Articoli di riviste: "French ficton"

1

DeHart, Florence E., e Karen Matthews. "French Fiction:". Cataloging & Classification Quarterly 9, n. 2 (19 dicembre 1988): 3–24. http://dx.doi.org/10.1300/j104v09n02_02.

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2

Thiher, Allen, e Leon S. Roudiez. "French Fiction Revisited". World Literature Today 65, n. 4 (1991): 671. http://dx.doi.org/10.2307/40147626.

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3

Hurcombe, M. "French Crime Fiction". French Studies 64, n. 2 (29 marzo 2010): 238–39. http://dx.doi.org/10.1093/fs/knp266.

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4

DUCHE, VERONIQUE. "Centenary Paper: Laboratory for Experimentation: Iberian Fiction Translated into French (1525–1550)". Bulletin of Hispanic Studies 101, n. 5 (maggio 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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5

Saint-Loubert, Laëtitia. "Variable Frames: Women Translating Cuban and (Afro-) Brazilian Women Writers for the French Literary Market". Mutatis Mutandis. Revista Latinoamericana de Traducción 13, n. 2 (24 agosto 2020): 401–20. http://dx.doi.org/10.17533/udea.mut.v13n2a10.

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This article seeks to examine how contemporary works of fiction and non-fiction by women from Cuba and Brazil are translated and marketed for Francophone readers. It will focus on Wendy Guerra’s novels, translated into French by Marianne Millon, and on contemporary Brazilian (non) fiction translated into French by Paula Anacaona, the head of Anacaona Éditions, a publishing outlet specialized in Brazilian literature for Francophone readers. The contribution will start with a brief presentation of the French publishing sector and some of the recurring patterns observed in what is often labeled as littérature étrangère or littérature monde (foreign literature and world literature, respectively), exploring various layers of intervention that appear in translated fiction. The article will then further explore the role of paratext in the marketing of Caribbean literatures for (non-)metropolitan French audiences, before it examines the translations of Todos se van and Domingo de Revolución by Cuban writer Wendy Guerra. Paratextual matter in Marianne Millon’s Tout le monde s’en va and Un dimanche de révolution will be analyzed as a site of feminine co-production, in which the author and the translator’s voices at times collide in unison and at others create dissonance. In the case of Domingo de revolución, the French translator’s practices will be compared to Cuban-American Achy Obejas’s English translation (Revolution Sunday), in the hope of highlighting varying degrees of cultural appropriation and/or acculturation, depending on the translator’s habitus and trajectory (Bourdieu) and her own background. These reflections will lead to a broader analysis of paratext as a site of further agency and potential redress as (Afro-) Brazilian history and literature are examined in works circulated by writer/translator/publisher Paula Anacaona. Ultimately, figures traditionally sidelined from hegemonic and patriarchal (his)stories, whose voices are restored in Anacaona’s paratextual practices, will serve as illustrations of feminine publishing practices that challenge (phallo-)centric models from the metropolis.

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6

Hollister, Lucas. "The Green and the Black: Ecological Awareness and the Darkness of Noir". PMLA/Publications of the Modern Language Association of America 134, n. 5 (ottobre 2019): 1012–27. http://dx.doi.org/10.1632/pmla.2019.134.5.1012.

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Ecocritical thought presents serious challenges for political readings of crime fiction and noir, notably in French and American cultural contexts, and these challenges merit a broad examination. How does the Anthropocene change our relation to the frames of intelligibility and the definitions of violence found in crime fictions? The scalar problems introduced by the cosmological perspectives of ecological awareness suggest the need to redraw the frontiers of noir, to imagine new green-black readings that transform our understanding of what counts in and as a noir novel.

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7

Mossberg, Mari. "Les conjonctions concessives à valeur réelle". Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 44, n. 2 (16 dicembre 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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8

Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations". Storyworlds: A Journal of Narrative Studies 13, n. 2 (dicembre 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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9

Hollister, Lucas. "Virginie Despentes’ queer crime fiction". French Cultural Studies 32, n. 4 (7 giugno 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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10

Franklin-Brown, Mary. "Fugitive Figures". Romanic Review 111, n. 1 (1 maggio 2020): 66–84. http://dx.doi.org/10.1215/00358118-8007964.

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Abstract Through a study of early French romances, especially the Conte de Floire et Blancheflor and Alexandre de Paris’s Roman d’Alexandre, this essay offers a new approach to the automaton in medieval literature. Bruno Latour’s plural ontology, which elaborates on the earlier work of Gilbert Simondon and Étienne Souriau, provides a way to break down the division between the human mind and the world (and hence the mind and the machine), offering a rich understanding of the way in which the beings of technology [TEC], fiction [FIC], and religion [REL] act in concert upon us to inspire our desire for technological fictions.

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11

Petit, Susan, e Dina Sherzer. "Representation in Contemporary French Fiction". South Atlantic Review 52, n. 4 (novembre 1987): 160. http://dx.doi.org/10.2307/3200392.

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12

Jefferson, Ann, e Dina Sherzer. "Representation in Contemporary French Fiction". Modern Language Review 83, n. 3 (luglio 1988): 743. http://dx.doi.org/10.2307/3731362.

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13

Otten, Anna. "Innovation in Modern French Fiction". Antioch Review 45, n. 3 (1987): 266. http://dx.doi.org/10.2307/4611743.

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14

Brewer, Maria Minich, e Dina Sherzer. "Representation in Contemporary French Fiction". SubStance 16, n. 3 (1987): 99. http://dx.doi.org/10.2307/3685206.

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15

Sherzer, Dina. "Representation in Contemporary French Fiction". Poetics Today 7, n. 3 (1986): 597. http://dx.doi.org/10.2307/1772530.

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16

Praeger, Michele, e Dina Sherzer. "Representation in Contemporary French Fiction". Poetics Today 8, n. 3/4 (1987): 704. http://dx.doi.org/10.2307/1772581.

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17

Pelletier, Vincent D., e Dina Sherzer. "Representation in Contemporary French Fiction". Rocky Mountain Review of Language and Literature 41, n. 4 (1987): 269. http://dx.doi.org/10.2307/1347308.

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18

Becker, Lucille, Margaret Atack e Phil Powrie. "Contemporary French Fiction by Women". World Literature Today 66, n. 1 (1992): 91. http://dx.doi.org/10.2307/40147882.

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19

Knapp, Bettina L., e Elizabeth Fallaize. "French Women's Writing: Recent Fiction". World Literature Today 68, n. 3 (1994): 530. http://dx.doi.org/10.2307/40150382.

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20

Oliinyk, Iryna, Mykola Petrovsky, Larysa Ruban, Liudmyla Shevchenko e Yulia Sviatiuk. "French loan words in modern American fiction". Revista Amazonia Investiga 11, n. 58 (30 novembre 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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21

Grenouilleau-Loescher, Rebecca, e Kathryn A. Haklin. "Introduction: Characters in/as Connection". L'Esprit Créateur 63, n. 3 (settembre 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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22

Klebes, Martin. "If Worlds Were Stories". Konturen 2, n. 1 (11 ottobre 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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23

Bawardi, Basiliyus. "First Steps in Writing Arabic Narrative Fiction: The Case of Hadīqat al-Akhbār". Die Welt des Islams 48, n. 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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24

Cameron, Keith, e Heather Ingman. "Machiavelli in Sixteenth-Century French Fiction". Modern Language Review 86, n. 2 (aprile 1991): 447. http://dx.doi.org/10.2307/3730584.

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25

Howells, Christina, e Terry Keefe. "French Existentialist Fiction: Changing Moral Perspectives". Modern Language Review 83, n. 2 (aprile 1988): 461. http://dx.doi.org/10.2307/3731739.

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26

Schaffer, Rachel. "Tana French and Irish Crime Fiction". Clues: A Journal of Detection 31, n. 1 (1 aprile 2013): 122. http://dx.doi.org/10.3172/clu.31.1.122.

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27

Miller, Mary Ashburn. "A Fiction of the French Nation". Historical Reflections/Réflexions Historiques 44, n. 2 (1 giugno 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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28

Cook, Malcolm. "Portraits in Eighteenth-Century French Fiction". Australian Journal of French Studies 35, n. 2 (maggio 1998): 141–55. http://dx.doi.org/10.3828/ajfs.35.2.141.

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29

Arthur B. Evans. "Anachronism in Early French Futuristic Fiction". Science Fiction Studies 43, n. 2 (2016): 194. http://dx.doi.org/10.5621/sciefictstud.43.2.0194.

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30

Cook, Malcolm. "Utopian Fiction of the French Revolution". Nottingham French Studies 45, n. 1 (marzo 2006): 104–13. http://dx.doi.org/10.3366/nfs.2006.009.

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31

Saint, N. "Art in French Fiction since 1900". French Studies 68, n. 2 (1 aprile 2014): 265–66. http://dx.doi.org/10.1093/fs/knu013.

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32

Tilby, Michael, e Armine Kotin Mortimer. "Writing Realism: Representations in French Fiction". Modern Language Review 98, n. 1 (gennaio 2003): 211. http://dx.doi.org/10.2307/3738233.

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33

Phillips, John, e Jean Mainil. "French Erotic Fiction: Ideologies of Desire". Modern Language Review 97, n. 4 (ottobre 2002): 989. http://dx.doi.org/10.2307/3738682.

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34

Frank, Helen. "Discovering Australia Through Fiction: French Translators as Aventuriers". Meta 51, n. 3 (21 settembre 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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35

Schabert, Ina. "English Fiction in France: A Cross-Channel Dialogue at the Turn of the Twenty-First Century". Nottingham French Studies 61, n. 1 (marzo 2022): 45–59. http://dx.doi.org/10.3366/nfs.2022.0338.

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After a period of postmodern innovation, readers as well as some writers in France have developed a taste for English fiction, preferably for texts that invite immersive reading. In contrast to earlier cross-Channel studies with their emphasis on French influence on English literature, an enquiry into current Anglo-French literary relations might show the reverse being true. For a start, this article discusses creative responses to English works in three French novels: Sylvia Tabet represents the Franco-British literary dialogue as an encounter with a variety of Victorian and post-Victorian voices; Julie Wolkenstein stages it as a negotiation between a novel by Henry James and her own fiction; and Jacqueline Harpman replies to Virginia Woolf’s Orlando with an updated version of the myth of the androgyne. Like the English pre-texts, the French offshoots encourage identificatory reading, yet by their mise en abyme techniques they also provoke critical reflection.

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Rancière, Jacques, e Drew S. Burk. "Skopje: Time, Narrative, and Politics". Identities: Journal for Politics, Gender and Culture 11, n. 1 (1 gennaio 2015): 7–18. http://dx.doi.org/10.51151/identities.v11i1.291.

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I would like to recall several ideas that have supported the entirety of my work for the past 40 years: forms of worker emancipation and the regimes of the identification of art; the transformations of literary fiction and the principles of democracy; the presuppositions of historical science and the forms of consensus by today’s dominant apparatuses. What unites all these areas of research is the attention to the way in which these practices and forms of knowledge imply a certain cartography of the common world. I have chosen to name this system of relations between ways of being, doing, seeing, and thinking that determine at once the common world and the ways in which everyone takes part within it the “distribution of the sensible.” But it must also be said that temporal categories play an important role in this as well. By defining a now, a before and an after, and in connecting them together within the narrative, they predetermine the way in which the common world is given to us in order to perceive it and to think it as well as the place given to everyone who occupies it and the capacity by which each of us then has to perceive truth. The narrative of time at once states what the flow of time makes possible as well as the way in which the inhabitants of time can grasp (or not grasp) these “possibles.” This articulation is a fiction. In this sense, politics and forms of knowledge are established by way of fictions including as well works that are deemed to be of the imagination. And the narrative of time is at the heart of these fictions that structure the intelligibility of these situations, which is to say as well, their acceptability. The narrative of time is always at the same time a fiction of the justice of time. Author(s): Jacques Rancière Title (English): Skopje: Time, Narrative, and Politics Translated by (French to English): Drew S. Burk Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 11, No. 1 (Summer 2015) Publisher: Institute of Social Sciences and Humanities – Skopje Page Range: 7-18 Page Count: 11 Citation (English): Jacques Rancière, “Skopje: Time, Narrative, and Politics,” translated from the French by Drew S. Burk, Identities: Journal for Politics, Gender and Culture, Vol. 11, No. 1 (Summer 2015): 7-18.

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Giordano, Joe. "French Connection". After Dinner Conversation 3, n. 9 (2022): 38–43. http://dx.doi.org/10.5840/adc20223984.

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Is the honestly lived life always the best? What if it leads to a life of hardship and poverty? In this work of philosophical short story fiction, the narrator is transported to 1940’s Paris and is invited to have coffee with Simone de Beauvoir, Jean Paul Sartre, and Albert Camus. They discuss with her over coffee their ideas on the meaning and purpose of life, consistent with the opinions of the historical figures. Each comment they make ties into the decision the narrator is struggling with in her own time, if she should choose the college major she wants, disappointing her parents and creating a potential life of struggle, or should she attempt to construct a life of personal meaning and value? After a few minutes, she realizes the decision she must make.

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38

Murphy, Carol J., e Gerald Prince. "Narrative as Theme: Studies in French Fiction". South Atlantic Review 57, n. 4 (novembre 1992): 145. http://dx.doi.org/10.2307/3199855.

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39

Rudelic, Dana, e Allan H. Pasco. "Novel Configurations: A Study of French Fiction". South Atlantic Review 54, n. 2 (maggio 1989): 154. http://dx.doi.org/10.2307/3200574.

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40

Bellott, Virginia. "French Crime Fiction ed. by Claire Gorrara". French Review 84, n. 2 (2010): 376–77. http://dx.doi.org/10.1353/tfr.2010.0081.

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41

Schaffer, Rachel. "Introduction: Tana French and Irish Crime Fiction". Clues: A Journal of Detection 32, n. 1 (31 marzo 2014): 9–12. http://dx.doi.org/10.3172/clu.32.1.9.

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42

de L. Ryals, Clyde. "Carlyle's The French Revolution: A "True Fiction"". ELH 54, n. 4 (1987): 925. http://dx.doi.org/10.2307/2873103.

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43

Knight, D. "Review: Writing Realism: Representations in French Fiction". French Studies 56, n. 2 (1 aprile 2002): 284–85. http://dx.doi.org/10.1093/fs/56.2.284.

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44

Kelly, Dorothy. "Writing Realism: Representations in French Fiction (review)". Nineteenth Century French Studies 31, n. 1 (2002): 138–40. http://dx.doi.org/10.1353/ncf.2002.0051.

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45

Higgins, Lynn A. "Writing Realism: Representations in French Fiction (review)". French Forum 28, n. 3 (2003): 119–21. http://dx.doi.org/10.1353/frf.2004.0019.

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46

Tilby, M. "Exotic Subversions in Nineteenth-Century French Fiction". French Studies 64, n. 4 (29 settembre 2010): 495–96. http://dx.doi.org/10.1093/fs/knq151.

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47

Chekalov, Kirill A. "Early French detective fiction: self-identification paths". Vestnik of Kostroma State University 29, n. 2 (12 ottobre 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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Perron, Dominique. "French Ecocritique: Reading Contemporary French Theory and Fiction Ecologically by Stephanie Posthumus". University of Toronto Quarterly 88, n. 3 (dicembre 2019): 176–78. http://dx.doi.org/10.3138/utq.88.3.hr46.

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49

Krell, Jonathan F. "French Écocritique: Reading Contemporary French Theory and Fiction Ecologically by Stephanie Posthumus". Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 46, n. 3 (2019): 523–26. http://dx.doi.org/10.1353/crc.2019.0035.

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50

Moser, Keith. "French Écocritique: Reading Contemporary French Theory and Fiction Ecologically by Stéphanie Posthumus". French Review 92, n. 2 (2018): 236–37. http://dx.doi.org/10.1353/tfr.2018.0083.

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