scholarly journals “Don Luis had never been up in an aeroplane” (Maurice Marie Émile Leblanc before 1905)

2021 ◽  
Vol 27 (1) ◽  
pp. 110-116
Author(s):  
Kirill A. Chekalov
Keyword(s):  
Short Stories ◽  
Gustave Flaubert ◽  
Guy De Maupassant ◽  
Belle Epoque ◽  
Potential Influence ◽  
Belle Époque

Some of the works of Maurice Leblanc are considered in the article, who is one of the creators of the French classic detective, written between 1890 and 1905 (before the publication of the first novel about the adventures of "gentleman-cambrioleur" by Arsène Lupin). The influence of Henri René Albert Guy de Maupassant and Gustave Flaubert is combined with an appeal to Breton legends and erotic motives popular in the “Belle Époque”. The image of a bicycle, a car and the cult of speed associated with them, anticipating the plot dynamics of Lupinian in these works is analysed. On the example of Leblanc's short stories, published in a number of newspapers in the mid-1890s to early 1900s, the gradual maturation of criminal narrative in his work is shown. Among the problems raised in the article – Leblanc's reaction to the ideas of anarchism and the potential influence on the image of Arsène Lupin of the personality of the famous anarchist Marius Jacob as well as the influence of the work of Ernest William Hornung (the creator of the character of A. J. Raffles, the "Amateur Cracksman").

From Grisette to Midinette

Working Girls ◽  
2019 ◽  
pp. 16-58
Author(s):  
Patricia Tilburg
Keyword(s):  
Nineteenth Century ◽  
Short Stories ◽  
Popular Culture ◽  
Turn Of The Century ◽  
Small Scale ◽  
Cultural Significance ◽  
Belle Epoque ◽  
Garment Workers ◽  
Small Scale Industry ◽  
Belle Époque

This chapter examines the early nineteenth-century grisette as a literary type, and traces her reappearance on the cultural scene as a figure of nostalgia at the turn of the nineteenth century. By the turn of the century, the grisette of the 1830s and 1840s still regularly appeared throughout French popular culture as a sign of heightened romantic longing for a lost Paris, a France of small-scale industry, sentiment, and elegance. She was frequently conflated with contemporary garment workers, tethering living belle époque workingwomen to a figure of literary wistfulness. Parisian garment workers were repeatedly cast in the mold of a pleasing throwback, a woman at once thoroughly embedded in the modern Parisian landscape and yet, also, out of time, carrying within her the essence and soul of a lost or endangered France. The most popular grisette at the turn of the century was Musset’s Mimi Pinson, who was featured in songs, poems, postcards, ballet, vaudeville shows, short stories, novels, and films. This chapter also develops a physiognomy of the grisette’s belle époque descendant, the midinette, a modernized version of the type, and inheritor of both the grisette’s cultural significance and her limitations. From strike reportage to pulp novels to monuments, the Parisian garment worker found eroticized and socially useful shades of herself promoted around her city and nation in these years, shades which more often than not moved backward in time to the grisette of the 1830s and 1840s.

The Many Voices of Lydia Davis

2016 ◽  
Author(s):  
Jonathan Evans
Keyword(s):  
Short Stories ◽  
Marcel Proust ◽  
Gustave Flaubert ◽  
Maurice Blanchot ◽  
Literary Production ◽  
American Writer ◽  
Michel Leiris ◽  
The Many

The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker International Prize 2013, Davis writes innovative short stories that question the boundaries of the genre. She is also an important translator of French writers such as Maurice Blanchot, Michel Leiris, Marcel Proust and Gustave Flaubert. Translation and writing go hand-in-hand in Davis’s work. Through a series of readings of Davis’s major translations and her own writing, this book investigates how Davis’s translations and stories relate to each other, finding that they are inextricably interlinked. It explores how Davis uses translation - either as a compositional tool or a plot device - and other instances of rewriting in her stories, demonstrating that translation is central for understanding her prose. Understanding how Davis’s work complicates divisions between translating and other forms of writing highlights the role of translation in literary production, questioning the received perception that translation is less creative than other forms of writing.

Revue Franco-Brésilienne (Rio de Janeiro, 1898) Uma aventura parnasiana na Belle Époque tropical

2020 ◽  
Vol 9 (1) ◽  
pp. 94-125
Author(s):  
Valeria Guimarães
Keyword(s):  
Rio De Janeiro ◽  
Belle Epoque ◽  
Belle Époque

O artigo é um estudo sobre a Revue Franco-Brésilienne publicada em fins do século XIX no Rio de Janeiro e que reuniu nomes expressivos da intelectualidade da época. O objetivo desse artigo é analisar um dos periódicos literários que tinha como proposta explícita a cooperação binacional. A análise está focada no papel de alguns de seus editores e colaboradores na consolidação desses vínculos e na constituição de um campo cultural e literário do início do século XX sob uma perpectiva transnacional.

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.

Le Paris des Ottomans à la Belle Époque

2004 ◽  
Vol 10 (1) ◽  
pp. 109-120
Author(s):  
Klaus Kreiser
Keyword(s):  
Belle Epoque ◽  
Belle Époque
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