Academic literature on the topic 'Maupassant, Guy de, 1850-1893 Chevelure'
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Journal articles on the topic "Maupassant, Guy de, 1850-1893 Chevelure"
1
Magri, Dirceu. ""As Lápides" de Guy de Maupassant." Non Plus 6, no. 11 (March 27, 2018): 109–24. http://dx.doi.org/10.11606/issn.2316-3976.v6i11p109-124.
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RESUMO: Este trabalho apresenta uma tradução para o português do conto “Les Tombales”, de Guy de Maupassant (1850-1893). Ligado a Flaubert e a Zola, Maupassant destaca-se na Literatura Francesa do século XIX não só por ter escrito seis importantes romances, mas sobretudo por dezenas de nouvelles[1] e contos. Sua obra caracteriza-se por intensa força realista, a presença do fantástico e do pessimismo, mas principalmente por sua maestria estilística.
[1] A nouvelle é um relato relativamente curto que apareceu no final da Idade Média. Esse gênero literário é mais próximo do romance de inspiração realista, embora, às vezes seja classificado como conto. Este, por sua vez, designa ao mesmo tempo narrativas curtas de aventuras imaginárias, filosóficas e fantásticas, além dos célebres contos de fadas, todos, em geral, marcados por forte apelo emocional.
2
Bedê, Ana Luiza Reis. "“As Grandes Paixões”, de Guy de Maupassant (1850-1893): Tradução e Comentário." Non Plus 7, no. 13 (June 30, 2018): 111–21. http://dx.doi.org/10.11606/issn.2316-3976.v7i13p111-121.
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O niilismo maupassantiano há muito recebe a atenção da crítica. Vários estudos já analisaram como a influência de Schopenhauer está presente nos diferentes temas que o interessaram como a infância, os camponeses, o meio burguês, a vida aristocrática, a guerra, as cortesãs. Na crônica, que ora traduzimos, lemos uma reflexão cáustica sobre um dos males mais angustiantes do século XIX e ainda de nosso tempo: o tédio.
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Dalla Bona, Fabiano, and Julia Ferreira Lobão Diniz. "O pitoresco mare tenebrarum de O cirurgião do mar, de Gabriele d’Annunzio." Terra Roxa e Outras Terras: Revista de Estudos Literários 41 (February 24, 2022): 22. http://dx.doi.org/10.5433/1678-2054.2021v41p22.
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Apesar das contribuições de Gabriele D’Annunzio (1863-1938) para o movimento decadentista, o autor atuou, durante toda a década de 1980, como um grande contista com fortes inspirações seja no verismo italiano, seja no naturalismo francês. Tais inspirações, principalmente aquelas ligadas à produção de Guy de Maupassant (1850-1893) fizeram com que D’Annunzio desenvolvesse o que chamaremos de pré-decadentismo: narrativas acerca de uma parcela da população vilipendiada e esquecida pela sociedade. Buscando dar veracidade às suas histórias, o escritor adota, além da técnica zoliana de observação direta, uma estética muito particular que esbarra na definição de horror, posto que temas como o grotesco, o mortuário e o doentio são abordados frequentemente para ilustrar o sofrimento de seus personagens. O resultado disso é que, mesmo antes de adotar uma estética decadentista baseada em écfrases – descrições de obras de arte – e hipotiposes – descrições picturais sem alusão a um quadro específico –, o autor utilizou tais recursos para enriquecer seus contos naturalistas; um horror de cores e texturas tão intensas que evolui para o pitoresco. O presente artigo objetiva analisar a estética do horror (Lovecraft 1987; Todorov 1975) sob um viés pictural (Louvel 2012) na obra O cirurgião do mar (1886).
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Santos, Nelma. "A NARRATIVA TRADICIONAL COMO RUÍNA NO CONTO BOLA DE SEBO, DE GUY DE MAUPASSANT." Herança 5, no. 2 (2022). http://dx.doi.org/10.29073/heranca.v5i2.531.
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A partir do conto Bola de Sebo, escrito por Guy de Maupassant (1850-1893), pretendemos apresentar o modo como o autor trabalha com dois planos narrativos, a saber: o primeiro plano, em que narra uma história no contexto da guerra Franco-Prussiana, século XIX, e o segundo plano em que o autor nos remete ao poema romanceado da tradição oral, intitulado Il était un petit navire. Essa narrativa, que é apenas mencionada numa frase, configura-se como uma espécie de ruína ou fragmento que sustenta a estruturada narrativa de primeiro plano ou superfície. Considerando que temos duas estruturas narrativas, optamos pelo método comparativo entre as estruturas narrativas como método de análise e assim chegamos à conclusão de que a tese de Ricardo Piglia se confirma naquilo que concerne a todo conto sempre contar duas histórias, bem como reconhecemos a importância da ruína ou fragmento como matéria nobre para criação literária, conforme observou Walter Benjamin sobre sua importância na criação barroca.
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Dos Santos Silva, Elaine Cristina. "A loucura na literatura fantástica do século XIX: o resgate da voz do louco como questionamento da norma." Revista do Sell 5, no. 2 (April 17, 2016). http://dx.doi.org/10.18554/rs.v5i2.1226.
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Diferentemente dos discursos comuns, a fala do louco é ambígua, revela a impossibilidade do conhecimento seguro sobre o mundo. O louco percebe as inconsistências da realidade e dá lugar a esse discurso, discordando do “discurso correto”, evidenciando o caráter fragmentário e problemático do mundo e a experiência de habitá-lo. Refletindo sobre alguns contos do autor francês Guy de Maupassant (1850-1893), demonstraremos a maneira como o autor, cuja obra reúne abundante número dessas personagens, retrata o louco e, assim, poderemos refletir acerca da desorganização da personalidade. Sabendo que a loucura é um conceito historicamente forjado, que muda conforme mudam as sociedades, investigaremos como se dá a construção formal da loucura no século XIX, que encontra suporte adequado na literatura fantástica praticada por autores como Maupassant. De acordo com Bessière (1974), esse tema remonta ao questionamento da cultura, na qual o indivíduo não se encaixa ou consegue expressar plenamente sua individualidade. Daí a importância do resgate da voz do louco pela literatura, pois, se o discurso científico isola a loucura e a desqualifica em favor da razão, o discurso literário resgata esteticamente essa voz para propor questionamentos e relativizar a lógica das práticas cotidianas por meio dos mecanismos formais da arte.
Dissertations / Theses on the topic "Maupassant, Guy de, 1850-1893 Chevelure"
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Roy, Alain 1965. "Guy de Maupassant : l'engendrement du romanesque." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39988.
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In this thesis entitled "Guy de Maupassant: l'engendrement du romanesque", the author proposes to demonstrate that Maupassant's six novels constitute a "trajectory", a progression driven and informed by an underlying logic. Proceeding from a psychoanalytical point of view, the author has uncovered another novel, an unspoken novel, that unfolds with Maupassant's novelistic production. This "other novel" expresses the engendering of the subject, which can be defined as the son-subject's liberation from the primal maternal dominion, thanks to the process of identification with the father.Maupassant's six novels mark various stages in this trajectory. The primal novel Une vie establishes the problematics of the maternal dominion. In Bel-Ami can be seen the formation of the matrix of identity, which coincides with the emergence of the son-subject. The two central novels, Mont-Oriol and Pierre et Jean, illustrate the traumatic experience of paternity and filiation; the latter novel shows the relinquishment of narcissistic defense mechanism. Subsequently, in Fort comme la mort, the repressed narcissistic wound can be analysed. With the final novel, Notre coeur, the son-subject achieves the father position, thus escaping the madness associated with the double-bind of the ambivalent mother.
Previous criticism devoted to the works of Guy de Maupassant has focussed on the thematic obsession of paternity and filiation. This thesis sets out to demonstrate that this obsession is also the very principle driving the engenderment of the novel.
2
Tazi, Nadia. "L'esthétique du genre court chez Maupassant." Montpellier 3, 1993. http://www.theses.fr/1993MON30025.
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Le but de cette these est de montrer comment le conte de maupassant vehicule une pensee moralisatrice. Pour y parvenir, elle se concentre sur les procedes narratifs particuliers au recit "conte" ainsi que sur le choix des themes. La premiere partie se consacre au mecanisme enonciatif et au statut du personnage auquel l'auteur deleque la parole. Cette partie comprend quatre chapitres: le premier examine les differents modes de presentation du recit exploites par maupassant, le second se penche sur les motivations que l'auteur prete a son narrateur, le troisieme s'interesse a la caracterisation du conteur et la quatrieme tente de definir l'art du conteur represente. La seconde partie est un recensement thematique des contes qui s'effectue autour des themes recurrents chez maupassant. Enfin, la troisieme partie etudie deux composantes du conte: la concentration narrative et la descriptionThe objective of this thesis is to describe how maupassant tales a moral approach to this end. The thesis focuses on the narrative specific procedures to the tale as well as to the choice of the topics. Thus, the first part deals with the enonciative mechanisms and to characters considered as narrators. This part is divided into narrative presentation used by maupassant; the second one deals with the motivations that the author confers to his narrator; the third one considers the charaterization of the teller while the fourth tries to describe the story-teller art. The second part is a thematic review of the tales based on the recurrent themes in maupassant works. Finally, the third part consists of the study of orientation and description
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Hrušková, Anna. "Guy de Maupassant: "Miláček" - kostýmní výprava." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202441.
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This diploma thesis is about costumes from Maupassant' s novel "Milacek", following up its dramatisation from Zdenek Kaloc.
In introduction, I explain the reasons why I have decided for this topic nowadays. Theoretical part describes the content of the novel and the circumstances of the origin of the novel. Then life of G. De Maupassant is briefly explained and his novel is compared to his own life experience. After that follows the listing of selected drama and film adaptations. After that, the novel Bell ami is compared to other literature work from different authors.
Analytical part describes mainly the work with the text of the novel, its dramatization and explains the inspiration for the costumes. Then there are reflections on possible principles of staging and relation to present social issues and problems. This part of the thesis ends with the description of the solution of individual costumes.
In the conclusion, there is a summary of the goals of the thesis and the explanation of the adaptiation of the dramatization.
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Himber, Elisabeth. "Théâtralité et représentations dans l'oeuvre de Guy de Maupassant." Paris 3, 2003. http://www.theses.fr/2003PA030137.
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Si Guy de Maupassant, comme tous ses contemporains (Flaubert, Goncourt, Zola), a subi la tentation du théâtre, ses pièces sont aujourd'hui encore largement méconnues. Pourtant, l'écriture dramatique n'a cessé de nourrir sa création romanesque. Au théâtre, Maupassant a emprunté la théâtralité pour en faire l'originalité de sa prose. La mise en scène de son écriture doit beaucoup à la rénovation du théâtre, puisque le réalisme qu'il impose dans ses récits se fait l'écho des exigences d'André Antoine, sur la scène du Théâtre-Libre né en 1887. La pratique de l'écriture théâtrale de Maupassant marque donc son esthétique romanesque du sceau de l'artifice, du faux-semblant, du règne des conventions et des masques. Transgressant ainsi la frontière des genres, la création maupassantienne semble trouver sa véritable voie, entre le miroir stendhalien du roman et l'illusion mensongère de la rampeGuy de Maupassant gave way to the temptation of theater, as all his contemporaries (Flaubert, Goncourt, Zola) did, but his plays are still underrated. Yet, dramatic writing constantly enriched his novelistic creation. The theatricality he uses in his writing confers to its prose its originality. Such a staging in his writing has much to do with the renewal of theater : the realism he imposes on his narratives echoes André Antoine's comments as exposed in his Théâtre-Libre in 1887. Maupassant's theatrical writing put its stamp on his fiction. Indeed, the aesthetics of his novels bears the mark of artifice and pretence, staging the rule of conventions and masks. Breaking the distinction between genres, Maupassant's creation seems to have found its right way between the Stendhalian novelistic mirror and the delusive illusion of the footlights
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Nolin, Isabelle. "La critique génétique du Horla de Maupassant /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83134.
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The result of formal and thematic research undertaken by the author in the1880s, Maupassant's Le Horla (1887), owing to its originality, became a fantastic literature classic. Constituted from the recycling of several passages of independent texts among which La Lettre d'un fou (1885) and Le Horla published in 1886, the tale, built by recoveries and variations, offers a completely relevant exploratory way for genetic research. By studying the differences between the Horla manuscript (1887) and short stories which present themselves as genesis elements of the text, we will perform the genetic rise of the famous text in order to refine our knowledge of Maupassant's thematic and stylistic evolution as well as clarifying the poetics of his fantastic.
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Bury, Mariane. "Écriture et vision du monde dans l'oeuvre de Guy de Maupassant." Paris 4, 1991. http://www.theses.fr/1991PA040030.
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On ne s'intéresse guère à la lisibilité du texte de Maupassant, fruit d'un projet esthétique cohérent, où l'écriture est intimement liée à la vision du monde. La critique a suscité de faux problèmes qui ont longtemps paralysé la recherche, notamment la question des définitions du conte et de la nouvelle. En fait, le vaste domaine du récit court défie les systèmes et s'explique par la genèse du pessimisme de Maupassant, traduit en termes esthétiques. Cette philosophie de l'art détermine une poétique du réel particulière, le réalisme illusionnisme, étudié dans les textes théoriques comme dans la pratique d'une écriture sensuelle et visuelle. Un imaginaire sensoriel s'élabore, où les sens jouent un rôle décisif dans les rapports entretenus entre la narration et la suggestion. La vision, particulièrement privilégiée, incite à parler plutôt de stylisation et d'évocation que de description. Maupassant provoque donc une impression de réalité à partir de sa propre vision dégagée de surimpression culturelle: rien n'est moins objectif que l'œuvre de ce prétendu naturaliste. Enfin, cette conception de l'écriture implique l'élaboration d'une rhétorique du réel fondant son efficacité sur un système analogique transparent. Métaphores et comparaisons sont utilisées pour créer l'effet de réel, mais elles impliquent une double lecture; l'analogie fonctionne sur deux plans: celui du réel et celui de l'art. Par ailleurs, la recherche d'une rapidité de lecture reposant sur l'emploi elliptique du temps met en valeur le silence final, apparente à l'effet sublimeThe criticism is not interested in Maupassant’s legibility; she is born of aesthetic project, which links writing and view about the world. The search of distinction between "conte" and "nouvelle" had too long stopped the Maupassant’s criticism. In fact, the short story defies all systematization and arises from Maupassant’s pessimism. This philosophy of art leads to "illusionist realisms", which is studied here in theoretical texts as in practice of sensual and visual writing. The senses play a key role in the relations between narrative and suggestion. Maupassant creates an impression of reality starting from his own view without cultural superimposition. Nothing is less objective than this so named naturalist work. Finally, this conception of realistic writing implies the elaboration of a "rhétorique du réel". Which bases the text's efficiency on analogical system: the rhetoric of transparency. The metaphors and comparisons are used to create the effect of reality; but the analogy acts in two parallel fields: the realistic and the artistic
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Hajioui, Ouardia. "De la peur chez Guy de Maupassant : sémiotique littéraire." Limoges, 1997. http://www.theses.fr/1997LIMO2000.
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Helms, Laure. "Maupassant et l'irrémédiable : le temps dans l'oeuvre romanesque de Guy de Maupassant." Paris 10, 2005. http://www.theses.fr/2005PA100105.
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Combinant les approches structurelle, narratologique, thématique et les perspectives philosophiques, ce travail, portant sur l'ensemble des romans de Maupassant, se présente comme une analyse des diverses formes de la temporalité romanesque, souvent délaissée au profit de l'étude de l'espace ou du registre descriptif. Ces approches complémentaires font clairement apparaître l'importance de la notion d'irrémédiable dans l'expérience maupassantienne du temps, et plus généralement dans une vision du monde caractérisée par un pessimisme tragique. La mémoire, aussi bien que l'anticipation ou la jouissance du présent, sont ainsi marquées du sceau de la destruction et de l'angoisse. A telle enseigne que ces trois "catégories" fondamentales de l'expérience se trouvent en définitive totalement bouleversées, les personnages étant tous plus ou moins aux prises avec la confusion des temps. Manière, encore et toujours, d'accentuer leur égarement dans une histoire dont ils apparaissent radicalement coupés, et qu'ils ne font plus que subir passivement. Face à cette faillite généralisée, l'écriture de Maupassant demeure remarquablement limpide, et par sa transparence même, apte à fixer le vertige du définitivement perduDealing with all Maupassant's novels and combining the structural approach with the narratologic, thematic and philosophical ones, this work presents itself as an analysis of the different kinds of novelistic temporality wich are often neglected for space's and description's studies. According to these complementary approaches, it would appear that the notion of the inevitable is really important in Maupassant's experience of time, and more generally in a world's view marked with tragical pessimism. The memory as well as the anticipation or the enjoyment of the present are thus bearing the mark of destruction and fear, so much so that these three basic " categories " of experience are completly disrupted, all the characters having more or less to cope with the confusion of times. A way still to emphasize their distress in a History from wich they seem completly cut off and wich they can only passively bear. In front of this generalised failure, Maupassant's writing remains remarkably lucid and throuh this very transparency, remains able to implant in the memory the vertigo of what is definitively lost
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Hénon, Florence. "La transformation télévisuelle des nouvelles de Maupassant : l'ami Maupassant." Metz, 1997. http://www.theses.fr/1997METZ022L.
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Dizol, Jean-Marie. "Maupassant de l'écrit à l'écran." Toulouse 2, 1985. http://www.theses.fr/1985TOU20024.
Full textBooks on the topic "Maupassant, Guy de, 1850-1893 Chevelure"
1
Maupassant, Guy de. Les chroniques politiques de Guy de Maupassant. Paris: Editions Rive droite, 2006.
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2
Maupassant: Quinze contes. London: Grant & Cutler, 2005.
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Maupassant, Guy de. A further selection of the Chroniques of Guy de Maupassant. Oxford: P. Lang, 2004.
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Maupassant, Guy de. Chroniques. Paris: Rive droite, 2003.
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Greimas, Algirdas Julien. Maupassant: The semiotics of text : practical exercises. Amsterdam: J. Benjamins Pub. Co., 1988.
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Maupassant, Guy de. A life. Oxford: Oxford University Press, 2009.
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Maupassant, Guy de. A life. Oxford: Oxford University Press, 1999.
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Maupassant, Guy de. A life. Oxford: Oxford University Press, 2009.
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Maupassant, Guy de. A selection of the political journalism: With introduction and notes. Bern: P. Lang, 1999.
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Maupassant, Guy de. A selection of the Chroniques (1881-87). Oxford: P.Lang, 2002.
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