Trois scènes de bal dans le roman français (« La Princesse de Clèves », « Madame Bovary », « Le Ravissement de Lol V Stein »)

2020 ◽  
Vol 65 (2) ◽  
pp. 221-242
Author(s):  
Marius Popa
Keyword(s):  
French Literature ◽  
Gustave Flaubert ◽  
Marguerite Duras ◽  
Living Environment ◽  
The Novel ◽  
Love Stories ◽  
Royal Court ◽  
Madame Bovary ◽  
French Novel ◽  
Madame De Lafayette

"Three Ball Scenes in the French Novel (“La Princesse de Clèves”, “Madame Bovary”, “Le Ravissement de Lol V Stein”). This article aims to analyze – in a comparative manner – three ball scenes from novels belonging to leading authors of French literature (Madame de Lafayette, Gustave Flaubert and Marguerite Duras), highlighting a series of dramatic mechanisms used by novelists in the construction of such a diegetic plot. If La Princesse de Clèves describes a ball that takes place in the royal court, with all the typical scenes of the time (embodied in a real mixture of intrigue and gallantry specific to the living environment of the actors, which make the topos of the novel itself become a collective character), Madame Bovary describes, instead, a ball animated by the high society of the nineteenth century, with all the specifics of the realistic episteme (the ball becomes here an opportunity to evoke the painful contrast between different living environments, which the heroine cannot access and which causes her, consequently, to take refuge in an imaginary universe). Much closer to the spirit of contemporaneity, Le Ravissement de Lol V Stein, the famous “nouveau roman”, relies on an image of the harmful and destructive ball, paying particular attention to the psyche of the characters. These novels lean – starting from this narrative pretext of the ball – on some love stories built through specific strategies of the theatre, which is, in essence, the central object of our analysis. Keywords: ball scenes, French Novel, dramatic mechanisms, narrative pretext, love stories."

scholarly journals French Literature: From Realism to Magical Realism

2020 ◽  
Vol 8 (2) ◽  
pp. 170
Author(s):  
Ali Shahab ◽  
Faruk Faruk ◽  
Arif Rokhman
Keyword(s):  
French Literature ◽  
Magical Realism ◽  
John Locke ◽  
The Novel ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Madame Bovary ◽  
History Of ◽  
Human Thinking ◽  
Second World

The purpose of the article is to explore the evolution of French literature between the late 19th century and early 21st century. Although French literature has long been dominated by rationalistic ways of thinking, based on the thoughts of René Descartes and John Locke, authors have used different means to express their perceptions of society. The novel Madame Bovary (1856), including its depiction of conjugal relationships, can be considered to have pioneered realism in French literature. During the Second World War, existentialism and absurdism appeared as new ways of examining not only the relationship among humans, but also between humans and God. In the late 20th century, magical realism emerged as a new literary stream that explicitly recognized the irrationality of human thinking. This article finds that the rationality of realism was necessary for magical realism to be accepted; in this rationality, although works of magical realism were irrational, they had to be recognized as fine examples of French literature that embodied such revolutionary ideas as liberté (liberty), égalité (equality), and fraternité (fraternity). To study this phenomenon, we examine the history of french literature by applying archeological method in order to understand the world views of the authors and how they change over time.

The Political Reception of Michel Houellebecq’s Submission

2019 ◽  
Vol 27 (4) ◽  
pp. 615-635
Author(s):  
Karl Ågerup
Keyword(s):  
Gustave Flaubert ◽  
The Novel ◽  
Left Wing ◽  
Political Climate ◽  
Political Debate ◽  
Madame Bovary ◽  
French Writer ◽  
Liberal Group ◽  
Defence Lawyer ◽  
Practical Tool

In 2015, French writer Michel Houellebecq’s novel Submission, which depicts a future France with a Muslim president, was repeatedly cited in political discourse about Islam, French identity, and terrorism. In the year of the novel’s publication, several Islamist terrorist attacks targeted France, and Houellebecq was often named in the debate on multiculturalism, immigration and the French secularist principle of laïcité. The reception of the novel is analysed in this article, focusing on ideological argumentation and political debate. Two opposite camps can be identified in this reception structure. Interestingly, the arguments of these camps are analogous to the arguments of the prosecutor and defence lawyer in the 1857 trial of Gustave Flaubert concerning his novel Madame Bovary. One and a half centuries after that trial, questions about the reader’s moral capacity and the author’s responsibility remain at the heart of the debate. While some liberal critics praise the ambiguities of the novel, trusting the reader’s ethical faculties, other critics condemn the novel and accuse the writer of expressing dubious values. As for the ideological homes of these critics, the liberal group represents left-wing, right-wing, and uncertain ideologies, whereas the gatekeeping group largely consists of left-leaning agents. The division into two reception groups and their respective discursive patterns and practices are analysed using the Bovary trial as a basis for comparison. It is concluded that in the anxious political climate of 2015 when terror, migration, and Islam were attracting considerable attention and when the populist right was on the rise, Houellebecq’s novel functioned as a political vehicle in government-sympathetic opinion making and as a practical tool for critics who positioned themselves as safeguarding generous migration and integration policies.

scholarly journals Dullness Versus Vivacity: A Study of Gustave Flaubert’s Madame Bovary

2020 ◽  
Vol 8 (6) ◽  
pp. 35-42
Author(s):  
Himani Sharma
Keyword(s):  
French Literature ◽  
Gustave Flaubert ◽  
Literary Realism ◽  
Madame Bovary

An ideal marriage is a state of being equal in every way which is built on a healthy dose of admiration, on understanding, dedication, trust and loyalty. French novelist Gustave Flaubert has raised the same issue in his most discussed work Madame Bovary. Flaubert was most notable for being the leading exponent of literary realism in French literature. There were writers before Flaubert who tried their hands at realism but not all of them, as was the case in the work of Flaubert. The fiction Madame Bovary is a dedication to its heroine’s sentiments. Though she has been tagged, adulterous, a failed wife and failed mother, we feel pity for her. She really demands our sympathy since she was unable to achieve that eternal pleasure throughout her whole life. Her mere guilt was her sensible nature which shattered all her dreams. The present paper is an attempt to study her innocence by analysing her nature, sentiments and imagination in depth.

scholarly journals Dirt of Art in Madame Bovary

2018 ◽  
Vol 10 (2) ◽  
pp. 1025-1028
Author(s):  
Nellufar Yeasmin
Keyword(s):  
Life Experience ◽  
The Self ◽  
The Novel ◽  
Human Beings ◽  
Social Conventions ◽  
Madame Bovary ◽  
The Social ◽  
Shame And Guilt ◽  
French Novel ◽  
Poetic Justice

Flaubert’s Madame Bovary is a unique literary piece that incorporates aestheticism and witty disposure to Emma’s complex reality. The pronounced acceptance and reputation of the novel despite of a prolonged period of criticism proves that the universal appeal of this French novel lies in the artistic and tactful disclosure (in precisely calculative and measured style) of the dark secrets of a feminine mind. The fact that the English translation of this ingenious creation is so influential attests the superiority of its quality in French. The splendor of the narration overreaches the boundaries of life, experience and death and abounds in the exaltation of becoming a masterpiece. This article illustrates the features that make the manuscript so overwhelmingly “dirty” yet inviting. In course of appreciating the novel, the prospects of readers’ fascination and the author’s intentions are also evaluated from the archive of appreciations of the book. The richness of the story is imparted by the pragmatic effect of the objective correlatives in Falubert’s style and the details of the emotional intensities. This study urges to dismantle the complicated value of literature in realizing life. It also reinforces the poetic justice to prevail where art must exist for its sole sake. Emma, the centre of interest in Madame Bovary, is the ambassador of human beings who fail to achieve the mused state of their existence. Flaubert with his strokes of wisdom and dexterous artistic maneuver reveals the ultimate paradox of anarchy in the social conventions designed to annihilate the self in order to discover it. This study unfolds how the story of shame and guilt turns into an allegory of life by the writer’s magic wand.

Celebrating Lindsay Anderson's In Celebration

2014 ◽  
Vol 11 (2-3) ◽  
pp. 370-377
Author(s):  
Brian McFarlane
Keyword(s):  
The Novel ◽  
American Film ◽  
Royal Court ◽  
Television Version

On stage, Lindsay Anderson directed ten plays by David Storey, who also wrote the novel on which This Sporting Life is based. Anderson directed Storey's In Celebration both in the theatre, at the Royal Court in 1969, and on television, for the American Film Theatre in 1975. Although it focuses primarily on the television version of In Celebration, a work which is all too often neglected in critical discussions of Anderson's output, this article examines Anderson as a director for both stage and screen, and also explores the numerous significant links between Storey's and Anderson's oeuvres.

Las ideologías antagónicas de Homais y Bournisien en Madame Bovary de Gustave Flaubert

2008 ◽  
pp. 59
Author(s):  
Milagros Rojo Guiñazú
Keyword(s):  
Gustave Flaubert ◽  
Madame Bovary

<p>Homais era el predilecto lector que disfruta y cree poderosamente en la escritura de Voltaire y Rousseau, quizás por su cientificismo o tal vez porque él también es uno de los grandes rivales de la iglesia en la novela de Flaubert. Es, sin lugar a dudas, la representación parodiada, ironiz.ada, ridiculizada- del cientificismo volteriano.</p><p> </p>

Elizabeth Bowen and Eudora Welty: Selected Correspondence

2021 ◽  
Vol 51 (1) ◽  
pp. 137-161
Author(s):  
Allan Hepburn
Keyword(s):  
Jane Austen ◽  
Gustave Flaubert ◽  
Second World War ◽  
Contemporary Fiction ◽  
Eudora Welty ◽  
The Novel ◽  
Elizabeth Bowen ◽  
World War ◽  
Comprehensive Theory ◽  
Second World

Over her career, Elizabeth Bowen published ten novels, yet she left no comprehensive theory of the novel. This essay draws especially upon ‘Notes on Writing a Novel’ (1945), ‘The Technique of the Novel’ (1953), and ‘Truth and Fiction’ (1956), as well as opinions that Bowen expressed in her weekly book columns for The Tatler, to formulate her key perceptions of, and rules for, writing a novel. Bowen defined her ideas by drawing upon the empirical evidence of novels by Elizabeth Taylor, Olivia Manning, H.E. Bates, Jane Austen, Gustave Flaubert, and numerous others. She gave particular thought to ‘situation’, by which she means the central problematic or the crux of the story. The situation precedes and fuels plot. The Second World War, Bowen claimed in her essays and reviews, had a decisive influence on heroism and contemporary fiction by heightening its scale and its repertory of situations.

scholarly journals OSIP DYMOV AND CHARLES BOVARY (THE INTERTEXTUAL STRUCTURE OF CHEKHOV’S SHORT STORY THE FIDGET)

2021 ◽  
Vol 9 (3) ◽  
pp. 187-205
Author(s):  
Sergey A. Kibalnik
Keyword(s):  
Short Story ◽  
Detailed Comparison ◽  
Value Orientation ◽  
Medical Community ◽  
Her Family ◽  
Anna Karenina ◽  
Madame Bovary ◽  
Medical Scientist ◽  
French Novel ◽  
The Subject

A. P. Chekhov's short story The Fidget (1892) is an abridged hypertext of G. Flaubert's novel Madame Bovary (1856). The article undertakes a detailed comparison of the characters who occupy a similar place in the narrative and figurative system of these two works: Osip Dymov and Charles Bovary. Both of them are doctors, but Chekhov's character seems to realize the untapped potential that was laid down in the character penned by Flaubert. He is no longer a failed doctor, but a talented one, with all the qualities required to become an excellent medical scientist. Thus, Chekhov does not merely stand up for the medical community, which he is no stranger to. Thanks to this, the story of the Russian writer transforms into a polemical interpretation of the classic French novel. In Flaubert's Emma's imaginary search for the meaning of life, which explains her two adulteries in Madame Bovary, Chekhov seems rather inclined to see the selfishness and lack of responsibility that destroy her family and lead to her own death. It is not by chance that Dymov, rather than Olga Ivanovna dies as a result of her own similar behavior in Chekhov’s short story. At the same time, Chekhov's text is also a polemical interpretation of Tolstoy's Anna Karenina (1873–1877), which was created as an explicit hypertext of Flaubert's novel. In the short story, Chekhov's critical reinterpretation of these two works is clearly based on a kind of “folk” morality of the Ant from the canonical Krylov fable The Dragonfly and the Ant (1808), which is clearly referenced in the title and text of the story. The intertextual structure of Chekhov's story is examined in the article primarily as a system of its pretexts, some of which relate to it in unison, and others-dissonantly. At the same time, the former are the object of polemical interpretation, while the latter are the subject of stylization and value orientation.

scholarly journals O suicídio de Emma Bovary: Considerações sobre o morrer na obra de Gustave Flaubert

2018 ◽  
Vol 12 (42) ◽  
pp. 13-21
Author(s):  
Pedro Walisson Gomes Feitosa ◽  
Fábio Gomes de Oliveira
Keyword(s):  
Gustave Flaubert ◽  
Madame Bovary

Este artigo parte da análise literária e psicossocial sobre o suicídio, utilizan­do como objeto de estudo a personagem Emma Bovary, da obra-prima de Gustave Flaubert, publicado em 1856, na França. Designado como precursor da escola literária do realismo, Flaubert desenhou uma personagem com uma série de nuances que representam dignamente os costumes burgueses europeus da segunda metade do século XIX, bem como transparecem o lugar reservado à mu­lher neste contexto cultural. O realismo apre­sentado em Madame Bovary tornou o romance bastante discutido no decorrer dos séculos. Quan­do publicado em pleno século XIX, a obra erou impactos por toda sociedade, sendo proibida sua publicação na época. Entretanto, a história desenhada minuciosamente por Flaubert sustenta-se atual, pois refere-se tanto ao matar a si como refúgio de uma vida massacrante, como ao enigma da feminilidade ao longo da história, ambas percepções atemporais.  

scholarly journals Lykken i tilbagetrækningen

2016 ◽  
Vol 44 (121) ◽  
pp. 101-114
Author(s):  
Michael Høxbro Andersen
Keyword(s):  
19Th Century ◽  
French Literature ◽  
Modern Concept ◽  
The Novel

The concept of happiness becomes of great political importance in France during the Great Revolution. But 19th century French literature will question the possibility of producing a truly modern happiness through society. Withdrawing from post-revolutionary society then becomes a topos of the novel. As I argue in my paper, this is the case in the novels of Stendhal in particular. Inspired by Jean-Jacques Rousseau’s modern concept of otium, Stendhal articulates an opposition between an attitude that is strategic and histrionic, and a withdrawal into contemplation, with only the latter procuring any happiness: a happiness of sensation.

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