scholarly journals MAURICE LEBLANC - “GRANDSON OF FLAUBERT”?

2021 ◽  
pp. 84-99
Author(s):  
Kirill Chekalov
Keyword(s):  
Short Stories ◽  
Fin De Siecle ◽  
The Novel ◽  
Madame Bovary ◽  
Fin De Siècle ◽  
The City

Maurice Leblanc, Gustave Flaubert’s countryman, author of the famous series of novels and short stories about adventures of “gentleman-burglar” Arsène Lupin, from his youth had an interest in works of the author of Madame Bovary . The interest was shared by his sister Georgette Leblanc, a singer, actress and writer. This essay critically examins the early prose of Maurice Leblanc, its connections with the traditions of Flaubert and with typical for “fin de siècle” erotic prose of decadence. A special attention is paid to the novel A woman and its parallels and allusions to Madame Bovary . This essay shows the peculiarities of Leblanc’s description of Roune (against the background of a nagative perception of the city by Flaubert).

scholarly journals “Un estado de la conciencia contemporánea”: género y moral en La sirena negra de Emilia Pardo Bazán

Neophilologus ◽  
2021 ◽  
Author(s):  
Susana Bardavío Estevan
Keyword(s):  
Gender Studies ◽  
Gender Performance ◽  
Fin De Siecle ◽  
The Novel ◽  
Emilia Pardo Bazan ◽  
Sexuality And Gender ◽  
Fin De Siècle ◽  
And Gender ◽  
Emilia Pardo Bazán ◽  
Decadent Aesthetics

AbstractDespite Emilia Pardo Bazán’s prominent feminism, La sirena negra has been strangely overlooked by gender studies. When the novel was published in 1908, Gómez de Baquero judged it “non feminist” due to its superficial heroines and the centrality of its complex masculine characters. Academic studies of La sirena negra have not refuted this idea, since they have elided gender approaches to focus on its decadent aesthetics. This article argues, on the contrary, that the novel’s androcentrism can be read as a Pardo Bazan’s strategy to appropriate the patriarchal discourse and hold it responsible for national degeneration. Emilia Pardo Bazán was harshly affected by the fin-de-siècle crisis. In her opinion, Spanish decay came from a lack of solid morality. Thus, Catholic principles should be restored because they would provide the autoregulation mechanisms to regenerate and reassemble the country. Literature should show the new reality, and the French roman psychologique provided her with an appropriate model. La sirena negra sets out the problem of the moral anomie through its protagonist, Gaspar de Montenegro. The analysis of his sexuality and gender performance reveals the danger of this amoral behavior for the degeneration of society, attributed ultimately to the patriarchal order and the androcentric discourse.

scholarly journals Dracula – Hybridity and Metafiction

2018 ◽  
Vol 10 (1) ◽  
pp. 53-74
Author(s):  
Anca Andriescu Garcia
Keyword(s):  
Historical Novel ◽  
Fin De Siecle ◽  
The Novel ◽  
Clear Definition ◽  
Narrative Technique ◽  
Life And Death ◽  
Fin De Siècle ◽  
Place Of Origin ◽  
History And Myth ◽  
Good And Evil

AbstractDue to his supernatural nature, but also to his place of origin, Bram Stoker’s well-known character, Dracula, is the embodiment of Otherness. He is an image of an alterity that refuses a clear definition and a strict geographical or ontological placement and thus becomes terrifying. This refusal has determined critics from across the spectrum to place the novel in various categories from a psychoanalytical novel to a Gothic one, from a class novel to a postcolonial one, yet the discussion is far from being over. My article aims to examine this multitude of interpretations and investigate their possible convergence. It will also explore the ambivalence or even plurivalence of the character who is situated between the limit of life and death, myth and reality, historical character and demon, stereotype and fear of Otherness and attraction to the intriguing stranger, colonized and colonizer, sensationalism and palpable fin-de-siècle desperation, victim and victimizer, host and parasite, etc. In addition, it will investigate the mythical perspective that results from the confrontation between good and evil, which can be interpreted not only in the postcolonial terms mentioned above, but also in terms of the metatextual narrative technique, which converts into a meditation on how history and myth interact. Finally, it will demonstrate that, instead of being a representation of history, Bram Stoker’s novel represents a masterpiece of intergeneric hybridity that combines, among others, elements of history, myth, folktale and historical novel.1

At Home Among the Russians: The Short Stories of Olive Garnett and Katherine Mansfield

2017 ◽  
pp. 107-124
Author(s):  
Frances Reading
Keyword(s):  
Short Stories ◽  
Common Interest ◽  
Fin De Siecle ◽  
Substantial Part ◽  
Great War ◽  
National Consciousness ◽  
Katherine Mansfield ◽  
Russian People ◽  
Fin De Siècle ◽  
At Home

The purpose of this article is to incorporate the little-studied writer, Olive Garnett, into the discussion surrounding Katherine Mansfield in relation to Russian themes. Both Mansfield and Garnett had a common interest in Russia and, writing in the same literary milieu, both wrote short stories about Russia and Russians. Where the interest in Russia comes from for Garnett and Mansfield forms a substantial part of this article. Both were influenced by various Russian radicals and philosophers, such as Nikolai Chernyshevsky who conceivably served to inspire the writing of both women. The context will stem from the ‘Russomania’ that took hold from the 1880s onwards, culminating in the subsequent fin-de-siècle and post-Great War paranoias within the British national consciousness which expressed itself in the form of prejudice towards the foreign Other. It will consider the influence Russia, and Russian people, had on the style and work of Mansfield and Garnett, and in turn reveal how both writers present Russia.

Curious Intricacies: Some Versions of City Writing at the Fin de Siècle

2018 ◽  
Author(s):  
Nick Freeman
Keyword(s):  
Fin De Siecle ◽  
Fin De Siècle ◽  
The City

This Chapter surveys the range of writing about the city, and particularly about London at the time. It explains why the metropolis became such an important subject for writers, as well as showing how it consistently eluded and challenged perception, except in partial or fragmentary ways. Attention is given to the variety of writing about the city, there being, it is argued, no single or dominant urban vision.

‘In that Egyptian den’: situating The Beetle within the fin-de-siècle fiction of Gothic Egypt

2018 ◽  
Author(s):  
Ailise Bulfin
Keyword(s):  
Fin De Siecle ◽  
The Novel ◽  
Political Relations ◽  
Fin De Siècle ◽  
Genre Conventions ◽  
The Relationship ◽  
Literary Phenomenon

This chapter analyses the relationship between Marsh’s bestselling novel of Egyptian malevolence, The Beetle: A Mystery (1897), and a subgenre of Gothic Egyptian fiction which developed partially in response to contentious Anglo-Egyptian political relations. Marsh began writing his novel in 1895, the same year General Herbert Kitchener launched his famous and ultimately successful campaign to quell Islamic-nationalist rebellion in northern Sudan, then indirectly under Anglo-Egyptian control. This chapter exposes the links between the novel and colonial politics, placing The Beetle within the context of Anglo-Egyptian and Sudanese conflict, rather than broadly reading it against general imperial concerns. The chapter provides a fuller picture of both the remarkable revival of the Gothic literary mode at the fin de siècle and the society in which this literary phenomenon occurred. The chapter also reveals how Marsh’s text dramatically exceeded Gothic Egyptian genre conventions in its emphasis on pagan as well as colonial monstrosity.

The Strangely Mingled Monster

2019 ◽  
pp. 13-62
Author(s):  
Sam Wiseman
Keyword(s):  
Fin De Siecle ◽  
Fin De Siècle ◽  
Late Nineteenth ◽  
The Hill ◽  
The City

This chapter explores the ways in which London is established as the central site of Gothic modernity in literature of the late nineteenth and early twentieth centuries. It examines this literature in terms of broad movements or dynamics: the invasion of the metropolitan centre (as in Stoker’s Dracula); the conceptualization of the city as divided between dangerous and secure spaces (as in Stevenson’s Jekyll and Hyde); the pollution of those spaces by the Gothic threat (as in Machen’s The Great God Pan); and a centrifugal movement towards the suburbs (as in Machen’s The Hill of Dreams). Fin de siècle London, this chapter argues, should not be seen as an end but a beginning: it is a cultural moment in which the evolving relations between the Gothic and modernity manifest themselves in new ways of representing place.

Unfähigkeit

2013 ◽  
Vol 47 (2) ◽  
Author(s):  
Jobst Welge
Keyword(s):  
Nineteenth Century ◽  
Specific Form ◽  
Fin De Siecle ◽  
The Novel ◽  
Provincial City ◽  
Non Linear ◽  
Fin De Siècle ◽  
French Novel ◽  
The Subject ◽  
Early Novel

AbstractThe employee as a typical figure of modernity has been represented as a specific type of literary anti-hero since the nineteenth century. Italo Svevo’s early novel, Una vita (1982, A Life), is an example that is strongly related to the theme of the anti-hero in the French novel of disillusion, as well as to the fin-de-siécle concern with an incapacitated, dilettante protagonist, unable to act and live. In light of Svevo’s own misgivings about the profession of writing fiction, the novel reflects on the relation between literature and life, by way of an uprooted individual who finds himself ill at ease in the anonymous, competitive world of modernity. The subject of Svevo’s novel, the arrival of a provincial, petit-bourgeois intellectual to a semi-provincial city, may also be found in a somewhat later Brazilian novel, O amanuense Belmiro (The amanuensis Belmiro, 1937) by Cyro dos Anjos. Aside from parallels of plot, social, and geographical setting, which are grounded in the experience of modernity in different contexts, the two novels may be said to model a new kind of author-function, as well as a specific form of a non-linear, self-reflexive novel.

scholarly journals Portugal's First Queer Novel: Rediscovering Visconde de Vila-Moura's Nova Safo (1912)

2019 ◽  
Vol 4 (1) ◽  
Author(s):  
Anna M. Klobucka
Keyword(s):  
Literary History ◽  
Literary Culture ◽  
Oscar Wilde ◽  
Cultural Relevance ◽  
Fin De Siecle ◽  
The Novel ◽  
Fin De Siècle ◽  
Critical Approaches ◽  
Marginal Status

This study seeks to recover the novel Nova Safo (1912) by Visconde de Vila-Moura from the marginal status to which it has been consigned in Portuguese literary history by arguing for its momentous cultural relevance as Portugal’s first queer novel. Given the extremely limited number and scope of existing critical approaches to the text, my reading is oriented by a reparative strategy that aims, first and foremost, to remedy its precarious status as an archival object. I describe the novel's inchoate and cluttered collection of references, images, and storylines as a countercultural scrapbook of queer feeling, ruled by an antiquarian sensibility, whose structures of cohesion belong less to the realm of formal aesthetics than to the sphere of homophilic affective epistemology. Further, I chart Nova Safo's intersecting gestures of transitive embodiment—transnational, transgender, and transracial—by discussing the novel’s mournful evocation of three recently departed icons of fin-de-siècle literary culture: Oscar Wilde, Renée Vivien, and João da Cruz e Sousa.

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