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Artykuły w czasopismach na temat "20th century french literature - literary criticism"
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Pavlova, Svetlana Yu. "Russian literary criticism of the 20th century on Moliere’s comedy “The Misanthrope”". Izvestiya of Saratov University. Philology. Journalism 23, nr 1 (21.02.2023): 48–54. http://dx.doi.org/10.18500/1817-7115-2023-23-1-48-54.
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The article addresses the reception of J.-B. Moliere’s comedy “The Misanthrope” (1666) by the Russian literary critics of the 20th century, reflected in monographs, academic publications, textbook, articles and the scientific apparatus to the complete works of the great French playwright. The reason of this persistent interest to this play is determined by two essential factors: its ambiguity and its influence on A. S. Griboyedov’s comedy “Woe from Wit”. The author of the article traces the transformation of the researchers’ evaluations, ranging from the pre-revolutionary period and up to the latest reviews. It is stated that the reception of “The Misanthrope” can be generally traced back to the ideas of A. N. Veselovsky, the founder of the Russian studies of Moliere. Having been perceived controversially by the closest followers of the scientist, they became ideological in the works of the Soviet researchers of the 1930–1940s, then they were in the focus of attention of the literary critics of the middle of the century and were further developed in the studies of the turn of the 20th – 21st centuries. Addressing “The Misanthrope”, the Russian researchers of the French literature of the 17th century focus on the distinguishing features of the comic, on the biographical basis of the play, on the system of images, prototypes of the main character and the essence of his conflict with the society. They invariably concentrate on the issue of the author’s viewpoint, and on the question of who Moliere sides with – Alceste or Philinte. The carried-out analysis shows that the research thought has changed from the biographical, social and political interpretation of the comedy “The Misanthrope” to refocusing on ethical issues. It appears that, despite the importance of all of these aspects, clearly significant for the comprehension of the play, a cultural studies approach, characteristic for the French literary studies and based on the most recent studies of the gallant epoch, will facilitate a more sensible perception of the play.
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Maritchik-Sioli, Youlia A. "“Very Russian, the French Would Say... Very French, the Russians Would Say”: The Metamorphosis of E. Bakunina’s Novel ‘The Body’ in French and Russian Literary Criticism". Literary Fact, nr 1 (31) (2024): 217–41. http://dx.doi.org/10.22455/2541-8297-2024-31-217-241.
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The article is devoted to the reception of the novel “The Body” (1933) by emigré writer E.V. Bakunina in French and Russian literary criticism in the early 1930s. A number of researchers have already analyzed the responses of Russian critics to the publication of the novel but have not paid enough attention to a cross-sectional view of the perception of the writer’s work. This question is of interest insofar as it allows us to identify weaknesses and strengths of Bakunina’s work and rethink the literary and cultural norms established in the early 20th century. One of the article’s crucial questions is critics’ reaction to the verbalization of the female character’s body experience. In France, the literary context of the 1920s and 1930s, the presence of progressive journals, and some trends in the history of French literature contributed to the fleeting but genuine interest of critics in the novel. At the same time, the focus on preserving the best traditions of Russian literature in exile, the historical “memory of culture,” and the requirement to observe the artistic measure led to a sharp rejection of body discourse among emigré critics. The conclusion focuses on the stereotypical perception of the novel by French and Russian literary criticism, and emphasizes the importance of studying the creative heritage of “minor” authors. If French literary criticism often perceived Bakunina’s novel through the prism of the distinctive features of the “Slavic soul,” then Russian criticism judged the writer’s novel through an established grid of artistic criteria (measure, taste, femininity).
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van Rooden, Aukje. "Kafka Shared Between Blanchot and Sartre". arcadia 55, nr 2 (9.11.2020): 239–59. http://dx.doi.org/10.1515/arcadia-2020-2010.
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AbstractEver since their translation in the course of the 20th century, the works of Kafka have been widely appreciated by French intellectuals. Kafka’s greatest admirers include Maurice Blanchot and Jean-Paul Sartre, both of whom consider his work an exemplary illustration of their own poetical-philosophical views. This is remarkable, because Blanchot’s and Sartre’s respective views are generally conceived of as opposites. Apparently, then, these two authors who are so divergent in their philosophical views and literary criticism, as well as in their own literary works, find themselves on the same page in their appreciation of Kafka. I will argue that this shared appreciation not only reveals some unexpected points of agreement between them, but also facilitates an interesting intellectual encounter between Blanchot and Sartre in the late 1940 s. It is, we will see, only on the basis of an agreement with regards to Kafka’s work that their ways can part.
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Pujante, Ángel-Luis. "The French Influence on Early Shakespeare Reception in Spain: Three Cases of Unacknowledged Sources". Sederi, nr 20 (2010): 103–19. http://dx.doi.org/10.34136/sederi.2010.5.
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Shakespeare criticism in Spain began in 1764 and has been on the increase ever since. The main source of information on the subject has long been the tremendous work done by Alfonso Par from the beginning of the 20th century until his death in 1936: without his Shakespeare en la literatura española (1935) none of the later studies could have been written, or at least they would have taken a good deal longer to write. On the other hand, Par’s book includes gaps and errors which need to be corrected. Among these are three cases of supposedly original texts which have turned out to be appropriations of foreign originals whose sources were not acknowledged. This article sets out to analyze these cases, examine their critical implications and thus contribute to a better knowledge and understanding of the Spanish reception of Shakespeare.
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Pomyluiko-Nedashkivska, Halyna. "GEORGES BERNANOS’ WRITING AS MODERNIST CODE OF FRANCOPHONIC METAMODERNISTIC SENSIBILITY". CONTEMPORARY LITERARY STUDIES, nr 20 (20.12.2023): 75–80. http://dx.doi.org/10.32589/2411-3883.20.2023.293567.
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The article analyzes the presence of an intertext between literary prose and political essay writing by a representative of the French Catholic literary revival of the first half of the 20th century. - Georges Bernanos - within the limits of modern intergenre French literature. The example is the collection of essays by the French-speaking writer Juan Asensio. However, the broader context of the reactualization of modernist writing in the contemprorary literary process is shown. The metamodernist sensibility of the 2000s is considered to be a result of the end of the dominance of the postmodernist discourse, its main theorists are investigated and the reasons for its appearance are shown. The dialogic character of metamodernism with the clue ideas of both modernism and postmodernism is noted, which is a middle way between modernist enthusiasm and postmodernist irony and skepticism, between hope and melancholy, between empathy and apathy, between truth and relativism, between totality and fragmentation, between experience and omniscience. Linguistic etymology and semantic plurality of the concept of “metamodernism” at the epistemological, ontological and historical levels are shown. The basic characteristics of the metamodernist worldview are named, such as: the return of metanarratives, belief in the truth, sincerity, empathy, the return ofhistory, the seriousness of religious experience, the search for the real, the importance of subjective experience. On the basis of these categories, the intertextual connection of the texts of Bernanos and Asensio is revealed according to four categories based on G. Genette’s narratology. It is about architextuality, thus citation at the genre level, narrative and poetic-stylistic closeness, explicit citation and allusions, and Bernanos’ meta-literary criticism provided in a comparative way. It is proved that the writing of Georges Bernanos became not only an intertext, but also a productive pretext of modern French literature, although the radical prophetism of the former was turned into a voice that just found the right to the truth and sincerity.
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Glazkova, Marina M., i Yana V. Ikonnikova. "Virtual-creative interethnic dialogue (A. Gide – F. Nietzsche – F. Dostoevsky) in French and Russian literary criticism". Neophilology, nr 25 (2021): 51–61. http://dx.doi.org/10.20310/2587-6953-2021-7-25-51-61.
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The review of literature on the problem of “Dialogue of cultures in A. Gide’s works” establish extensive contact and typological convergence, a rollcall of images and ideas, reveal new interpretation of the story. All this became the basis of intertextual analysis, which allows us to understand more deeply the intention of the artists of the word, especially F.M. Dostoevsky, with whom A. Gide enters into a virtual dialogue. The work purpose is to address the ethical and philo-sophical ideas of F. Nietzsche and F.M. Dostoevsky in the context of A. Gide’s works, which turns out to be the most important moment and the basis for understanding the essence of the work of prominent French writer. The system of analysis includes a peculiar dialogue between F. Nietzsche, A. Gide and F.M. Dostoevsky – artists belonging to different nationalities and cul-tures, who did not coincide in time, did not know each other personally, which turned out to be evidence of their inextricable cultural connection. We determine the study degree and A. Gide’s artistic world originality on the basis of the rich factual material contained in the studies of the creative heritage of the French writer, which allows us to trace the evolution of A. Gide’s work from the beginning of the 20th to the beginning of the 21st century, to determine the literary signi-ficance of the problems posed in his work. The methodology of the work includes an overview of what has already been done in French and Russian literary studies on this issue in the context of the embodiment of national ideas in their work, which is the novelty and relevance of this study. Conclusions: for A. Gide, an appeal to F.M. Dostoevsky was immersed in his literary texts in order to understand the Russian mentality in comparison with the Western European system of values. The French writer emphasized that in the Russian environment, depicted by F.M. Dostoevsky, love prevails, which is “inclusive”, so the writer called it “world responsiveness”. People go to such love through compassion, sacrifice, meekness and deep faith in the Savior and the Mother of God. Realizing their messianic role in the world, the Russian people, represented by F.M. Dostoevsky, according to A. Gide, in the future will renew the Catholic Church, which dis-torted Christianity and brought strife in the world community. The dialogical perspective requires a deeper study, because French, German and Russian writers-thinkers turn their gaze not only to the interpretative part, not only to the interpretation, interpretation of the works of F.M. Dos-toevsky, but also scattered in the works of A. Gide rolls with his thoughts, disputes with his heroes, allusions to his plots, to playing out individual episodes, which did not find a detailed study and justification in this interesting virtual dialogue.
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Grigor’eva, Nadezhda Ia. "Critique of the new hero in cinema (L.Visconti) and literature (F.M.Dostoevsky)". Vestnik of Saint Petersburg University. Language and Literature 18, nr 3 (2021): 444–59. http://dx.doi.org/10.21638/spbu09.2021.302.
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The article examines the philosophical basis of the figure of a new hero in literature and film. “New heroes” in selected literary and cinema works are compared within the context of existentialist philosophy and “philosophical anthropology”. Material for the comparative intertextual and intermedial analysis is the novel Demons by Fyodor Mikhailovich Dostoevsky and Luchino Visconti’s late films The Damned, Ludwig and Conversation Piece. The article attempts to broaden the intertextual horizon of research on Visconti by drawing new parallels between his films and Dostoevsky’s work. The work argues that the Italian filmmaker, follow ing the Russian writer of the 19th century and the European philosophers of the 20th century, criticises the “hero” who destroyed the old order on purpose to create a new one. Visconti’s revolutionary hero suffers from “the pathology of freedom” and refers to the figure of a nihilist from Dostoevsky’s novels, on the one hand, and to the figure of a sovereign in the philosophical and anthropological works of German and French writers of the 1930–50s, on the other. In his films The Damned, Ludwig and Conversation Piece, Visconti adopts not only a number of motifs from Dostoevsky but also replicates the main idea of the Russian writer who supposed that the enhancement of the human race was possible only after the second coming of Christ.
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Radavska, Oksana. "The expressional style of the novel by Jean Giono «Big flock»". Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, nr 22 (2020): 66–73. http://dx.doi.org/10.34079/2226-3055-2020-13-22-66-73.
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The paper is devoted to the analysis of the stylistic peculiarities of the novel of the French writer Jean Giono «Big Flock» (1931) dedicated to the events of World War I. The article proposes to use the Gaston Bashlar’s conception «The Poetics of Fire» as a methodology for the research of the expressive style. In the French criticism there is an idea about stylistic sophistication of this work, which is defined as a model of the tragic naturalism. It is suggested to look at the style of this work from the point of view of the poetics of expressionism. It is shown that the work of J. Giono is an example of «the ardent language», which contains the bright «The Poetics of Fire» and many other means of expressionist style. The novel «Big Flock» is called an amazing work of world literature on the endlessly elaborated theme of the war 1914. According to the French criticism, the novel is written in the spirit of the tragic naturalism. In a novel hatred for a civilization that has shed so much blood is expressed with utmost power. We intend to prove the consistently expressionistic nature of this work. If we use Gaston Bashlar's concept of «Poetics of Fire» as a methodology to identify the expressionist style, it is precisely the dominant archetype of fire that will enable to move the novel by J. Giono on a style scale from tragic naturalism to expressionism. G. Bashlar is a distinguished French philosopher, cultural scientist, literary scholar of the 20th century who explores dreams, in particular the creative dream described in his work «Psychoanalysis of Fire», which examines the images inspired by the contemplation of the fire. Also in this work, the philosopher identifies specific psychological complexes that allow deeper understanding of poetic works. All the manifestations of the fire G. Bashlar connects with the creative process. The main features of the poetics of expressionism in the novel of J. Giono «Big Flock» are as follows: the active use of the fire image that makes the work an example of «The Poetics of Fire» written by Gaston Bashlyar; the fragmentation of the plot; the inciting of the naturalistic pictures of mutilation and the death; the schematized character-images, the descriptions of human appearance compared to animals; the hyperbolization of every language means; the richness of the multiple tropes, the pervasive allegory of the «great flock», which enables to bring the generalizations to the scale of all humanity, to equalize the human and the animal world as an object of destruction, etc. Apparently, there is no expressionist means that wouldn’t manifest itself in this novel.
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Svitlenko, Serhiy. "Ukrainian intellectual Trokhym Zinkivskyi and preservation of historical memory of Taras Shevchenko". Chornomors’ka Mynuvshyna, nr 17 (31.12.2022): 71–78. http://dx.doi.org/10.18524/2519-2523.2022.17.268828.
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The personality of Trochym Zinkivskyi (1861–1891) remains little known and insufficiently developed in modern Ukrainian historiography. The purpose of the article is to study the figure of Trokhym Zinkivskyi in the context of the problem of preserving the historical memory of Taras Shevchenko. Research methods are personalistic, historical-genetic and historical-systemic. Sources: published epistolaries of T. Zinkivskyi and his addressees, memories of contemporaries, biographical articles in the Ukrainian press of the beginning of the 20th century etc. The main results consist in elucidating the peculiarities of the formation of T. Zinkivskyi's worldview under the conditions of the oppression of the Southern Ukrainian lands by the Russian imperial regime, in particular in Berdyansk, Feodosia and Odesa, the establishment of his Ukrainian national-democratic views during his studies and military service in Smila, Shpola and Uman, in Kyiv and St. Petersburg. It is noted that an important factor in the development of his Ukrainian consciousness and identity was his family upbringing, which instilled love for his native language and formed Christian, religious values. A prominent role was played by the reading circle, which included Shevchenkov's «Kobzar» along with other literary works of Ukrainian and foreign writers; as well as Ukrainian folk art. V. Kravchenko, L. Smolenskyi, B. Grinchenko, M. Komarov, and a number of representatives of the Ukrainian colony in St. Petersburg were included in the closest circle of persons who significantly influenced the formation of the worldview of the Ukrainian figure. The article traces the main stages of the intellectual and public activity of the Ukrainian figure in the matter of preserving the historical memory of Kobzar. It is noted that already in the middle and second half of the 80s of the 19th century. T. Zinkivskyi began work in the field of Ukrainian literature, took care of translation activities. In St. Petersburg, he was able to begin wider work for the benefit of Ukrainianism and became an ideological leader of young Ukrainians. The powerful vital energy of the activist was organically combined with consistent and convinced actions in the name of the Ukrainian cause. In the youth group at Shevchenko's anniversary, T. Zinkivskyi read a number of essays, such as «The National Question in Russia», «Shevchenko in the Light of European Criticism», «Young Ukraine» and others. His essay «Taras Shevchenko in the Light of European Criticism», which was read in Ukrainian on the evening of February 25, 1889 in the capital of the empire, was of exceptional importance. This speech, prepared mostly on the basis of French, Austrian, German, and Polish historiographical sources, presented Kobzar as a figure of global poetic scale and destroyed the perception of the Russian metropolitan public about Ukrainians and the Ukrainian language as something provincial and inferior. Conclusions.T. Zinkivskyi became one of the brightest representatives of the «Young Ukraine» generation. The short-lived but important intellectual activity of the ideological leader of young Ukrainians, in particular, speeches at the Shevchenko anniversary, publication of abstracts, epistolaries, drew the attention of contemporaries to the figure of Taras Shevchenko, to his poetic heritage; actualized the issue of preserving the historical memory of Kobzar as a leader of the national values of Ukrainians. It has been proven that during the 1880s and early 1890s, T. Zinkivskyi's intellectual activity contributed to the progress of Ukrainian public affairs and national science, the establishment of Ukrainian national consciousness among the generation of young Ukrainians. The practical significance of the article is that the given material will be of interest to specialists in the context of studying the ethno-national history of Ukraine in the second half of the 19th century. The originality of the article lies in the understanding of insufficiently studied aspects of the activity of the Ukrainian intellectual, who stood at the origins of the idea of «Young Ukraine». Scientific novelty in updating the intellectual activity of T. Zinkivskyi in the matter of preserving Ukrainian national memory and forming national consciousness and identity.
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Herman, David. "How Jewish Refugee Critics Changed British Literary Criticism, 1970–2020". Humanities 9, nr 3 (14.08.2020): 80. http://dx.doi.org/10.3390/h9030080.
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During the mid- and late 20th century, a small group of Jewish refugee critics changed the way British culture thought about what kind of literature mattered and why. These outsiders went on to have an enormous impact on late 20th-century British literary culture. What was this impact? Why in the last third of the 20th century? Why did British literary culture become so much more receptive to critics like George Steiner, Gabriel Josipovici, Martin Esslin and SS Prawer and to a new canon of continental Jewish writers? The obstacles to Jewish refugee critics were formidable. Yet their work on writers like Kafka, Brecht and Paul Celan, and thinkers like Heidegger and Lukacs had a huge impact. They also broke the post-war silence about the Holocaust and moved the Jewish Bibl from the margins of English-speaking culture.
Rozprawy doktorskie na temat "20th century french literature - literary criticism"
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Mueller, Marieke. "Subjectivity in Sartre's 'L'idiot de la famille' : biography as a space for the development of theory". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:54f60363-e148-4481-b710-c7e68a908bd5.
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In the context of a renascent interest in the thought of Jean-Paul Sartre, this thesis proposes a close examination of one of his less studied texts, the study of Gustave Flaubert, L'Idiot de la famille (1971-72). The analysis focuses on theoretical developments that emerge from Sartre's biographical enquiry, pursuing an interdisciplinary approach combining a consideration of literary theory and literary history with the perspective of Sartre's philosophy of subjectivity. L'Idiot is situated amongst a wide variety of texts by Sartre, from Qu'est-ce que la littérature? (1948) to the Critique de la raison dialectique (1960), identifying theoretical innovations within Sartre's understanding of the subject (ch. 1), his social theory (ch. 2), his theory of the imaginary (ch. 3), of literary production (ch. 4) and of reading (ch. 5). Additionally, hitherto largely unexplored passages highlight Sartre's reflections on the situation of the late 1960s. Previous analyses of the philosophical innovations presented in L'Idiot have often focused on the strictly theoretical passages in the biography. The present thesis also concentrates on the 'imagined' scenes presented throughout the text. Read as an integral part of Sartre's method, it is suggested that the dramatization facilitated by the biographical format is an integral part of the theoretical enquiry. Despite the lack of explicit referencing provided by Sartre, the biography is explored in its open character, identifying a series of resonances and similarities with a diverse range of authors. The different chapters consider thinkers whose relationship with Sartre has received little or no attention (such as Pierre Bourdieu and Walter Benjamin), or whose work resonates with Sartre in ways that have so far gone unnoticed (Roland Barthes, Maurice Merleau-Ponty and Maurice Blanchot).
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Magerski, Christine 1969. "The constitution of the literary field in Germany after 1871 : Berlin modernism, literary criticism and the beginnings of the sociology of literature". Monash University, German Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8724.
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Nardout, Elisabeth. "Le champ littéraire québécois et la France, 1940-50 /". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72078.
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The decade 1940-1950 represents a decisive stage in the evolution of the relations between the Quebec literary scene and France. Whereas before the war, literary discourse keeps on upholding, in a dogmatic way, the superiority of French culture and literature, the next period is characterized, on the contrary, by a reassessment of this postulate.The historical circumstances justify the setting up of exceptional institutional conditions. Some French writers and critics, in exile in North America, partake, to varying degrees, in the French Canadian literary scene. The backing of these intellectuals is not unrelated to the process of modernization and autonomization undertaken at that time by the major sectors of the Quebecer literary apparatus.
A conflict of interest in the publishing sector as well as ideological differences spark a controversy between Robert Carbonneau and some members of the Comite National des Ecrivains. This "quarrel", to quote Charbonneau, is an unprecedented example of direct confrontation between Quebecer and French literary agents. On this occasion, Robert Charbonneau redefines French Canadian literature outside of France's sphere of influence, France being a country whose status he wishes to limit to that of just one foreign reference among many.
This desire for autonomy can also be found in literary texts which, using means available to them, bear witness to an appreciable decline of the French literature. But whereas literary discourse attempts to resist annexation to French literature, the literary apparatus is subject, upon the Liberation, to a material and symbolic domination by the French authorities, a domination it cannot fight. In this respect, the conditions of literary production in the fifties are paradoxical since the text, while voicing its rejection of the French institution and its French Canadian identity, continues to receive its ultimate consecration from France.
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Karolyi, Julian. "Literary renewal and the reader : the multiple pleasures of La Nouvelle Fiction". Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/13406.
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In this thesis I seek to describe, analyse and characterise the contemporary literary movement La Nouvelle Fiction, a group that has received no critical attention to date. The movement is examined first in terms of its place in French literary history, taking as reference points both literary and theoretical trends: in particular, the nouveau roman and aspects of post-structuralism, with both of which the Nouvelle Fiction implicitly compares or contrasts itself. In Part I, I go on to analyse the theory of the fantastic and detective fiction, both genres that influence the Nouvelle Fiction, and provisional descriptions of the Nouvelle Fiction are thereby developed based on Umberto Eco's theory of the 'model reader'. I suggest that the Nouvelle Fiction demands a particularly active interpretative role of its reader, which is compared in the texts with moral competence in the world. Through analysis of key narrative strategies in Part II (circular narrative structures, unreliable narrative voices, parody, and mise en abyme), the movement is examined for its internal characteristics, and specific differences in practice are established between the Nouvelle Fiction and the nouveau roman. In Part III, aspects of reader-reception are examined, first, through the use of Barthes's anatomy of textual pleasure, second, through the relationship between fiction, the world and identity, and thirdly, through discussion of the extent engagement is possible in these ludic and interpretatively ambiguous texts. I argue that a picture thus emerges of a fiction that heralds a heightened role for the active reader of texts that represent a renewed relationship with reality and with the way narrative shapes it, after the reaction against representation that was an important characteristic of the modernist aesthetic.
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Zambelli, Sessona Anna. "Intertextual strategies and the poetics of identity in Imīl Ḥabībī's literary works". Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711596.
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Fahmy, Miriam. "Le discours sur la fin de la littérature en France de 1987 à 1994 /". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79937.
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The "essai crepusculaire" was one of the most popular literary genres during the 1980's and 1990's in France. Among those, the essays warning of the impending end of French literature offer a view of the world which idealises the past while condemning a shameful present in order to justify the return of lost values.Our project consists of an analysis of the argumentative rhetoric contained in the four essays of our corpus, which together form the Discourse on the death of French literature. We studied how the authors set up an argumentative construct likely to convince the reader that French literature has fallen into decay. By analysing the rhetorical processes as well as locating the tacit discourse, we sought to single out the ideology which they promote and to make out the contours of the literary ideal which they delineate. In light of these observations, we ended with the broad outline of a typology of the genre, liable to exemplify all "essais crepusculaires".
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de, Vivanco Camillo. "Misanthropy in the works of Louis-Ferdinand Céline and Thomas Bernhard". Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.712505.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /". London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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甘李國冰 i Lee Kwok-ping Vivien Kam. "The literary profession and domestic politics in the People's Republicof China, 1950-1980". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207625.
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Gagné, Marie 1961. "Le mouvement "Tel Quel": neo-avant-garde et postmodernite". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74534.
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Cette etude propose une analyse de "Tel Quel" en tant que mouvement de neo-avant-garde situe a la frontiere de la modernite et de la postmodernite. Nous y considerons tous les textes de creation (roman et poesie) publies dans la collection "Tel Quel" entre 1960 et 1982, sans negliger l'etude de leur rapport avec la reflexion theorique exposee dans les essais et les articles de la revue. Cette these represente en meme temps un effort de synthese des principales typologies ou tentatives de definition proposees par la critique occidentale pour caracteriser les mouvements litteraires issus des societes post-industrielles: modernite, postmodernite, modernisme, postmodernisme, avant-garde, post avant-garde et neo-avant-garde.
Książki na temat "20th century french literature - literary criticism"
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Pasco, Allan H. Allusion: A literary graft. Charlottesville, [Va.]: Rockwood Press, 2002.
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Pasco, Allan H. Allusion: A literary graft. Toronto: University of Toronto Press, 1994.
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Shaviro, Steven. Passion & excess: Blanchot, Bataille, and literary theory. Tallahassee: Florida State University Press, 1990.
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Fowlie, Wallace. Poem & symbol: A brief history of French symbolism. University Park: Pennsylvania State University Press, 1990.
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David, Carroll. French literary fascism: Nationalism, anti-Semitism, and the ideology of culture. Princeton, N.J: Princeton University Press, 1995.
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David, Carroll. French literary fascism: Nationalism, anti-semitism and the ideology of culture. Princeton, NJ: Princeton U.P., 1998.
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F, Motte Warren, red. Oulipo: A primer of potential literature. Normal, Ill: Dalkey Archive Press, 1998.
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Australian Society for French Studies. Annual Conference. Soi-disant: Life-writing in French. Newark: University of Delaware Press, 2005.
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Guy, Michaud. Le symbolisme tel qu'en lui-même. Paris: A.G. Nizet, 1995.
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Giguère, Ronald Gérard. Ecrivains noirs d'Afrique et des Antilles. New York: P. Lang, 1997.
Znajdź pełny tekst źródłaCzęści książek na temat "20th century french literature - literary criticism"
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Marichik-Sioli, Youlia A. "Reception of the Novel “Taras Bulba” in International Literary Studies". W The Non-Euclidean Geometry of Yuri Mann: In Memoriam, 406–28. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. http://dx.doi.org/10.22455/978-5-9208-0754-0-406-428.
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This article recounts the brief history of the interpretation and reception of the novel “Taras Bulba” by European and American literary critics and historians in the 19th and 20th centuries. Special attention is paid to the first translation of the novel into French in 1845. In the second half of the 19th century, the novel was perceived both in France and England as a talented imitation of the Western literary classics (Homer, Rabelais, Hofmann, Balzac, Scott...). On the other hand, the writer’s name immediately became associated with a unique writing style and the creation of a picturesque and legendary image of the Cossacks. In the 20th century, at least two major historical and cultural approaches emerged to the study of the writer’s work — psychoanalysis and the national question. Since the late 1950s, following the work of H. McLean, many international scholars have analysed hidden erotic motifs both in the writer’s work in general and in the novel “Taras Bulba” in particular. Since the late 1960s, a major approach to the study of Gogol’s literary heritage, which still remains relevant today, is the consideration of the writer’s national identity and his affiliation with Russian and/or Ukrainian culture, history and literature. Today, Gogol’s multiple, hybrid, and fragmented identity is variously evaluated by researchers depending on their viewpoint and position.
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Sommer, Tim. "Usable Pasts: Anglo-American Literature and the Authority of Tradition". W Carlyle, Emerson and the Transatlantic Uses of Authority, 69–100. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491945.003.0003.
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This chapter analyses how discussions about race and nationhood surfaced in nineteenth-century British and American literary criticism and literary historiography. It discusses Carlyle’s and Emerson’s writings about the relationship between literature and nationality and argues that, drawing on a handful of near-contemporary German and French authors, they positioned themselves at the crossroads of cultural nationalism and literary cosmopolitanism. The second half of the chapter explains how Carlyle and Emerson conceptualised continuity and change in literary history and highlights the role of Romantic expressivism in their nation-centred poetics. The two developed conflicting accounts of English literary history: where Carlyle’s narrative emphasised the past achievement and future global dominance of metropolitan writing, Emerson tended to invest in the authority of the English canon to locate the future of a specifically Anglo-American tradition in the cultural periphery.
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Vinogradov, Igor A. "“Taras Bulba” and Russian History of the 19th–20th Centuries". W Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3, 97–168. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-97-168.
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The article is devoted to the study of readers’ receptions of N.V. Gogol “Taras Bulba” in Russia. This work, imbued with a deep religious and patriotic intention, occupies such a significant place in Russian culture that the reviews of readers and critics, the assessments and interpretations of its researchers, dramatizations in the theater, opera and ballet, etc. allows to analyze not only history of the story’s existence, but also to trace the key moments of Russian life in the second half of the 19th–20th centuries. The interaction of the patriotic story’s spiritual lyricism with the contradictory socio-political processes of the era identifies the most significant features of the poetics of Gogol’s work. Enthusiastically received by contemporaries, including A.S. Pushkin, “Taras Bulba” was subsequently met with hostility from domestic liberalradical and Polish nationalist criticism. Continuing to be one of the favorite works of the domestic and foreign readers, the story after 1917 was removed from the Soviet school curriculum and again restored in rights only during the Great Patriotic War. The article presents a detailed analysis of the assessments and interpretations of “Taras Bulba” for more than a century and a half.
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Dergacheva, Irina V. "Reception of Dostoevsky’s Artistic Heritage in the Works of Italian Writers at the Turn of the 19th–20th Centuries". W F.M. Dostoevsky in Literary and Archival Sources of the Late 19th — the First Third of the 20th Century, 233–55. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0662-8-233-255.
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At present, there is no doubt about the recognition and high assessment of the artistic, journalistic and epistolary heritage of F.M. Dostoevsky in Italian culture and literary criticism. S. Aloe described in detail the difficult process of acquaintance of Italian Slavists and writers with the work of Dostoevsky, complicated for a number of years by the lack of translations of his works into Italian — readers could only get acquainted with French translations of his texts [Aloe]. The readers’ notes in the Viesse Cabinet in Florence, which allowed researchers to get acquainted with the writer’s reading circle, after 1881, the year of the writer’s death, showed the growing interest of Italian readers and foreign travelers to the works of Dostoevsky. The article analyzes the reception of the ideological and artistic heritage of F.M. Dostoevsky in the works of Italian writers, representatives of the verist movement, Gabriele D’Annunzio, Luigi Capuana and Grazia Deledda, at the turn of the 19th and 20th centuries.
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Kaznina, Olga A. "The Book by I.A. Bunin “Liberation of Leo Tolstoy” in the Context of Russian Emigre Literary and Philosophical Criticism". W Russian Émigré Literature, 1920–1940. Writer in Literary Process (to the 150th Anniversary of I.A. Bunin’s Birth), 95–206. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0685-7-97-208.
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The present article is devoted to the multidimensional analysis of the book by I.A. Bunin “Liberation of Leo Tolstoy” (1937). Attention is devoted to the history of its creation and to its unique structure, combining the genres of memoirs, journalistic sketch, diary, epistles and literary portrait with philosophical contemplation. Special consideration is paid to the properties of style of the text as well as to the development of the artistic image of Leo Tolstoy. The center of the research is occupied by the problem of the spiritual and religious quest of Tolstoy in the latest decades of his life, to his multifaceted concept of liberation and also to the enigma of his last flight from Yasnaya Poliana. Bunin’s interpretations are investigated on the complex background of literary, philosophical and theological evaluations of Tolstoy’s worldview, as it took shape after the spiritual crisis of his later years. Different reactions to his final escape are also taken into account. The article reflects the positions of G. Adamovitch, V. Hodasevitch, V. Maklakov, I. Shahovskoy, S. Bulgakov, as well as many other literary critics, philosophers and theologians. Bunin’s book is investigated as a source for the studies of spiritual and intellectual quest on the verge of the centuries, i.e. the end of the 19th and the beginning of the 20th century. Bunin’s book is presented also in the context of Russian émigré literary and philosophical criticism.
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Garziano, Svetlana A. "The French Essay ‛La Vie et l’OEuvre d’Ivan Bunin’ (‛The Life and Work of Ivan Bunin’, 1969) by Georgy Adamovich". W I.A. Bunin and his time: Context of Life — History of Work, 315–56. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-315-356.
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This work is dedicated to the essay “La vie et l’oeuvre d’Ivan Bunin” (“The life and work of Ivan Bunin”), written by Georgy Adamovich in French for a French reader and published in 1963 (republ. in 1967, 1969, 1970, 1971) in the “Collection of the Nobel Prizes in Literature Laureats”. This twenty-eight page text is rather little known, it is not mentioned either in L. Livak’s bibliographic book, or in “Classics without Retouching. The Literary World about the Work of Ivan Bunin” collection. The analysis of the text “La vie et l’oeuvre d’Ivan Bunin” is coupled with its translationreconstruction into Russian, based on the theoretical views Adamovich had on the practice of translation expressed in the essay “In Memory of Baudelaire”, in the preface to the translation of “The Stranger” novel by A. Camus and in the essay “About us and the French. A few comments on the translation of ‘Anabasis’, the poem by Saint-John Perse”. In the French essay, it is possible to find many references to key moments in the history of Russian literature (Russian classics of the 19th century, literature of the early 20th century, the fundamental figures of Fyodor Dostoevsky and Leo Tolstoy, Ivan Turgenev, Anton Chekhov, Maxim Gorky). It is worth noting that Pushkin’s heritage is not mentioned in the French text. The essay especially touches upon the image of Bunin as a poet and at the same time mentions Alexander Blok, a signature name for the poetry of the beginning of the 20th century. The French article will be compared with other texts of Adamovich about the work of Ivan Bunin: essays from the collection “Loneliness and Freedom” (“Bunin”, “More about Bunin”), “Bunin as a poet”, “Memories”.
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Fabiani, Anita. "Spagne di fine millennio". W Biblioteca di Rassegna iberistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-459-2/007.
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This article offers a survey on how Spain is discussed in the Italian press in the second half of the 20th century (the time of Franco’s death, the Transición period, the newly born democracy). In particular, newspapers such as La Repubblica and L’Unità will be analysed, as their interest for Spanish culture and literature was continuous over the years. The analysis concentrates on the press, rather than on institutional discourse and academic criticism, in order to better trace the patterns of Italian cultural reception of Spanish topics, especially when intellectuals (such as Marcoaldi) and journalists decide to ‘report on’ and ‘narrate’ Spain’s literary identity. The essay analyses a selection of articles by a number of different authors, to make perceptible the polyphonic effect of the various ‘Spains’.
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Monson, Jane. "The Prose Poem and the Antinovel: Unsettling Form in Nathalie Sarraute’s Tropismes". W The Edinburgh Companion to the Prose Poem, 150–67. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474462747.003.0010.
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Literary criticism of the prose poem has predominantly focused on the form in relation to poetry rather than prose, and where comparisons are drawn the focus is on short prose, from the six-word story to flash fiction. This essay is going to look at less common ground and explore the influence of the novel on prose poetry, specifically during the radical changes and experiments in French and British literature during the early to mid-twentieth century. Using Nathalie Sarraute as a key channel for these fundamental shifts away from the traditional novel’s objective treatment of plot, time, space and character, this essay explores how she arrived at the prose poem and simultaneously foreshadowed the French New Novel (Nouveau Roman), known more broadly as the anti-novel, through her first book, Tropisms (1939).
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Janjatović, Violeta. "ALTERNATIVA ŠEKSPIROVOJ „BURI”: GDE JE KALIBAN U ROMANU ĐAVOLJI NAKOT MARGARET ATVUD?" W JEZIK, KNJIŽEVNOST, ALTERNATIVE/LANGUAGE, LITERATURE, ALTERNATIVES - Književna istraživanja, 375–86. Filozofski fakultet u Nišu, 2022. http://dx.doi.org/10.46630/jkal.2022.26.
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The end of the 20th and the beginning of the 21st century saw the publication of many studies, interpretations, and adaptations of Shakespeare’s play “The Tempest.” One of the most significant recently published adaptations is the novel Hag-Seed: The Tempest Retold, by the Canadian author Margaret Atwood, created as a part of the Hogarth Press project and in celebration of the 400th birthday anniversary of William Shakespeare. The “Hag-Seed,” or the “devil’s seed,” an insult that Prospero directs to Caliban alluding to his origin, and at the same time the title of Atwood’s novel, unequivocally indicates to readers that the topic of this alternative Shakespeare’s “Tempest” might be Caliban. However, while most of the characters in Shakespeare’s play are easily recognizable in this adaptation set in the contemporary Canadian society, the character of Caliban is disembodied, fully reconstructed, and it indirectly reaches readers through the voices and characters of the Fletcher Correctional Center inmates. Analyzing Hag- Seed: The Tempest Retold from the perspective of postcolonial literary criticism, this paper concludes that Atwood’s exclusion of Caliban from the world of its adaptation cruelly depicts his dehumanization and the status of the “other” in Shakespeare’s play. The inmates easily identify with Caliban, his predicament, his subordinate position and attempt to oppose it. Demonized and marginalized by the society in which they live, they are also distant and unwanted “other” in the world of this modern “Tempest.” Relying in the analysis on a newer theory of adaptation according to which it is a creative process whose basic premise is to preserve the story from the original literary work, but also to create a new reading, and to suit the adaptation to an alternative purpose, function or environment, this paper examines the concept of the “other” and analyzes its transformation in the new environment.
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Rados, Zvjezdana. "Proces integracije lokalne zadarske sastavnice hrvatske književnosti u središnju nacionalnu književnost – od (pred)romantizma do moderne". W Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 389–407. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.24.
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The paper will analyze Zadar’s components of Croatian literature in the period from 1840s until the first decade of the 20th century, marked by nationalintegrative processes and forming a modern national identity. The research object will be the specifics of the development of that part of Croatian literature as well as its relations to literary and historical processes in the center, the mainstream, of national literature – from national revival movements or the period of preromanticism and romanticism, through pre-realism and realism to the period of moderna and stronger integration of Zadar’s (provincial, Dalmatian) segment into central, national Croatian literature. Considerable attention will be paid to the processes of mutual permeating, accepting and rejecting, affirming and negating of Zadar’s periphery, one of the most important peripheries of the Croatian literary canon, and its national center, Zagreb’s mainstream. This issue will be presented through paradigmatic writers and journals that marked key periods of Croatian linguistic and literary homogenization: in the period of (pre)romanticism, during 1840s, this implies the journal Zora dalmatinska and paradigmatic personalities of the literary circle formed around that revival journal (Šime Starčević and Petar Preradović, even Ana Vidović); in the period of folk-enlightenment (pre)realism, from the sixties to the end of the eighties, this includes paradigmatic personality of the Croatian National Revival in Dalmatia – politician and writer Mihovil Pavlinović, as well as Iskra journal and its editor Nikola Šimić (a writer who created a specific peripheral genre of folk stories from rural life); in the time of disintegration of realism and turning towards modernist styles this implies the initiator of Croatian modern literary criticism Jakša Čedomil and the prominent names of the Croatian literary canon in the period of moderna – Ivo Vojnović, Vladimir Nazor and Milan Begović, as well as Lovor magazine of Milutin Cihlar Nehajev.
Streszczenia konferencji na temat "20th century french literature - literary criticism"
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Bakešová, Václava. "The poetics of reconciliation in French literary work of the 20th century. From Marie Noël to Sylvie Germain". W The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-18.
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Because of the Holocaust, World War II is the focal point for capturing spiritual experience in the 20th-century literature. How did the transformation of French spiritual literature from the poet Marie Noël in the 1st half of the century to the novelist Sylvie Germain at its end come about? Using examples from their work, this paper shows both authors’ sources of inspiration and highlights the means of expressing spirituality of a person going through an inner struggle. Although the authors describe a dark night, both of them they have a desire to overcome it, to reconcile with God, with the world and with themselves.