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Journal articles on the topic 'Le Bourgeois Gentilhomme'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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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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2

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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3

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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4

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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5

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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6

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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8

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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9

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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11

Whitton, David, and Volker Kapp. "Le Bourgeois Gentilhomme: Problemes de la comedie-ballet." Modern Language Review 88, no. 4 (October 1993): 976. http://dx.doi.org/10.2307/3734470.

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12

Bold, Stephen. "Textual Harmonies in Le Bourgeois gentilhomme." Romance Notes 48, no. 1 (2007): 23–34. http://dx.doi.org/10.1353/rmc.2007.0004.

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13

Berk, Philip R. "Getting Down to Business in Molière'sLe Bourgeois Gentilhomme." Contemporary Theatre Review 6, no. 2 (August 20, 1997): 57–76. http://dx.doi.org/10.1080/10486809708568418.

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14

Pruiksma, R. "Moliere and Jean-Baptiste Lully: Le bourgeois gentilhomme." Opera Quarterly 24, no. 3-4 (June 1, 2008): 307–12. http://dx.doi.org/10.1093/oq/kbp013.

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15

Cuche, François-Xavier. "Simple note sur la structure dramatique du Bourgeois gentilhomme." Littératures classiques 38, no. 1 (2000): 31–39. http://dx.doi.org/10.3406/licla.2000.1439.

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16

Gutwirth, Marcel. "Le Bourgeois gentilhomme, comédie à double ?, à triple fond ?" Revue d'histoire littéraire de la France 107, no. 1 (2007): 35. http://dx.doi.org/10.3917/rhlf.071.0035.

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17

Hodson, Daren. "A Would-Be Turk: Louis XIV inLe Bourgeois gentilhomme." Seventeenth-Century French Studies 32, no. 1 (July 2010): 90–101. http://dx.doi.org/10.1179/026510610x12713438444792.

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18

Holm, Jennifer L. "Le bourgeois versifié (Le bourgeois gentilhomme au plus près de Molière) par Jacques Jouet." French Review 91, no. 4 (2018): 210–11. http://dx.doi.org/10.1353/tfr.2018.0294.

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19

Holm, Jennifer L. "Le bourgeois versifié (Le bourgeois gentilhomme au plus près de Molière) by Jacques Jouet." French Review 91, no. 1 (2017): 210–11. http://dx.doi.org/10.1353/tfr.2017.0129.

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20

LimChaeKwang. "Le Bourgeois Gentilhomme de Molière : ambivalence de la fantaisie comique." Litterature Classique Francaise 17, no. ll (November 2014): 95–148. http://dx.doi.org/10.36032/lcf.2014.17..004.

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21

Peifer, Michel. "Autonymie et connotation autonymique dans le Bourgeois gentilhomme de Molière." L Information Grammaticale 85, no. 1 (2000): 11–14. http://dx.doi.org/10.3406/igram.2000.2763.

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22

Young, Catherine. "Le Bourgeois Gentilhomme directed by Denis Podalydès (review)." Theatre Journal 65, no. 2 (2013): 273–75. http://dx.doi.org/10.1353/tj.2013.0059.

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23

Sorrell, Martin. "Review Essay : Le Bourgeois Gentilhomme at the TNP, Autumn 1989." French Cultural Studies 1, no. 2 (June 1990): 161–66. http://dx.doi.org/10.1177/095715589000100206.

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24

HOWARTH, W. D. "Review. Moliere's 'Le Bourgeois Gentilhomme': Context and Stagecraft. Hall, H. Gaston." French Studies 46, no. 1 (January 1, 1992): 66. http://dx.doi.org/10.1093/fs/46.1.66.

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25

Babelon, Jean-Pierre. "La maison du bourgeois gentilhomme : l'Hôtel Salé, 5, rue de Thorigny, à Paris." Revue de l'Art 68, no. 1 (1985): 7–34. http://dx.doi.org/10.3406/rvart.1985.347510.

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26

Mazouer, Charles. "Le Misanthrope, George Dandin et Le Bourgeois gentilhomme ; trois comédies écrites pour la scène." Littératures classiques 38, no. 1 (2000): 139–58. http://dx.doi.org/10.3406/licla.2000.1447.

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27

Landy, Rémy. "George Dandin et Le Bourgeois gentilhomme : le mariage de la comédie et du ballet." Littératures classiques 38, no. 1 (2000): 159–77. http://dx.doi.org/10.3406/licla.2000.1448.

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28

Scheidl, Ludwig Franz. "The relationship of Moliereis comedy Le Bourgeois Gentilhomme with Hugo Von Hofmannsthal's libreto of the Opera Ariadne auf Naxos." Biblos 1 (2003): 111–22. http://dx.doi.org/10.14195/0870-4112_1_6.

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29

Burguière, André. "La Mémoire Familiale du Bourgeois Gentilhomme: Généalogies Domestiques en France aux XVIIe et XVIIIe Siècles." Annales. Histoire, Sciences Sociales 46, no. 4 (August 1991): 771–88. http://dx.doi.org/10.3406/ahess.1991.278980.

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Parmi les causes de la Révolution et de la faillite de l'Ancien régime, on a souvent cité le fait que les élites mises en concurrence par la monarchie n'étaient jamais parvenues à s'entendre sur un compromis politique alors qu'elles avaient trouvé assez facilement une culture commune. Ce compromis culturel a permis à un modèle de distinction combinant l'inné et l'acquis, le patrimoine et le mérite, de survivre à l'Ancien Régime et de conserver tout son prestige jusque dans la France républicaine: la manie généalogiste fait partie de ce modèle.

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30

Canova-Green, Marie-Claude. "Présentation et représentation dans Le Bourgeois gentilhomme, ou le jeu des images et des rôles." Littératures classiques 21, no. 1 (1994): 79–90. http://dx.doi.org/10.3406/licla.1994.1772.

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31

Welch, Ellen R. "Going behind the Scenes with Le bourgeois gentilhomme: Staging Critical Spectatorship at Louis XIV’s Court." French Review 85, no. 5 (2012): 848–60. http://dx.doi.org/10.1353/tfr.2012.0225.

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32

Népote-Desmarres, Fanny. "Jeux de parole et jeux de vérité dans Le Misanthrope, George Dandin et Le Bourgeois gentilhomme." Littératures classiques 38, no. 1 (2000): 63–77. http://dx.doi.org/10.3406/licla.2000.1442.

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33

LIM, Chae-Kwang. "La Construction et le rôle des grands intermèdes dans Le Bourgeois gentilhomme et Le Malade imaginaire de Molière." Études de Langue et Littérature Françaises 115 (September 15, 2018): 181–211. http://dx.doi.org/10.18824/ellf.115.07.

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34

Wetenhall, Tanya Williams. "Hanna Walsdorf (ed.), Ritual Design for the Ballet Stage: Revisiting the Turkish Ceremony in ‘Le Bourgeois gentilhomme’ (1670)." Dance Research 39, no. 1 (May 2021): 136–37. http://dx.doi.org/10.3366/drs.2021.0331.

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35

정하영. "L'effet rhétorique de la musique dans la comédie-ballet Le Bourgeois gentilhomme - autour de la disposition dans le déroulement -." Etudes de la Culture Francaise et de Arts en France 47, no. ll (February 2014): 233–65. http://dx.doi.org/10.21651/cfaf.2014.47..233.

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36

Colahan, Clark. ""Le nouveau-gentilhomme" de Mme d'Aulnoy: factores trans-culturales en la calibración de la salud mental de don Quijote." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 29 (December 1, 2017): 330–41. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018291559.

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La interpretación pan-europea de la personalidad de don Quijote empezó y siguió por todo el XVII enfocada en la comicidad de su locura, pero con el paso de los siglos ha vivido distintas etapas que reflejan las preocupaciones de las culturas que lo consideran hijo suyo. Los existencialistas del XX, herederos de la exaltación romántica del rebelde individualista, lo veían cuerdo, un modelo moral para imitar en una sociedad corrupta, a pesar de que Cervantes, y con él la crítica historicista, ponía hincapié en la resequedad de su cerebro. En el XXI el posmodernismo, inmerso en rápidos cambios mundiales, lo considera un actor que astutamente transforma su personalidad según las circunstancias. Madame d’Aulnoy, aristócrata de la corte de Louis XIV, conocía bien el Quijote y vivió un tiempo en España, pero empezó a escribir una historia de marco para una colección de sus cuentos de hadas con el típico desprecio de su clase por un burgués de sueños caballerescos que ambiciona colarse entre los ‘bien nacidos’. Sin embargo, ella no pudo dejar de percibir las similitudes entre este y su propia situación como forjadora de historias fantásticas, y decide que su protagonista va a triunfar. Dando fin a la novela desde una auténtica perspectiva cervantina de haz y envés, se deja llevar, si bien a regañadientes, por el soñador que se imagina un mundo menos exigente. The pan-European interpretation of Don Quixote’s personality began, and continued to be throughout the 17th century, focused on his comical madness, but with the passing of the centuries that view has shifted to various alternatives that reflect the concerns of the cultures that consider him theirs. 20th-century existentialists, heirs to the Romantic exaltation of individualist rebels, saw him as sane, a moral model to be imitated in a corrupt society, in spite of the fact that Cervantes, and with him historicist criticism, stressed that his brain had dried up. In the 21st century postmodernism, caught up in rapid worldwide changes, consider him an actor who cleverly transforms his personality to fit the circumstances. Madame d’Aulnoy, an aristocrat at the court of Louis XIV, knew Don Quixote well and lived for a time in Spain, but still she began to write a frame story for a collection of her fairytales with typically upper-class scorn for a bourgeois with chivalric dreams whose ambition is to be accepted among the ‘well born,’ and so she decides to have her main character win out. Writing an end to the novel from an authentically Cervantine perspective of seeing both sides of the coin, she lets herself be carried away, even though she fights against it, by the dreamer who imagines a less demanding world.

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37

Groenveld, S. "J. Smit, De grootmeester van woord- en snarenspel. Het leven van Constantijn Huygens 1596-1687H.A. Hofman, Constantijn Huygens (1596-1687). Een christelijk-humanistisch bourgeois-gentilhomme in dienst van het Oranjehuis." BMGN - Low Countries Historical Review 102, no. 1 (January 1, 1987): 73. http://dx.doi.org/10.18352/bmgn-lchr.2789.

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38

Osipian, Ararat. "Le Bourgeois Gentilhomme: Political Corruption of Russian Doctorates." SSRN Electronic Journal, 2008. http://dx.doi.org/10.2139/ssrn.1293951.

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39

Bouchard, Mawy. "Pour une philosophie « illustre ». L’honnesteté cardinale des Essais de Montaigne." No. 84 (August 5, 2008): 63–86. http://dx.doi.org/10.7202/018571ar.

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Résumé Dans le présent article, l’auteure s’interroge sur la stratégie rhétorique à l’oeuvre dans les Essais, une stratégie que l’histoire littéraire passe souvent sous silence, tant cette idée selon laquelle Montaigne chercherait à valider son identité de gentilhomme est bien implantée dans la critique. On propose ici que, dans les Essais, la persona aristocratique relève plutôt d’une démarche rhétorique très cohérente visant à susciter l’identification du lecteur noble avec l’auteur s’exprimant au « je » et grâce à laquelle l’étude philosophique n’apparaît plus comme l’apanage du bourgeois « à longue robe ».

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40

Martinache, Igor. "Alain Accardo, Le petit bourgeois gentilhomme. Sur les prétentions hégémoniques des classes moyennes." Lectures, October 9, 2009. http://dx.doi.org/10.4000/lectures.798.

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