scholarly journals Un Mousquetaire du journalisme: Alexandre Dumas, dir. S. Mombert et C. Saminadayar-Perrin

2021 ◽  
pp. 387-389
Author(s):  
Angels Santa
Keyword(s):  
Alexandre Dumas

Caligula, tyran dérisoire dans le Caligula d’Alexandre Dumas

2020 ◽  
Vol 65 (2) ◽  
pp. 73-95
Author(s):  
Rémy Poignault
Keyword(s):  
Roman Emperor ◽  
Alexandre Dumas ◽  
Literary Sources ◽  
The One

"Tyranny and Derision in Alexandre Dumas’ Caligula. This paper studies the character of Caligula in Alexandre Dumas’ Caligula (1837) in comparison with the image left by the Roman emperor in ancient literary sources. Dumas highlights a tyrannical regime based on denial and flattery, shows the emperor as a tyrannical lover and mocks aspirations to the divinity of the one who takes himself for Jupiter, but is afraid of thunder, who wants to be the master of the destiny of all, but doesn’t master his own, falling under Messalina’s machinations. Keywords: Latin historiography, drama, destiny, machinations, tyranny."

scholarly journals Andalucía en imágenes: un viaje en el tiempo

2014 ◽  
Vol 1 (1) ◽  
Author(s):  
Mª Elena Baynat Monreal
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Selection Criteria ◽  
Tourist Attractions ◽  
Alexandre Dumas ◽  
Siglo Xix ◽  
Different Sources

ABSTRACTWe propose a trip along time in three centuries -from the 19th to the 20th century- through the image of Andalusia exported to the travelers in different support media, according to the epoch chosen: etchings in white and black, colour drawings, and paper and digitalised photographs. With this aim in mind we will make a comparative analysis between the illustrations appearing in the French Travel story about Spain by Alexandre Dumas (De Paris à Cadix), from 1847, the pictures and drawings from the book L’Espagne, los provinces du sud, de Séville à Cordoue, written by Octave Aubry and published in 1929, and, finally, the promotional photographs appearing in Andalusia’s official tourism webpage (http://www.andalucia.org/) in 2012. The analysis of the different sources aforementioned, examples from the first half of each century, will lead us to study some coincidences and differences in the image exported to foreign tourists in the different epochs as well as the different selection criteria of the tourist attractions or the prevalence or not of the stereotypes throughout centuries, among other aspects.RESUMENProponemos un viaje en el tiempo de tres siglos desde el siglo XIX hasta el XXI a través de la imagen exportada de Andalucía a los viajeros en diferentes soportes, según la época elegida: grabados en blanco y negro, dibujos en color y fotos en papel o digitalizadas. Para ello realizaremos un análisis comparativo entre las ilustraciones aparecidas en el relato de viajes francés sobre España de Alexandre Dumas (De Paris à Cadix) de 1847; las fotos y los dibujos del libro L’Espagne, los provinces du sud, de Séville à Cordoue escrito por Octave Aubry y publicado en 1929; y, para finalizar, las fotos promo-cionales aparecidas en la página web oficial de turismo de Andalucía (http://www.andalucia.org/) en 2012. El análisis de estas diferentes fuentes citadas, ejemplos de la primera mitad de cada siglo, nos servirá para estudiar algunas coincidencias y diferencias en la imagen exportada a los turistas extranjeros en las diferentes épocas así como los diversos criterios de selección de los atractivos turísticos o el mantenimiento o no de los estereotipos a lo largo de los siglos, entre otros aspectos.

scholarly journals Alexandre Dumas’s Works in the Art of Alexandre Benois

2019 ◽  
Vol 16 (2) ◽  
pp. 184-195
Author(s):  
Anna E. Zavyalova
Keyword(s):  
Formal Analysis ◽  
Creative Work ◽  
Court Culture ◽  
Louis Xiv ◽  
Artistic Process ◽  
Alexandre Dumas ◽  
Literary Source ◽  
Literary Sources ◽  
History Of ◽  
Louis Xv

The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The re­levance of this article is determined by this fact. The scientific novelty of this article lies in revea­ling new literary sources of creative work of A. Benois — Dumas’s novels “Joseph Balsamo (Doctor’s Notes)” (1846—1848), “Louis XIV and his Century” (1844), “Louis XV and his Epoch” (1849) — and determining parallels between them and art practice of the artist: painting, graphics and art of book. The author analyses content of the ar­tist’s memories, his literary works, diaries, as well as diaries by E. Lanceray, and complements these information details by a comparative textological analysis of Benois’s memoirs and Dumas’s no­vels in Russian translations. This method allows to deepen the formal analysis of A. Benois’s works (primarily the two Versailles series) and partially reveal the mechanism of complex figurative synthesis in the artistic consciousness at the turn of the 19th—20th centuries, on the basis of which they were created, to expand the existing perceptions about the literary sources of the artist’s creative work. The author concludes that the no­vels by Dumas “Joseph Balsamo”, “Louis XIV and his Century” had an influence on the artist’s perception of the theme of court culture and Versailles in the historical, cultural and natural aspects. It was reflected in the appeal to the plot of “fish feeding” in the late 1890s, in the formation of the images of Versailles and King Louis XIV in old age. The article also finds that the novel “Joseph Balsamo” had an influence on Benois’s creation of Trianon’s everyday image in the past. At the same time, the artist turned to the interpretation of the image of Marquise de Pompadour as “sultana” under the influence of Dumas’s novel “Louis XV and his Epoch”. In addition, the three musketeers — characters of Dumas’s novel with the same name — are placed in the drawing of the title page of Benois’s “Versailles” album. It is important that it does not come about direct illustration of the novels, but about an artistic process of creating a figurative system of images and forming the artist’s stylistics.

scholarly journals La suite à demain: gancho, folhetim e o romance-folhetim A Condesssa de Salisbury

2020 ◽  
pp. 167
Author(s):  
Luís Enrique Cazani Júnior
Keyword(s):  
Alexandre Dumas

O presente trabalho apresenta notas sobre a origem e a consolidação do folhetim como uma seção localizada na extremidade inferior dos jornais franceses. Além disso, levanta-se a constituição do romance-folhetim como uma matriz de linguagem, indicando suas fases e avaliando a construção de seus ganchos. Há uma análise narrativa seguindo Propp (2012) e Mckee (2006) do gancho do primeiro capítulo do romance-folhetim A Condessa de Salisbury (1836), escrito por Alexandre Dumas. Da alteração do tamanho da folha do papel às experimentações no espaço extra, o termo “folhetim” tornou-se sinônimo de apenas uma de suas publicações, o romance-folhetim, ainda que tenha sido um espaço de textos diversos.

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