Relevant bibliographies by topics / Romanticism in literature, French

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Romanticism in literature, French'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Romanticism in literature, French"

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Boutin, A. "Shakespeare, Women, and French Romanticism." Modern Language Quarterly 65, no. 4 (December 1, 2004): 505–29. http://dx.doi.org/10.1215/00267929-65-4-505.

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Charlton, D. G., and James S. Patty. "Perspectives on French Romanticism." Modern Language Review 85, no. 1 (January 1990): 192. http://dx.doi.org/10.2307/3732852.

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Bhattacharya, Swagata. "The Influence of Indian Philosophy on French Romanticism." International Journal of English and Comparative Literary Studies 2, no. 4 (July 20, 2021): 14–24. http://dx.doi.org/10.47631/ijecls.v2i4.246.

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France’s connection to India dates back to the seventeenth century when the French came to establish trading relations with India and neighboring countries. Even in the heydays of Enlightenment, France, the champion and cradle of Reason and Rationality in Europe, was looking for an alternative and philosophers like Rousseau, Diderot and Voltaire looked towards India as a source of inspiration. That tradition was continued by the French Romantics who were even more influenced and inspired by Indian philosophy and wanted to change the course of French literature with the help of it. This paper aims to explore literary transactions between India and France culminating in the movement called Romanticism in French literature. The paper shall trace the trajectory of how Indian philosophy and thought traveled to Europe in the form of texts and influenced the works of the French from Voltaire in the eighteenth century to Jules Bois in the twentieth. The central argument of this diachronic study, based on the theory of influence, is to prove how significant the role of India and her literary/religious texts have been in the context of the Romantic Movement in French literature in the nineteenth century.
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Al-Dabbagh, Abdulla. "The anti-romantic reaction in modern(ist) literary criticism." Acta Neophilologica 47, no. 1-2 (December 16, 2014): 55–67. http://dx.doi.org/10.4312/an.47.1-2.55-67.

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While the antagonism of modernism to realism has often been commented upon, its equally vehement rejection of romanticism has not been as widely discussed. Yet, if modernism compromised at times with realism or, at least, with a "naturalistic" version of realism, its total antipathy to the fundamentals of romanticism has been absolute. This was a modernist trend that covered both literature and criticism and a modernist characteristic that extended from German philosophers, French poets to British and American professors of literature. Names as diverse as Paul Valery, Charles Maurras and F.R. Leavis shared a common anti-romantic outlook. Many of the important modernist literary trends like the Anglo-American imagism, French surrealism, German expressionism and Italian futurism have been antagonistic not only to ordinary realism as a relic of the 19th century, but also, and fundamentally, to that century's romanticism. In nihilistically breaking with everything from the past, or at least the immediate past, they were by definition anti-romantics. Even writers like Bernard Shaw or Bertolt Brecht and critics like Raymond Williams or George Lukacs, who would generally be regarded as in the pro-realist camp, have, at times, exhibited, to the extent that they were afflicted with the modernist ethos, strong anti-romantic tendencies.
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Junkiert, Maciej. "Ancient Revolutions in the Literature of Polish Romanticism." Comparative Critical Studies 15, no. 2 (June 2018): 207–26. http://dx.doi.org/10.3366/ccs.2018.0289.

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This article aims to examine the Polish literary reception of the French Revolution during the period of Romanticism. Its main focus is on how Polish writers displaced their more immediate experiences of revolutionary events onto a backdrop of ‘ancient revolutions’, in which revolution was described indirectly by drawing on classical traditions, particularly the history of ancient Greeks and Romans. As this classical tradition was mediated by key works of German and French thinkers, this European context is crucial for understanding the literary strategies adopted by Polish authors. Three main approaches are visible in the Polish reception, and I will illustrate them using the works of Zygmunt Krasiński (1812–1859), Juliusz Słowacki (1809–1849) and Cyprian Norwid (1821–1883). My comparative study will be restricted to four works: Krasiński's Irydion and Przedświt (Predawn), Słowacki's Agezylausz (Agesilaus) and Norwid's Quidam.
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Guzmán Guzmán, María Aránzazu. "La literatura francesa decadentista, con textos inéditos de un ciclo de conferencias de Emilia Pardo Bazán." Epos : Revista de filología, no. 29 (January 1, 2013): 165. http://dx.doi.org/10.5944/epos.29.2013.15188.

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Emilia Pardo Bazán impartió, entre los meses de marzo y abril de 1918, un ciclo de conferencias sobre literatura francesa decadentista en el Ateneo de Madrid. La escritora, que ya había publicado tres volúmenes sobre literatura francesa, acerca del Romanticismo, la Transición y el Naturalismo, proyectaba publicar un cuarto estudio sobre el Decadentismo con parte de la documentación de estas conferencias, pero dicho proyecto nunca vio la luz. En este artículo analizo las seis conferencias inéditas que componían el ciclo, y edito aquellas parcialmente conservadas en el Archivo de la Real Academia Galega.Emilia Pardo Bazán gave, between March and April, 1918, a cycle of lectures on French decadent literature at the Ateneo of Madrid. The writer, who had already published three volumes on French literature, concerning Romanticism, the Transition and Naturalism, was planning to publish a fourth study on the Decadent Movement with part of the documentation of these lectures, but the above mentioned project never appeared. In this article I analyze six unpublished lectures which comprise the cycle, and those partially preserved in the Real Academia Galega Archive are edited.
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Zielonka, Anthony, and Frank Paul Bowman. "French Romanticism: Intertextual and Interdisciplinary Readings." Modern Language Review 87, no. 2 (April 1992): 485. http://dx.doi.org/10.2307/3730732.

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Nodier, Charles, Elizabeth Berkebile McManus, and Daniela Ginsburg. "The Fantastic in Literature." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 540–54. http://dx.doi.org/10.1632/pmla.2019.134.3.540.

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Charles Nodier (1780–1844) holds the dismal distinction of being the most important French Romantic you have never heard of. A child prodigy, Nodier was reading Montaigne and Plutarch, and writing fluently in French and Latin, by the age of ten. By twenty-five he had vandalized a guillotine, founded the ironically Freemasonesque antiJacobin society called the Philadelphes, published one of the irst French works of scholarship on Shakespeare, and served a month in prison for criticizing Napoleon in the poem “La Napoléone.” It was only then that he got serious, and in 1806 Les tristes was published, a collection of short stories, poems, dialogues, and essays that marked him as a disciple of the Romanticism of Goethe and Schiller and hinted at his future affinity for the visionary, fantastic mode of E.T.A. Hoffmann.
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Whittaker, J. R. "TRANSLATION AND FRENCH ROMANTICISM: PERIPHERY OR CORE?" French Studies Bulletin 31, no. 117 (November 15, 2010): 79–81. http://dx.doi.org/10.1093/frebul/ktq028.

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Malița, Ramona. "Madame de Staël ou le plaidoyer pour une vie seconde : le théâtre." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 39–56. http://dx.doi.org/10.24193/subbdrama.2020.2.02.

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"Madame de Staël or the Necessity of a Second Life: The Theatre. Our contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold: on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose resounding literary activity was the theatre. Keywords: Madame de Staël, Coppet, Geneva, experimental theatre, French Romanticism, aesthetic and literary canons, 19th century literature, romantic theatre."
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Dissertations / Theses on the topic "Romanticism in literature, French"

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Flood, Christopher Martin. "Chateaubriand's René as a Philosophical Reaction to the Enlightenment and Early Romantic Sentiment." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/961.

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For over 200 years “René&rqduo; Chateaubriand's short fictional interlude in his grand argument for the restoration of Christianity after the French Revolution, has been read as the founding text of the French Romantic movement. While this text did in fact serve to define many of the characteristics of French Romantic literature, simply labeling it as such is anachronistic and obscures the more profound philosophical and theological claims Chateaubriand was actually attempting to illustrate. After an examination of the discrepancy between the author's intentions and the general perception, this study will briefly consider some of the traditional readings of “René” specifically in an effort to expose the inadequacies that have led to misinterpretation. At this point, an analysis of evolving philosophical and aesthetic ideals in the European tradition, particularly focusing on how Chateaubriand incorporated them into his Christian model, will reveal “René” as the author intended. While Chateaubriand has rightly been considered an anti-Enlightenment thinker, this assessment exposes a generally unnoticed and decidedly anti-Romantic tendency in his writings. Once restored to these original literary and philosophical contexts “René” coincides quite clearly with Chateaubriand's efforts to reinstate an eclectic, modernized, and aesthetically grounded form of traditional Christianity. Furthermore, it can finally be understood as an anticipatory effort aimed at disparaging rather than encouraging the burgeoning Romantic sentiment.
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Carter, Elizabeth Lee. "Taming the Gypsy: How French Romantics Recaptured a Past." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064929.

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In this dissertation, I examine the evolution of the Gypsy trope in Romantic French literature at a time when nostalgia became a powerful aesthetic and political tool used by varying sides of an ideological war. Long considered a transient outsider who did not view time or privilege the past in the same way Europeans did, the Gypsy, I argue, became a useful way for France's writers to contain and tame the transience they felt interrupted nostalgia's attempt to recapture a lost past. My work specifically looks at the development of this trope within a thirty-year period that begins in 1823, just before Charles X became France's last Bourbon king, and ends just after Louis-Napoleon declared himself Emperor of France in 1852. Beginning with Quentin Durward (1823), Walter Scott's first historical novel about France, and the French novel that looked to it for inspiration, Victor Hugo's Notre-Dame de Paris (1831), I show how the Gypsy became a character that communicated a fear that France was recklessly forgetting and destroying the monuments and narratives that had long preserved its pre-revolutionary past. While these novels became models in how nostalgia could be deployed to seduce France back into a relationship with a particular past, I also look at how the Gypsy trope is transformed some fifteen years later when nostalgia for Napoleon nearly leads France into two international conflicts and eventually traps the French into what George Sand called a dangerous "bail avec le passé." In new readings of Prosper Mérimée's Carmen (1845) and George Sand's La Filleule (1853), I argue that both authors personify the dangers of recapturing the past, albeit in two very different ways. While Mérimée makes nostalgia and the Gypsy accomplices, George Sand gives France an admirable Gypsy heroine, a young woman who offers readers a way out of nostalgia's viscous circle. I conclude by arguing that nostalgia and this Romantic trope found their way back into France at the dawn of a new millennium, and the Gypsy has once again been typecast in art and politics as deviant for refusing to dwell in or on the past.
Romance Languages and Literatures
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Fernandez, Emmeline. "“Every Family Might Also Be Called a State”: Incest and Politics in the Romantic Era." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587656293042995.

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Gosetti, Valentina. "Tradition and poetic experimentation in Gaspard de la Nuit : Aloysius Bertrand and cultural exchange in French romanticism." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:5ecd95e8-9c06-4880-9943-5fe37a10bc6f.

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In mainstream literary histories, Aloysius Bertrand (1807-1841) is still remembered as the canonical inventor of the prose poem in France. The established classification of Gaspard de la Nuit (1842) within the realm of the prose poem inevitably involves a retrospective appreciation of Bertrand’s work in light of the better-known authors that succeeded him in the history of this genre, such as Baudelaire and Mallarmé. The result is that Bertrand is often viewed as the inventor and/or the precursor of this genre; an important but, ultimately, minor contributor to its development. This hindsight brings with it a risk of critical anachronism against which Bertrand's contribution is often downplayed, especially because his thematic choices are seen to be outmoded, when compared to works by poets writing decades later. This thesis is a re-examination of Bertrand's Gaspard de la Nuit, incorporating an analysis of the cultural context that contributed to its production. The central argument is that in order to fairly assess Bertrand’s work, it is crucial to consider the poet’s contribution to, as well as his position in, the wider cultural exchange typical of his time. Using this contextual and historical approach, this thesis examines and challenges some of the main traditional considerations of Bertrand, such as his being a petit romantique, his provincialism, his unoriginality, and his role as the precursor and/or inventor of the prose poem. The overall aim is to assess fairly Bertrand’s unique synthesis of contemporary cultural and literary material with his own original work. By emphasising the crucial role of cultural exchange at the time of Gaspard de la Nuit’s production, we are thus able to begin to understand Bertrand in his own terms, rather than those of his successors, ourselves included, challenging commonly-held views and opening up new avenues for research.
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Paixao, Grace Alves da. "Natureza e artificialidade nas mulheres das poesias de Victor Hugo e Charles Baudelaire." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-12112010-161229/.

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O objetivo da presente pesquisa é comparar as figuras femininas das poesias de Victor Hugo e Charles Baudelaire, tendo como eixo de análise a expressão da natureza e da artificialidade. O trabalho realiza-se especialmente a partir da leitura de poemas e consiste numa reflexão sobre as comparações entre os poetas encontradas na fortuna crítica, em uma apresentação geral de suas obras voltada para o estudo do progresso, da função do poeta e da paisagem em relação ao contexto do século XIX, e na análise de correlações e diferenças nas imagens de mulheres de suas poesias.
The aim of this research is to compare the female figures of poems by Victor Hugo, Charles Baudelaire considering the expression of nature and artificiality as their center. The comparison applied to these works will take place especially through reading poems. In addition to a literature review of the comparisons between them previously undertaken and an overview of their work focused on the study of progress, the role of poet and landscape in relation to the context of the nineteenth century, the work allows correlations and differences in the images of women on their poetry to be analyzed.
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Baril, Joselle. "Quatre poètes au jardin des Oliviers." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79822.

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In the course of the romantic movement, the vision of the poetic ministry has been expressed by several poets through the figure of Jesus at the Mount of Olives. While Lamartine appropriates the suffering of Christ in order to proclaim himself to be a poet-prophet, Vigny refuses the silence of God. He, thus, accomplishes his poetic mission against God. Whereas Hugo does not take into consideration the meaning of Jesus' agony in order to make the Gethsemane a place of glory, Nerval rejects the notion of a Christlike mission. Hence, by putting into words the death of God, he foretells what Hugo Friedrich will later call an "empty transcendence", which is the very sign of modern poetics. Romanticism carried within itself the signs of the end of transcendence of poetics. Therefore, we will analyse the transition of romanticism to modernity in these four poems1 through the representation of Jesus Christ at Gethsemane.
1"Gethsemani ou la mort de Julia" d'Alphonse de Lamartine, "Le Mont des Oliviers" d'Alfred de Vigny, un extrait (strophes VI, VII et VIII du Chapitre intitule Jesus-Christ) de La Fin de Satan de Victor Hugo et "Le Jardin des Oliviers" de Gerard de Nerval.
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Fairbank, Rebecca Bennett. "Devastating Diva: Pauline Viardot and Rewriting the Image of Women in Nineteenth-Century French Opera Culture." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3788.

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Historically vilified, the vocalizing woman developed a stereotyped image with the emergence of the prima donna in eighteenth-century opera. By the nineteenth century, the prima donna became the focal point for socio-cultural polemics: women sought financial and social independence through a career on the operatic stage while society attempted to maintain through various means the socio-cultural stability now threatened by women's mobility. The prima donna represented both a positive ideal for women as well as a great threat to western patriarchy. A discourse emerged in which the symbol of female independence and success ”the prima donna" became the site of tactical control and containment. The prima donna stereotype, opera plot and music, and literature all presented the vilified image as a warning of the disaster awaiting women who overstepped the social boundaries established in the patriarchal image of ideal womanhood. Pauline Viardot confronted this attempt at containment by fulfilling society's expectations of her as a woman and simultaneously confounding its presentation of women opera stars. Viardot performed the role of social woman: she married young, she raised a family, she held a salon, and she engaged in other approved social activities. Madame Viardot's acceptance and fulfillment of the roles established for her by her contemporary society provided her a unique freedom within society in which she could maintain a career on the operatic stage without succumbing to the traditional detritus of the popular press, literature or social ostracizing. She crafted her own image rather than allow society to stigmatize or vilify her. Her success was chronicled in contemporary literature written by women who viewed prima donnas as spokespersons for the female plight. Much of this literature explores women's hopelessness and despair in the face of highly restrictive social codes. Prima donnas engaged in a very public career through which they established financial independence, professional success, and an identity literally shaped by their own voices. George Sand briefly explored the artist-woman's search for freedom and independence in her 1833 Lélia, but it was not until Sand met Pauline Viardot that she was able to create a heroine who could gain a respected position in society, enjoy lasting personal happiness, maintain social and financial independence, and who lived to enjoy the fruits of her labor. Consuelo stands as a permanent record of Viardot's impact on her contemporary society. Pauline Viardot successfully revised the image of the prima donna and that of women in the process. Viardot navigated the centuries-old tradition which demonized publicly vocalizing women and created a new image of the woman-artist. An accomplished actress among other things, Viardot successfully performed the roles of social woman, inspiration of a literary heroine, and prima donna. It is her successful negotiation of these roles which allowed her to carve out a unique position in her contemporary society, a position that allowed her to teach at the Paris Conservatory, support the careers of budding male musicians, garner the respect of royalty, publish and perform her own musical compositions, and live a long, fulfilling life. Letters addressed to Viardot, contemporary accounts by male musicians, and her immortalization in Sand's Consuelo all record the new image Viardot created: that of a respected member of society and operatic performer of great artistic and musical genius.
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Canvat, Raphaël. "On Mad Geniuses & Dreams In the Age of Reason in French Récits Fantastiques." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1343124370.

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Hofmann, Anne. "Parnassische Theoriebildung und romantische Tradition : Mimesis im Fokus der ästhetischen Diskussion und die "Konkurrenz" der Paradigmen in der zweiten Hälfte des 19. Jahrhunderts : ein Beitrag zur Bestimmung des Parnasse-Begriffs aus dem Selbstverständnis der Epoche /." Stuttgart : F.Steiner Verl, 2001. http://catalogue.bnf.fr/ark:/12148/cb38809002q.

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Dargo, Franklin Joseph. "The Dynamics of Loss: Representations of Sororal, Maternal, and Feminine Loss in the Works of Nerval, Chateaubriand, and Baudelaire." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1595356727134133.

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Books on the topic "Romanticism in literature, French"

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French romanticism: Intertextual and interdisciplinary readings. Baltimore: Johns Hopkins University Press, 1990.

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Gautier, Théophile. A history of romanticism. New York: H. Fertig, 1988.

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Anger, revolution, and romanticism. Cambridge, U.K: Cambridge Univeristy Press, 2005.

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Bainbridge, Simon. Napoleon and English Romanticism. Cambridge [England]: Cambridge University Press, 1995.

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Pitwood, Michael. Dante and the French romantics. Gene ve: Droz, 1985.

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Dante and the French romantics. Genève: Droz, 1985.

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Romantic irony in French literature from Diderot to Beckett. Nashville, Tenn: Vanderbilt University Press, 1989.

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Bishop, Lloyd. Romantic irony in French literature from Diderot to Beckett. Nashville, Tenn: Vanderbilt University Press, 1989.

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The Orlando legend in nineteenth-century French literature. New York: Peter Lang, 1996.

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Majewski, Henry F. Paradigm & parody: Images of creativity in French romanticism--Vigny, Hugo, Balzac, Gautier, Musset. Charlottesville: University Press of Virginia, 1989.

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Book chapters on the topic "Romanticism in literature, French"

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Crossley, Ceri. "Romanticism and the Material World: Mind, Nature and Analogy." In French Literature, Thought and Culture in the Nineteenth Century, 9–22. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11824-3_2.

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Moore, Fabienne. "Early French Romanticism." In A Companion to European Romanticism, 172–91. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch11.

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Haywood, Ian. "‘Disturbed Imagination’: The French Revolution." In Bloody Romanticism, 60–102. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230596795_3.

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de Wolff, Melchior. "Romanticism unmasked." In Convention and Innovation in Literature, 235. Amsterdam: John Benjamins Publishing Company, 1989. http://dx.doi.org/10.1075/upal.24.13wol.

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Cooper, Barbara T. "French Romantic Drama." In A Companion to European Romanticism, 224–37. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch14.

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Raimond, Jean. "The French Revolution." In A Handbook to English Romanticism, 105–12. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_28.

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Raimond, Jean. "The French Revolution." In A Handbook to English Romanticism, 105–12. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_28.

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Schäfer, Rainer. "Hölderlin and Romanticism." In Romanticism, Philosophy, and Literature, 229–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40874-9_10.

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Wedd, Mary. "Literature and Religion." In A Companion to Romanticism, 67–77. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165396.ch6.

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Hilliard, Kevin. "German Literature." In A Handbook to English Romanticism, 113–15. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_29.

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Conference papers on the topic "Romanticism in literature, French"

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Fitria, Zena. "The Analysis of Romanticism in Bonjour Tristesse Romance by Françoise Sagan." In Tenth International Conference on Applied Linguistics and First International Conference on Language, Literature and Culture. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0007171906150617.

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HD, Dharma, Faruk Faruk, and Pujiharto Pujiharto. "Romanticism and New Awareness in Indonesian Literature: Lombok's Representation in Novel Opto Ergo Sum." In Proceedings of the 3rd English Language and Literature International Conference, ELLiC, 27th April 2019, Semarang, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2285292.

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Mutiarsih, Yuliarti, Dudung Gumilar, and Dante Darmawangsa. "The Acquisition of French Morphosyntax and Structures by Indonesian Students Learning French." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.131.

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Anossova, Oksana. "NIKOLAY KARAMZIN�S �RUSSIAN TRAVELLER�S LETTERS� AS PRE-ROMANTICISM LITERATURE AND A TRAVELLER�S GUIDEBOOK." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s11.022.

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Lustyantie, Ninuk, Tri Septiarini, Qurrata A’yunin, and Yumna Rasyid. "Integrating Character Education and Contextual Approach in French Literature." In Proceedings of the 1st International Conference on Innovation in Education (ICoIE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icoie-18.2019.116.

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Amalia, Farida, Dudung Gumilar, and Riswanda Setiadi. "Poetry in Teaching French Descriptive Texts Writing." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.039.

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He, Yin, and Jianguo Tian. "Inspiration of Schema Theory to French Reading Teaching." In 6th Annual International Conference on Language, Literature and Linguistics (L3 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2251-3566_l317.85.

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Ramadhani, Alyza Kemala, and Myrna Laksman-Huntley. "The Semantic Field of Triste Adjectives in French." In 3rd International Conference on Language, Literature, Culture, and Education (ICOLLITE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.050.

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Firmonasari, Aprillia. "Exploring ‘The Past’ in French Identity-Politics Discourse." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.012.

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Pratiwi, Indry Julyanti, Dudung Gumilar, and Dante Darmawangsa. "Errors of Deixis Usage in French Narrative Texts." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.052.

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