Relevant bibliographies by topics / Voyage au bout de la nuit

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Academic literature on the topic 'Voyage au bout de la nuit'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Voyage au bout de la nuit"

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Céline, Louis-Ferdinand. "Voyage au bout de la nuit." NPG Neurologie - Psychiatrie - Gériatrie 7, no. 40 (August 2007): 47–48. http://dx.doi.org/10.1016/s1627-4830(07)91451-8.

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Collaud, Thierry. "Voyage au bout de la nuit !" Revue internationale de soins palliatifs 30, no. 1 (2015): 33. http://dx.doi.org/10.3917/inka.151.0033.

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Scheie, Timothy. "Voyage au bout de la nuit (review)." Theatre Journal 52, no. 1 (2000): 128–29. http://dx.doi.org/10.1353/tj.2000.0030.

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Artheron, Axel, and Alfred Alexandre. "Alfred Alexandre : la nuit au bout du voyage." Africultures 80-81, no. 1 (2010): 238. http://dx.doi.org/10.3917/afcul.080.0238.

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Molinié, Georges. "Du style dans Voyage au bout de la nuit." L Information Grammaticale 60, no. 1 (1994): 30–33. http://dx.doi.org/10.3406/igram.1994.3125.

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Lafont, Suzanne. "L'Afrique dans le Voyage au bout de la nuit." Littératures 32, no. 1 (1995): 105–18. http://dx.doi.org/10.3406/litts.1995.1687.

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Kaitting, Mary Lou. "Le Refuge dans « Voyage au bout de la nuit »." Études littéraires 18, no. 2 (1985): 345. http://dx.doi.org/10.7202/500704ar.

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8

DUNWOODIE, P. "Review. Guide de 'Voyage au bout de la nuit': 'Voyage au bout de la nuit' a travers les nouvelles technologies. Phalese, Hubert de." French Studies 49, no. 1 (January 1, 1995): 97. http://dx.doi.org/10.1093/fs/49.1.97.

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Latarjet, Raymond. "Voyage au Bout de la Nuit: The Beginning (1870–1951)." Photochemistry and Photobiology 65, s1 (May 1997): 106S—110S. http://dx.doi.org/10.1111/j.1751-1097.1997.tb07970.x.

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Dridi, Daïkha, and Omar Zelig. "La petite musique du voyage au bout de la nuit." La pensée de midi N° 4, no. 1 (March 1, 2001): 65–71. http://dx.doi.org/10.3917/lpm.004.0065.

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Dissertations / Theses on the topic "Voyage au bout de la nuit"

1

Leno, Sâa. "L'épisode africain dans 'Voyage au bout de la nuit' de Céline." Besançon, 2003. http://www.theses.fr/2003BESA1008.

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Cette étude porte sur l'épisode africain de 'Voyage au bout de la nuit' de Céline. Après une analyse succincte de l'univers africain où elle met un accent particulier sur la nature, le paludisme et le cadre spatio-temporel, elle débouche sur la société coloniale. Il s'agit à ce niveau, d'une approche de la stratification sociale de la Bambola-Bragamance. Elle montre que cette colonie était régie par une structure pyramidale allant du Gouverneur aux indigènes en passant par les militaires, les fonctionnaires et les commerçants. Ensuite, elle met en exergue les thèmes relatifs au colonialisme, notamment le commerce, abordé dans ses formes officielles et clandestine, la justice, la critique de l'Eglise catholique et la désagrégation des traditions africaines, avant d'élucider la fiction et la réalité dans cet épisode. Cette étude fait un rapprochement entre les expériences de Céline et l'aventure africaine du narrateur et elle aboutit au constat selon lequel il s'agit d'une transposition de l'histoire vécue par l'auteur lui-même. La transposition se situe au niveau des références relatives au cadre du récit, à l'itinéraire du narrateur, au séjour africain et l'onomastique utilisée. Enfin, elle fait une approche synthétique portant sur la représentation de la Bambola-Bragamance, la condition humaine à travers cet épisode et la coi͏̈ncidence de la publication de 'Voyage au bout de la nuit' avec les prémices du mouvement de la Négritude
This study relates to the african episode of 'Voyage at the end of the night' of Céline. After a brief analysis of the african universe whe it lays a particular stress on nature, paludism and the space framework, il leads to the colonial society. It acts on this level, of an approach of the social strtification on Bambola-Bragamance. Shows that this colony was governed by a pyramidal structure energy of the Governon to the natives While passing through the soldiers, the civils servant and the tradesmen. Then, it puts forward the topic relating to colonialism, in particular the trade, approached in its forms official and cladestine, justicen the criticism of Catholic Church and the disintegration of the african traditions, before elucading the fiction and the reality in this episode. This study makes a bringing together between the experiments of Celine and the african adventure of the narrator and it leads to the report according to which it is about a transposition of the history lived by the author himself. The transposition is at the level of the references relatinf to the framwork of the account, with the route of the narrator, the african stay and onomastics used. Lastly, it makes a synthetic approach relating to the representation of Bambola-Bragamance, the human condition through this episode and the cincidence of the publication of 'Voyage at the end of the night' with the first steps of the movement of Negritude
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Garroux, Daniel Santos. "Passagem noturna: narração e linguagem em Voyage au bout de la nuit." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-14012013-120819/.

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Esta dissertação pretende interpretar o romance Voyage au bout de la nuit, de Louis- Ferdinand Céline, partindo de suas tensões mais elementares, cuja irradiação conduz, entre idas e vindas, a uma ampliação gradual dos termos da discussão. Tomando como ponto de partida a situação narrativa do romance, ou seja, a relação indissolúvel entre narrador e linguagem presente na obra, procura-se tensionar os procedimentos literários desencavados por meio da análise com a tradição do gênero. Em seu aspecto mais amplo, este trabalho visa explorar o caráter bifronte do romance. Tal como a imagem de Janus, Voyage au bout de la nuit se volta, ao mesmo tempo, para o futuro e para o passado: aparece como o último representante de uma linhagem subterrânea de obras cuja origem remonta a Rabelais e como o inaugurador de uma forma romanesca bastante original, profundamente ancorada na realidade de seu tempo.
The aim of this dissertation is to interpret the novel Voyage au bout de la nuit, by Louis-Ferdinand Céline, starting from its most elementary tensions, whose irradiation leads, in its backward and forward movements, to a gradual enlargement of the terms of discussion. Taking the novels narrative situation as a starting point, that is to say, the indissoluble relation between narrator and language present in the text, well try to compare the literary procedures, uncovered by means of the analyses, with the tradition of the genre. Such as the image of Janus, Voyage au bout de la nuit turns, at the same time, to the future and the past: It appears as the last representative of an underground lineage of works, whose origins date from Rabelais, and as the founder of a very original novel form, deeply anchored in the reality of its time.
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3

Money, Chloé. ""Le Cadavre encerclé", un voyage au bout de la nuit de Kateb Yacine." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30060.

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En 1954, lorsque Kateb Yacine publie Le Cadavre encerclé dans la revue Esprit, le metteur en scène Jean-Marie Serreau s’enthousiasme pour ce texte. Jean-Marie Serreau est alors un acteur très important de l’avant-garde théâtrale, qui mène une recherche esthétique et politique. Il est alors en train d’œuvrer à ce que la critique appellera plus tard le théâtre de la décolonisation. Le texte, publié dans une revue militante, mis en scène par un homme de théâtre engagé, représenté à Bruxelles lors d’une soirée très ouvertement politique, est d’emblée interprété comme un texte de militant. Pourtant, une étude de ce texte par le biais d’une approche sociocritique, en le confrontant à la production littéraire face à laquelle Kateb Yacine va se positionner ainsi qu’au discours ambiant, permet de porter un autre regard sur ce texte. À la lumière des archives de l’auteur, de sa production littéraire de jeunesse, systématiquement occultée par la critique, il apparaît que le texte relève plutôt d’un geste créateur typiquement romantique, dans la lignée des poètes romantiques qui furent les modèles de Kateb Yacine. Le texte est investi d’un matériau autobiographique très important, qui va être totalement occulté au moment de la réception du texte : en 1954, en plein commencement de la guerre d’Algérie, ce n’est pas un poète lyrique que les milieux littéraires réclament, mais un auteur militant. Les travaux de Jérôme Meizoz sur la notion de posture permettent de cerner les stratégies que Kateb a peu à peu élaborées pour négocier son apparition sur la scène littéraire. Le matériau autobiographique de l’œuvre, quant à lui, tentera de ressurgir au cours de la collaboration entre Kateb Yacine et Jean-Marie Serreau, pour finalement réapparaître dans la dernière œuvre de Kateb. Cette pièce sur la vie de Robespierre, Le Bourgeois sans-culotte, devient alors une pièce testamentaire, une cérémonie d’adieux de Kateb Yacine
When Kateb Yacine publishes Le Cadavre encerclé in the review Esprit, in 1954, Jean-Marie Serreau praises this text immediately. At this time, Jean-Marie Serreau was a famous stage director and a very important pioneer of the dramatic avant-garde. His researches were both aesthetic and political at the same time. When he discovered Kateb Yacine, he was working on a very special kind of theatre, with the critics called the decolonisation theatre. Kateb’s text was published in a militant review, put on stage by someone who was an activist and performed in Brussels as part of a militant event : the text is immediately interpreted as militant itself. But a different analysis method – the sociocritical one – enables us to promote a different point of view. Studying how the text faces the contemporary litterary production makes appear how the writer tries to invent his position. The writer’s archives, his youth poems and letters, help us to understand that he does not write as a militant writer but as a romantic one – his models are XIXth century writers. The text shelters an important autobiographical material, which is condamned to be denied by the critics : in 1954 the war starts in Algeria, and the litterary circles do not want a lyrical poet but a commited writer to claim for decolonisation. Jérôme Meizoz’ works on the position concept enables us to stydu how Kateb Yacine constantly negociated the image he was assimilated to in this circles, his identity and position as a writer. Concerning the autobiographical material, Kateb Yacine will try to make it reappear all through his collaboration with Jean-Marie Serreau. It will finaly reappear in Kateb’s last play, Le Bourgeois sans-culotte. Originaly dedicated to Robespierre’s life, the play becomes Kateb’s testimony
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Miguel, Regina Lima Dantas. "Voyage au bout de la nuit, Louis-Ferdinand Céline: o itinerário de uma viagem." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-16112010-114128/.

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Voyage au bout de la nuit, do escritor francês Louis-Ferdinand Céline, obteve uma grande repercussão nos círculos literários e junto ao público em 1932, ano de seu lançamento. Por uma linguagem popular e virulenta até então ausente da literatura francesa e pela violência com que seu herói Ferdinand Bardamu denunciava as injustiças da sociedade, o livro de estréia de Céline causou um forte impacto e, até hoje possui um lugar à parte no cenário literário. Um dos fatores responsáveis por esse impacto seria sem dúvida, a inovação perpetrada à língua francesa uma vez que seu autor pretendia renová-la a partir da linguagem oral e popular. O romance apresenta um duplo movimento de protesto: a denúncia virulenta de seu protagonista e o golpe desferido no âmago da língua literária acadêmica. Grande parte de sua repercussão, deveu-se em larga escala a essa escolha lingüística considerada inovadora e revolucionária para os padrões da época. A invenção de Céline de escrever como se fala seria uma espontaneidade aparente, pois, seu estilo nada tem de natural, ao contrário, é artifício, resultado de um longo trabalho. Se a escolha de uma língua criada a partir de tal registro escandalizou os leitores de sua época, hoje em dia, o impacto do romance decorre nem tanto da linguagem e mais da violência com que Bardamu se refere a seus semelhantes. Gostaríamos no presente trabalho de esboçar uma análise das duas forças do texto - o estudo da escritura e do universo criados por Céline. A abordagem de sua viagem nos conduziria à percepção de um mundo criado a partir de uma dimensão onírica, pois uma viagem imaginária é anunciada desde a epígrafe do romance: Nossa viagem, a nossa, é inteiramente imaginária. A viagem ao fim, ao fundo da noite empreendida por Céline teria a acepção do caminho lento e gradual para a morte. O mergulho dentro de tal universo nos remeteria também à porção autobiográfica sugerida na obra celiniana, visto que os itinerários de Bardamu e de Céline seriam convergentes. Enfim, esse estudo nos permitiria refletir sobre o uso de uma língua construída sobre um código oral-popular dispositivo utilizado pelo autor para introduzir na linguagem escrita a emoção do falado.
Journey to the end of the night (Voyage au bout de la nuit), by the French author, Louis- Ferdinand Celine, caused a stir in literary circles and the public at large when it was launched in 1932. Its vitriolic tone and the popular idiom in which it was written were quite unprecedented, as was the vehemence with which Ferdinand Bardamu decried social injustice. This, the first book written by Celine, created a huge impact and until today continues to occupy an important place in the world of literature. The authors intention to breathe new life into the French literary canon by introducing the popular idiom into the written language was, without doubt, one of the factors behind this impact.The form of protest adopted by the novel is two-pronged: alongside the vehement denunciation of an absurd world, was the blow which was aimed at the very heart of academic literary language. There can be no doubt that the vast resonance created by the work is the result of this choice of language, which was considered to be both innovative and revolutionary when judged by the standards of its time.Today, Celines invention of writing the way we speak, has a particular air of spontaneity, which would have been lost, had the author instead resorted to the artifice of a more elaborate style. If the choice of language set off a wave of resounding scandals at the time, nowadays it is not the language, but rather the violent manner in which Bardamu refers to his peers that creates a similar impact upon contemporary readership. The purpose of this study is therefore to examine the two driving forces behind the text: the writing and Celines universe. The manner in which the voyage is approached leads to the perception of a world wrought from a dreamstate dimension, since it is an imaginary voyage which is announced in the foreword of the novel. This journey of ours is entirely imaginary. The journey to the nights end, undertaken by Celine has the sense of a slow and deliberate journey towards death. Once immersed in this universe, we are led to a place where the itineraries of Bardamu and Celine converge, suggesting strong autobiographical associations. Finally, this analysis allows us to reflect on the usage of a language constructed upon the code of a popular idiom, a mechanism used by its creator to introduce the paradox of emotive reasoning expressed in the popular idiom, into the written language.
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Ghesmatitabrizi, Vahid. "Une approche sociocritique de" Voyage au bout de la nuit" de Louis Ferdinand-Céline." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2107.

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Ce travail suit un objectif : montrer et démontrer le fait que dans le dit du texte tout n’est pas dit. Le voyage du personnage sur trois continents et la structure propre à l’écriture romanesque d’ordre épisodique contribuent à la distorsion de l’hégémonie d’un seul discours. A ceci, il faut ajouter la fragmentation de l’espace qui, comme procédé à la fois esthétique et stratégique, permet au romancier d’échapper à l’emprise discursive d’une idéologie qui se veut ubiquitaire. Ce travail envisage le narrateur, non comme une altérité constituée, mais comme une figure composite faite des pensées hétéroclites du romancier. Elle recèle une grande réserve de contradictions. Nous tentons de reconnaître dans le texte les intermittences du dire et du silence : des éléments hétérogènes qui se déploient sur une grille de nuances entre l’aliénation, le dégoût et la poésie.De la même manière que l’espace vacille entre la poésie et le monde prosaïque, les pôles sémantiques du texte, esthétiques et idéologiques, changent de frontières. Des unités sémantiques se transforment en des altérités glissantes qui tendent à échapper au procédé de conceptualisation. À la différence de toute approche critique idéaliste qui prétend à atteindre le sens absolu de l’objet en essayant de fusionner l’œuvre et la vie, nous montrons comment le sens esthétique suit son chemin de crête, demeure funambulesque. Nous abordons le concept de l’hétérogénéité non comme un concept purement esthétique qui caractérise la trame de l’écriture célinienne, mais comme un esprit sous-jacent à l’univers intellectuel de l’auteur. Par le recours aux divers procédés, le style de Céline illustre le vacillement de l’agencement sémantique entre l’aliénation et la libération, entre l’engagement et le désengagement, entre l’affirmation et le dénigrement
This work follows an objective: to show and to demonstrate the fact that in the said of the text everything is not said. The journey of the character on three continents and the structure of episodic novel writing contribute to the distortion of the hegemony of a single discourse. To this must be added the fragmentation of space which, as a process both aesthetic and strategic, allows the novelist to escape from the discursive grasp of an ideology that claims to be ubiquitous. This work envisages the narrator, not as a constituted otherness, but as a composite figure made up of the heterogeneous thoughts of the novelist. This figure contains a great reserve of contradictions. We try to recognize in the text the intermittencies of saying and of silence: heterogeneous elements which unfold on a grid of nuances between alienation, disgust and poetry.In the same way that space vacillates between poetry and the prosaic world, the semantic poles of the text, aesthetic and ideological, change borders. Semantic units are transformed into slippery alterity that tend to escape from the process of conceptualization. Unlike any idealistic critical approach which claims to reach the absolute meaning of the object by trying to merge work and life, we show how the aesthetic sense follows its crest path. We approach the concept of heterogeneity not as a purely aesthetic concept that characterizes the framework of Celine's writing but as a spirit underlying the Celinian intellectual universe. Through the use of various methods, Céline's style illustrates the semantic vacillation between alienation and liberation, between commitment and disengagement, between affirmation and denigration
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Chtcherbakova, Olga. ""Voyage au bout de la nuit" de L. -F. Céline : traduction et réception en Russie." Paris 4, 2009. http://www.theses.fr/2009PA040065.

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Toute traduction est datée : elle reflète son époque et nous renseigne sur le profil des lecteurs pour lesquels elle est réalisée. Le système de codes esthétiques dans lequel apparaît l’œuvre change, la réputation de l’auteur est faite, le contexte politique n’est plus le même : une retraduction s’impose. Le destin réservé au premier roman de Louis-Ferdinand Céline en Union soviétique est révélateur à cet égard. En 60 ans, trois traductions russes de Voyage au bout de la nuit virent le jour : la première fut réalisée par Elsa Triolet (1934), la deuxième est signée Jurij Korneev (1994) et la plus récente est le fruit d’une collaboration entre Alexandra Junko et Jurij Gladilin (1995). Parmi ces trois versions russes du Voyage, nous avons accordé une importance particulière à la traduction d’Elsa Triolet, contemporaine et compatriote de Céline. C’est grâce à elle que le Voyage a pu paraître juste à temps : en 1936, après la sortie de Mea culpa, sa publication en Russie n’aurait plus été possible. Remue-ménage du prix Goncourt et ironie des chroniqueurs avaient constitué l’arrière-plan de la sortie tapageuse du Voyage. Sa réception risquait d’être aussi tumultueuse en U. R. S. S. Mais les conditions étaient très différentes et, dans un pays dominé par l’idéologie, il n’y avait pour la traduction de Triolet qu’une seule issue possible : tenter de s’inscrire dans la production littéraire de ce nouveau monde soviétique. Korneev, Junko et Gladilin ignorent ce contexte de pesanteur. Venues trop tard pour le lecteur russe, leurs traductions n’avaient plus la même portée que le Voyage lors de sa parution 60 ans auparavant
A translation is rooted in its time: it reflects its birth date and gives us insight on its intended readers. When the aesthetic code changes, when the author’s reputation is made, when the political context is different, a new translation is needed. The case of Louis-Ferdinand Celine’s first novel, making its way into the Soviet Union, is significant. Three translations into Russian of the Journey to the end of the night have been published in the course of 60 years: the first by Elsa Triolet (1934), the second by Jurij Korneev (1994) and the third through the collaboration between Alexandra Junko and Jurij Gladilin (1995). We have laid emphasis on Elsa Triolet’s translation as she was Celine’s contemporary and compatriot. Thanks to her, the Journey could be published just-in-time: in 1936, after the publication of Mea Culpa, it could not longer have been authorized in Russia. Background to the tumultuous publication in France of the Journey was the Goncourt Prize and the irony displayed by the chroniclers. In the USSR, its reception was likely to be as stormy. But the situation was quite different: in a country where ideology was the key word, Elsa Triolet’s translation had to insert itself in the literary production of the new Soviet environment. Korneev, Junko and Gladilin had not to experience the same burden. But as they came too late for the Russian reader, their translations couldn’t have the same scope as the Journey when it was first published 60 years before
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Collière, Philippe. "Philosophie et roman dans "Voyage au bout de la nuit" et "Mort à crédit" de Louis-Ferdinand Céline." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37612933h.

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Collière, Philippe. "Philosophie et roman dans "Voyage au bout de la nuit" et "Mort à crédit" de Louis-Ferdinand Céline." Toulouse 2, 1988. http://www.theses.fr/1988TOU20012.

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Chopin, Sophie Hue Louise. "Regimes d'interaction entre litterature et medecine dans l'oeuvre de Louis-Ferdinand Celine, Voyage au bout de la nuit." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1406290713.

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Ferdjani, Youssef. "Le voyage intérieur dans Le tiers livre de Rabelais, Le voyage sentimental de Sterne, Au coeur des ténêbres de Conrad et Voyage au bout de la nuit de Céline." Paris 3, 2008. http://www.theses.fr/2008PA030016.

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Le Tiers livre,le Voyage sentimental,Au coeur des ténèbres et Voyage au bout de la nuit racontent des voyages dans lesquels les endroits que le personnage principal visite ont moins d’importance que les changements qui ont lieu dans sa conscience. Le voyage devient une quête du sens perdu,à travers laquelle les auteurs proposent une réflexion sur l’interprétation,la compréhension de l’autre et la possibilité d’atteindre la connaissance. Il s’agit donc de voyages intérieurs qui permettent aux personnages de mieux se connaître eux-mêmes. Ces oeuvres,qui sont modernes puisqu’elles sont influencées par différents genres,ont également une dimension philosophique et métaphysique car elles analysent la place et le rôle de l’homme dans l’univers
The Third Book,A Sentimental Journey,Heart of Darkness and Journey to the End of the Night tell the story of a journey in which the places visited by the main character have less importance than the changes taking place in his consciousness. The journey becomes a quest for the lost meaning of things,through which the authors suggest a reflection on interpretation understanding of the other and the possibility to reach knowledge. These are therefore inner journeys that allow characters to know themselves better. These works,which are modern since they are influenced by various genres,also have a philosophical and metaphysical dimension because they analyse the place and the role of man in the universe
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Books on the topic "Voyage au bout de la nuit"

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Céline, Louis-Ferdinand. Voyage au bout de la nuit. [Paris]: Futuropolis/Gallimard, 1989.

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Colmant, Bruno. Voyage au bout d'une nuit monétaire. Bruxelles, Belgique: Académie Royale des Sciences/Éditions L'Académie en poche, 2013.

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Céline, Louis-Ferdinand. Voyage au bout de la nuit. [Paris]: Gallimard, 1986.

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Combessie-Savy, Christine. Voyage au bout de la nuit: Céline. Paris: Nathan, 1993.

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Cresciucci, Alain. Céline, Voyage au bout de la nuit. [Paris]: Klincksieck, 1993.

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Céline, Louis-Ferdinand. Voyage au bout de la nuit: Roman. Paris: Gallimard, 1990.

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Guide de Voyage au bout de la nuit: Voyage au bout de la nuit à travers les nouvelles technologies. Paris: Nizet, 1993.

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Bilon, Marcelle. Étude sur Céline: Voyage au bout de la nuit. 2nd ed. Paris: Ellipses, 2007.

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-P, Damour J., ed. Louis-Ferdinand Céline, Voyage au bout de la nuit. Paris: Presses universitaires de France, 1985.

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Godard, Henri. Voyage au bout de la nuit: De Louis-Ferdinand Céline. Paris: Gallimard, 1991.

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Book chapters on the topic "Voyage au bout de la nuit"

1

Noble, Ian. "Voyage au bout de la nuit." In Language and Narration in Céline’s Writings, 22–54. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-06386-4_2.

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Heist, Walter, and Brunhilde Wehinger. "Céline, Louis-Ferdinand: Voyage au bout de la nuit." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3071-1.

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"Présence de Montaigne dans Voyage au bout de la nuit." In Réécrire la Renaissance, de Marcel Proust à Michel Tournier, 77–87. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789042028951_007.

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"(Mis)appropriating the Other’s Voice in Voyage au bout de la nuit." In Adapted Voices, 16–38. Routledge, 2017. http://dx.doi.org/10.4324/9781315097589-2.

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"The Silence of Tardi’s Illustration of Voyage au bout de la nuit." In Adapted Voices, 64–88. Routledge, 2017. http://dx.doi.org/10.4324/9781315097589-4.

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"II. Céline’s Voyage au bout de la nuit: “A Quest without any Meaning”." In The Grotesque Interface, 15–50. Vervuert Verlagsgesellschaft, 1996. http://dx.doi.org/10.31819/9783964564146-003.

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Peylet, Gérard. "Le paysage urbain crépusculaire dans Voyage au bout de la nuit et Mort à crédit." In Paysages urbains de 1830 à nos jours, 315–25. Presses Universitaires de Bordeaux, 2004. http://dx.doi.org/10.4000/books.pub.29103.

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"The Link Between Text and Image in Voyage au bout de la nuit de Céline by Tardi." In Writing and Seeing, 331–42. BRILL, 2005. http://dx.doi.org/10.1163/9789401201605_028.

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Sapino, Roberta. "Ouvrir les yeux: violence et éthique dans le Voyage au bout de la nuit de Louis-Ferdinand Céline." In I cadaveri nell’armadio, 143–62. Rosenberg & Sellier, 2015. http://dx.doi.org/10.4000/books.res.278.

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Musinova, Tatiana. "La représentation du peuple dans Voyage au bout de la nuit de Céline et dans la traduction russe par Yuriy Korneyev." In Ici et Ailleurs dans la littérature traduite, 103–15. Artois Presses Université, 2017. http://dx.doi.org/10.4000/books.apu.13478.

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