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Journal articles on the topic 'French fiction'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

DeHart, Florence E., and Karen Matthews. "French Fiction:." Cataloging & Classification Quarterly 9, no. 2 (December 19, 1988): 3–24. http://dx.doi.org/10.1300/j104v09n02_02.

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2

Thiher, Allen, and Leon S. Roudiez. "French Fiction Revisited." World Literature Today 65, no. 4 (1991): 671. http://dx.doi.org/10.2307/40147626.

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3

Hurcombe, M. "French Crime Fiction." French Studies 64, no. 2 (March 29, 2010): 238–39. http://dx.doi.org/10.1093/fs/knp266.

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4

Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations." Storyworlds: A Journal of Narrative Studies 13, no. 2 (December 2021): 71–96. http://dx.doi.org/10.1353/stw.2021.a925851.

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Abstract: Readers understand fictional worlds at least to some extent by drawing on background knowledge of their own world. Some theories of fiction, however, hold that such realistic expectations, or processes of naturalization, are the default attitude in experiencing fictions. Thus, what Marie-Laure Ryan has called the principle of minimal departure (MD) states that readers understand fictional worlds and their components by drawing on background knowledge of their own world, unless otherwise indicated. This article is a critical examination of the relevance of the principle of MD and a contextualization of other theoretical notions of readerly attitude, including Thomas Pavel's principles of maximal departure (MxD) and optimal departure (OD) and Kendall L. Walton's principle of charity, within the broader framework of fictional verisimilitude and believability. The question of relevance will be discussed in relation to the idea of the contract of fiction by which is meant the knowledge that one is reading fiction. The analytic sections of this article focus on the question of fictional narrative situation, which in Ryan's possible-worlds theory functions as the trademark of fiction—as narrators and narratees (or narrative audiences) are exempted from the operations of MD. The "impossible" narrative situations that serve as examples include Jorge Luis Borges's loosely autobiographical story "Funes el memorioso" (1942) and two nineteenth-century French fictions: Guy de Maupassant's short story "La nuit" (1887) and a passage from Émile Zola's roman à thèse, Lourdes (1894).
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5

DUCHE, VERONIQUE. "Centenary Paper: Laboratory for Experimentation: Iberian Fiction Translated into French (1525–1550)." Bulletin of Hispanic Studies 101, no. 5 (May 2024): 387–95. http://dx.doi.org/10.3828/bhs.2024.29.

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The translation of early Iberian fiction into French had a transformative impact on the learning of vernacular languages and printing. This article explores the impact of Iberian fiction (1525–1550) on the French literary panorama of the mid-sixteenth century. It analyses how the translation of novelas sentimentales and libros de caballerías offered a laboratory for experimentation in three main areas. First, Iberian fiction provided an opportunity for translators to translate directly from Castilian. The translations of Iberian fiction were also an opportunity to promote the French vernacular through the adoption of roman typefaces for the printing of vernacular material. Finally, Iberian fiction translated into French played a key role in the development of book illustration. These innovations would have long-lasting consequences.
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6

Petit, Susan, and Dina Sherzer. "Representation in Contemporary French Fiction." South Atlantic Review 52, no. 4 (November 1987): 160. http://dx.doi.org/10.2307/3200392.

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7

Jefferson, Ann, and Dina Sherzer. "Representation in Contemporary French Fiction." Modern Language Review 83, no. 3 (July 1988): 743. http://dx.doi.org/10.2307/3731362.

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8

Otten, Anna. "Innovation in Modern French Fiction." Antioch Review 45, no. 3 (1987): 266. http://dx.doi.org/10.2307/4611743.

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9

Brewer, Maria Minich, and Dina Sherzer. "Representation in Contemporary French Fiction." SubStance 16, no. 3 (1987): 99. http://dx.doi.org/10.2307/3685206.

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10

Sherzer, Dina. "Representation in Contemporary French Fiction." Poetics Today 7, no. 3 (1986): 597. http://dx.doi.org/10.2307/1772530.

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11

Praeger, Michele, and Dina Sherzer. "Representation in Contemporary French Fiction." Poetics Today 8, no. 3/4 (1987): 704. http://dx.doi.org/10.2307/1772581.

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12

Pelletier, Vincent D., and Dina Sherzer. "Representation in Contemporary French Fiction." Rocky Mountain Review of Language and Literature 41, no. 4 (1987): 269. http://dx.doi.org/10.2307/1347308.

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13

Becker, Lucille, Margaret Atack, and Phil Powrie. "Contemporary French Fiction by Women." World Literature Today 66, no. 1 (1992): 91. http://dx.doi.org/10.2307/40147882.

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14

Knapp, Bettina L., and Elizabeth Fallaize. "French Women's Writing: Recent Fiction." World Literature Today 68, no. 3 (1994): 530. http://dx.doi.org/10.2307/40150382.

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15

Mossberg, Mari. "Les conjonctions concessives à valeur réelle." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 44, no. 2 (December 16, 2009): 218–77. http://dx.doi.org/10.1075/rro.44.2.03mos.

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The aim of this study is to compare the function and use of French and Swedish concessive conjunctions (bien que / quoique / encore que vs. trots att / fast / fastän). The analysis is based on a translation corpus, comprising French and Swedish fiction and non-fiction texts, and their translations into Swedish and French, respectively. It is argued that the semantic variation observed in the data is the result of a general diachronic semantic change including the following steps: nonsubjective > subjective > intersubjective. This reconstructive approach makes it possible to suggest a probable evolutionary path of the French and Swedish conjunctions and to determine their degree of grammaticalisation. The study also investigates differences in the use of the concessive conjunctions in fiction and non-fiction texts.
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16

Castelli, Alberto, and Jiang Huiyu 蒋惠聿. "THE VOICE OF FRENCH REALISM IN YU HUA’S AND SU TONG’S FICTION." Folia linguistica et litteraria XII, no. 36 (September 2021): 103–20. http://dx.doi.org/10.31902/fll.36.2021.7.

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Chinese postmodern literature, or post-Mao fiction, comes with disillusionment among the intellectuals and cynicism among the fictional characters. According to this line of thinking, narrative enters a theoretical discourse that leaves aside the former ideological imprint and moves within the frame of realism. As in the experience of the nineteenth century French realism, Su Tong’s and Yu Hua’s fiction describe a process of Bildungsroman that is never accomplished. A crude Darwinian weltanschauung seems to be the key to understanding.
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17

Klebes, Martin. "If Worlds Were Stories." Konturen 2, no. 1 (October 11, 2010): 124. http://dx.doi.org/10.5399/uo/konturen.2.1.1346.

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The metaphysics of possible worlds proposed by the analytic philosopher David K. Lewis offers an account of fictional discourse according to which possible worlds described in fiction are just as real as the actual world. In an inspired reversal of the analysis of literary fictions by such philosophical means, the French poet Jacques Roubaud makes direct reference to Lewis’ controversial ontological picture in two cycles of elegies composed between 1986 and 1990. Roubaud’s poems take up the idea of possible worlds as real entities, and at the same time they challenge the notion that philosophy could offer an account of fiction in which the puzzling collision of the possible with the impossible that fundamentally characterizes the phenomenon of fictionality would be seamlessly unravelled. For Roubaud the lyrical genre of the elegy and its thematic concern with love and death stands as a prime indicator of the quandary that results from our inability to solve paradoxes of modality such as those raised by Lewis in strictly theoretical terms.
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18

Grenouilleau-Loescher, Rebecca, and Kathryn A. Haklin. "Introduction: Characters in/as Connection." L'Esprit Créateur 63, no. 3 (September 2023): 1–9. http://dx.doi.org/10.1353/esp.2023.a906705.

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Abstract: This introduction to the special issue "Connecting Characters in Modern and Contemporary French-language Fiction" offers a critical context for studying character networks and interdependency. Through the lens of Glissant's concept of "Relation" and in dialogue with Jagoda's notion of "network aesthetics," the issue examines what connects characters in fictional works, how these links shape narrative meaning within and across texts, and how character interdependency reflects diverse social, political, and historical contexts. From the nineteenth-century novel to the multi-perspectival fictions of today, the issue attests to a shift in our critical understanding of characters, from a focus on individual centrality to movement within community.
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19

Bawardi, Basiliyus. "First Steps in Writing Arabic Narrative Fiction: The Case of Hadīqat al-Akhbār." Die Welt des Islams 48, no. 2 (2008): 170–95. http://dx.doi.org/10.1163/157006008x335921.

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AbstractThis study tracks the significant literary activity of the Beirut newspaper Hadīqat al-Akhbār (1858-1911) in its first ten years. A textual examination of the newspaper reveals that Khalīl al-Khūrī (1836-1907), a central figure of the nahda and the owner of Hadīqat al-Akhbār, believed that an adoption of a new Western literary genre into the traditional Arabic literary tradition would provide the Arab culture with tools for reviving the Arabic language and create new styles of expression. The textual analysis of numerous narrative fictions that were published in the newspaper demonstrates two significant matters: first, Hadīqat al-Akhbār was the first Arabic newspaper to publish translations from Western narrative fiction, especially from the French Romance stories. Secondly, it will be shown how Khalīl al-Khūrī constructed a fetal model of Arabic narrative fiction by publishing a fictional narrative of his own, Wayy, idhan lastu bi-ifranjī (Alas, I'm not a foreigner), in 1859-1861. The literary activity in Hadīqat al-Akhbār, as the following study illustrates, played a substantial role in changing the aesthetic literary taste, and paved the way for the birth of an authentic Arabic narrative fiction.
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20

Hollister, Lucas. "Virginie Despentes’ queer crime fiction." French Cultural Studies 32, no. 4 (June 7, 2021): 417–27. http://dx.doi.org/10.1177/09571558211012987.

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Virginie Despentes has become one of France’s most commercially successful and celebrated novelists. However, while the French press has often labelled Despentes’ novels as crime fiction (‘polars’), there has been little in-depth scholarly discussion of how her work engages and transforms the conventions of the genre. Studies of Despentes’ queer/feminist themes and rhetoric would benefit from a more sustained attention to her ambivalent appropriations of the masculinist tropes of brutal crime fiction, and studies of French crime fiction would benefit from considering Despentes as key figure in the development of French queer/feminist crime fiction. Examining novels ranging from Baise-moi to Apocalypse bébé, this article argues for the interest in reading them as crime fiction, and notably as works that underline the risks that accompany efforts to rewire masculinist genres from within and orient them towards feminist and queer concerns.
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21

Oliinyk, Iryna, Mykola Petrovsky, Larysa Ruban, Liudmyla Shevchenko, and Yulia Sviatiuk. "French loan words in modern American fiction." Revista Amazonia Investiga 11, no. 58 (November 30, 2022): 134–39. http://dx.doi.org/10.34069/ai/2022.58.10.14.

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The paper deals with the origins of modern English vocabulary and shows the relevance of the influence of French on its modern state. The article makes a survey of scientific literature studying French heritage in English lexis. An overview of linguistic and historical data is provided to show the framework within which linguistic borrowing from French was made possible. A number of loanwords are mentioned that appeared under different historical circumstances. The article analyses borrowed words that kept their meaning they had in French, as well as those ones which experienced semantic transformation. The paper concentrates on the fact that frequency of English words having French roots is high enough in the novel by J. Grisham and they form a thick layer of common words. The article demonstrates, what kind of impact the change in culture-specific concepts had on the meaning of the words borrowed from French and highlights possible prospects of such kind of studies. The paper emphasizes semantic layers of loan words and shows that finance vocabulary, the vocabulary of law and politics and the vocabulary of health are closely connected with borrowings from French.
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22

McPhail, Eric. "Jean Bodin and the Romance of Demonology." Análisis. Revista de investigación filosófica 4, no. 2 (January 5, 2018): 265–76. http://dx.doi.org/10.26754/ojs_arif/a.rif.201722473.

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This article proposes a comparison between the French Renaissance demonologist Jean Bodin and the fictional character Don Quijote. Like the hero of Cervantes’ novel, Bodin believes everything he reads. Consequently, Bodin makes his own discipline of demonology a species of romance that eagerly blurs the boundary of fact and fiction. This type of credulity can be usefully juxtaposed to Michel de Montaigne’s understanding of the imagination and to his more philosophical exploration of the realm of possibility.Keywords: Demonology, fiction, imagination, Jean Bodin, Cervantes, Montaigne.
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23

Cameron, Keith, and Heather Ingman. "Machiavelli in Sixteenth-Century French Fiction." Modern Language Review 86, no. 2 (April 1991): 447. http://dx.doi.org/10.2307/3730584.

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24

Howells, Christina, and Terry Keefe. "French Existentialist Fiction: Changing Moral Perspectives." Modern Language Review 83, no. 2 (April 1988): 461. http://dx.doi.org/10.2307/3731739.

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25

Schaffer, Rachel. "Tana French and Irish Crime Fiction." Clues: A Journal of Detection 31, no. 1 (April 1, 2013): 122. http://dx.doi.org/10.3172/clu.31.1.122.

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26

Miller, Mary Ashburn. "A Fiction of the French Nation." Historical Reflections/Réflexions Historiques 44, no. 2 (June 1, 2018): 45–66. http://dx.doi.org/10.3167/hrrh.2018.440204.

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This article examines fictional representations of the emigration of the French Revolution. It focuses on the novels Eugénie et Mathilde, Les Petits émigrés, and Le Retour d’un émigré, which were published in France between 1797 and 1815 as émigrés were seeking to return to the nation they had fled. It argues that these novels should be interpreted as making claims about the ability of émigrés to reintegrate within the nation. The sentimental novels responded to two key anxieties about the émigrés’ return by demonstrating that émigrés had not been transformed into foreigners during their time abroad and that they were not seeking to reconstitute Old Regime France. These novelists redefined the émigré as an isolated and pitiable wanderer, and redefined France as a nation bound by common suffering and sentiment.
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27

Cook, Malcolm. "Portraits in Eighteenth-Century French Fiction." Australian Journal of French Studies 35, no. 2 (May 1998): 141–55. http://dx.doi.org/10.3828/ajfs.35.2.141.

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28

Arthur B. Evans. "Anachronism in Early French Futuristic Fiction." Science Fiction Studies 43, no. 2 (2016): 194. http://dx.doi.org/10.5621/sciefictstud.43.2.0194.

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29

Cook, Malcolm. "Utopian Fiction of the French Revolution." Nottingham French Studies 45, no. 1 (March 2006): 104–13. http://dx.doi.org/10.3366/nfs.2006.009.

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30

Saint, N. "Art in French Fiction since 1900." French Studies 68, no. 2 (April 1, 2014): 265–66. http://dx.doi.org/10.1093/fs/knu013.

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31

Tilby, Michael, and Armine Kotin Mortimer. "Writing Realism: Representations in French Fiction." Modern Language Review 98, no. 1 (January 2003): 211. http://dx.doi.org/10.2307/3738233.

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32

Phillips, John, and Jean Mainil. "French Erotic Fiction: Ideologies of Desire." Modern Language Review 97, no. 4 (October 2002): 989. http://dx.doi.org/10.2307/3738682.

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33

Schmitt, Arnaud. "Sam Ferguson's Diaries Real and Fictional in Twentieth-century French Writing." European Journal of Life Writing 9 (June 12, 2020): R6—R11. http://dx.doi.org/10.21827/ejlw.9.36160.

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Over the last two decades, Philippe Lejeune’s research has established diary-writing as maybe the only form of life-writing immune from panfictionalism. In an oft-quoted article (Lejeune 2007), the French theorist famously expressed his fiction and autofiction fatigue (‘[…] j’ai créé “antifiction” par agacement devant “autofiction”, le mot et la chose’, 3) and set up an insurmountable ontological barrier between autobiographies and diaries: ‘autobiography has fallen under the spell of fiction, diaries are enamored with truth’ (‘[…] l’autobiographie vit sous le charme de la fiction, le journal a le béguin pour la verité’, 3).1 In his more recent book, Aux Origines du Journal Personnel: France, 1750–1815 (2016), Lejeune not only reasserted this privileged connection between diaries and truth/reality—not unlike Barthes’s claim in La Chambre claire that photography cannot be distinguished from its referent— but went as far as removing diaries from the field of literary studies as, according to him, they do not constitute a literary genre (or only as an epiphenomenon). In Diaries Real and Fictional in Twentieth-Century French Writing, Sam Ferguson opts for an altogether different approach.
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34

Ray, Alice. "Approche contrastive anglais-français de la création lexicale science-fictionnelle." Studia Romanica Posnaniensia 49, no. 4 (January 9, 2023): 125–43. http://dx.doi.org/10.14746/strop.2022.494.008.

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Imaginary genres have always played with language and lexicon in order to build their worlds. The science fiction genre, in particular, creates a lexicon on the borderline between literary creation and scientific and technical terminology so the stories can be framed elsewhere or in the future. The translation of these invented words can be a real challenge for translators because of their very nature as hybrids, but also because of the science fictional megatext. The translation treatment from English into French of these neologisms, known as “fiction terms”, shows different strategies of lexical (re)creation. Following a terminological approach, this paper presents a contrastive analysis of lexical creation strategies and morpho- syntactic structures between the two languages on a list of science fictional terms from the audiovisual field and extracted from a corpus of science fiction novels.
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35

Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.

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This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an affinity with the surrealist notion of black humor in its vehement denial of epistemological and ethical certainty. Rejecting the efforts of Richard Wright and the existentialists to adopt an engaged form of political writing, Himes's crime fiction instead forges a kind of vernacular surrealism, one independent of the surrealist movement but nevertheless sharing surrealism's insistence on the volatility of written and political expression.
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36

Murphy, Carol J., and Gerald Prince. "Narrative as Theme: Studies in French Fiction." South Atlantic Review 57, no. 4 (November 1992): 145. http://dx.doi.org/10.2307/3199855.

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37

Rudelic, Dana, and Allan H. Pasco. "Novel Configurations: A Study of French Fiction." South Atlantic Review 54, no. 2 (May 1989): 154. http://dx.doi.org/10.2307/3200574.

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38

Bellott, Virginia. "French Crime Fiction ed. by Claire Gorrara." French Review 84, no. 2 (2010): 376–77. http://dx.doi.org/10.1353/tfr.2010.0081.

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39

Schaffer, Rachel. "Introduction: Tana French and Irish Crime Fiction." Clues: A Journal of Detection 32, no. 1 (March 31, 2014): 9–12. http://dx.doi.org/10.3172/clu.32.1.9.

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40

de L. Ryals, Clyde. "Carlyle's The French Revolution: A "True Fiction"." ELH 54, no. 4 (1987): 925. http://dx.doi.org/10.2307/2873103.

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41

Knight, D. "Review: Writing Realism: Representations in French Fiction." French Studies 56, no. 2 (April 1, 2002): 284–85. http://dx.doi.org/10.1093/fs/56.2.284.

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42

Kelly, Dorothy. "Writing Realism: Representations in French Fiction (review)." Nineteenth Century French Studies 31, no. 1 (2002): 138–40. http://dx.doi.org/10.1353/ncf.2002.0051.

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43

Higgins, Lynn A. "Writing Realism: Representations in French Fiction (review)." French Forum 28, no. 3 (2003): 119–21. http://dx.doi.org/10.1353/frf.2004.0019.

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44

Tilby, M. "Exotic Subversions in Nineteenth-Century French Fiction." French Studies 64, no. 4 (September 29, 2010): 495–96. http://dx.doi.org/10.1093/fs/knq151.

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45

Chekalov, Kirill A. "Early French detective fiction: self-identification paths." Vestnik of Kostroma State University 29, no. 2 (October 12, 2023): 79–86. http://dx.doi.org/10.34216/1998-0817-2023-29-2-79-86.

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This article focuses on the early period of French detective fiction (1860s), when the “roman policier” notion has not yet been formulated (In use was the notions “courtroom novel”, i.e. “roman judiciaire”). Émile Gaboriau acted as the founder of this genre through his series of novels about Monsieur Lecoq [starting with the novel – “The Lerouge Case” (“L’Affaire Lerouge”, 1865)]. His novels incorporate the criminal narrative features and social, psychological, historical, and political constructs. The author of the article analyses little-known literary works of the similar theme, written in the same period and far less known, such as the novels: “The Drama of the Rue de la Paix» (“Le Drame de la Rue de la Paix”) by Louis Marc Adolphe Belot and “The Crime Factory!” (“La Fabrique de crimes!”) by Paul Henri Corentin Féval (both written in 1866), as well as the stories: “The Black Pearl” (“La Perle noire”) by Victorien Sardou, 1861 and “The Killer of Albertine Renouf” (“Le Meurtrier d’Albertine Renouf. Les Derniers jours de Don Juan”) by Henri Laurent Rivière, 1865. All of them are indicative of the increased interest in criminal plots among the readership of the 1860s and, in a varying degree, have laid the basis for the new genre paradigmatics (crime, investigation process, investigating agency, interaction between a professional detective and an amateur one, wrong and right crime versions, etc.). The author of the article reach a conclusion that the activation of the description by the authors of the plot of Edgar Allan Poe’s canonical short story “The Murders in the Rue Morgue” is combined with solely “feuilletonistic” narrative resources (including melodramatic ones) were extensively used in the detective fiction, and the extremes of fashion for criminal plots were exposed to parody in Belot and Féval’s works.
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46

Frank, Helen. "Discovering Australia Through Fiction: French Translators as Aventuriers." Meta 51, no. 3 (September 21, 2006): 482–503. http://dx.doi.org/10.7202/013554ar.

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Abstract The translation into French of referents of Australia and Australianness in fiction necessitates a considerable variety of translational tendencies and interpretive choices. This study focuses on French translations of selected passages and blurbs from Australian fiction set in regional Australia to determine how referents of Australian flora, fauna, landscape and people are translated and interpreted in a non-English speaking cultural system. Guided by concerns for the target readers’ understanding of the text, French translators employ normative strategies and adaptive procedures common to translation to enhance reader orientation. There is, nonetheless, evidence of culture-specific appropriation of the text and systematic manipulation of Australian referents that goes beyond normative solutions. Such appropriation and manipulation stem from a desire to create and foster culture-specific suppositions about Australia consistent with French preoccupations with colonialism, the exotic, exploration and adventure.
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47

Parent, Arnaud. "Science in Eighteenth-Century French Literary Fiction: A Step to Modern Science Fiction and a New Definition of the Human Being?" Acta Baltica Historiae et Philosophiae Scientiarum 10, no. 1 (May 24, 2022): 78–103. http://dx.doi.org/10.11590/abhps.2022.1.05.

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In eighteenth-century France, scientific progress and its spreading met a growing interest among public, an enthusiasm that was to be reflected in literature. Fictional works including scientific knowledge in their narrative made their appearance, paving the ground for a genre promised to a growing success in the following centuries—science fiction. The article presents three eighteenth-century French literary works, each one centered on a different domain of science: Voltaire’s Micromégas (1752), Charles-François Tiphaigne’s Amilec, or the Seeds of Mankind (Amilec, ou la graine d’hommes, 1753) and François-Félix Nogaret’s The Mirror of Current Events, or Beauty to the Highest Bidder (Le miroir des événements actuels, ou la belle au plus offrant, 1790). The first one, an iconic Enlightenment work that promotes critical thinking, relies on discoveries made in astronomy and optics. Tiphaigne de la Roche is far from sharing the fame of Voltaire, but his odd Amilec is noteworthy as it is possibly the very first science-fiction work in which biology is central. Written in the unique atmosphere of the French revolution, Nogaret’s work The Mirror of Current Events depicts androids-like interacting with humans. Our purpose is to show that these works were a precursor (proto science fiction) of the science fiction genre in literature, to describe how and what science or technology was depicted in them, and how they influenced the view of Man (humans) in eighteenth-century France.
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48

Beley, M. "Genre Features of Pierre Boulle's Dystopian Science Fiction Novel "Planet of the Apes": A Communicative Aspect." Scientific Research and Development. Modern Communication Studies 12, no. 6 (December 29, 2023): 20–27. http://dx.doi.org/10.12737/2587-9103-2023-12-6-20-27.

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The enduring popularity of 20th century science fiction authors among readers of all age categories has been noted in numerous works of literary scholars. An extremely important aspect is the fact that the author and the reader must have a common language in order for communication to be effective. The relevance of the study is due to the growing interest in the problem of interpreting the genre of science fiction works. The aim of this study is to try to trace the synthesis of genre forms from the point of view of communicativism and the theories of C. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre Boulle. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre BoulleIn the course of the study, the methods of contextual literary analysis, cognitive-discourse analysis, as well as stylistic and genre analysis were applied. As a result of the study, the conclusions were obtained that the novel "Planet of the Apes" by P. Boulle combines elements of the genre of science fiction novel, philosophical parable, utopia and dystopia. The novel is a satirical work, touching upon the themes of scientific progress, communication, evolution and human society, which are topical at present. The author, when creating a work, follows literary conventions or deliberately goes against them, creating something innovative. The genre of science fiction has been and remains a synthetic genre, incorporating elements of various genres, which intricately intertwined, enter into communication with the reader, helping him to create fictional worlds. Scientific novelty of the research consists in the fact that for the first time in Russia the study of genre originality of P. Boulle's work in the aspect of communication with the reader is undertaken. The article may be useful for literary scholars, postgraduates, students and all those interested in the problems of genre synthesis in modern science fiction.
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49

Harvey, Keith. "Describing camp talk: language/pragmatics/politics." Language and Literature: International Journal of Stylistics 9, no. 3 (August 2000): 240–60. http://dx.doi.org/10.1177/096394700000900303.

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This article uses literary examples from English-language and French-language postwar fiction to elaborate a descriptive framework for representations of camp talk. The framework is based on four underlying semiotic strategies that produce a variety of surface textual effects (stylistic and pragmatic). The strategies are called Paradox, Inversion, Ludicrism and Parody. The effects they generate range from register play, through puns, to innuendo. The article argues that these effects contribute to the development of fictional representations of homosexual/gay/queer characters in postwar fiction and also to the elaboration of a gay critique of dominant cultural norms and practices. As such, the four strategies may also, it is suggested, underpin other (visual, gestural) semiotic regimes.
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50

Perron, Dominique. "French Ecocritique: Reading Contemporary French Theory and Fiction Ecologically by Stephanie Posthumus." University of Toronto Quarterly 88, no. 3 (December 2019): 176–78. http://dx.doi.org/10.3138/utq.88.3.hr46.

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