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Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Fantasy literature, French.'
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Journal articles on the topic "Fantasy literature, French":
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Nesci, Catherine, Rachael Siciliano, and Rae Beth Gordon. "Ornament, Fantasy, and Desire in Nineteenth-Century French Literature." SubStance 24, no. 3 (1995): 130. http://dx.doi.org/10.2307/3685014.
Harpham, Geoffrey Galt. "Book Review: Ornament, Fantasy, and Desire in Nineteenth-Century French Literature." Philosophy and Literature 19, no. 2 (1995): 364–65. http://dx.doi.org/10.1353/phl.1995.0069.
Williams, Alison, and James R. Simpson. "Fantasy, Identity and Misrecognition in Medieval French Narrative." Modern Language Review 99, no. 2 (April 2004): 485. http://dx.doi.org/10.2307/3738785.
Murray, Timothy. "Philosophical Antibodies: Grotesque Fantasy in a French Stoic Fiction." Yale French Studies, no. 86 (1994): 143. http://dx.doi.org/10.2307/2930281.
Roccati, G. Matteo. "James R. Simpson, Fantasy, Identity and Misrecognition in Medieval French Narrative." Studi Francesi, no. 142 (XLVIII | I) (July 1, 2004): 156. http://dx.doi.org/10.4000/studifrancesi.40263.
Savage Heroines? The Treatment of Gender and Genre in Translations of Philip Pullman’s Northern Lights Philip Pullman’s Northern Lights is the first instalment of his award-winning trilogy His Dark Materials. In this alternate-worlds fantasy and children’s literature classic, Lyra and her daemon Pan are catapulted from the relative stability of Oxford to negotiate an increasingly threatening world in a quest to protect free will from cataclysmic adult zealotry. According to prophecy, Lyra is the chosen one; she conforms to the tropes of the fantasy quest performing the paradigmatic steps of the saviour hero. Pullman’s protagonist transgresses and subverts the stereotypical expectations of the fantasy heroine whose generic destiny is coded in enclosure, passivity and endurance. Lyra is also a coming of age story and here again Pullman’s conceptualisation does not conform to the female pattern in both fantasy and children’s literature where marriage functions as the marker for maturity. Character is one of the two defining traits of fantasy (Attebery 1992) and it performs a didactic function in children’s literature. Characterisation is created through the reader’s interpretation of textual cues: narratorial description; direct and free-indirect speech. Lyra’s character subverts fantasy stereotypes and depicts a transgressive child who does not conform to gender role expectations. Genre translation tends to adapt the text to target culture norms and the didactic and socialising impetus of children’s literature has been shown to prompt translation strategies which comply with the receiving culture’s linguistic and behavioural norms. In this paper, we analyse the rendering of character cues in the French, German and Italian translations of Northern Lights: 1. Is the transgressive trope of a) the heroine following the male hero paradigm and b) the coming of age pattern maintained or normalised to conform to genre expectations? 2. Is Lyra’s transgressive character rendered in translation or is it adapted to comply with didactic expectations of behaviour? 3. Are there different notions of the role and function of children’s literature in the target environments and do these impact on translation strategies?
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Skibińska, Elżbieta. "Les quatrièmes de couverture comme lieu d’inscription d’une représentation de la littérature traduite : romans canadiens d’expression française en traduction polonaise (2000-2016)." Między Oryginałem a Przekładem 25, no. 45 (August 26, 2019): 117–38. http://dx.doi.org/10.12797/moap.25.2019.45.06.
The Back Cover as a Place for Creating an Image of Translated Literature: Polish Translations of French-Canadian Novels (2000-2016)
The back cover of a book contains peritext added by the publisher, with a double function of information (about the author and the work) and invitation to read the book. That is why it also becomes the place where publishers decide on a certain image of the books. For this study, we have collected back cover texts from French-Canadian novels which were published in the Polish translation in the years 2000-2016, and we have considered them as a certain image of this literature given to the Polish reader by the publishers. These texts are also a source of information about this literature for the readers. The results of the analysis of the covers of 27 novels published in Poland in the studied period allow us to state that this image is deformed and simplified: it does not reflect the language and regional differences of Canadian literature today. The works themselves belong to such genres as fantasy, thriller or chick lit: they are attractive, pleasant to read, often awarded and adapted for the screen. The “cover image” of the French-Canadian literature given by Polish translations reflects rather the strategy of their publishers: it seems that their choices of translated works are directed mainly by economic prudence.
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Rodríguez Martínez, Manuel Cristóbal. "La variación fraseológica intencional en traducción de la ciencia ficción como recurso estilístico." Çédille, no. 18 (2020): 649–64. http://dx.doi.org/10.25145/j.cedille.2020.18.26.
"Phraseology is considered nowadays a well-established and promising field of study. However, phraseological variation is a real phenomenon that, in certain contexts, is a deliberate decision. Therefore, we suggest with this article an approach to phraseological variation as a stylistic device for the translation of fantasy and science fiction literature. To do so, we analyze the cases of phraseological variation drawn from the novel La Plaie, written by the French author Nathalie Henneberg, as a resource that encourages the contextualization of the readers within a fictional universe thanks to the rhetorical, semantic and cultural features of the original phraseological units. Results showed a wide range of phraseological variation with lexical terms related to the story."
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Mihkelev, Anneli. "Emigration in Estonian Literature: “Self” and “Other” in the Context of European Literature." Interlitteraria 22, no. 2 (January 16, 2018): 341. http://dx.doi.org/10.12697/il.2017.22.2.12.
The experience of emigration generated a new paradigm in Estonian culture and literature. After World War II Sweden became a new homeland for many people. Estonian culture and literature suddenly became divided into two parts. The political terror imposed restrictions on literature in homeland and the national ideology limited literature in the initial years of exile. Both were closed communities and were monolingual systems in a cultural sense because these systems avoided dialogue and the influence of other signs. It was a traumatic experience for nation and culture where the totalitarian political power and trauma have allied. The normal cultural communication was destroyed. But the most important thing at this time was memory, not just memory but entangled memory, which emigrants carried with them to the new homeland and which influenced people in Estonia. The act of remembering becomes crucial in the exile cultures.Estonian literature in exile and in the homeland presents the fundamental images of opening or closing, escaping or staying, and of flight or fight. Surrealism as well as fantasy and science fiction as the literary styles reveal what is hidden in the unconscious of a poet or a person or even in the collective memory of a nation. Surrealism has played a certain role in our literature, but it has been different from French surrealism, it is a uniquely Estonian surrealism. At the same time Estonia was already a new homeland for many refugees from Russia who had escaped during the Revolution of 1917 and World War I. August Gailit and Oskar Luts wrote about that issue in different literary works. Luts entangled different memories in his novel Tagahoovis (In the Backyard, 1933): the memories of Estonians and the memories of Russian emigrants. He also entangled historical narratives about World War I, the Russian revolution and the young Estonian state in the 1920s. Luts wrote about common people who interpret historical narratives. The novel was also published in exile in 1969 in Toronto.
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Kristjanson, Gabrielle. "Meaning in (Translated) Popular Fiction: An Analysis of Hyper-Literal Translation in Clive Barker’s Le Royaume des Devins." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 25, 2014): 159. http://dx.doi.org/10.21992/t94k9s.
Most translation theorists agree that source text fidelity results in a translation that aptly transmits the foreign cultural values and meaning embedded within the source language to a target culture. While the preservation of foreignness might be beneficial for the propagation of international artistic diversity, when translating works of popular fiction, domestication is key to a novel’s successful incorporation into the target literary system. In popular fiction translation, the goal is accessibility rather than artistic influence or cultural exchange, yet the necessary domestication can be problematic. This article examines the reception of the English-to-French translation of an epic fantasy novel by Clive Barker. Online reviews written by the French-speaking readership describe the translated text as aberrant of Barker’s oeuvre and incomprehensible. While it may be easy to dismiss this translation as yet another example of poor translation practices, knowing that the translator, Jean-Daniel Brèque, is an award-winning translator and that he has translated many works by other popular artists such as Stephen King and Dan Simmons points the blame elsewhere. An analysis of Jean-Daniel Brèque’s translation of Weaveworld reveals the detrimental effect that strict adherence to the source text can have on the reception of popular literature in translation and affirms that domestication is necessary to transform the source text into a version digestible and understandable by the target audience.
Dissertations / Theses on the topic "Fantasy literature, French":
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Zamaron, Alain. "Représentation des civilisations disparues dans la littérature d'aventures fantastiques de la fin du XIXe siècle et du début du XXe." Villeneuve d'Ascq, France : Presses universitaires du Septentrion, 1998. http://catalog.hathitrust.org/api/volumes/oclc/40674686.html.
Hess, Erika E. "Cross-dressers, werewolves, serpent-women, and wild men : physical and narrative indeterminacy in French narrative, medieval and modern /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
Thesis (Ph. D.)--University of Oregon, 2000. Typescript. Includes vita and abstract. Includes bibliographical references (leaves 245-255). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Bolding, Sharon Lynn Dunkel. "When worlds collide : structure and fantastic in selected 12th- and 13th- century French narratives." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0002/NQ27109.pdf.
Generally labelled as fantastic in nature, Maupassant's short stories pose a serious problem. The very term "fantastic" is itself highly ambiguous; there have been many attemps to define what makes a work of literature "fantastic" in nature, but none of these attempts have managed to capture the essence of the genre in its entirety. What is most striking in Maupassant's narratives is precisely his rejection of the fantastic almost as soon as it occurs. Contrary to the more traditional literature of the fantastic, his narratives remain anchored in a realistic world, rendering the reader's experience even more unsettling. In a sense, Maupassant manages to tame the fantastic by normalizing it. We intend, therefore, to position our work at the meeting point of these two concepts---realism and fantasy---in order to determine if the definition of "fantastic realism" we will be striving for can be verified through our analysis of the following stories: "Apparition", "La chevelure", "Le Horla" (first version), "La main", "La peur", "Magnetisme" and "Sur 1'eau". (Abstract shortened by UMI.)
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Dallaire, Julie. "Pour une narratologie relative : la narratologie à l'épreuve de la science-fiction /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2004. http://theses.uqac.ca.
Dehghanipour, Elham. "LA RELATION ENTRE LE MOUVEMENT ET L'ECRITURE CHEZ ASSIA DJEBARVIA CES VOIX QUI M'ASSIEGENT...EN MARGE DE MA FRANCOPHONIE, LOIN DE MEDINE, L'AMOUR, LA FANTASIA ET VASTE EST LA PRISON." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438463589.
Fong, Jessica. "Fantasme, Rébellion, et Féminisme: Le Monde Subversif du Fandom Français de le Hallyu." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/194.
The global phenomenon known as the Hallyu, or the Korean Wave, has brought Korean pop culture to every corner of the Internet. In this paper, I discuss the impact Hallyu has had in France specifically and examine the online subculture of female-created fanfiction that has arisen from it. I postulate that, for a French woman, the act of participating in fandom and/or writing slash fanfiction about Korean pop idols constitutes a political act of rebellion against the patriarchy and gender norms, even if the fan herself is unaware of it.
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Harries, Mark. "Fantasy America: the United States as seen through French and Italian eyes." Thesis, 1998. http://hdl.handle.net/2429/8576.
For the past two decades, scholars have been reassessing the
ways in which Western writers and intellectuals have traditionally
misrepresented the non-white world for their own ideological
purposes. Orientalism, Edward Said's ground-breaking study of the
ways in which Europeans projected their own social problems onto
the nations of the Near East in an attempt to take their minds off
the same phenomena as they occurred closer to home, was largely
responsible for this shift in emphasis. Fantasy America: The United
States as Seen Through French and Italian Eyes is an exploration of a
parallel occurrence that could easily be dubbed "Occidentalism."
More specifically, it is a study of the ways in which French and
Italian writers and filmmakers have sought to situate the New World
within an Old World context.
"Among the (More Advanced) Barbarians" (a.k.a. Chapter One)
examines the continuities and discontinuities of French travel
writing in America from the days of the Jesuits to the heyday of the
existentialists. Certain motifs and idees fixes—the uniqueness of
American racism; the "magic" of New York—are first identified and
then examined. "A Meeting of the Mafias" (Chapter Two) is more
cosmopolitan in scope, tracing the ways in which French, American,
and Italian crime fiction have historically influenced each other, as
well as the relationship of the policier to differing notions of the
nation-state. "The Ruins of Rome" (Chapter Three) demonstrates
how Italian intellectuals have looked to the United States for new
World Solutions to Old World problems. This chapter encompasses
two major sub-themes: the positive possibilities for Italy of
"Fordismo" (the American industrial model) and American literature
(which was believed to promote political, as well as cultural,
liberty). "Lurching Towards the Millennium" picks up the threads of
the first three chapters and places them in the contemporary
context of globalization, a process which threatens to replace the
hegemony of the nation state with the omnipresence of corporate
power. The cultural model of Quebec is introduced at this point as a
New World/Old World paradigm that embodies the chimerical
contradictions of a globe on the brink of a new millennium.
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Mladjenovic, Milovan. "Le basculement du réel dans l'œuvre de Négovan Rajic /." 2004.
Thesis (M.A.)--York University, 2004. Graduate Programme in Études Francaises. Typescript. Includes bibliographical references (leaves 93-100). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11865
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Hutton, Renaud. "Périple aux alentours du fantastique hébertien : tentative de classification et d'organisation du fantastique /." 2000.
Gómez, Ma Teresa Ramos. Ficción y fascinación: Literatura fantástica prerromántica francesa. [Valladolid]: Secretariado de Publicaciones, Universidad de Valladolid, 1988.
Baronian, Jean Baptiste. Panorama de la littérature fantastique de langue française: Des origines à demain. Tournai, Belgique: La Renaissance du livre, 2000.
Gregori, Ilina. Povestirea fantastică: Singura literatură esențială : Balzac, Villiers de l'Isle-Adam, Pieyre de Mandiargues. [Bucharest]: Editura Du Style, 1996.
Book chapters on the topic "Fantasy literature, French":
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"CHAPTER FOUR: The Evil Eye: Ornamental Vision as the Sublime." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 107–44. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.107.
"CHAPTER FIVE: Trompe l'Oeil in the Poems of Mallarme." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 147–75. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.147.
"CHAPTER SIX: Aboli Bibelot? Excess, Void, and Objectless Desire." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 176–200. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.176.
"CHAPTER SEVEN: Ornament and Hysteria: Huysmans and Rachilde." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 201–39. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.201.
"CONCLUSION." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 240–44. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.240.
"Appendix." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 245–48. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.245.
"Notes." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 249–80. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.249.
"Index." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 281–88. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.281.
"AN INTRODUCTION TO ORNAMENT." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 3–28. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.3.
"CHAPTER ONE: The Enchanted Hand: Schlegel's Arabesque in Nerval." In Ornament, Fantasy, and Desire in Nineteenth-Century French Literature, 31–54. Princeton: Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400862665.31.
