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1

Z dziejów bowaryzmu we Francji

100%

Staroń A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2018

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vol. 49

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issue 3

27-42

EN

The first mention of the term “bovarism” appears shortly after the release of Flaubert’s novel, but the modern definition: “to perceive oneself differently than one is in reality”, was coined by the philosopher and critic Jules de Gaultier. He made bovarism the center of his concept of the modern man, or even of the modern society, and he dedicated 20 years of his life to its analysis. With time, he grew to understand that it was not only a pathology, but also the moving force of human actions. Many other researchers pursued the topic of bovarism after Gaultier, both in literature and in medicine spheres. Today the concept is still popular and used not exclusively in literature, but also in social and political meaning.

2

Flaubert au-delà de l’histoire littéraire. Genèse d’Un coeur simple et contre-modèle de servante à vie

88%

Fauve-Chamoux A.

Białostockie Studia Literaturoznawcze

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2017

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vol. 11

EN

The character of Félicité, presented by Gustave Flaubert in A Simple Soul [Un coeur simple], a tale published in 1877, is considered here in historical perspective in order to better understand her work in domestic service, permanent celibacy and overall sad story. The first section traces the genesis of this work, as shown in the writer’s correspondence and his family background. The second part is devoted to his method, as he proclaimed it. The last section argues that F´elicit´e was a very ordinary victim who had fallen, as many other female servants, into the trap of lifelong service which had crushed her destiny. In the European past, a woman who stayed for life in the same family as maid-of-all-work and remained unmarried was far from being a rare case or counter-model. Actually, servants were considered unproductive by economists and therefore found themselves excluded by Marxism from the class struggle. The original piece of literature under study was more a short story than a fairy tale, and since it intended and succeeded to be true, it did not meet the readers’ expected enthusiasm.

3

„Autor to właśnie ja”: Gve Flaubert, czyli pisarz-rękopis

87%

Leclerc Y.

Poznańskie Studia Polonistyczne. Seria Literacka

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2012

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issue 19

257-269

EN

The article attempts to present and discuss the juvenile works of Gustave Flaubert. Though the writer never allowed these juvenile works to be published, being extremely critical of their aesthetic value, the works such as November, Memoirs of a Madman or the diary-form Cahier intime de 1840–1841 still make important texts that provide a sizeable amount of information on the writer’s literary workshop. Interestingly enough, these early works show the writer’s attachment to the manuscript (tantamount to the dislike to the written word) and the author’s tools (pen, ink and paper). These juvenile attempts, in the main autobiographical in nature, are thus penetrated by the metatext element that is a key input in providing an opportunity for a reflection on the way the text itself does exist: this element also informs us on Flaubert’s growing maturity that ultimately defined his role of a fully-fledged author. The paratext elements (epigraphs, dedications, inscriptions, dates and signatures) in his juvenile works seem to be just as important as they allow us to follow, step by step, the way to the birth of a writer-manuscript and thus a writer who gets his fulfillment and the very existence exclusively in a text of a manuscript character.

4

Barometr pani Aubain

87%

Franczak J.

Forum Poetyki

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2019

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issue 15-16

24-35

EN

The article discusses the function of redundant details in realistic descriptions, especially in Gustave Flaubert’s prose. The analysed fragment of the description from Gustav Flaubert’s “A Simple Heart” was also discussed by Roland Barthes’ in An Introduction to the. Structural Analysis of Narrative and in The Reality Effect. The barometer hanging over the piano – the mentioned superfluous detail – was supposed to trigger a reference illusion by belonging to the category of “reality”. The article presents numerous views on the mentioned issue. It focuses on what Jacques Rancière writes in Le fil perdu. The philosopher reverses Barthes’ thesis: Namely, Mrs. Aubain’s barometer does not serve as a figure of a referential fullness, but rather as a sign disrupting the image of the world. In this light, the redundant detail is stricte scandalous: it prevents proper interpretation that aims to integrate all text signs and reveals a scandalous, rudimentary equality inscribed in the sensual order.

PL

Artykuł rozważa funkcję nadmiarowego detalu w realistycznej deskrypcji, a w szczególności w prozie Gustave’a Flauberta. Analizowany fragment opisu z Prosty serca Flauberta stał się przedmiotem refleksji Rolanda Barthes’a we Wstępie do analizy strukturalnej opowiadań oraz w Efekcie rzeczywistości. Wiszący nad pianinem barometr – ów zbędny szczegół – miałby fundować referencjalne złudzenie, czyli oznaczać samą kategorię „rzeczywistości”. Artykuł przedstawia rozliczne polemiki, jakimi obrosła ta interpretacja, by wyróżnić spośród nich krytyczną rewizję Jacques’a Rancière’a wyłożoną w Le fil perdu. Filozof odwraca tezy Barthes’a: w barometrze pani Aubain dostrzega nie tyle figurę referencjalnej pełni, co znak rozsadzający światoobraz, wymykający się konsensualnym uzgodnieniom. W tej perspektywie nadmiarowy detal jest stricte skandaliczny: stanowi przeszkodę dla interpretacji, która zmierza do zintegrowania wszystkich tekstowych znaków i ujawnia skandaliczną, rudymentarną równość wpisaną w porządek zmysłowego.

5

Cécile – starsza siostra Effi Briest

75%

Pacholski J.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2018

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vol. 49

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issue 3

219-238

EN

This paper deals with Theodor Fontane’s novel Cecile published in 1886. This novel is the first part of the unofficial trilogy of the so-called Berlin novels, which also include Irrungen, Wirrungen (Trials and Tribulations, On Tangled Paths) and Stine. Among these three novels, Cecile is the only one which has not been translated into Polish. In each of these novels, the central motif is misalliance, which in two cases (Cecile and Stine) leads to a tragic end. The motif of a duel, in turn, in which the husband kills the lover or the admirer of the heroine links Cecile to Effi Briest – the most famous of Theodor Fontane’s works. This article attempts to interpret the novel in the context of the similarities between Cecile and Emma Bovary, the protagonist of the masterpiece by Gustave Flaubert and from the perspective of bovarysme –a term coined by Jules de Gaultier. In the analysis, what is important is not only the characterization of Cecile as a character but also the discussion of the role of a letter in the plot of the novel, a letter being a motif used by Fontane in an interesting and surprising way.

6

Wizerunki niezamężnych służących w wybranych dziełach literatury francuskiej XIX wieku

71%

Kulak E. K.

Res Gestae. Czasopismo Historyczne

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2023

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vol. 15

67-80

EN

The paper analyses the image of female domestic servants and their condition as unmarried women in three examples of nineteenth‑century French literature: A Simple Heart by Gustave Flaubert (1875), Germinie Lacerteux (1865) by Edmond and Jules de Goncourt and Diary of a Chamber-maid (1900) by Octave Mirbeau. The protagonists of these stories represent interesting versions of stereotypical images present in a great number of contemporary works: the life of a loyal and sacrificed servant (Flaubert), the sad history of a servant succumbing to sexual temptations (E. and J, de Goncourt) and the subversive portrait of a perverted chambermaid, exploited by and exploiting their masters at the same time (Mirbeau). The common trait of the three women is their solitude, as service means for them to remain unmarried, unable to realize the role considered socially as the only proper for a woman.

7

O Flaubertowym „zakamarku”

63%

Garlej B.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2021

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vol. 27: IZOLACJA I KOMUNIKACJA – ROZWAŻANIA NAD FORMAMI KOMUNIKACJI LITERACKIEJ I KULTUROWEJ

93-111

EN

The article is devoted to illustrating two aspects of the drama of shaping artistic style, experienced by Gustave Flaubert. In reference to the thought which inspired the author (the notion of ‘little back shop’ by Michele de Montaigne), this drama of forming style is being reconstructed, as facilitated by two collections of letters. The first is the chronologically earlier one (letters written to Louise Colet), and the second is the latter collection (correspondence with George Sand). Thus, a conclusion stipulating that the first aspect of the drama of forming style unfolds at a basic level (the choice of linguistic toolkit), and the second aspect touches on the next, artistically more organised level (proficiency in the chosen toolkit), stems from correlating a correspondence analysis with the philosophical interpretation of the notion in which ‘little back shop’ belongs semantically. This is ‘solitude’. It is the interpretation of ‘solitude’ suggested by Piotr Domeracki, which has been used as a methodological instrument in depicting the differing aspects of Flaubert’s ‘little back shop’.

8

Poznámky k vývojové dynamice moderního románu od velkých příběhů cizoložnic k Mannově Čarovné hoře

62%

Blinková Pelánová E.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2020

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issue 62

108-123

EN

The present paper deals with the inner dynamism within the order of the fictional world, focusing on the tranformation of realistic writing (Flaubert, Tolstoy, Fontane) towards modernism. The displayed dynamism is exemplified on Thomas Mann’s The Magic Mountain taking into account the issue of autobiography and author’s essays (the Bildungsroman genre and the European realistic tradition).

9

Fins de l’art : la réception de Hegel dans la littérature française du XIXe siècle

54%

Olivier A. P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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vol. 32

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issue Special Issue

15-35

EN

In a period of global pandemic and confinement to our homes, the end of art is not only a philosophical hypothesis, it is a fact of society. We have experienced that modern societies, those that were able to make art an absolute at one point in their history, no longer need the arts, or the physical presence of artists and spectators, or have considered them inessential, and therefore contingent. Is this what G. W. F. Hegel prophesied with his thesis of the end of art? In this paper I aim to clarify this by referring to the sources of Hegel’s lectures and by examining the reception by nineteenth-century French writers. 1) First, I give a reminder of the different ways in which Hegel’s theme of the end of art can be interpreted. 2) Then, I give a second reminder concerning the reception of Hegel’s Aesthetics in France, with a focus on the translations. 3) Finally, I propose to study three writers who determine three ways of conceiving the appropriation of Hegel in the 19th century and of the theme of the end of art: Théophile Gautier, Charles Baudelaire and Gustave Flaubert.

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2 Acta Universitatis Lodziensis. Folia Litteraria Polonica

2 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Białostockie Studia Literaturoznawcze

1 Forum Poetyki

1 Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Res Gestae. Czasopismo Historyczne

1 Blinková Pelánová E.

1 Fauve-Chamoux A.

1 Franczak J.

1 Garlej B.

1 Kulak E. K.

1 Leclerc Y.

1 Olivier A. P.

1 Pacholski J.

1 Staroń A.

1 2023

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