Relevant bibliographies by topics / Short stories, Togolese (French)

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  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Short stories, Togolese (French)'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Short stories, Togolese (French)"

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Gilroy, James P., and Richard Teleky. "The Oxford Book of French-Canadian Short Stories." Rocky Mountain Review of Language and Literature 39, no. 2 (1985): 164. http://dx.doi.org/10.2307/1347343.

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Mezei, Kathy, and Richard Teleky. "The Oxford Book of French-Canadian Short Stories." Yearbook of English Studies 15 (1985): 253. http://dx.doi.org/10.2307/3508558.

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Semenchenko, Iurii I. "THE VOICE PHENOMENON IN BECKETT’S FRENCH-LANGUAGE SHORT STORIES." Вестник Пермского университета. Российская и зарубежная филология 12, no. 4 (2020): 128–35. http://dx.doi.org/10.17072/2073-6681-2020-4-128-135.

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The article deals with the specific features of the voice phenomenon representation and the peculiarities of its functioning in French-language short stories written by Beckett, namely in Premier amour (First Love), Le calmant (The Calmative) and Au loin un oiseau. The abovementioned texts allow us, on the one hand, to demonstrate the genesis of the writer’s artistic and aesthetic principles of representing the studied phenomenon, which were later reflected in theatrical, radio and television plays, and, on the other hand, – to shed light on the specificity of the literary world of these texts. The research conducted allows us to conclude that in all the analyzed texts the voice is captured in different forms of representation and has a varying (from text to text) functionality. In Premier amour, there is a feminine voice asking to restore the corporeality and individuality of its origin. However, the stamp of convulsiveness in the heroine’s voice paradoxically has its source not in the corporeal but in the ideal. In Le calmant, the protagonist’s feebleness, expressed by the signs of his corporeal conditions, is doubled by his aphony, which thus transcends one of the most important motifs for Beckett’s writing – that of human weakness. This motif also reveals here another shade of meaning – weakness as a ‘respite’ from the suffering which human existence bears. Finally, in Au loin un oiseau we see a ventriloquist character. Due to the ‘I’ living inside, the ‘He’ is becoming similar to ventriloquists. Unlike them, however, his speaking capacity is under control of the narrator.
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M, Saratha, and Selvakumaran S. "Prabhanjan will narrates short stories Puduvai Tamil status of during the French rule." International Research Journal of Tamil 3, no. 4 (September 17, 2021): 135–39. http://dx.doi.org/10.34256/irjt21417.

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This Article, The Position of The Tamils of Pondicherry during the French rule, which deals with the short stories of Vishwasan, who is one of the most important tamil short story creators, is based on the short stories of The Cycle, Security, Brother Oro and Business of The Universe. It also examines the difficulties faced by the inequalities of caste and religion and the racist activities of the French rulers, especially when Pondicherry was under the control of the French in the 16th and 19th centuries. This article also deals with the tragic history of the exile of tamil people by using their ignorance and poverty to foreign countries for tea plantation industries.
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Badenas Roig, Sonia Rut. "El cuento como recurso didáctico en la enseñanza del francés lengua extranjera." Revista de Lingüística y Lenguas Aplicadas 13, no. 1 (July 13, 2018): 21. http://dx.doi.org/10.4995/rlyla.2018.8694.

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<p>This article offers a pragmatic reflection on the use of short stories in the teaching of French as a foreign language. After analyzing the use of short stories in the foreign language classroom as didactic material, we briefly assess the different advantages of short stories and inquire about the validity of this genre as a suitable material for the teaching of written expression in the light of the Common European Framework of Reference for Languages (CEFRL). On this basis, we propose a practical approach in which short stories are integrated to the teaching of written expression within a communicative context.</p>
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Luffin, Xavier. "Senegalese, Gurkha, Sikh . . . : The French and British Colonial Troops in the Eyes of the Arab Writers." Arabica 60, no. 6 (2013): 762–77. http://dx.doi.org/10.1163/15700585-12341283.

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Abstract The former great European colonial empires had incorporated soldiers recruited in their colonies into their armies. Several Arab authors from Lebanon, Syria, Iraq and Morocco remember them through their novels and short stories, giving us an interesting perception of the “Other”: strangers brought into the Arab world by other strangers. They also represent different negative faces of the colonial period: the exploitation of the indigenous population, the dilemma of Muslims forced to fight their brothers . . .
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Holbekov, Mukhammadjon. "PERCEPTION AND INTERPRETATION OF CREATIVITY OF ALISHER NAVOI IN FRENCH ORIENTAL STUDIES." INTERNATIONAL JOURNAL OF WORD ART 6, no. 3 (June 30, 2020): 40–50. http://dx.doi.org/10.26739/2181-9297-2020-6-6.

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The great Uzbek poet Alisher Navoi(1441-1501), during his lifetime, was widely known not only in his homeland, but also far beyond its borders. A contemporary and biographer of Navoi, the famous historian Hondemir, of course, not without some hyperbole, wrote: "He (Navoi -M.Kh.) in a short time took the cane of primacy from his peers; the fame of his talents spread to all ends of the world, and the stories of the firmness of his noble mind from mouth to mouth were innumerable.The pearls of his poetry adorned the leaves of the Book of Fates, the precious stones of his poetry filled the shells of the universe with pearls of beauty
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Lysenko, N. "WORLD CREATION POTENTIAL OF ALLUSION IN FRENCH POSTMODERN SHORT-FORM PROSE (BASED ON THE STORIES BY B. WERBER)." International Humanitarian University Herald. Philology 2, no. 45 (2020): 91–94. http://dx.doi.org/10.32841/2409-1154.2020.45-2.22.

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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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Симанков, Виталий. "Детское Чтение (1785-1789) и Детския Забавы (1792): Рецепция немецкого протестантизма в детских изданиях XVIII в." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 5 (November 27, 2017): 18–39. http://dx.doi.org/10.21900/j.vivliofika.v5.551.

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This article is focused on Protestantism-related ideas encrypted in children’s literature in eighteenth-century Russia. The primary focus of the study is on Detskiia Zabavy (1792), a short-story collection that was thought to be an original Russian book. As this study shows, the book in question is actually a collection of texts translated from German and French. The bulk of the collection deals with the so-called short didactic stories, the ideological roots of which have been overlooked and understudied. The author’s findings help to clarify, among other things, the subject of Pushkin’s parody in his Detskaia Knizhka (1830).
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Dissertations / Theses on the topic "Short stories, Togolese (French)"

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Konstantinova, Natalia P. "The short stories of Ivan Turgenev - the link between French and Russian naturalism : a comparative approach." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/70.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Foreign Languages
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Nkealah, Naomi Epongse. "Islamic culture and the question of women's human rights in North Africa : a study of short stories by Assia Djebar and Alifa Rifaat." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09102007-111635.

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Harris, John. "Structural coherence in early anthologies of French prose short stories : a study of the unframed collections compiled at the time of François I." Thesis, Royal Holloway, University of London, 1987. http://repository.royalholloway.ac.uk/items/2e430c40-9caa-4261-a000-45303faea6b4/1/.

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Four anthologies of sixteenth-century French prose contes are examined, with the aim of elucidating the processes which informed their compilation and the reading strategies which they imply, and the relationship between the structural coherence of unframed anthologies and that of collections incorporating a frame-story structure.'Framed' collections and their structures have served as the yardstick against which unframed anthologies have been measured, and judged to be loose compilations whose component tales may be read in any order. Though the view of framed collections implied by this comparison may also be questioned, this study con-centrates on the structural aspects of four anthologies - those by Philippe de Vigneulles and Bonaventure Des P6riers, and the anonymous Parangon de Nouvelles and Parolles Joyeuses - while yet noting the major points of similarity and dissimilarity with framed collections. Evidence for the methods of construction involved and for the reading strategies which were envisaged are sought in the prolegomena, and in the general or particular structural ties made explicit or especially prominent in the stories. This search is extended through a survey of the deeper and implicit levels of consonance between stories, where related elements may be considered to have played an important part in thejuxtaposition of particular narratives or the construction of the whole text and may also influence the ways in which they will be read. Finally, the closure of each anthology is examined and the contribution of its terminal structures evaluated. The evidence of the features identified and classified leads to the conclusion that in each anthology there is a strong linear structure which, while it cannot prevent other reading strategies, encourages a predominantly sequential approach to the stories.
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Champagne, Blanche. "La femme de gouttière, recueil de nouvelles ; suivi de L'évolution de l'espace féminin dans des nouvelles québécoises des années 1954-1992." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ43053.pdf.

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Dion, Laetitia. "Histoires de mariage- Une contribution à l’histoire des formes narratives à la Renaissance : le mariage dans la fiction narrative française (1515-1559)." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20066.

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Les études consacrées à la représentation du mariage dans les textes narratifs au XVIe siècle cherchent le plus souvent à mettre en rapport l’image du lien conjugal construite par les récits avec les débats de l’époque. Nous avons voulu combiner cette approche, relevant davantage de l’histoire des idées, à une analyse des formes littéraires en nous interrogeant sur le rôle joué par le thème du mariage dans les évolutions du genre narratif à la Renaissance.Nous menons notre enquête sur un ensemble de douze fictions narratives en prose, de composition française, écrites entre 1515 et 1559. Durant cette période, le mariage se trouve au cœur de nombreuses controverses théologico-politiques et les regards portés sur la vie conjugale se modifient. En nous appuyant sur un travail de contextualisation historique, nous croisons une approche thématique avec une réflexion sur la poétique narrative pour étudier la structuration des intrigues, la construction des personnages et les dispositifs didactiques et herméneutiques des textes. La comparaison de nos récits à d’autres œuvres – contemporaines ou antérieures, françaises ou étrangères – fait apparaître, au cours de notre période, un renouvellement de la matière narrative autour du mariage. L’accent mis sur certaines situations matrimoniales et les enjeux spécifiques qui leur sont associés à l’époque se révèlent être un ferment favorable à l’apparition de structures narratives innovantes. Le mariage joue en particulier un rôle déterminant dans l’orientation des récits brefs vers le genre de l’histoire tragique et dans l’apparition de formes romanesques originales à travers lesquelles on voit s’élaborer le genre du roman sentimental
In most cases, studies devoted to the representation of marriage in narrative texts of the 16th century aim to link the image of the marriage bond as elaborated in the narratives to the controversies of the time. In order to show how the theme of marriage has played a part in the development of the narrative genre in the French Renaissance, we have decided to combine such an approach, which is rather based on the history of ideas, with an analysis of literary styles.We have conducted our survey on a set of twelve prose narrative fictions written in French between 1515 and 1559. Marriage was then at the heart of many theological-political controversies and married life started to be seen in a new light. Basing our work on historical contextualization, we have intertwined a thematic approach with a reflection on narrative poetics so as to study the plot structure and characterization as well as the didactic and hermeneutic systems of the texts. Comparing these narratives with other literary works – contemporary or prior, French or foreign – has enabled us to highlight a renewal of the narrative matter related to marriage themes during that period. The emphasis put on certain matrimonial situations and the related specific challenges in those days created favourable grounds for the advent of innovative narrative structures. Marriage stories have particularly contributed to orienting short stories towards the style of tragic stories and to giving birth to original novelistic forms in which the early stirrings of the style of the sentimental novel can be seen
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Rolland, Tiphaine. "Le « vieux magasin » de Jean de La Fontaine. Les Fables, les Contes et la tradition européenne du récit plaisant (XVe-XVIIe s.)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040132.

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Bien que La Fontaine ait explicitement placé ses Contes dans la lignée de grands recueils de narrations plaisantes, comme le Décaméron, les Cent Nouvelles Nouvelles ou l’Heptaméron, cette filiation assumée masque deux énigmes. La première concerne la transmission de ces modèles prestigieux jusqu’au poète ; ceux-ci ont en effet connu une diffusion européenne par le biais de compilations anonymes mal connues, agissant comme autant de filtres qu’il faut mieux évaluer. La seconde est celle de l’influence, sous-estimée, de cette production récréative multiforme sur l’autre versant de l’œuvre de La Fontaine, rédigé parallèlement aux Contes : celui des Fables. Il est donc nécessaire de confronter ces deux œuvres du poète, abordées de manière solidaire, à un corpus d’une centaine de recueils de narrations brèves à visée divertissante, écrits entre le XVe et le XVIIe siècle, pour cerner ce que les Contes et les Fables doivent précisément à cette tradition plaisante. L’enquête, fondée sur des investigations archéologiques minutieuses, conduit à mesurer, dans les textes lafontainiens, les reprises (directes ou médiatisées) de canevas facétieux, les modalités d’adaptation stylistique de cet héritage ancien, et les nouveaux mécanismes de différenciation générique entre vis comica et vis gnomica. La relation entretenue par La Fontaine avec ce patrimoine pluriséculaire, associé à une Renaissance gaillarde, permet, plus largement, de mieux comprendre les rapports ambivalents de l’âge classique avec un passé perçu comme plus rieur. Sont ainsi posés les fondements d’une esthétique de l’influence, articulant les recherches génétiques, les micro-analyses littéraires et l’histoire des représentations
Although La Fontaine claimed that his Tales were deliberately imitating some famous collections of amusing stories, such as The Decameron or French Cent Nouvelles Nouvelles and Heptaméron, two questions remain unresolved. The first one deals with how those prestigious models were passed on to the poet; little-known, anonymous compilations that both spread those narratives throughout Europe and influenced the way they were read, are to be taken into consideration in this process. The second one is about the undervalued influence of these protean entertaining texts on the other part of La Fontaine’s works, written at the same time as his Tales: the Fables. Those two works, tackled as a coherent whole, must therefore be collated to a corpus of about one hundred books collecting short, funny narratives, mainly written between the XVth and the XVIIth century – in order to define the precise debt of the Tales and Fables to this merry literary tradition. Thorough archeological investigations are the basis of this survey that determines, within La Fontaine’s texts, how the poet rewrote some jokes he knew directly or indirectly ; which stylistic devices he invented to adapt this ancient legacy ; how he renewed the way the didactic genres are differentiated from the comic ones. The view La Fontaine had of this long-aged heritage, seen as the product of a saucy Renaissance, entails a broader and better understanding of the ambiguous relations between the classic era and a past supposed to have been more cheerful. This lays the foundations of an aesthetics of influence, which links together genetic research, close-reading of literary texts and history of cultural representations
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Crous, Elsa. "L’enjeu du jeu dans Risibles amours de Milan Kundera." Thesis, 2013. http://hdl.handle.net/10210/8301.

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M.A. (French)
Milan Kundera is known for being almost obsessive in guarding his privacy, and in the manner in which he controls any translations of his writings. Despite such strictures, the works of this former exile from Czechoslovakia, who now resides in France and writes in French, have been translated and disseminated to a worldwide audience of readers. It is not only his fictional writings which have earned him kudos, but also his ventures into non-fiction, viz. literary criticism. Having April 1st as a birth date was to have a dramatic impact on Kundera, who later declared that this significant date, which is frequently associated with humorous pranks, pushed him to assume the role of philosophical fool in his writings. It is the different manifestations of games which come under scrutiny in this study, as represented in the seven short stories which make up the anthology Laughable Loves (Risibles Amours). Following an investigation of the differences between ancient and modern perception of what qualifies as ‘play’ or ‘games’, the games theories of reputed authors such as Johan Huizinga, Roger Caillois and Stuart Brown are used to form the theoretical basis of this part of the study. The research is further augmented by Eric Berne’s theory on the psychology underlying the games people play, as it manifests in interpersonal relationships. However, no study of games would be complete without investigating the dark side of play, when the game is corrupted through the actions of the players, referees or spectators, or when what starts as a battle of wills spirals into what could best be described as war games. In the pages of this anthology the reader is introduced to various characters who dare to think they can manipulate other people or events, but end up being played by those very people, or by circumstances beyond their control.
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Tessier, Hugo. "Carnaval : le discours populaire et l'art du bonimenteur chez Bonaventure Des Périers ; suivi de Propos et contes avinés." Thèse, 2015. http://hdl.handle.net/1866/12461.

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Ce mémoire de maîtrise en recherche-création explore aussi bien la teneur populaire que l'aspect proprement théâtral associés aux figures narratives que sont les bonimenteurs. À partir d'une lecture critique des Nouvelles récréations et joyeux devis (1558) de Bonaventure Des Périers, le volet essai du mémoire tente de cerner quelle est la posture particulière que présente ce narrateur bonimenteur de la Renaissance française. Nous avons cette fois tenté de voir comment ce discours employé par Des Périers, grâce à une stylistique et une structure discursive qui lui sont propres, participe de la figure du bonimenteur s’adressant au lecteur comme il le ferait sur une place publique, usant de cette posture pour jouer avec son lecteur, grâce à des effets paradoxaux de rapprochement et de mise à distance. Cette façon ludique de se mettre en valeur propre aux bonimenteurs aura des échos jusque dans le volet création du mémoire. Propos et contes avinés est un recueil de nouvelles inspiré de la tradition boccaccienne dans lequel des protagonistes se racontent des histoires pour convaincre leurs interlocuteurs du bien-fondé de leur position. S’y juxtapose aussi bien la parole dialoguée (dans les « propos ») que la parole narrative (dans les « contes »), dans une atmosphère carnavalesque.
This master’s thesis in research/creation explores the popular scope as well as the theatrical aspect associated with the narrative figures that are the pitchmen. Following a critical reading of the Nouvelles récréations et joyeux devis (1558) from Bonaventure Des Périers, the essay portion of the thesis attempts to identify the particular posture presented by the pitchman narrator from the French Renaissance. We have attempted to illustrate how this discourse used by Des Périers, through his particular stylistic and discursive structure, partakes in the pitchman figure who addresses the readers directly as he would do in the public square and uses this posture to play with them, using paradoxical effects of proximity and detachment. This playful manner through which the pitchmen distinguish themselves will fin echoes in the creation portion of this thesis. Propos et contes avinés is a collection of short stories inspired by the boccaccian tradition in which the protagonists tell stories in order to convince their listeners of the validity of their opinions. Their dialogue (the discourse) is juxtaposed with narrative (the tale) in a carnivalesque atmosphere.
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Mundevová, Lenka. "Překlad prostředků mluvenosti v beletrii. Stoletá historie překladu Maupassantovy povídky Ivrogne." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-352093.

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Lenka Mundevová Translation of Colloquial Language Devices in Fiction: A Century of Maupassant's Ivrogne in Czech Translation Abstract The dissertation compares the stylization of the dialogues in the French original of Maupassant's short story Ivrogne (The Drunkard), written in 1884, with five Czech translations published between 1902 and 1997. The comparative analysis is focused on the devices of colloquial language, including dialect, which appear frequently in the dialogues of the story and prove to be extraordinarily useful when interpreting Maupassant's text. The analysis of the excerpted material is preceded by the description of the basic characteristics of colloquial French and Czech, followed by the description of their stratifications. The mutual relation of the colloquial language varieties is an important prerequisite for the evaluation of the translations of colloquial language devices and their appropriateness in the individual Czech versions of Ivrogne. The paper also deals with the development of Czech aesthetic translation standards and their relation to the standard of local fiction, outlining the important tendencies of Czech fiction translation applied when colloquial devices were conveyed from French to Czech during the specified timeframe. The individual language devices used in the...
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Books on the topic "Short stories, Togolese (French)"

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Si le village m'était conté ...: Contes. Lomé: Les Éditions Graines de Pensées, 2013.

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Thomas, Hardy. Collected short stories. London: Papermac, 1989.

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Thomas, Hardy. Collected short stories. London: Macmillan, 1988.

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Thomas, Hardy. Selected short stories. London: Senate, 1995.

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King, Stephen. Short Stories/Nouvelles. Paris, France: Pocket, 1990.

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Simenon, Georges. Maigret's pipe: Eleven Short Stories. Bath, England: Chivers Press, 1988.

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Dao, Bernadette. La dernière épouse: Recueil de nouvelles. Abidjan, Côte d'Ivoire: EDILIS, 1997.

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Palermo, Lynn E., and Judy Celli. An anthology of nineteenth-century French short fiction. Newark, Del: Moliè & Co., 2011.

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Thomas, Hardy. The short stories of Thomas Hardy. Poole: New Orchard, 1986.

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Godenne, René. Bibliographie critique de la nouvelle de langue française (1940-[1985]). Genève: Libr. Droz, 1992.

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Book chapters on the topic "Short stories, Togolese (French)"

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Pasco, Allan H. "On Defining Short Stories." In The Nineteenth-Century French Short Story, 1–17. Routledge, 2019. http://dx.doi.org/10.4324/9780429319006-1.

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"Social Hierarchies in the Short Stories of Joseph Zobel." In Perspectives on Culture and Politics in the French Antilles, 89–99. Modern Humanities Research Association, 2018. http://dx.doi.org/10.2307/j.ctv16km0fp.13.

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"French translations of Munshi Premchand’s short stories: a critical enquiry." In Premchand in World Languages, 132–40. Routledge India, 2016. http://dx.doi.org/10.4324/9781315616698-14.

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Malinovich, Nadia. "Jewish Literature in France 1920–1932." In French and Jewish, 162–200. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113409.003.0008.

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This chapter covers a set of concerns surrounding the emergence of a modern Jewish literature in the French language. It explains what the novelty of a few maverick intellectuals in the pre-war years that became a recognized genre of writing in the 1920s. It identifies Jewish writers who began to publish novels, plays, poems, collections of folklore, and short stories about different aspects of Jewish life and the issues of assimilation and acculturation in modern society. The chapter discusses Jewish literature in translation that comprised important components of literary renaissance. It also details how French readers were introduced to the world of east European and North African Jewry through novels and short stories written in French by writers who had migrated to France.
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Lamy-Vialle, Elisabeth. "Foreign Languages and Mother Tongues: From Exoticism to Cannibalism in Katherine Mansfield’s Short Stories." In Katherine Mansfield and Translation. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474400381.003.0008.

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This chapter discusses the way Katherine Mansfield uses the French language in her short-stories, and specifically in the stories set in France. Mansfield does not only use the French language as a semiological tool but confronts English-speaking readers with a foreign language that constantly interacts with their mother-tongue, imposing on them the Other’s tongue – Derrida’s ‘monolingualism of the Other’. She opens up an in-between space in which the two languages are questioned and unsettled, a process echoing the ‘becoming-other of language’ described by Deleuze. This chapter examines how the tension between English and French reaches a climax in the schizophrenic process at work in ‘Je ne Parle pas français’; language becomes, between the English and the French characters, a ‘cannibal-language’, the aggressive appropriation of the Other through his/her language in order to leave him/her speechless and powerless.
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Gloag, Oliver. "6. Camus and Algeria." In Albert Camus: A Very Short Introduction, 86–101. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198792970.003.0006.

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Camus was always ambivalent about colonialism in Algeria and this ambivalence greatly affected him. Camus pushed for more rights to be granted to Algerians after the war, but stopped short of asking for voting rights for all. Camus was to be the advocate for peace and compromise, with one objective in mind: for Algeria to remain French. ‘Camus and Algeria’ considers how the long-repressed colonial reality began slowly to emerge in Camus’s fiction, until it eventually took centre stage. It discusses The Exile and the Kingdom, a collection of short stories that was the last of Camus’s fiction published in his lifetime, and his posthumous novel, The First Man.
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Harchi, Kaoutar, Jenny Money, Kathryn Kleppinger, and Laura Reeck. "Banlieue Writers: the Struggle for Literary Recognition Through Collective Mobilization." In Post-Migratory Cultures in Postcolonial France, 44–59. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0003.

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This chapter focuses on processes of social categorization used in the French literary field to define authors born in France to postcolonial immigrant parents. In 2007, the collective 'Qui fait la France?' released a volume of short stories called Chroniques d’une société annoncée, prefaced by its manifesto that was also released to the popular press. Composed of authors self-identifying as having 'mixed identities', the collective aimed through the publication of their manifesto and short stories to transform French literature through narrating and recognizing the unique histories, suffering, and aspirations of ethnically diverse populations. Meanwhile, its reception demonstrated how judgments of artistic value for cultural production by French artists of postcolonial immigrant heritage reveal problems tied to the conditions, modalities, and process of categorizing literary production. Through a sociological reconstruction of the formal and subjective meanings that each individual (artist, journalist, publisher, producer, etc.) ascribes to his/her actions, this chapter exposes the various logics through which artistic labelling based on social criteria establishes hierarchies and categories that structure the French literary field.
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Williams, Joel. "I Had Bandini: Reading Ask the Dust in Prison." In John Fante's Ask the Dust, 193–200. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287864.003.0012.

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Williams recounts the true story of how he was well into his third decade of a 27-year-to-life prison sentence for murder when he discovered Ask the Dust. The gritty-poetic voice of the novel and its tragicomic treatment of the struggles of Arturo and Camila spoke so directly to him that his love of reading grew into a need to write, and he set to work crafting his own short stories. A serendipitous encounter with a visitor who put him in contact with Fante biographer Stephen Cooper turned into a long and transformative correspondence, mentorship, and friendship. The results: a book of short stories in French translation entitled Du sang dans les plumes, brought out in 2012 by the Paris publisher 13E Note Editions; and then, after 28 years behind bars, parole and freedom.
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Vas-Deyres, Natacha. "Jean-Claude Dunyach, Poet of the Flesh." In Lingua Cosmica, 39–51. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.003.0003.

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Jean-Claude Dunyach, born in 1957, has published more than a hundred short stories in a career of over thirty years. He belongs to a generation of contemporary French science-fiction writers that includes figures such as Roland C. Wagner, Emmanuel Jouanne, and Jean-Marc Ligny. At a time when French science fiction was struggling to explore new ways of storytelling influenced by surrealism or the Nouveau Roman, this generation has given science fiction new life by mixing a hard-science approach with the supernatural, fantasy and the fantastic, while paying glowing tributes to authors of the Golden Age of Anglo-Saxon sf: Duntach’s influences include Samuel Delany, Ray Bradbury, and more particularly, J. G. Ballard. The specificity of Dunyach consists of making metaphysical concepts tangible for the reader by giving them a symbolic substance: time itself becomes tangible as a sea of sand, stone, ashes, sea water; love stories can be petrified as semiprecious stones and worn as trophies—even the universe itself complies as a sheet of paper or a piece of cloth that can be creased. The characters in his short stories are hurt or twisted, often with cracks in their past, but they still act as links between the individual and the collective: for Dunyach, any kind of system—in particular a political one—can be defined by the way it deals with marginality. Dunyach favors an individual point of view for a better detection of the system’s weaknesses (cities, societies, religions, or relationships with time and death). In that respect, the most accomplished characters in his work are the “AnimalCities”: these living, extraterrestrial, city-shaped animals made of flesh and cartilage travel through space from node to node on the web of the universe. Their symbiotic liaison with humanity gradually leads humans to understand the global nature of reality.
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Ransom, Amy J. "Laurent McAllister." In Lingua Cosmica, 129–50. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.003.0008.

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This chapter introduces the work of Laurent McAllister, the collaborative pseudonym of the French-Canadian science-fiction writers Yves Meynard and Jean-Louis Trudel. It briefly situates the careers of Meynard and Trudel within the contexts of science fiction in Québec and the larger context of science-fiction and fantasy writing, surveying their collaborative oeuvre as McAllister. It then analyses how the Suprématie cycle (comprised of the novel by McAllister and several solo short stories by Trudel) presents a fictional universe best understood through the lens of Gilles Deleuze and Félix Guattari’s “rhizome.” Finally, it examines the cycle’s engagement with contemporary science fiction’s most compelling topics, transhumanism and the posthuman.
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Conference papers on the topic "Short stories, Togolese (French)"

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Амирова, Луиза Захаровна, and Тамилла Ибрагимовна Рагимханова. "FRENCH BORROWINGS IN MODERN ENGLISH LANGUAGE." In Наука. Исследования. Практика: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Июнь 2021). Crossref, 2021. http://dx.doi.org/10.37539/srp297.2021.34.22.003.

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Данная статья посвящена актуальной проблеме определения и использования французских заимствований в произведениях англоязычных писателей. В статье приводится обзор видов французских заимствований. Рассматриваются особенности использования французских заимствований на примере коротких рассказов О. Генри и Грэма Грина. This article is devoted to the actual problem of the definition and usage of French borrowings in the works of English-speaking writers. The article provides an overview of the types of French borrowings. The features of the use of French borrowings are considered on the example of short stories by O. Henry and Graham Green.
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