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Although Marguerite Duras had always rejected being labeled as a feminist, her literary works definitely show a particular interest of the author about her own female characters. The article represents an analysis of the relationships between male and female characters, being based on research instruments developed in the field of gender and women’s studies, and thus leading to a precise perspective on the writer’s position towards women’s condition in a patriarchal society.
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Proceedings of the Goncourt Jury – the Romanian choice, 2013
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The journey is the manner of setting an appointement on the same path for three elements that outline an identity. In the novel "Rose Mélie Rose", Marie Redonnet builds a feminine identity by linking the colour, the destiny and the legend. We propose to underline the manners in which these three guidelines condition and determine one another. Our approach will take a particular interest in the symbols that govern the route of the main character where male presence only occurs to nuance female evolution.
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Starting from the premise that boredom is a multiform historical constant, this article tries to grasp, using a comparative endeavor, the essence of boredom, in Pascal’s sense and in Sartre’s sense of the word. At an epistemic level, Sartre replaces Divinity with contingency, which determines the concept of “boredom” to gain more acute valences, designated by the word “nausée”. Starting from some key concepts like “divertissement” or “mauvaise foi” and insisting on the way in which notions like freedom and loneliness are conceived, we shall demonstrate why the novel “Nausea” is considered to be the “Profane Bible” of boredom in the 20th century and to what extent Sartre borrows certain concepts from Pascal, concepts that aid him in defining the paradigms “être en-soi” and “être pour-soi”.
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The present paper deals with a series of alter egos the reader can find in the writings of the Belgian author Amélie Nothomb. The starting point is the premise that the nothombian self, represented in several writings through the character Amélie, is usually split and polarized around two opposite tendencies. One is characterized by a limitation, a restrained liberty of the self, a non-movement perceived as a state of non-becoming. The other, being the exactly opposite, is defined by the full blooming out (épanouissement) of the ego. The paper first identifies, and then analyzes the bi-polar self all through the life of Amélie-character, starting with the childhood and ending up with the experience of working in a Japanese company. The identification of the reasons that cause the splitting up of the character’s self, together with the analysis of their implications in character’s evolution, are sustained with edificatory citations from "Métaphysique des tubes" ("The Character of Rain", 2000), "Le Sabotage amoureux" ("Loving Sabotage", 1993), "Biographie de la faim" ("The Life of Hunger", 2004), "Stupeur et tremblements" ("Fear and Trembling", 1999), and "Ni d’Ève ni d’Adam" ("Tokyo Fiancée", 2007).
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In this article we aim to explain the meaning of the famous line “Hell is other people” by using as a distinct landmark the ceaseless conflict between “being” and “seeming” that underlies the existence of Garcin, Inès and Estelle. It is the Sartrian concept of the Other that helps us gain a comprehensive view of this conflict. In addition, there is the ceaseless game of scrutinising looks and punitive retorts that will eventually uncover the essence of being, carefully concealed underneath the veil of appearance. The human being is judged in a Sartrian, existentialist hell that serves as a disguise for speaking about how individuals should always be thoroughly aware of their freedom, responsibility and choices.
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Life and death are two radical absurdities in which unique manifestations of the absurd take place, born from the contact of the self with the world, of the individual with society. Following the footsteps of this topic all the way to writers such as Albert Camus, André Malraux and Jean-Paul Sartre, suicide often appears as temptation and, sometimes, even as a solution of shutting off the absurd. We are looking to approach the reasons behind suicide from a social and philosophical perspective while also trying to understand the refusal behind it. Special attention will be granted to the idea of the crucial situation that each of the protagonists of the three writers find themselves in, with the most unpredictable consequences.
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The central question of this study is the importance of the biography of a writer to understand his literary work. The brief analysis of the work of Marcel Proust proves that the life and normal self on an author is very different of the moi profond of the artist who is revealing itself only during the writing process.
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"The Religieuse" of Diderot is an example of the anticlerical spirit of this author. The monastery is perceived as a cloistral world, a torture for the body and the spirit. Behind this central message of the text we can read the vexing question of the free will and free choice, at the crossing of tradition and modernity.
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The different disguises of Tristan in the versions of the XIIth Century are signs of his secret passions and personality problems. The masks have in these romances a double function, to show and to hide, shaping the very person of the protagonist.
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A Comparison between the military conflicts in the "The Song of Roland" and "Yvain" shows that the duels and chivalric combats are far more frequent in the French Romance that in the geste, were battles are privileged. The sword is more important in the "Song of Roland" and the lance is the main arm in "Yvain".
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The romance "The High Book of the Grail" ("Perlesvaus") files between the lines the metaphor of the fight between the Old and the New Law. Born from a militant and crusading Christianity, this text presents a protagonist who embodies the fictional allegorization of the figure of Christ the Redeemer.
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