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Kierkegaardův rytíř víry a jeho obraz v románech počátku 20. století

Kierkegaardův rytíř víry a jeho obraz v románech počátku 20. století

Author(s): Andrea Raušerová / Language(s): Czech Issue: 3/2020

Kierkegaard’s Fear and Trembling analyses the biblical figure of Abraham, who was supposed to sacrifice his son Isaac, an act he calls “a knight of faith’ s conduct”. As other authors add, there are different aspects of behaviour – order, decision, jump, sacrifice and silence. We have borrowed the concept and applied it to two novels: Troje paměti Víta Choráze (The Three Memoirs of Vít Choráz) by Julius Zeyer and Hécate by Pierre Jean Jouve. Both transform this concept but show this knight of faith according to the abovementioned attributes as well.

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Skúsenosť lásky a jej diskurz: Marionova fenomenológia a mystika

Skúsenosť lásky a jej diskurz: Marionova fenomenológia a mystika

Author(s): Martin Vašek / Language(s): Slovak Issue: 3/2020

The aim of this article is to approach the proximity of Jean-Luc Marion’s phenomenology to mysticism. Marion’s transcendence to mysticism can be seen in two directions: in the interpretation of Dionysius the Areopagite’s work, and in the understanding of saturated phenomena. Marion claims that Dionysius the Areopagite indicates a new pragmatic function of language, targeting God who overcomes all the names. The discourse of hymn and praise of God does not lie in predicting attributes (positive or negative). It is not a masked prediction, but it is outside the dual framework of true and false. Marion also believes that man, as an image of God, is not equal to his icon. His reflections can be understood and interpreted in such a way that two incomprehensible and loving beings come together in the encounter of God and man. Here we can see the first condition, assumption and the very possibility of mysticism as such. The intersections of phenomenology and literature are obvious, but phenomenology still remains both an invitation and a challenge for literary theory.

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Artists’ Books as a Means of Cross-Cultural Transfer
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Artists’ Books as a Means of Cross-Cultural Transfer

Author(s): Vassilena Kolarova / Language(s): English Issue: 2/2022

The article studies the artist's books of some of the most famous writers and painters of our time George Badin and Michel Butor.

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L'ÉVOLUTION DU DISCOURS POLITIQUE À L'ÈRE
DU NUMÉRIQUE : ANALYSER L’UTILISATION
DE LA SATIRE POLITIQUE SUR LES PLATEFORMES NUMÉRIQUES AU MAROC

L'ÉVOLUTION DU DISCOURS POLITIQUE À L'ÈRE DU NUMÉRIQUE : ANALYSER L’UTILISATION DE LA SATIRE POLITIQUE SUR LES PLATEFORMES NUMÉRIQUES AU MAROC

Author(s): Hassan HABIBI,Aymen NASSIF / Language(s): French Issue: 1/2023

Without a shadow of a doubt, the rise of digital media has revolutionised the information process at multiple levels. Nowadays, internet users can comment, criticise, and shape news in just a few clicks. In this dynamic environment, political caricature is reinventing itself on new media platforms, replacing traditional sketching with more advanced software. Interestingly, this form of expression is no longer exclusive to professional illustrators. Internet users have embraced it to express their views on political news in a playful and ironic tone. This paper aims to analyse this discourse, using parodies, satirical illustrations, and nicknames to criticize the political landscape in Morocco.

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UNE ANNÉE CHEZ LES FRANÇAIS DE FOUAD LAROUI : UN DRAME ENTRE HUMOUR ET IRONIE

UNE ANNÉE CHEZ LES FRANÇAIS DE FOUAD LAROUI : UN DRAME ENTRE HUMOUR ET IRONIE

Author(s): Amine MARTAH / Language(s): French Issue: 1/2023

The reader laughs while reading Fouad LAROUI’s novels. Yet, his writings are far from being comic, they are utterly serious, very serious, in fact; we laugh about serious things! This, paradoxically, raises the question of the laugher himself, with extreme acuteness. This reversed perspective brings us to some essential issues in the work of this author and his conception of art. We shall analyse the novel Une Année chez les Français, focusing essentially on the comic devices and the traces of the irony. We shall unravel the functioning of the text which comes in various layers: from an intuition of the reader which triggers laughter in the beginning, next arousing a cautious laugh, to eventually suspending laughter when the mechanism turns against the reader himself.

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PLAISIR ET BONHEUR DANS LA PEAU DE CHAGRIN

PLAISIR ET BONHEUR DANS LA PEAU DE CHAGRIN

Author(s): Paul Matei Christian Botez / Language(s): French Issue: 1/2022

The first best seller of Balzac, the novel La Peau de Chagrin (1831) features more than a fantastic story about a pact with the devil and the destructive consequences it brings about. In reality, the adventure of the young intellectual Raphaël de Valentin reveals a moral and ontological significance, relying on the choice between an active life of frivolous pleasures and a calm life of domestic happiness. In this paper, we shall examine how the tragic destiny of the protagonist derives from his confusion between enduring happiness and the ephemeral pleasure offered by a hedonistic lifestyle, all within the social context of the birth of capitalism in the early 19th century.

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THE PROBLEM OF WAITING IN VAIN

THE PROBLEM OF WAITING IN VAIN

Author(s): Marius Romulus Sălagean / Language(s): Romanian Issue: 36/2024

Waiting is a constant in the different ages of literature, having a psychological invoice function. A first pose of the expectation entered into the archetype is that of Penelope, the queen of Ithaca. Indeed, the paradigm of waiting draws its sap, par excellence, from the tribulations of Odysseus whose wife, Penelope ennobles his existence on the other hand, Lucius the character of Apuleius tries his best to reach that desired called "prosopon" recte the full manifestation as a being human. In Franz Kafka's Metamorphosis, Gregor Samsa is the prototype of vain expectation. Human appearance is denied him forever. In the register of modern dramaturgy, Eugen Ionescu creates the premises of an expectation of invisible characters. The old man and the old woman manage through their lines to establish a climate that we would call: waiting for some specters. Gabriel Garcia Marquez surprises us with the successful atmosphere in the micro-novel: The Colonel has no one to write to. The colonel's waiting in the harbor, where the illusion boat was supposed to appear, is tragic par excellence. The following nuances of waiting will be nuanced in Samuel Beckett's Waiting for Godot where the intrusion of the absurd is total. Also the novels: The Desert of the Tartars by Dino Buzzati and Waiting for the Barbarians written by John Maxwell Coetzee advertise the same coordinate of waiting. Giovanni Drogo and the magistrate, the characters in the two books seem to "feed", paradoxically, on this substance of vain expectation.

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REDEMPTION AND SPIRITUAL SUFFERING IN THE “MARIE DOLENTE AU PIED DE LA CROIX” POEM

REDEMPTION AND SPIRITUAL SUFFERING IN THE “MARIE DOLENTE AU PIED DE LA CROIX” POEM

Author(s): Paul-Cristian Albu / Language(s): Romanian Issue: 36/2024

The purpose of the paper is to offer a panoramic view of the relation between religion and humanism in the French evangelical poem Marie Dolente au Pied de la Croix, written in sixteen century. I am interested in discussing how the Christian religion can be reflected in a humanist century, in a world where social vicissitudes are essential for understanding the universal message of Christianity. By this poem, God would like to invite us to reflect on the concepts of peace, freedom, love, and fraternal peace. I am also interested in observing how the universal message of Eternal Love can penetrate a secular society. I will consider using the technique of close reading the poem and diverse literary and religious books, to reflect in which way it is sought to express the idea of Christian Redemption in the literary world. The creative use of language will be regarded as a means to make visible the new paradigm of fraternity can be understood by the readers in contemporaneity.

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EUGENE IONESCO’S LESSON- A CRITICAL APPROACH TO TOTALITARIANISM IN THE XXTH CENTURY

EUGENE IONESCO’S LESSON- A CRITICAL APPROACH TO TOTALITARIANISM IN THE XXTH CENTURY

Author(s): Paul-Cristian Albu / Language(s): Romanian Issue: 36/2024

The purpose of the paper is to offer a panoramic view of a critical approach to totalitarianism in the past century. I am interested in observing how the French-Romanian writer manages to vituperate Fascism and Communism in a century where the Second World War appeared to destroy the lives of ordinary people. Also, I am interested in discussing how people can be foolish because authoritarian dirigents want to impose their point of view in a world where peace and fraternity are dominant. I will consider using the technique of close reading Eugene Ionesco’s masterpiece Lesson and heteroclite books to reflect in which way it is sought to express the idea of the necessity of democracy in a disparate universe. The creative use of language will be regarded as a means to make visible the new paradigm of fraternity can be understood by the readers in contemporaneity.

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IN MEMORIAM PROF. DR. MIDHAT RIĐANOVIĆ

IN MEMORIAM PROF. DR. MIDHAT RIĐANOVIĆ

Author(s): Nedžad Leko / Language(s): Bosnian Issue: 1/2023

In memoriam Prof. Dr. Midhat Riđanović (1935–2023).

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Cultural Life in the 1960s in the USSR as Reflected in Tout compte fait (1972), the Autobiography of Simone de Beauvoir

Cultural Life in the 1960s in the USSR as Reflected in Tout compte fait (1972), the Autobiography of Simone de Beauvoir

Author(s): Solveiga Daugirdaite / Language(s): English Issue: 52/2023

The article aims to discuss cultural life in the USSR in the context of the changing cultural policy in the 1960s as reflected in Simone de Beauvoir’s memoirs. During the period from 1962 to 1966, de Beauvoir was visiting the Soviet Union regularly together with Jean-Paul Sartre, spending several weeks in different parts of the country. Unlike Sartre, she left a written account of the political, economic, and cultural situation in the USSR. De Beauvoir captured the transition from the so-called Thaw to the Stagnation that occurred during that decade. During their first visits, the atmosphere was still rather liberal and a desire to communicate with the West was still present, but soon the persecution of dissidents and the antisemitic trials began. This article emphasizes the importance of autobiographical books in de Beauvoir’s oeuvre, highlighting, on the one hand, the narrator’s accuracy and attention to detail and, on the other hand, her efforts to shape the narrative at will, bypassing uncomfortable aspects (such as tensions in her relationship with Sartre and the real role of some people in their life). De Beauvoir’s most important sources of information were the liberal writers of the time such as Ilya Ehrenburg and Yefim Doroch, as well as translator Lena Zonina and others. De Beauvoir’s sympathy for the Soviet system, like Sartre’s, is still a source of controversy, while her description of the changes in cultural life of the Soviet Union in the 1960s can be a valuable resource for researchers of the Soviet era.

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De la consommation à la consomption. Ignis (1883) de Didier de Chousy ou quand la maison Terre brûle

De la consommation à la consomption. Ignis (1883) de Didier de Chousy ou quand la maison Terre brûle

Author(s): Laure LÉVÊQUE / Language(s): French Issue: 1/2024

This article deals with an underrated novel by Didier de Chousy, Ignis (1883), published during the craze for scientism and positivism. This anticipation novel, fraught with grating irony, went against the optimism that defined the craze, as the author used the boundless technical possibilities flaunted by the industrial age to imagine a robot-assisted “augmented humanity”. Utopia was thus turned into scathing social dystopia and, a few years before Jules Verne’s novel, a “topsy-turvy” world on the brink of self-destruction was depicted. This ground-breaking work, which tackled both social criticism and the need for environmental awareness, heralded many of the themes that inspired H. G. Wells and the “brave new world” Chousy imagined was just as relevant as the ones of our modern dystopias: the model of development that largely remains ours found itself relentlessly questioned, as a call for immediate change was issued.

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Traduire le néologisme: étude comparative du roman Zazie dans le métro de Raymond Queneau et de sa traduction bulgare

Traduire le néologisme: étude comparative du roman Zazie dans le métro de Raymond Queneau et de sa traduction bulgare

Author(s): Irena Kristeva,Galena Dobreva / Language(s): French Issue: 1/2024

The study seeks to determine the level of adequacy of the transfer into Bulgarian of the neologisms coined by Raymond Queneau in the novel Zazie in the Metro (1959). To this end, we examine the translation strategies implemented in Зази в метрото (2001). Starting from the assumption that, while translation is possible, the degree of translatability of a neologism is variable, we evaluate the relevance of the equivalents proposed by the translator.

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Compte rendu: Velinova, Malinka, Antoaneta Robova, Teodora Tzankova (dir.). Normes et réécritures/ mythes et reformulations.

Compte rendu: Velinova, Malinka, Antoaneta Robova, Teodora Tzankova (dir.). Normes et réécritures/ mythes et reformulations.

Author(s): Anastasia Marinova / Language(s): French Issue: 1/2024

Book review: Velinova, Malinka, Antoaneta Robova, Teodora Tzankova (dir.). Normes etréécritures/ mythes et reformulations. – Philologuitcheski forum, Issue 1 (15), 2022,ISSN 2534-9473. [Велинова, Малинка, Антоанета Робова, Теодора Цанкова (съст.).Норми и пренаписване/ митове и преформулиране. –Филологически форум, брой 1(15), 2022, ISSN 2534-9473; Norms and Rewritings/ Myths and Reformulations].

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Живописният псевдоекфразис – функции и значения в романа „Бел ами“ на Мопасан
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Живописният псевдоекфразис – функции и значения в романа „Бел ами“ на Мопасан

Author(s): Sonya Aleksandrova-Koleva / Language(s): Bulgarian Issue: 4/2024

This text is a part of bigger research of different premodernist characteristics in the works of Maupassant. It is focused over a part of picture images in the novel Bel Ami, interpreted as a game coding of dominant themes of the work and Maupassant’s works in general through the figure of pseudo-ekphrasis. The text presents our understanding for ekphrasis together with the reasons for choosing the term of pseudo-ekphrasis. We analyze pseudo-ekphrasis as a sign of modern thinking of mimetic technics, because it succeeded to present whole phantasm images as iconic. The text presents thematic analysis of the images of the character Walter collection in order to introduce the functions of technical figure on a semantic level in the narration.

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THE FACILITIES AND DIFFICULTIES OF TRANSLATING PROUST À LA RECHERCHE DU TEMPS PERDU MASTERPIECE

THE FACILITIES AND DIFFICULTIES OF TRANSLATING PROUST À LA RECHERCHE DU TEMPS PERDU MASTERPIECE

Author(s): Paul-Cristian Albu / Language(s): French Issue: 37/2024

The purpose of the paper is to offer a panoramic view of the difficulties of translating an epic masterpiece written by the most prolific and prodigious French writer Marcel Proust. Its creative language could be an obstacle for our contemporary reader, because of the lengthy language style and the remembrance of all the events that occurred in the private life of the author whose work we analyzed quickly and successfully. I am also interested in researching how these difficulties can be understood in contemporaneity and how this work's message can be reflected. To offer an enriched view of the analysis of A la recherche du temps perdu, we have used the technique of close reading the masterpiece entirely, focusing on how we can explain the lexical and syntactic difficulties.

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Enfer et catabase : pour une poétique du corps-cadavre dans Quai ouest de Bernard-Marie Koltès

Enfer et catabase : pour une poétique du corps-cadavre dans Quai ouest de Bernard-Marie Koltès

Author(s): Alexandru N. Lazea / Language(s): French Issue: 4/2024

The poetics of the body in Bernard-Marie Koltès is a vast subject, sometimes controversial for politically (in)correct, sociocultural or racial reasons. Koltès places the body at the center of many of his texts2 as the main theme around which other elements, secondary themes, such as death, money, time or the question of identity, gravitate.In this article, we propose to find another, new meaning for the notion of the body in Quai Ouest (1985). Critics have observed that the corpse floating in the river is not a simple (theatrical) object, but a reflection of a society adrift, encompassing and, at the same time, enclosing the actors. The theories of Georges Dumézil, Gilbert Durand, Mircea Eliade and others will facilitate our mythocritical approach to Bernard-Marie Koltès' text.We conclude with the question of identity, which becomes a constant in this play, given that the societal environment is a mixture of several immigrants, and therefore several nationalities, who have come together in the same mythical space (the hangar).

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LOVE, FALL AND REDEMPTION: A THEOLOGICAL INTERPRETATION OF FRANÇOIS MAURIAC’S WORKS THROUGH THE LENS OF MARIA-OTILIA OPREA

LOVE, FALL AND REDEMPTION: A THEOLOGICAL INTERPRETATION OF FRANÇOIS MAURIAC’S WORKS THROUGH THE LENS OF MARIA-OTILIA OPREA

Author(s): Paul-Cristian Albu / Language(s): French Issue: 40/2025

François Mauriac, a deeply Christian writer, explores the complexities of love in his works, portraying it not just as a human emotion, but as a force tied to suffering, illusions, and, ultimately, spiritual redemption. For Mauriac, love is always entangled with the human condition and the fall from grace. In his novels, characters are often torn between earthly desires and the pursuit of divine love that can purify the soul. In François Mauriac şi fiinţa căzută în căutarea iubirii - Pentru o hermeneutică teologică a operei mauriaciene, Maria Otilia Oprea provides a theological interpretation of Mauriac's works, focusing on the interplay between human and divine love. Oprea highlights how Mauriac's characters, such as those in Thérèse Desqueyroux and Noeud de vipères, embody this search for love, marked by illusions but ultimately leading to spiritual awakening and redemption. Oprea argues that for Mauriac, love is both a source of torment and healing, and through embracing divine love, the characters find redemption and reconciliation, not just with others, but with God. Oprea’s analysis presents Mauriac's work as a reflection on the Christian concept of the fall and redemption, with human love, when disconnected from divine grace, leading to suffering. However, through accepting divine love, Mauriac’s characters experience spiritual renewal. This duality between human and divine love forms the core of Mauriac’s literary exploration of the human soul's journey toward redemption. By engaging with Oprea’s theological perspective, this study aims to deepen the understanding of Mauriac’s work, showing how love, for Mauriac, is not simply a worldly pursuit, but a spiritual journey—one that leads to redemption through divine love. Through this lens, Mauriac’s literature takes on a profound spiritual dimension that Oprea’s hermeneutic approach helps to unravel.

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PASCAL’S INFLUENCE ON IONESCO: EXISTENTIAL ANGUISH AND THE INEVITABILITY OF DEATH

PASCAL’S INFLUENCE ON IONESCO: EXISTENTIAL ANGUISH AND THE INEVITABILITY OF DEATH

Author(s): Paul-Cristian Albu / Language(s): Romanian Issue: 40/2025

Blaise Pascal’s influence on Eugène Ionesco is particularly visible in Exit the King (Le Roi se meurt), where the playwright explores existential themes reminiscent of Pascal’s Pensées. Both thinkers emphasize the fragility of human existence, the inevitability of death, and the inability of reason to provide ultimate salvation. Pascal viewed life as unstable and chaotic, marked by suffering and uncertainty, a vision that aligns with Ionesco’s absurdist perspective. In Exit the King, the protagonist, King Bérenger, refuses to accept his impending death, embodying humanity’s struggle against mortality. This echoes Pascal’s belief that humans distract themselves to avoid confronting their own finiteness. The play also reflects Pascal’s notion of the gouffre (abyss), symbolizing existential despair. As Bérenger gradually loses control over his kingdom and physical being, his decline illustrates Pascal’s idea that human grandeur is ultimately illusory. Furthermore, Ionesco, like Pascal, underscores the absurdity of life’s transience. The king’s desperate attempts to resist death mirror Pascal’s assertion that human efforts to find stability in a chaotic world are futile. The play serves as a meditation on the inevitability of death and the limits of human power, reinforcing Pascal’s view that reason alone cannot save mankind from existential anguish. In this sense, Ionesco transforms Pascalian thought into a theatrical experience, where the confrontation with mortality becomes an unavoidable and deeply human ordeal.

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Поэтика сказки М. Е. Салтыкова-Щедрина «Чижиково горе»

Поэтика сказки М. Е. Салтыкова-Щедрина «Чижиково горе»

Author(s): Marina A. Alyakrinskaya / Language(s): Russian Issue: 1/2025

The article examines the fairy tale by M. E. Saltykov-Shchedrin “Chizhikov’s Grief.” Up until now, researchers have not taken into account certain significant circumstances when interpreting “Chizhikov’s Grief.” First of all, it is the unusual love and family theme of the tale, which is not characteristic of Saltykov-Shchedrin’s work (moreover, it was repeatedly criticized by him as ‘outdated’); and, secondly, the publication of the tale in the Christmas issue of “Russkie Vedomosti,” which provides reason to consider its text within the “Christmas story” tradition. The theme of love and family and the peculiarities of the poetics of “Chizhikov’s Grief” suggest that the fairy tale contains elements of intertextuality: it “refers” the reader, on the one hand, to the tradition of the naturalistic novel popular in the 1870s - 1880s, and on the other hand - to the Christmas stories by Ch. Dickens. M. E. Saltykov was critical of naturalist writers, opposing them to Ch. Dickens and N. V. Gogol. This contradiction is reflected in the structure of “Chizhikov’s Grief,” where the first part of the tale contains elements of parody of the naturalistic novel’s poetics (i.e., in E. Zola’s work), and the second part resembles the plot model of Dickens’s “Christmas Carol” (the transformation of the “misanthropic hero” who travels the path with “guilt-correction-redemption” as the key milestones). Analyzing the poetics of “Chizhikov’s Grief” allows to understand the author’s concept of the fairy tale: critically comparing the “earthiness” of the naturalist writers and the “idealism” of Ch. Dickens and N. V. Gogol, M. E. Saltykov-Shchedrin emphasizes the importance of the ideal component of private life. The problem of love and marriage is resolved in “Chizhikov’s Grief” in the style of the Christmas (Easter) tradition: sublime love revives the dead soul of the hero, while in the tale’s open ending the only positive variant of conflict resolution is the heroes’ acquisition of Christian values: forgiveness and love. Thus, behind the numerous literary contexts, irony and satire, the tale conceals a moral absolute that’s distinctive to the national consciousness; and this absolute was the personal position of M. E. Saltykov-Shchedrin.

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