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SPRISAHANECKÉ MYSLENIE V „CENZUROVANOM“ DIELE RICHARDA MILLETA

100%
Drengubiak J.
World Literature Studies
|
2018
|
vol. 10
|
issue 4
24 – 37
EN
The paper analyses the works of French author Richard Millet and the way he thematises censorship from his early works up to the controversial eulogy of Anders Breivik in 2012. The author’s claim of being a victim of censorship is approached as a symptom of a larger problem that is conspiratorial thinking. The study shows that Millet’s conspiratorial ideation evolves progressively and becomes ever more pronounced and radicalized in his writings. Though censorship, in his mind, takes up different forms – from political correctness to indirect means of silencing – it underlies the author’s conspiratorial mind-set on every stage and is a part of his self-image.
2

Troubles with the origin: Gustave Flaubert's 'Hérodiade'

100%
Sniedziewski P.
Teksty Drugie (Second Texts)
|
2007
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issue 3(105)
192-205
EN
Gustave Flaubert was critical against the nineteenth-century epistemology of history, consistently debunking the weak aspects of our thinking about the past. Of special importance in this context are the writer's doubts regarding the myth of the 'origin', as expressed in his 'Hérodiade'. In this sense, Flaubert's novella is a story on the 'origin' of Christian culture and religion. However, we can spot therein three main mechanisms, used by the French author to undermine the absolute meaning of the'origin' and to develop his own historic writing model (starting with attempted authentication of the text, through deconstructing the story, up to awareness of discontinuity and incompleteness of any narrative on the past). This makes of Flaubert a modernist historiographer in whose opinion there is an 'origin' - which is not history, but rather, a myth.
3
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La 'Belle Juive', Avatars d'une figure de l'Autre en litterature francaise

100%
Maczka E.
Scripta Judaica Cracoviensia
|
2010
|
vol. 8
77-92
EN
no English abstract submitted
4
Content available remote

PÍSANIE O SEBE V SÚČASNEJ QUEBECKEJ PRÓZE

88%
Malinovská Z.
World Literature Studies
|
2011
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vol. 3 (20)
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issue 2
28 – 45
EN
The paper deals with the “auto-fiction” as one of the means of the self-writing in the contemporary Québec fiction. The “auto-fiction” is considered in both Québec and French socio-political and literary contexts. While being frequently used, especially in francophone environment, the notion stays vague, referring to the common practice of transgressing the boundaries between the real and literary worlds, resulting in a fictional account of one´s own life and the blending of fiction and faction. The genre, having also cognitive and therapeutic functions, enables authors to reflect upon and to render the questions of being and writing. The means by which contemporary authors explore the realm of the “auto-fiction”, as well as its manifestations in the novel are analysed on the example of novels written by Régine Robin and Nelly Arcan.
5

SLOVENSKÁ OTÁZKA V DIELACH FRANCÚZSKYCH SLAVISTOV NA KONCI 19. A ZAČIATKOM 20. STOROČIA

75%
Mojdis J.
Slavica Slovaca
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2012
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vol. 47
|
issue 1
76 – 79
EN
The subject of the paper is a concise history of the penetration of the Slovak matters in France in the works of French Slavists. From the 19th century, Slovak matters started to be strongly promoted in the French environment. Especially 1830’s are an important period when the French environment started to notice Slavs much more intensively. The beginnings of the development of Slavic studies in France are linked to the arrival of Slavic immigrants in Paris and their activities and later by the establishment of the Department of Slavic languages and literature and issuing of the magazine Revues des Deux Mondes. In the second half of the 19th century more and more information about the Slavic people, but also about expatriates in France became known. Slavic Studies began to be developed, which is represented by the personalities as E. Denis, L. Leger and many others. The result of their work is that the Slavic problem in France is gaining an important position and is of great importance especially for the Slavic peoples of the Habsburg monarchy, among them the Slovaks.
6

BOHEMIAN ARTISTS AND “REAL BOHEMIANS”. LIFE AS SPECTACLE IN HUGO’S “NOTRE-DAME DE PARIS” AND GAUTIER’S “LES JEUNES-FRANCE”

63%
Turman K.
ARS
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2012
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vol. 45
|
issue 2
94 – 107
EN
In the nineteenth century the bohemian artist became a recognized figure representing a counterculture of artists, musicians, poets and writers. This character defied categorical definition by refusing to subscribe to the mainstream norms of the bourgeois-ruled society in nineteenth-century Paris. Many critics argue that these bohemian artists originally modelled their own lifestyle after that of the Gypsy, or Romany. Was this lifestyle also a trait appropriated from the “real bohemians,” or Gypsies? Or was it rather the product of the constructed myth surrounding the Gypsy figure, projected onto the Gypsy in order to create and justify a modern artistic identity? The paper explores these questions by analogizing La Esmeralda in Victor Hugo’s Notre-Dame de Paris with Theophile Gautier’s Bohemians in Les Jeunes-France. The analysis deconstructs the myth of the Gypsy as public entertainer and spectacular object through historical publications from the nineteenth century.
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