scholarly journals o romance sob suspeita madame bovary de gustave flobert

2021 ◽  
pp. 99-118
Author(s):  
Midori Nancy Arasaki chang
Keyword(s):  
Madame Bovary

romance era um gênero sob suspeita, carecia de prestígio literário por ser qualificado como um novo gênero, que representava um perigo maior para as camadas populares consideradas mais vulneráveis à sua influência, principalmente mulheres, crianças e jovens. Portanto, um dos agravantes do caso Flaubert, que o levaram aos tribunais, é ter construído sua obra magistral na forma do romance, pois esta decisão nesse contexto constitui uma rebeldia

Amputation in fictional literature: the case of Hippolyte in Madame Bovary

VASA ◽  
2001 ◽  
Vol 30 (Supplement 58) ◽  
pp. 3-5 ◽  
Author(s):  
Kauss
Keyword(s):  
Surgical Procedure ◽  
Medical Profession ◽  
Major Amputation ◽  
Madame Bovary

In his famous novel, published in 1856, Flaubert describes the circumstances of a failed surgical procedure ending up in a major amputation. Flaubert, whose father was a physician in Rouen/France, mocks at the medical profession and its victims and proves himself to be compassionate at the same time. About his writing, he explained: "I only measure shit into doses." ("Je ne fais autre chose que de doser de la merde.")

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>

Italique et traduction : Madame Bovary en néerlandais

Équivalences ◽  
1991 ◽  
Vol 20 (1) ◽  
pp. 55-72
Author(s):  
Anita de Meijer-Concas
Keyword(s):  
Madame Bovary

Madame Bovary : Une lecture historique

1992 ◽  
Vol 41 (1) ◽  
pp. 7-19
Author(s):  
Maurice Agulhon
Keyword(s):  
Madame Bovary

Madame Bovary ou le danger des sucreries

Romantisme ◽  
1999 ◽  
Vol 29 (103) ◽  
pp. 41-51
Author(s):  
Michel Bernard
Keyword(s):  
Madame Bovary

Queries from 'Madame Bovary.'

1939 ◽  
Vol 176 (16) ◽  
pp. 280-281
Author(s):  
G. Catalani
Keyword(s):  
Madame Bovary

scholarly journals Charulata 2011: Dramatizing the Glocal

2020 ◽  
Vol 73 (3) ◽  
pp. 545-557
Author(s):  
Rituparna Roy
Keyword(s):  
Nineteenth Century ◽  
South Asian ◽  
First Century ◽  
Anna Karenina ◽  
Madame Bovary ◽  
The World ◽  
Twenty First Century ◽  
Satyajit Ray

AbstractA lonely wife in Kolkata and a bachelor in London have a virtual affair, but are forced to re-think their relationship when they discover he is her brother-in-law. Charulata 2011 is an ingenious post-millennial adaptation of Tagore’s novella, Nastanir (The Broken Nest, 1901), already immortalized by Satyajit Ray in his classic Charulata (1964). This intertextuality, especially with Ray, lends an added dimension to the film, allowing Chatterjee to contrast two modernities in Bengal – the colonial and glocal – over the course of a century. Both these women gain temporary respite from their suffocating marriage through an affair, but their circumstances are vastly different. While Tagore/Ray’s heroine (like Anna Karenina, Madame Bovary and Lady Chatterley) could only bond with a man she knew, technology expands Charulata’s choice in 2011. She romances the strange and the unknown – an unseen tall dark stranger with a gift for words. While the nineteenth century Bengali heroine had to reign in her erotic impulse, her twenty-first century counterpart submits to it, though with an overwhelming sense of guilt. But there are similarities too – both are childless homemakers; have a literary sensibility; and though a 100 years apart, in both their cases, the lover eventually departs, and duty ultimately wins over passion, bringing back the duly chastened wife to the wronged husband. Charulata 2011 thus dramatizes a glocalized South Asian narrative, where the protagonist negotiates an uneasy juxtaposition of a globalized outlook on the world with the entrapment of age-old social obligations in her self.

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.

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