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Brendan Behan: A Late Modernist Writer Engagé in Postwar Paris

Brendan Behan: A Late Modernist Writer Engagé in Postwar Paris

Author(s): Deidre McMahon / Language(s): English Issue: 67/2024

Building on findings presented in the radio documentary Brendan Behan in Paris (RTÉ, 2019) about Behan’s time spent in the city during the late 1940s and early 1950s, this article explores the relationships that Behan forged in Paris, including with Albert Camus and the literary magazine publisher Sindbad Vail, who would become the first to publish Behan’s work internationally. It further explores the significance of the timing of Behan’s arrival into postwar Paris, and his affinity with the philosophical ideas that were circulating there at the time. The article illustrates how Behan’s literary engagement with the city and its intellectuals in the postwar period is both anticipated and reflected in his work, including the vigorous debate between Sartre and Camus on the meaning of freedom, justice, and the nature of violence and revolution. Through this we see Behan as a writer immersed in and familiar with the dominant trends in European, and especially French, writing.

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Básník ve věži ze slonoviny: Několik poznámek k nervalovským rezonancím v básnickém díle Karla Zlína a k překladům Nervalových Chimér do češtiny

Básník ve věži ze slonoviny: Několik poznámek k nervalovským rezonancím v básnickém díle Karla Zlína a k překladům Nervalových Chimér do češtiny

Author(s): Veronika Košnarová / Language(s): Czech Issue: 69/2024

This study traces the various forms and manifestations of the creative relationship between the poet and artist Karel Zlín and the French writer Gérard de Nerval. Nerval’s literary works were never met with tremendous interest in the Czech environment, but — despite their extraordinary difficulty — they have attracted the attention of translators for nearly the entire 20th century up to the present day. The present study maps these translations with special attention to Czech versions of the cycle Les Chimères by a number of translators, including Karel Zlín, who also spent much time in his own literary and visual works reflecting on the poetic legacy and mythologization of Nerval.

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THE PHENOMENON OF THE EXTREME CONTEMPORARY: THE ARTISTIC AVANT-GARDE THAT PUSHES THE LIMITS IN FRANCE

THE PHENOMENON OF THE EXTREME CONTEMPORARY: THE ARTISTIC AVANT-GARDE THAT PUSHES THE LIMITS IN FRANCE

Author(s): Maria-Elena Milcu,Ștefania-Elena Vasile / Language(s): French Issue: 37/2024

This article delves into the phenomenon of the extreme contemporary within the French artistic and literary avant-garde, exploring the radical innovations and boundary-pushing practices that define these vibrant cultural movements. The extreme contemporary art and literature scene in France is characterized by its relentless pursuit of new forms, materials, and conceptual frameworks that challenge conventional aesthetics and social norms. By examining key artists and writers alongside their groundbreaking works, this study highlights how these creators utilize transgressive techniques and provocative themes to provoke dialogue and reflect the complexities of modern life. Through a multidisciplinary lens, encompassing visual arts, literature, performance, and digital media, the article situates the French avant-garde within a global context, illustrating its significant influence and contribution to contemporary cultural discourse. Ultimately, this exploration reveals how the extreme contemporary serves as both a mirror and a catalyst for societal change, pushing the limits of artistic and literary expression and reimagining the possibilities of the art and literary worlds.

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CHARLES PERRAULT AND THE CONTEXT OF HIS CREATION; INTEGRATION IN HIS EPOCH; NARRATIVE STRATEGIES

CHARLES PERRAULT AND THE CONTEXT OF HIS CREATION; INTEGRATION IN HIS EPOCH; NARRATIVE STRATEGIES

Author(s): Ana-Maria Torkos / Language(s): English Issue: 37/2024

Perrault impregnated to his work mentions and explanations of the 17th century life. Thereby, he succeeded to put old texts, the oral folk tales, in the modern context of that period. Secondly, other tales were influenced by parts of earlier writings: The Decameron by Boccaccio and the Golden Ass by Apuleius, and last, the other tales are his original creation. Charles Perrault, in writing his fairy tales, was motivated to create his work for the amusement of his children. During the last three hundred years, Perrault’s tales became the most influential works in literature of children. In her works, Angela Carter uses magical realism and postmodern elements: fantasy, intertextuality, myths and gothic elements. She shares her opinions on feminism in his novels, short stories in which she puts certain elements of traditional tales, she achieves a woman empowerment, a sort of invitation for the women to fight for equal rights, freedom, against the male dominant society.

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Problematica libertății la Jean-Paul Sartre

Author(s): Alina Ilea / Language(s): Romanian Issue: 3/2024

Continuing the tradition of classical French philosophy (Montaigne, Descartes, Pascal), Jean-Paul Sartre links the concept of freedom to the essence of the human being. Freedom precedes essence, while also having the ability to generate its own nothingness. Thrown into the opacity and loneliness of the world, man is ”sentenced to freedom”, acquiring his authenticity only through the choices he makes. God does not exist, so the whole weight of the world hangs on his shoulders, and behind him there is nothing but nothingness. By choosing himself, man in fact chooses the entire human condition. Suspended in the void, without any support from anywhere, man is condemned every moment to reinvent himself and all of humanity. Oreste, in Sartre’s ”The Flies”, knows that freedom is a ”human business” and that when freedom has ”exploded” in a man's soul, the gods can do nothing. Man is free to constantly invent and reinvent himself, according to his own will, according to his own destiny. Man can never be anything other than what he himself has decided to become. Consequently, to be means, in fact, to choose, to opt for one situation or another, for one existential paradigm, or another. Every situation is unique and open to freedom, since man is the one who chooses it, the one who gives it one meaning or another. In the configuration of our freedom, it is our subjective nature and not external reality that plays the essential role.

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CORPS FÉMININ ET RÉSILIENCE DANS LE ROMAN RUE DU PARDON DE MAHI BINEBINE

CORPS FÉMININ ET RÉSILIENCE DANS LE ROMAN RUE DU PARDON DE MAHI BINEBINE

Author(s): Rahma EL BOUHAIDI,Najate Nerci / Language(s): French Issue: Si/2024

This article analyzes how Hayat, the main character in Mahi Binebine's novel Rue du Pardon, is the victim of all kinds of oppression. We propose first to analyze how Hayat endures the oppression of the father figure, the absence of a constructive mother figure and the coercion of a morbid space preventing any possible fulfillment for this child. Next, we'll look at this character's journey towards resilience and a future outside the norm, one of transgression and confrontation. Finally, we will discuss how the female subject demonstrates agency (Butler, 2006: 218) by investing in the terrain of popular song.

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THE PROSE AND DRAMATURGY OF JEAN-PAUL SARTRE

THE PROSE AND DRAMATURGY OF JEAN-PAUL SARTRE

Author(s): Iulian Băicuș / Language(s): Romanian Issue: 38/2024

In this critical essay I have been studying both the fictional and non-fictional texts written by Jean-Paul Sarte, the Patriarch of Existentialism, the most important French philosopher of the sities, the Bible of Exinstentialism being L estre et le Neant, his phenomenological study, applyed in his novel, La nauseea. I have written this essay in comparing La Nauseea with Events in the Immeadiate Ireality, Max Blecher’s novel and with Sadecq Hedayat’s novel, The Blind Owl, but I also mentioned the autobiography of Sartre, The Words.

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THE ECHOES OF THE LITERARY REVIVAL OF IRÈNE NÉMIROVSKY IN THE WORLD OF LITERARY RESEARCH

THE ECHOES OF THE LITERARY REVIVAL OF IRÈNE NÉMIROVSKY IN THE WORLD OF LITERARY RESEARCH

Author(s): Adela Sava (Codreș) / Language(s): French Issue: 38/2024

In this article we are interested in the editorial phenomenon of the literary revival which represents an enterprise of justice, bringing out of the forgetting of authors and interesting works. We direct our attention above all to the literary criticism which fully contributes to the phenomenon of Irène Némirovsky's literary revival. We also try to highlight the various directions that research is exploring in order to bring out the value of Nemirovsky's literary discourse. Jonathan Weiss, Olivier Philipponnat, Patrick Lienhardt, Susan Rubin Suleiman et Angela Kershaw try to give, by their research, to Irène Némirovsky the place which she deserves in the literary field of the writers of between the two wars. Information concerning the literary field of the interwar period and the Nemirovsky`s family, based on extensive documentation, opens up avenues of literary research in the field of discourse analysis and sociocriticism.

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CINNA OR LITERARY CRITIC OF THE FRENCH SOCIETY IN THE SEVENTEETH CENTURY

CINNA OR LITERARY CRITIC OF THE FRENCH SOCIETY IN THE SEVENTEETH CENTURY

Author(s): Paul-Cristian Albu / Language(s): French Issue: 38/2024

I am writing this article because my intention is to present how the social injustice can be represented in literature in the seventeenth century. Toranius, Emily’s father, is the character who was killed by the Emperor Augustus. This drama is a projection of the social reality of the beginning of XVII century, a period who has a perfect correspondence to the rise of Absolutism of the Louis XIII and of the Richelieu government. The revenge has a central place in this playwork, because Emily wants to avenge his father’s death. His father had an honourable place in the Roman Empire society. In the first scene, I consider that Cinna, Emilie and Auguste have a key role, because they are showing their relationship with the past. The Emily’s dilemma is highlighted, because by the actions the main social character it is accelerated the events of the drama. Also, the conflict between the Emily’s love for Cinna and her hate against Augustus is highlighted to impose the political drama where Emily and Cinna are well integrated. I am using the technique of close-reading the Cinna book to better understand the role of this character in Corneille’s literary masterpiece.

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THE SENSIBILITIES OF LITERATURE IN THE MODERNIST ERA

THE SENSIBILITIES OF LITERATURE IN THE MODERNIST ERA

Author(s): Nicoleta Gabriela Drogeanu (Stanca) / Language(s): English Issue: 38/2024

Modern poetry "rewrites the history of poetry" and is more "intolerant" of traditionalism than romanticism was of classicism, due to the "change of the criterion of the poetic". Traditional poetry has therefore come to be related to modern poetry and to seek to "recover" the elements that seem to have an "anticipatory character".

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Návrat k slovenskej recepcii Françoisa Villona

Návrat k slovenskej recepcii Françoisa Villona

Author(s): Ján Živčák / Language(s): Slovak Issue: 55/2023

Although autobiographic elements are not uncommon in pre-modern poetry, the identification of the lyrical I with the poet is an idea that only came into its own in the Romantic period, when poetry was definitively separated from voice, singing and recitation. Nevertheless, there are many medieval poets that have long been believed to write sincere effusions, despite the efforts of scholars to eradicate this prejudice. This fate also befell François Villon, a Parisian poet active around 1450. Positivist critics at the turn of the 19th and 20th centuries approached his poetry as an authentic confession and a mirror of his life. Their historiographic works, however, combined data from archival documents with textual clues from Villon’s The Legacy and The Testament which have never proven to be true. This eclectic method was vehemently opposed in the 1970s by a new wave of critics who shifted the focus from the context to the text itself. From their vantage point, Villon’s discourse is very likely not sincere, and his lyrical I should be seen as a persona in the medieval sense of the term rather than a double of the author. Against this historical backdrop, my paper focuses on the reception of François Villon in 20th-century Slovakia. In particular, I examine the forewords, glosses and commentaries appended to Slovak translations of Villon’s poetry by Jozef Felix, one of the most prominent Romance Studies experts in the former Czechoslovakia. In Slovak academic circles, Felix’s works on Villon have so far been perceived as exemplary, ever-relevant and visionary. My analyses, however, offer a more balanced conclusion, showing that Felix is more a child of his episteme than a visionary. Although his works, dating from 1947 to 1969, are written with incredible erudition and scholarly responsibility, they bear numerous marks of biographism. Felix sees Villon’s carnivalesque universe as a photography of late medieval Paris and insists on the authenticity of Villon’s art.

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ASPECTE ALE CONFLICTULUI DINTRE IDENTITATE ȘI ALTERITATE ÎN ROMANUL DOAMNA BOVARY DE GUSTAVE FLAUBERT

Author(s): Ana GHEORGHIȚĂ / Language(s): Romanian Issue: 2/2022

Bovarism represents the essential side of the conflict between identity and alterity reflected in the novel Madame Bovary. The concepts of identity and alterity are in a relationship of opposition, identity denoting the fact of being an individual different from everyone else and, at the same time, of remaining the same over time, and alterity being the fact of conceiving one’s own personality as different of how it is in reality, in other words, to consider oneself a different person. The applicability of these concepts to the novel Madame Bovary is visible, if we start from the definition formulated by the French philosopher and essayist Jules de Gaultier (1858-1942), according to which Bovarism represents the faculty acquired by a person to conceive oneself in a different way than in reality, without taking into account the various external events and circumstances that could determine in each individual this inner transformation. According to Gaultier’s theory, when we talk about the conflict between identity and alterity, we refer to a real disease of thought, of soul, of personality, which consists in knowing the image of reality before knowing the actual reality. The prototype of such an approach is embodied by Emma Bovary, dominated by the cleavage between real being and imaginary being. At the base of the conflict between identity and alterity manifested in the form of Bovarism, several main aspects can be delimited which are also this phenomenon causes.

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GEORGE BANU – EXILUL INTERIOR ȘI VOIAJUL PRINTRE UMBRELE TEATRULUI

GEORGE BANU – EXILUL INTERIOR ȘI VOIAJUL PRINTRE UMBRELE TEATRULUI

Author(s): Cosmina Mirabela Radu (Păunescu) / Language(s): Romanian Issue: 2/2024

This archipelago of solitude has no other bond than shared pain. The 20th century was the century of all exiles, external and internal - declares essayist and theatre critic George Banu, urging for a profound exploration of the complexity of inner exile and fervent passion for theatre. Building upon the concept of inner exile, we analyze how it has influenced and enriched his vision of theatrical art. For Banu, exile is not merely a geographical separation, but an inner quest, a journey through the shadows of theatre in search of identity and profound liberation of the self.Examining his intellectual journey, we discover that Banu has traversed inner exile in a world of ideas and fragments of myth and life. Through his writings, he has transformed this experience into a fascinating journey through the darkness and light of theatre. Paradoxically, inner exile has led him to a profound connection with the theatrical universe, prompting him to seek and explore new dimensions of scenic art and the ceremony of performance.Another essential aspect of Banu's research is the interpretation and unification of various forms of theatre from multiple perspectives. From analyzing classical texts to exploring contemporary theatre, he has approached each performance with a mnemonic vocation. By examining the roles of the actor, director, and audience in the theatrical process, the critic reveals the fervor and complexity of interpretive art, gathering them in numerous written works.In his quest for the „mythical” spectacle of theatre, George Banu has undertaken a captivating journey through the world of stages, highlighting hidden aspects of the theatrical experience and the great theatre directors. Through his analyses, he reveals not only the beauty and significance of theatrical pieces, but also their power to connect and transform, summoning them to an imaginary assembly.

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NOBLE D’ESPRIT ET NOBLE DE NAISSANCE ‒ IMPOSSIBILITÉ ONTOLOGIQUE CHEZ STENDHAL

NOBLE D’ESPRIT ET NOBLE DE NAISSANCE ‒ IMPOSSIBILITÉ ONTOLOGIQUE CHEZ STENDHAL

Author(s): Garofița Dincă / Language(s): French Issue: 39/2024

This study explores the distinction between the nobility of spirit and the nobility by birth in Stendhal (the pen name of Marie-Henri Beyle)’ s novelistic work. In this regard, we investigate vanity as a mean of conciliation between the social organisation and the natural hierarchy. We support our discussion mostly on the novels „Armance” et „Le Rouge et le Noir ” and we conclude that being loyal to one’s own beliefs and not giving in to social temptations is the exact definition of the nobility of spirit.

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MYTHICAL GEOGRAPHY IN THE FRENCH NOVEL SUITE FRANÇAISE

MYTHICAL GEOGRAPHY IN THE FRENCH NOVEL SUITE FRANÇAISE

Author(s): Adela Sava (Codreș) / Language(s): French Issue: 39/2024

According to the Petit Larousse Illustrated, geography is the science which aims to describe and explain the current, natural and human aspect of the Earth's surface. Therefore, geography can be considered as a writing of space, as its suffix attests, it is a mode of apprehension and appropriation of the world through language. Geocriticism represents a meeting place between geography and literature. Both talk about space but the difference consists in the fact that the referent of the first is real while that of the second is fictitious.

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THE SUBVERSIVE PACT IN ALAIN ROBBE-GRILLET’S ROMANESQUES

THE SUBVERSIVE PACT IN ALAIN ROBBE-GRILLET’S ROMANESQUES

Author(s): Alina-Cornelia Musat / Language(s): French Issue: 39/2024

Overturning the traditional literary space, Alain Robbe-Grillet left the image of a subversive and provocative writer, initiator of an original and ambitious attempt to renew the novel genre and autobiographical genre. This French author deeply marked the literary landscape of the last century, his innovative work giving rise to multiple debates and critics. After the New Roman, the "New Autobiography" represents an original approach to the autobiographical exercise.

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(SELF-)ISOLATION AS FORM OF SOLITUDE IN THE HERMIT BY EUGÈNE IONESCO AND THE DEAD [CITY OF] BRUGES BY GEORGES RODENBACH

(SELF-)ISOLATION AS FORM OF SOLITUDE IN THE HERMIT BY EUGÈNE IONESCO AND THE DEAD [CITY OF] BRUGES BY GEORGES RODENBACH

Author(s): Alexandru N. Lazea / Language(s): French Issue: 39/2024

(L’(auto)isolement comme forme de la solitude dans Le Solitaire d’Eugène Ionesco et Bruges-la-Morte de Georges Rodenbach) This article pursues the progression of two characters, the Loner from the novel entitled The Hermit by Eugène Ionesco, who is a French playwright, and Hugues from the novel The Dead [City of] Bruges written by the Belgian author Georges Rodenbach. Even though both novels are appurtenant to two different literary movements, a common characteristic can be easily deciphered in both of them: the theme of solitude. This theme is particularly portrayed in Occidental literature and its origins are even dating from ancient times, included in the writings of the Bible and before (The Epic of Gilgamesh, for example). The character created by Ionesco is the living representation of a loner. This evidence can also be sustained by the character’s name. After inheriting a large amount of money from his American uncle, a 35-year-old man decides to give up his workplace and move to a new apartment in the southern outskirts of Paris. Rodenbach’s character Hugues is also a true loner. After his wife’s death he isolates himself from everyone, therefore his desolation starts to become so overwhelming and frightening that he cannot escape it. Being portrayed as an analogous study, the article pursues the manifestation of solitude in both novels opened for evaluation.

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Faire de la non-fiction une profession de foi litteraire et politique : fabrique d’une œuvre « braconne », construction d’une posture auctoriale et usages litteraires stratégiques de la sociologie par Annie Ernaux

Faire de la non-fiction une profession de foi litteraire et politique : fabrique d’une œuvre « braconne », construction d’une posture auctoriale et usages litteraires stratégiques de la sociologie par Annie Ernaux

Author(s): Isabelle Charpentier / Language(s): French Issue: 110/2024

This article examines the uses of non-fiction in the autosociobiographical work of Annie Ernaux, winner of the Nobel Prize for Literature 2022, and the literary and political issues involved in blurring the boundaries between literature and sociology. From the “transpersonal I” of La Place (Gallimard, 1984) to the “collective autobiography” of Les Années (Gallimard, 2008), via her “exterior diaries” described as “ethnotexts”, the writer has gradually built up a distinctive authorial posture in which she shows herself as an ‘ethnologist of herself’ and of everyday life “down below”, that of her working-class social milieu of origin, in constant search of the “right” form for such narratives. Sociologically informed, this singular literary approach, characterized by a double rejection of the pitfalls of misery and populist posturing, but also by a constant concern to control her own reception, aims to objectify her upward social migration trajectory and those of her social peers, in a deliberately minimalist style, ostensibly sparing of literary means and effects, often described by literary critics as “flat” or “white” writing. Opposing her concern for the “truth” to the autofiction movement to which she is still sometimes misunderstood, the author, who sees literature as a political ‘weapon of combat’, has thus initiated a specific form of autosociobiography, which is not without risk with regard to her position and recognition in the contemporary French literary field.

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„es sind / noch Lieder zu singen jenseits / der Menschen“. Perspektiven vom Menschen und Humanismus bei Paul Celan und Erich Fried

„es sind / noch Lieder zu singen jenseits / der Menschen“. Perspektiven vom Menschen und Humanismus bei Paul Celan und Erich Fried

Author(s): Laura Cheie / Language(s): German Issue: 19/2022

The poet and humanist Erich Fried conceived a poetical replica of the poem Fadensonnen (Threadsuns) by Paul Celan, after rereading the original poem, following the poet’s death. Through this, he distanced himself critically from Celan’s affirmation that there could be “songs” beyond mankind. The critique of Celan’s poetry and the thinking expressed by Fried gave rise to a series of interpretations on the part of German studies specialists. They considered that Fried did not understand Celan when he reproached him the escapist, nihilist tendencies, even the inhumanity, or when he rejected the hermetic poetry, supposedly disengaged, of the poet from Bucovina. Another perspective was that Fried did not criticise Celan, but the writings about him. The present paper proposes a demonstration that Celan’s poetry and Fried’s interpretation actually reveal two different perspectives on man and humanism, of which one is concrete and engaged (Fried) and the other abstract and influenced by Martin Heidegger’s philosophy of humanism of (Celan).

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Od tekstu do życia – Czapski i jego Proust

Od tekstu do życia – Czapski i jego Proust

Author(s): Tomasz Gruszczyk / Language(s): Polish Issue: 1-2/2024

From text to life – this is the direction that delineates a trajectory conducted by Józef Czapski reading "À la recherche du temps perdu" by Marcel Proust. Turning to diary notes ("Wyrwane strony" and "Dziennik wojenny") and sketches the author of the article discusses the manner in which Czapski rendered Proust an instrument of recognition: finding a bearing in one’s creative work (successes, failures, crises), in life and experiences: emotions, affects, sensations, and passions. The sketch "Proust w Griazowcu", situated in this perspective – a record of lectures on "À la recherche du temps perdu" and conducted by Czapski in a Soviet prisoner of-war camp at the turn of 1940–1941 – is presented not solely as yet another evidence of “intoxication by Proust” but predominantly as a performative text. In it Czapski creates himself as a causative subject.

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