scholarly journals Kajian Ekranisasi Hautot Père et Fils Karya Guy de Maupassant

2021 ◽  
Vol 5 (1) ◽  
pp. 40
Author(s):  
Nofia Kistianingsih
Keyword(s):  
Guy De Maupassant

Penelitian ini bertujuan untuk membahas proses ekranisasi cerpen Hautot Père et Fils yang di dalamnya terdapat proses penambahan, penciutan, dan perubahan variasi. Ekranisasi adalah proses pelayarputihan. Penelitian ini merupakan penelitian kualitatif dengan analisis deskriptif. Objek penelitian ini berupa alur, penokohan, dan latar. Hasil penelitian terdapat 32 proses ekranisasi, dengan kategori aspek penciutan sebanyak 9, aspek penambahan sebanyak 7, dan aspek perubahan variasi sebanyak 15. Hasil penelitian tersebut menunjukan aspek perubahan variasi paling banyak terjadi. Perubahan variasi terbanyak pada unsur tokoh namun secara keseluruhan variasi yang dilakukan masih wajar karena tidak jauh melenceng dari penggambaran dalam cerpen. Sedangkan, pada unsur alur yang paling banyak proses ekranisasi dengan total 13. Dari  perubahan alur tersebut dalam cerpen tidak menampilkan semua latar yang ada dalam film sehingga film hanya menampilkan latar-latar yang dianggap penting dan secara keseluruhan latar yang ditampilkan dalam film sudah mewakili cerita pada setiap bagian dalam film.  Kata Kunci: cerpen, ekranisasi, film

POLIVARIABILITY OF THE BASTARD MOTIF IN THE SHORT STORIES BY GUY DE MAUPASSANT: CHARACTER IN SEARCH OF SELF-IDENTIFICATION

2018 ◽  
pp. 20-27
Author(s):  
Oksana Galchuk
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Social Institutions ◽  
Point Of View ◽  
Guy De Maupassant ◽  
Traditional Values ◽  
The Social ◽  
Role Of It ◽  
Structural Methods

The theme of illegitimacy Guy de Maupassant evolved in his works this article perceives as one of the factors of the author’s concept of a person and the plane of intersection of the most typical motifs of his short stories. The study of the author’s concept of a person through the prism of polivariability of the motif of a bastard is relevant in today’s revision of traditional values, transformation of the usual social institutions and search for identities, etc. The purpose of the study is to give a definition to the existence specifics of the bastard motif in the Maupassant’s short stories by using historical and literary, comparative, structural methods of analysis as dominant. To do this, I analyze the content, variability and the role of this motive in the formation of the Maupassant’s concept of a person, the author’s innovations in its interpretation from the point of view of literary diachrony. Maupassant interprets the bastard motif in the social, psychological and metaphorical-symbolic sense. For the short stories with the presentation of this motif, I suggest the typology based on the role of it in the structure of the work and the ideological and thematic content: the short stories with a motif-fragment, the ones with the bastard’s leitmotif and the group where the bastard motif becomes a central theme. The Maupassant’s interpretation of the bastard motif combines the general tendencies of its existence in the world’s literary tradition and individual reading. The latter is the result of the author’s understanding of the relevant for the era issues: the transformation of the family model, the interest in the theory of heredity, the strengthening of atheistic sentiments, the growth of frustration in the system of traditional social and moral values etc. This study sets the ground for a prospective analysis of the evolution the bastard motif in the short-story collections of different years or a comparative study of the motif in short stories and novels by Maupassant.

Transnational Precursors of American Realism

2019 ◽  
pp. 17-39
Author(s):  
Renate von Bardeleben
Keyword(s):  
Gustave Flaubert ◽  
Honore De Balzac ◽  
Formative Period ◽  
Guy De Maupassant ◽  
Narrative Strategies ◽  
New Techniques ◽  
Fyodor Dostoevsky ◽  
Industrial Age ◽  
The Social ◽  
American Authors

This chapter concentrates on European realist innovators—Björnstjerne Björnson, Ivan Turgenev, Leo Tolstoy, Fyodor Dostoevsky, Honoré de Balzac, Gustave Flaubert, Guy de Maupassant—and their effect on the formative period of American realism. It studies in detail the transatlantic development of new techniques and discusses the ways in which these new methods were reflected in the works of American authors and critics. Inspired by the theories and practice of their precursors, American writers felt liberated to introduce new narrative strategies to represent America’s rising urbanism, the struggles of the social classes, and the increase of social mobility in the industrial age. They also dealt with the emancipated “New Woman” and the changing relationship between the sexes. The guiding principles on which writers on both sides of the Atlantic agreed were truth, sincerity, and frankness.

Guy de Maupassant

2021 ◽  
Author(s):  
Peter Cogman
Keyword(s):  
Guy De Maupassant

Guy de Maupassant.

1927 ◽  
Vol 42 (3) ◽  
pp. 198
Author(s):  
Eunice R. Goddard ◽  
Heinrich Gelzer
Keyword(s):  
Guy De Maupassant

Certain Madness: Guy de Maupassant and Hypnotism

2011 ◽  
Vol 19 (2) ◽  
pp. 213-241
Author(s):  
Atia Sattar
Keyword(s):  
Guy De Maupassant

scholarly journals Más que naturalismo: melodrama, exceso y abandono en “La gallina degollada” de Horacio Quiroga

2015 ◽  
Vol 19 (38) ◽  
pp. 414
Author(s):  
Laura Utrera
Keyword(s):  
Guy De Maupassant ◽  
Horacio Quiroga

Este trabajo propone otra lectura del cuento “La gallina degollada” de Horacio Quiroga a través de la cual pueden plantearse los límites del naturalismo en el relato. Se parte de la lectura tradicional para advertir el ingreso de elementos vinculados con el abandono, el melodrama y el exceso. De este modo, la nota monocorde que aporta el naturalismo en el relato no alcanza a justificar la dimensión de lo narrado, no alcanza solo con pensar en el objetivo de toda ficción naturalista: demostrar el funcionamiento de las patologías sociales. El relato actualiza el horror aprehendido de Edgar A. Poe y de Guy de Maupassant (extremado al máximo), se vuelve más real y en su cruce con las páginas de crímenes y rarezas de la prensa de la época, el infanticidio que también puede leerse como una forma de abandono, se articula con una intuición retórica: el melodrama y el sensacionalismo típico de muchas de las ficciones del escritor

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