of early modern drama. It argues that such spatial and generic transitions mediate the tension between domestic, national, and international spaces posed by an increasingly international political culture. Dramatic texts register the intrusiveness of the diplomatic outsider through moments of generic multiplicity, where pastoral interrupts historical tragedy or where Moorish romance intersects with the literature of martyrdom. Drama continually asks us to reflect on the constitution of space, and of who is ‘inside’ or ‘outside’ of a particular community. When established spatial and generic boundaries are transgressed those politics are especially legible: at the centre of European dramatic literature is a confrontational politics worked out at the level of form. Finally the chapter examines the modern novel, in which early modern tensions between international and national political spaces are reworked as a contrast between some larger political world and the discrete private space of the home. For Proust, the nostalgia-laden figure of the diplomat brings into that private space from his early modern past the very possibility of literature.
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