scholarly journals Pour un roman français à l’américaine

2008 ◽  
Vol 43 (3) ◽  
pp. 41-54
Author(s):  
Yan Hamel
Keyword(s):  
William Faulkner ◽  
Ernest Hemingway ◽  
Richard Wright ◽  
Albert Camus ◽  
John Steinbeck ◽  
Maurice Blanchot ◽  
John Dos Passos ◽  
Jean Giraudoux ◽  
Jean Paul ◽  
Francois Mauriac

Résumé Au cours de la période de douze ans durant laquelle il a publié ses nouvelles et ses romans (1937-1949), Jean-Paul Sartre a aussi fait paraître une série de critiques littéraires et de manifestes pour l’engagement de la littérature. Dans ces critiques et ces manifestes, l’auteur des Situations accorde une place centrale au genre romanesque : cette partie de son oeuvre a été un espace où, en prenant position par rapport aux autres écrivains, Sartre a implicitement défini sa conception du genre romanesque, ainsi que les ambitions littéraires, philosophiques et politiques qu’il poursuivait par l’entremise de ses propres fictions narratives. L’ensemble des oeuvres auxquelles Sartre s’intéresse dans ses essais sur la littérature se caractérise par une stricte bipartition. D’un côté, des prédécesseurs et des contemporains français tels que Jean Giraudoux, François Mauriac, Paul Nizan, Albert Camus et Maurice Blanchot sont plus ou moins durement éreintés selon les cas. En contrepartie, des oeuvres écrites par ceux que Sartre appelle indifféremment « les Américains », c’est-à-dire, pour l’essentiel, William Faulkner, John Dos Passos, Ernest Hemingway, John Steinbeck et Richard Wright, suscitent de l’enthousiasme, reçoivent des éloges et sont considérés comme des modèles dont l’écrivain français devrait idéalement parvenir à s’inspirer. Dans cet article, l’auteur dégage la signification de cette bipartition entre oeuvres américaines et françaises et circonscrit la fonction qu’elle remplit dans le système de la critique littéraire sartrienne.

Sex, Love, and Letters

2020 ◽  
Author(s):  
Judith G. Coffin
Keyword(s):  
World War Ii ◽  
Albert Camus ◽  
Simone De Beauvoir ◽  
Gay Liberation ◽  
Betty Friedan ◽  
Private Lives ◽  
Jean Paul ◽  
French Colonial ◽  
Francois Mauriac ◽  
Feminist Movements

When this book's author discovered a virtually unexplored treasure trove of letters to Simone de Beauvoir from Beauvoir's international readers, it inspired the author to explore the intimate bond between the famed author and her reading public. This correspondence, at the heart of the book, immerses us in the tumultuous decades from the late 1940s to the 1970s — from the painful aftermath of World War II to the horror and shame of French colonial brutality in Algeria and through the dilemmas and exhilarations of the early gay liberation and feminist movements. The letters provide a glimpse into the power of reading and the power of readers to seduce their favorite authors. The relationship between Beauvoir and her audience proved especially long, intimate, and vexed. The book traces this relationship, from the publication of Beauvoir's acclaimed The Second Sex to the release of the last volume of her memoirs, offering an unfamiliar perspective on one of the most magnetic and polarizing philosophers of the twentieth century. Along the way, we meet many of the greatest writers of Beauvoir's generation — Hannah Arendt; Dominique Aury, author of The Story of O; François Mauriac, winner of the Nobel Prize and nemesis of Albert Camus; Betty Friedan; and, of course, Jean-Paul Sartre — bringing the electrically charged salon experience to life. The book lays bare the private lives and political emotions of the letter writers and of Beauvoir herself. Her readers did not simply pen fan letters but, as the book shows, engaged in a dialogue that revealed intellectual and literary life to be a joint and collaborative production.

Introduction

2019 ◽  
pp. 1-8
Author(s):  
Lisa Nanney
Keyword(s):  
William Faulkner ◽  
Ernest Hemingway ◽  
Visual Language ◽  
John Dos Passos ◽  
Lost Generation ◽  
Critical Transitions ◽  
John Howard ◽  
The U.S

In 1930, Time magazine’s cover proclaimed John Dos Passos the most important writer on the Left in the U.S., and classified him along with Ernest Hemingway and William Faulkner as one of the most important of the “Lost Generation” writers for his innovative modernist novels of the 1920s and 1930s. But by 1938 he had cut ties with leftist organizations in the U.S., begun publishing in anti-Communist journals, become estranged from leftist friends such as Hemingway and playwright John Howard Lawson, and was ostracized by leftist critics for expressing his conviction that Communism was the paramount threat to individual liberties and democracy. Thereafter, his books were often criticized as ideologically doctrinaire, their style as falling far short of his earlier achievements, which had adapted into dynamic narrative the visual devices of cinema. John Dos Passos and Cinema explores these political and critical transitions through the lens of the writer’s little-known work, much of it archival, in the medium of film itself. As a novelist, he had used film as a subject and stylistic source; as screen writer, he evolved his methods directly from the cinema’s visual language, demonstrating how potently the medium could be manipulated for political and commercial profit.

A Camus for the Common Folk

2020 ◽  
pp. 163-182
Author(s):  
Anderson Rouse
Keyword(s):  
African American ◽  
World War Ii ◽  
A Priori ◽  
Richard Wright ◽  
Albert Camus ◽  
Black Writers ◽  
Bell Hooks ◽  
American Experience ◽  
Jean Paul ◽  
The Common

After World War II, Black writers and thinkers, from Richard Wright to bell hooks, influenced by French existentialists like Albert Camus and Jean-Paul Satre, adapted existentialism as a way to explain and respond to the African American experience. In his novels, Frank Yerby displays a sophisticated awareness of philosophical ideas, especially absurdism, and theological questions, despite his insistence that his novels could not be “reduce[ed] to a morality play” (Hill, “Interview,” 212). Yerby, in addition to using fiction to debunk historical myth, develops arguments about religion—that religion is invented “nonsense,” and, therefore, not worth killing or dying for, that God, if he exists, is cruel, careless, or distant, and that morality need not hew to an a priori standard. Yerby, then, responded to religious belief and voiced a philosophical response to human suffering (though, not particularly African American suffering) that was shaped by absurdist thought.

scholarly journals BIG ART AND BIG POLITICS: WHY WINSTON CHURCHILL RECEIVED THE NOBEL PRIZE IN LITERATURE BEFORE ERNEST HEMINGWAY?

2020 ◽  
Vol 6(72) (3) ◽  
pp. 165-176
Author(s):  
A. P. Mashenko
Keyword(s):  
Ernest Hemingway ◽  
Vladimir Nabokov ◽  
Albert Camus ◽  
Nobel Committee ◽  
Boris Pasternak ◽  
Winston Churchill ◽  
Jean Paul ◽  
Number Of Factors ◽  
The World ◽  
Literary Process

The article attempts to solve one of the mysteries of the world literary process of the 20th century. The author explains the reasons for the unusual choice of the Nobel Committee, which presented the outstanding British politician Winston Churchill in 1953 with the prize in literature, preferring him to such recognized masters as Ernest Hemingway, John Steinbeck, Albert Camus, Jean-Paul Sartre, Boris Pasternak, Mikhail Sholokhov, Vladimir Nabokov, Jorge Luis Borges, Jerome Salinger.According to the researcher, the choice of the Nobel Committee was determined by a number of factors: Churchill’s undoubted literary talent, manifested, however, first of all, in historical and memoir literature; the vast artistic legacy created by Churchill in these genres; outstanding public speaking skills of a British politician; charisma and political authority of his personality, as well as the circumstances of his life.Winston Churchill’s political, literary, and journalistic heritage retains its significance today, and his participation in the 1945 Yalta Conference lends the study a geographical proximity to Crimea. At the same time, the article allows for a specific historical example to analyze the decision-making mechanisms to award the most prestigious literary prize in the world.

scholarly journals “The Mandarins”: Simone de Beauvoir’s Artistic Method

2018 ◽  
pp. 96-109
Author(s):  
Yu. V. Korelskaya
Keyword(s):  
Albert Camus ◽  
Literary Form ◽  
The Novel ◽  
Simone De Beauvoir ◽  
Inner Life ◽  
Postwar Literature ◽  
Outer Line ◽  
Jean Paul ◽  
Literary Methods ◽  
Intimate Life

Simone de Beauvoir is a representative of one of the leading philosophical schools in the middle of the 20th century. The article presents Beauvoir’s artistic method, applied in her novel The Mandarins, and examines the theoretical and biographical sources of the novel. The author demonstrates the place that the novel has in the Beauvoir’s literary and philosophical heritage and reveals the genre features of the work, introducing some special terms such as engaged, modern or philosophical novel and testimonial autobiographical project. The article also analyzes the novel’s literary form and the binary structure of the narrative. The study of the main characters, who are Henri Perron, Anne Dubreuilh and her husband Robert, allows to give a couple of narrative lines. First of them is the inner line that opens the reflective, contemplative and intimate life of one of the main characters – Anne. The second one is the outer line that means that the reader receives the information about characters from the Henry’s actions. Basing on this structure, we draw a conclusion about the modifications in the genre of existential novel in the postwar years. The new themes can be found in the literature. Authors introduce to readers the certain social reality through the inner life of some characters – intellectuals, novelists or philosophers. The thesis about the inner transformation of the genre is proved on Beauvoir’ and Jean-Paul Sartre’s works and on the prewar works of Sartre and Albert Camus. Beauvoir’s new literary methods and plots, which are the logical development of her work, made her novel one of the pioneers in the postwar literature.

scholarly journals PENSAMENTO E REVOLTA: O ENGAJAMENTO POLÍTICO EM TEMPOS DE ALIENAÇÃO E PESSIMISMO

2006 ◽  
Vol 18 (23) ◽  
pp. 129
Author(s):  
Paulo Jonas De Lima Piva
Keyword(s):  
Albert Camus ◽  
Jean Paul

A alienação e o pessimismo são dois componentes preponderantes naatual conjuntura brasileira, o que torna o nosso contexto históricobastante desanimador do ponto de vista do engajamento político. Comoser um filósofo consciente e engajado num Brasil frustrado com osmensalões e com a resignação neoliberal do governo Lula e do principalpartido da esquerda, o PT? O conceito de revolta de Albert Camus, afórmula do “agir sem esperança”, de Jean-Paul Sartre, e a palavra deordem gramsciana “pessimismo da inteligência, otimismo da vontade”talvez lancem alguma luz sobre essa questão ética crucial para ospensadores que não se satisfazem com a reflexão e a crítica desvencilhadasde uma práxis transformadora.

scholarly journals Implied Author in Philosophical Novels

2014 ◽  
Vol 26 (31) ◽  
pp. 13-26
Author(s):  
Olga Senkāne
Keyword(s):  
Communication Skills ◽  
Edmund Husserl ◽  
Albert Camus ◽  
Implied Author ◽  
Hermann Hesse ◽  
Jean Paul ◽  
Perceptual Abilities ◽  
Real Person ◽  
Glass Bead Game ◽  
Gerard Genette

The present article falls within a number of papers about research on specification of philosophical novels. The aim of this article is to analyze author’s function as a narrative category in classical philosophical novels (Franz Kafka "The Trial" (1925) ”The Castle”(1926), Jean-Paul Sartre "Nausea" (1938), Hermann Hesse "The Glass Bead Game" (1943), Albert Camus ”The Plague” (1947)) and a novel of Latvian prose writer Ilze Šķipsna „Neapsolītās zemes” [Un-Promised Lands](1970)). The analysis is based on theoretical ideas of structural narratologists Gerard Genette, William Labov, Seymuor Chatman, Wolf Schmid, as well as philosophers Edmund Husserl, Jean-Paul Sartre, Paul Ricouer and semioticians Yuri Lotman (Юрий Лотман) and Umberto Eco.The real author can ”enter” the text only indirectly—as an image, with the help of the storyteller, and the way how this ”entry” happens is determined by the narration of the real author or narrative (communication) skills of the author. Thus, the author and implied author are functionally different concepts: author as a real person develops the concept idea, his intention is to define the concept under his original vision; narrator, in its turn, communicates with the reader, representing the concept, and his aim is to select appropriate means of communication with regard to reader’s perceptual abilities.

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