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Journal articles on the topic 'Madame Bovary'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Susanto, Dwi. "KEHADIRAN MOTIF CERITA MADAME BOVARY (1856) KARYA GUSTAVE FLAUBERT DALAM HIKAYAT SITI MARIAH (1910--1912) KARYA HADJI MOEKTI: KAJIAN SASTRA BANDINGAN." Widyaparwa 51, no. 2 (2023): 292–306. http://dx.doi.org/10.26499/wdprw.v51i2.1133.

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The presence of Madame Bovary's story motif (1856) in Indonesian literature, especially Hikayat Siti Mariah (1910--1912) provides evidence that there is a reception of similar between French and Dutch colonial or Indonesian. This paper aims to (1) find out the ideas of the two texts in displaying similar story motif, (2) the form of respons from Madame Bovary (1856) in the Hikayat Siti Mariah (1910--1912), and (3) the significance of Madame Bovary's presence (1856) in the Hikayat Siti Mariah (1910--1912) as a social response. This paper uses a comparative literary point of view by considering

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2

Ramdas, Anil, and Myra J. Heerspink Scholz. "Madame Bovary." Callaloo 21, no. 3 (1998): 523–28. http://dx.doi.org/10.1353/cal.1998.0173.

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3

Patrick, K. "Madame Bovary." BMJ 340, feb03 1 (2010): c616. http://dx.doi.org/10.1136/bmj.c616.

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4

Madruga Fidalgo Brígido, Gabrielle. "Madame Bovary." Revista de Psicanálise Stylus 1, no. 42 (2023): 63–70. http://dx.doi.org/10.31683/stylus.v1i42.927.

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Madame Bovary ou Emma Bovary é a protagonista do romance de mesmo nome, escrito por Flaubert, que levou cinco anos para construí-la. Ela apresenta as características da mulher burguesa do século XIX, muito comum de ser observado nos casos de histeria. Depois do papel de filha, a mulher ascendia socialmente apenas através do casamento e, mesmo assim, deveria obedecer aos ideais de feminilidade, com o cuidado com a casa e a maternidade. O objetivo desse trabalho não é, porém, diagnosticar Emma Bovary como histérica, e sim aproximar o que é relatado nessa obra literária sobre a vida dessa mulher

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5

TERIĆ, Marijana. "“MADAME BOVARY – C'EST MOI” (Gustave Flaubert: Madame Bovary)." Lingua Montenegrina 17, no. 1 (2016): 199–211. https://doi.org/10.46584/lm.v17i1.496.

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In this paper, attention is paid to the narrative techniques used by Gustave Flaubert in constituting his most famous work, “Madame Bovary”. In the novel, Flaubert applied almost all narrative strategies that characterize his novelistic art. Through the character of the heroine Emma Bovary, the author points to a number of modulations in the narrative, which distinguish Flaubert as the original author, ready to surprising twists in which his art of varying different storytelling methods triumphs. Finally, the conclusion of the paper is that “Madame Bovary” is not only latent author’s “self”, b

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6

MANOLESCU, Camelia. "LES ÉMOTIONS D’EMMA BOVARY." Analele Universității din Craiova Seria Ştiinte Filologice Langues et littératures romanes 26, no. 1 (2022): 138–54. http://dx.doi.org/10.52846/aucllr.2022.01.09.

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For the nineteenth-century writer, and especially for the realist novelist Gustave Flaubert, so preoccupied with his writing and the fate of his characters, emotion drives the course of the action. Flaubert, well known for his special way of conceiving his novels, for his impersonality and impassibility as techniques that make his writing unique, was also tempted by the analysis of how Emma masters her emotions (in the novel Madame Bovary which created a stir at the time). Our study is, first of all, an analysis of the theory of emotions in general and, secondly, an analysis of Emma Bovary’s e

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7

SEMBIRING, IRMA PLORENTINA, Balduin Pakpahan, and JUNITA FRISKA. "UTILISATION DES IMAGES EN CHAÎNE POUR AMÉLIORER LA COMPÉTENCE DES ÉTUDIANTS D’ÉCRIRE UN TEXTE NARRATIF." HEXAGONE Jurnal Pendidikan, Linguistik, Budaya dan Sastra Perancis 5, no. 2 (2017): 191. http://dx.doi.org/10.24114/hxg.v5i2.4624.

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Cette recherche a pour bout de savoir la valeur de verbe pronominal dans le roman française en analysant sa traduction en indonésien et pour savoir le caractéristique de chaque valeur de verbe pronominal. L’objet de cette recherche est le verbe pronominal qui se trouve dans le roman ‘Madame Bovary’ et sa traduction dans le roman ‘Madame Bovary’. La théorie qui est utilisé dans cette recherche est la théorie de Joëlle Tamine-Gardes. La méthode qui est utilisé est la descriptive qualitative. La source de donnée qui est utilisé est la roman Madame Bovary et La roman traduction ‘Madame Bovary’. Le

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8

Zakarian, Richard H. "Flaubert's Madame Bovary." Explicator 48, no. 1 (1989): 24–26. http://dx.doi.org/10.1080/00144940.1989.9933955.

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9

Somers, Jeanne. "Flaubert's Madame Bovary." Explicator 50, no. 4 (1992): 216–18. http://dx.doi.org/10.1080/00144940.1992.9935323.

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10

Lin, Esther. "Reading Madame Bovary." Ploughshares 45, no. 4 (2020): 84. http://dx.doi.org/10.1353/plo.2020.0002.

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11

Pimenta Gonçalves, Luis Carlos. "Variações e recriações cinematográficas de Madame Bovary." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (2019): 82–108. http://dx.doi.org/10.7195/ri14.v17i2.1355.

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A literatura tem sido desde a criação do cinematógrafo fonte inspiradora de filmes e guiões. Obras literárias pertencentes ao cânone literário foram e são, por conseguinte, objeto apetecível de inúmeras adaptações e não podia escapar a este fenómeno o romance seminal da literatura realista, Madame Bovary, de Gustave Flaubert. Contam-se cerca de vinte adaptações e versões do romance, nomeadamente por cineastas franceses como Jean Renoir (1933) ou Claude Chabrol (1991), ou americanos como Vicente Minelli (1949). Neste artigo debruçar-me-ei sobre duas variações interartísticas e inter-semió

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12

Salmistraro, Renan. "A FEMINILIDADE DE EMMA ROUALT." Non Plus, no. 9 (December 23, 2016): 124–35. http://dx.doi.org/10.11606/issn.2316-3976.v0i9p124-135.

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Em 1857, Baudelaire escreveu um ensaio no qual faz uma apreciação de Madame Bovary. É elogiado por Flaubert por “ter entrado em meu cérebro”. Desde este ensaio até Gérard Genette, multiplicaram-se hipóteses a respeito da “virilidade masculina” da sra. Bovary, o que tende a obscurecer a condição inferior do feminino retratada no romance. O objetivo, portanto, é uma releitura de Madame Bovary que seja uma resposta ao ensaio de Baudelaire, com base na descrição da condição feminina realizada por Simone de Beauvoir em Le deuxième sexe.

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13

Färnlöf, Hans. "Nouvelle Bovary, Nuevo Bovary." Actualidades Pedagógicas 1, no. 74 (2019): 177–89. http://dx.doi.org/10.19052/ap.vol1.iss74.9.

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Hans Färnlof, académico e investigador literario sueco, propone una nueva perspectiva sobre el análisis literario de la obra Madame Bovary de Gustave Flaubert. Färnlöf observa el personaje de Charles Bovary como el centro de todo el discurso literario y que en él confluyen los momentos más decisivos de la obra. Färnlöf, además, nos comunica su pensamiento a través de una escena nocturna donde un comentario intrépido abre una profunda discusión en torno al concepto de la estructura literaria —la nouvelle—, del centro discursivo y del arte literario propios de Flaubert.

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14

Knight, Diana, and Stephen Heath. "Gustave Flaubert: 'Madame Bovary'." Modern Language Review 89, no. 1 (1994): 219. http://dx.doi.org/10.2307/3733203.

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15

Roberts, Paula. "L'espace dans Madame Bovary." Chimères 21, no. 2 (1994): 1. http://dx.doi.org/10.17161/chimeres.v21i2.6292.

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16

Gendin, Sidney. "Madame Bovary, et al." Journal of Social Philosophy 29, no. 1 (1998): 146–54. http://dx.doi.org/10.1111/j.1467-9833.1998.tb00103.x.

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17

Grande. "Desire in Madame Bovary." Contagion: Journal of Violence, Mimesis, and Culture 23, no. 1 (2016): 75. http://dx.doi.org/10.14321/contagion.23.1.0075.

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18

Apter, Emily. "Madame Bovary and Marks." Tekstualia 1, no. 36 (2014): 9–28. http://dx.doi.org/10.5604/01.3001.0013.4568.

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In the article professor Emily Apter tells the story of an English translation of Flaubert’s Madame Bovary – of an infl uential English rendition prepared by the daughter of Karl Marx, Eleanor. Apter analyses some of the decisions taken by Eleanor Marx, compares them to solutions found by other translators, including Paul de Man and Lydia Davis, and observes how much the ideological work of Karl Marx might have infl uenced the con cept of „diligent translation” that Eleanor followed in her rendition of Flaubert’s masterpiece. At the same time the article offers insight into textual detail of t

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19

Simmons, Dan. "Madame Bovary, c'est moi." Nature 407, no. 6801 (2000): 137. http://dx.doi.org/10.1038/35025159.

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20

Bortier, Camille. "L'Affaire des deux taureaux (Flaubert)." MLN 139, no. 4 (2024): 846–58. https://doi.org/10.1353/mln.2024.a952855.

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Abstract: The bull that charges at Félicité in A Simple Heart is "transfictional" in the sense Richard Saint-Gelais gives to the term in Fictions transfuges (2011). It is the same bull the reader encounters during the agricultural show in Madame Bovary that reappears, resurrected, unleashed by Flaubert in all its fury. In Madame Bovary , there is both an animalization of humanity and a masculinization of the heroine, Emma. Therefore, the "return" of the bull in A Simple Heart is the return of Emma in taurine form. Emma Bovary dies and is resurrected. This article analyzes the significance of t

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21

Demessinova,, L. M. "Madame Bovary: philistinism or the archetype of the wild woman." Bulletin of the Karaganda University. Philology series 101, no. 4 (2020): 67–72. http://dx.doi.org/10.31489/2020ph4/67-72.

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The article is devoted to the problems of the female archetype, the light and dark side of women, which has become the basis for artistic works since ancient times. In the study are subjected to comparative analysis critical views about the image of Madame Bovary. If in previous studies the heroine is considered as a sinner, then in this article the authors proceed from the inner world of Madame Bovary and explain the reasons for Emma's behavior and psychology from the point of view of the female archetype of the «primordial woman». In the course of the work, methods of comparison and systemat

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22

Williams, D. A., and Ion K. Collas. "'Madame Bovary': A Psychoanalytic Reading." Modern Language Review 84, no. 4 (1989): 991. http://dx.doi.org/10.2307/3731226.

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23

Pérez Winter de Tamburini, María Josefa. "La Sátira en Madame Bovary." Cuadernos de Literatura, no. 10 (June 12, 2001): 87. http://dx.doi.org/10.30972/clt.0103156.

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<p>Por su subtítulo, Costumbres de provincia, la novela de Flaubert se inscribe en la tradición balzaciana del estudio de las costumbres. Así, el autor se erige en pintor de la Normandía bajo la Monarquía de Julio (1830 - 1848).<br />Madame Bovarv comporta, en efecto, varios cuadros de los medios sociales. Estos son, esencialmente, aquellos que evocan la burguesía y el campesinado normandos, así como la aristocracia provincial. Y en las páginas de su obra, el autor, no olvida el sarcasmo, la sátira, la ironía para el tratamiento de sus personajes. No sólo los humildes son víctimas

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24

Agulhon, Maurice. "Madame Bovary : Une lecture historique." Études Normandes 41, no. 1 (1992): 7–19. http://dx.doi.org/10.3406/etnor.1992.2018.

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25

Wall, Geoffrey. "Flaubert’s Voice: Retranslating Madame Bovary." Palimpsestes, no. 15 (April 1, 2004): 93–98. http://dx.doi.org/10.4000/palimpsestes.1573.

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26

Culler, Jonathan D. "The Realism of Madame Bovary." MLN 122, no. 4 (2008): 683–96. http://dx.doi.org/10.1353/mln.2008.0007.

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27

WILLIAMS, D. A. "Review. Madame Bovary. Lloyd, Rosemary." French Studies 45, no. 2 (1991): 216. http://dx.doi.org/10.1093/fs/45.2.216-a.

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28

Hermann, Dorothee. "neues Kleid für Madame Bovary." Literaturblatt für Baden-Württemberg, no. 3 (July 15, 2024): 17–18. http://dx.doi.org/10.53458/litbw.vi3.13016.

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29

Bismut, Roger. "L'appareil littéraire dans Madame Bovary." Les Lettres Romanes 39, no. 1-2 (1985): 27–43. http://dx.doi.org/10.1484/j.llr.5.111631.

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30

Champagne, Roland A. "Emma's Incompetence as Madame Bovary." Orbis Litterarum 57, no. 2 (2002): 103–19. http://dx.doi.org/10.1034/j.1600-0730.2002.570202.x.

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31

WILLIAMS, TONY. "GENDER STEREOTYPES IN MADAME BOVARY." Forum for Modern Language Studies XXVIII, no. 2 (1992): 130–39. http://dx.doi.org/10.1093/fmls/xxviii.2.130.

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32

Michon, Pierre. "Madame Bovary , fragment non retenu." Cahiers Pierre Michon N° 1, no. 1 (2023): 17–18. https://doi.org/10.3917/cpm.001.0017.

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33

RayAlexander, Abigail. "Deciphering 1848: Repetition and Degradation in Madame Bovary." L'Esprit Créateur 63, no. 3 (2023): 52–66. http://dx.doi.org/10.1353/esp.2023.a906707.

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Abstract: A hidden code in Madame Bovary subtly deploys the cypher of 1848 to critique Victor Hugo and, by extension, Napoléon III. This code aligns the novel's characters with historical figures and revolutions and highlights their shared shortcomings. In this way, Madame Bovary ridicules the degradation produced by repetition as well as the resulting gaps between flowery narratives and their less idyllic realities. During its 1857 trial, the novel's censors failed to notice its most concealed and dangerously democratizing political critique, namely, that the powerful are no greater than the

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34

Rousselet, Cécile. "Madame Bovary et le bovarysme sur la scène littéraire yiddish au début du XXe siècle : de la traduction à l'interprétation culturelle." Tsafon 87 (2024): 53–69. http://dx.doi.org/10.4000/11t5y.

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Le cas de la réception yiddish de Madame Bovary peut sembler sans grande originalité, au prisme de la quantité d’ouvrages européens alors en circulation en Europe centrale et orientale, qu’il s’agisse d’originaux, de traductions allemandes, russes ou même yiddish, au début du siècle. Et pourtant, Madame Bovary peut difficilement, dans les milieux intellectuels, être reçu sans tenir compte des développements critiques liés à la conceptualisation de l’œuvre flaubertienne sous le nom de bovarysme et de ce que la réception de l’œuvre a pu impliquer pour les développements littéraires sur la scène

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35

Mezeg, Adriana. "Načini prevajanja francoskih glagolov iz spremnih stavkov premega govora v treh slovenskih prevodih Flaubertove Madame Bovary,." Jezik in slovstvo 52, no. 2 (2027): 81–93. http://dx.doi.org/10.4312/jis.52.2.81-93.

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The article explores a contrastive and comparative analysis focusing on translations of French reporting verbs and other verbs introducing direct speech in the three selected translations of Madame Bovary by Gustave Flaubert. The research, based on the author's own corpus, concludes that the most recent translation by Suzana Koncut is mainly loyal to the original, while the two previous translations by Vladimir Levstik are freer in this respect. The result of different translation approaches (i.e. loyalty or freedom in relation to the original) is a different final product, which is also evide

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36

Tröger, Beate, and Gustave Flaubert. "Im seidigen Kreis des Unterrocks." Literaturblatt für Baden-Württemberg, no. 6 (July 9, 2024): 18. http://dx.doi.org/10.53458/litbw.vi6.12872.

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37

Paixão, Grace Alves da, and Anaximandro Oliveira Santos Amorim. "L’ennui chez Madame Bovary: justification ou condamnation?" Non Plus 7, no. 13 (2018): 45–60. http://dx.doi.org/10.11606/issn.2316-3976.v7i13p45-60.

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Ce travail a pour but de montrer comment l’ennui chez le personnage Madame Bovary (du roman éponyme) fut le déclencheur du scandale et par conséquent du procès judiciaire de Gustave Flaubert, auteur du roman. Ainsi, on propose un article divisé en quatre parties : une où l’on parle de l’auteur ; une où l’on parle de l’ouvrage ; une où l’on parle du procès à proprement parler (et comment le langage y fut question d’importance) ; et une dernière où l’on analyse la question même de l’ennui grâce à des passages du roman. Pour cela, on adopte une méthodologie de révision bibliographique ayant comme

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38

Chekalov, Kirill. "MAURICE LEBLANC - “GRANDSON OF FLAUBERT”?" Literaturovedcheskii Zhurnal, no. 3 (2021): 84–99. http://dx.doi.org/10.31249/litzhur/2021.53.05.

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Maurice Leblanc, Gustave Flaubert’s countryman, author of the famous series of novels and short stories about adventures of “gentleman-burglar” Arsène Lupin, from his youth had an interest in works of the author of Madame Bovary . The interest was shared by his sister Georgette Leblanc, a singer, actress and writer. This essay critically examins the early prose of Maurice Leblanc, its connections with the traditions of Flaubert and with typical for “fin de siècle” erotic prose of decadence. A special attention is paid to the novel A woman and its parallels and allusions to Madame Bovary . This

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39

Rosbottom, Ronald C., Laurence M. Porter, and Eugene F. Gray. "Approaches to Teaching Flaubert's Madame Bovary." Modern Language Journal 82, no. 3 (1998): 433. http://dx.doi.org/10.2307/329979.

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40

Roe, David, and Eric Gans. "Madame Bovary: The End of Romance." Modern Language Review 86, no. 2 (1991): 467. http://dx.doi.org/10.2307/3730604.

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41

Green, Anne, and Mary Orr. "Madame Bovary: Representations of the Masculine." Modern Language Review 96, no. 3 (2001): 833. http://dx.doi.org/10.2307/3736793.

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42

Navas Solé, Roger. "Estrategias discursivas irónicas en Madame Bovary." Çédille 14 (April 1, 2018): 377. http://dx.doi.org/10.21071/ced.v14i.10915.

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Tomando como punto de partida el estudio de Rainer Warning sobre Flaubert, este artículo analiza los procedimientos que posibilitan la coexistencia irónica del discurso realista y el discurso romántico en Madame Bovary. En base a un fragmento de la novela especialmente complejo por su riqueza vocal y estilística, examinamos dos tipos de dicotomías: por un lado, los hiatos que marcan la interrupción del discurso romántico y el paso al discurso realista, y, por otro, la confluencia dilógica de voces que ocasiona una superposición de ambos discursos. Sin embargo, concluimos que esta doble dicotom

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43

Pedersen, Frode Helmich. "Romantikkens etterliv i Flauberts Madame Bovary." Norsk litteraturvitenskapelig tidsskrift 14, no. 02 (2011): 136–50. http://dx.doi.org/10.18261/issn1504-288x-2011-02-01.

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44

Agra, A. M. "Madame Bovary: Uma Morte de Gênero." Revista Ártemis 19, no. 1 (2015): 82–89. http://dx.doi.org/10.15668/1807-8214/artemis.v19n1p82-89.

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45

Bange, Patrick. "O ponto cego de Madame Bovary." Viso: Cadernos de estética aplicada 16, no. 30 (2022): 169–95. http://dx.doi.org/10.22409/1981-4062/v30i/408.

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O artigo examina o estilo indireto livre de Gustave Flaubert, lendo-o como um gancho (com Georges Bataille) que impede o leitor de escorregar de vez para dentro do mundo interno dessa célebre personagem, Emma Bovary, e acompanhando, na casa das máquinas do romance, as inquietações do autor, que precisa se levantar e como que tomar alguma distância para não se perder na obra. Esse "ataque de nervos" está fora, mas está dentro da obra, sobretudo quando Emma se aproxima de um cego. Proponho, então, relendo a cena da morte, haver um ponto psicótico, impulsionado pela tensão entre Emma e o cego, po

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46

TOLMATCHOFF, Vasilii. "ON THE NARRATOR IN MADAME BOVARY." Literaturovedcheskii Zhurnal, no. 3 (2021): 49–71. http://dx.doi.org/10.31249/litzhur/2021.53.03.

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The paper written in polemics with the truisms of the Soviet literary criticism (identification of Flaubert with his narrator in Madame Bovary , Flaubert’s critical realism etc.) analyses in full detail a figure of the narrator in this novel, his methods of self-presentation, motives of narration, narrative metamorphoses. A particular attention is given to analysis of the narrator’s “we”, “nous”, “madness” and to the related images of “lie”, “mask”, negative search for Absolute, the embodiment and symbol of which in the novel is death, non-being. In context of lie, the characters of the novel,

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47

Da Silva, Marco Antônio Guimarães. ""Madame Bovary ce n'est pas moi"." Fisioterapia Brasil 9, no. 1 (2017): 3. http://dx.doi.org/10.33233/fb.v9i1.1832.

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Longe do Brasil e, portanto, impedido de dar a habitual corrida ao redor da lagoa, vejo-me na obrigação, quase dever, de fazer longas caminhadas aqui em Paris, esperando, assim, que desse modo o corpo não se alargue, mais do que deve, abaixo da linha dos ombros. Em uma dessas caminhadas, fui levado a interromper indevidamente a atividade aeróbica para dar uma olhada em um título em português num velho e pequeno sebo. Deparei-me com o pequeno livro A morte de Ivan Ilitch. Não pude deixar de lembrar que essa novela de Tolstoi talvez tenha sido uma das histórias que mais me marcou. Filosoficament

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48

Müller, Andréa Correa Paraiso. "Percursos de “Madame Bovary” no Brasil." Letras, no. 47 (November 23, 2013): 157. http://dx.doi.org/10.5902/2176148511760.

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O hoje célebre romance de Gustave Flaubert, Madame Bovary, teve umpercurso de circulação e recepção no Brasil oitocentista que só pode ser compreendidoadequadamente se relacionado à transformação nos critérios de avaliação de romancesque se foi operando, sobretudo no final do século XIX, e ao próprio processo deconsolidação do gênero romanesco em nosso país. Por meio de pesquisa de fontesprimárias, este trabalho tem por objetivo investigar a atuação da imprensa, de livreiros ede críticos nesse percurso.

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GREEN, A. "Time and History in Madame Bovary." French Studies 49, no. 3 (1995): 283–91. http://dx.doi.org/10.1093/fs/49.3.283.

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Yeasmin, Nellufar. "Dirt of Art in Madame Bovary." Journal of English Language and Literature 10, no. 2 (2018): 1025–28. http://dx.doi.org/10.17722/jell.v10i2.393.

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Abstract:

Flaubert’s Madame Bovary is a unique literary piece that incorporates aestheticism and witty disposure to Emma’s complex reality. The pronounced acceptance and reputation of the novel despite of a prolonged period of criticism proves that the universal appeal of this French novel lies in the artistic and tactful disclosure (in precisely calculative and measured style) of the dark secrets of a feminine mind. The fact that the English translation of this ingenious creation is so influential attests the superiority of its quality in French. The splendor of the narration overreaches the boundaries

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