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    Wyświetlanie 1-7 z 7
    Tytuł:
    Entre illusion et réalité : le corps dans « Le Jeûne » et « La Mort d’un paysan » d’Émile Zola
    Pomiędzy iluzją a rzeczywistością: ciało w opowiadaniach „Le Jeûne” i „La Mort d’un Paysan” Emila Zoli
    Between Illusion and Reality: The Body in “Le Jeûne” and “La Mort d’un paysan” by Émile Zola
    Autorzy:
    Johnson, Warren
    Powiązania:
    https://bibliotekanauki.pl/articles/2056533.pdf
    Data publikacji:
    2022-05-30
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Zola
    Le Nouveau Décaméron
    ciało
    iluzja
    realność
    idealizm
    body
    illusion
    reality
    idealism
    Opis:
    Cet article étudie les deux contes donnés par Émile Zola au Nouveau Décaméron, entreprise collective de Catulle Mendès. Ces contributions, « Le Jeûne » et « La Mort d’un paysan », forment deux volets d’une même interrogation sur le rapport entre le matériel et le spirituel, et entre la réalité physique du corps et l’esprit. Pour la baronne égoïste et frivole dans « Le Jeûne », l’éloquence du vicaire combinée avec la chaleur dans l’église lui donnent un plaisir sensuel qui va à l’encontre des semonces du prêtre. Par contraste, « La Mort d’un paysan » présente une perspective positive sur la vie rurale réglée par des rythmes naturels et la solidarité familiale, où la mort est acceptée comme faisant partie de la vie mais où l’illusion est bannie. Ces deux textes permettent à Zola de s’attaquer, depuis deux directions opposées, à un idéalisme mensonger et improductif.
    Niniejszy artykuł analizuje dwa opowiadania Emila Zoli, stanowiące jego wkład w Le Nouveau Décaméron, wieloautorskie przedsięwzięcie pod redakcją Catulle’a Mendèsa. Opowiadania „Le Jeûne” i „La Mort d’un paysan” można traktować jako dwie propozycje refleksji na wspólny temat – związku między sferą materialną i duchową, między wymiarem fizycznym ciała a jego wnętrzem. W „Le Jeûne” elokwencja wikariusza w połączeniu z ciepłą atmosferą we wnętrzu kościoła doprowadza frywolną i egoistyczną baronową do zmysłowej przyjemności, będącej zaprzeczeniem kazań duchownego. Na zasadzie kontrastu „La Mort d’un paysan” ukazuje pozytywny obraz życia wiejskiego, cechującego się naturalnym rytmem życia i ludzką solidarnością, w którym śmierć jest akceptowana jako naturalna kolej rzeczy, a wszelka iluzja odrzucana. Oba teksty pozwalają Zoli poddać ostrej krytyce z dwóch przeciwstawnych perspektyw zakłamany i bezproduktywny idealizm.
    This article studies the two tales conributed by Émile Zola to Le Nouveau Décaméron, the collective enterprise of Catulle Mendès. These contributions, “Le Jeûne” and “La Mort d’un paysan”, form two parts of the same questioning of the relationship between the material and the spiritual, and between the physical reality of the body and the mind. For the selfish and frivolous Baroness in “Le Jeûne,” the eloquence of the vicar combined with the warmth in the church give her a sensual pleasure that goes against the warnings of the priest. In contrast, “La Mort d’un paysan” presents a positive perspective on rural life regulated by natural rhythms and family solidarity, where death is accepted as a part of life, but illusion is banished. These two texts allow Zola to attack, from opposite directions, a false and unproductive idealism.
    Źródło:
    Roczniki Humanistyczne; 2022, 70, 5; 51-61
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    La possibilité de l’espoir chez Michel Houellebecq
    Autorzy:
    Liu, Xinyi
    Powiązania:
    https://bibliotekanauki.pl/articles/2095792.pdf
    Data publikacji:
    2022-04-04
    Wydawca:
    Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
    Tematy:
    contemplation
    hope
    despair
    illusion
    postivism
    espoir
    désespoir
    positiviste
    Opis:
    Often considered depressive, Michel Houellebecq’s writing seems to be at the antipodes of hope, even if fragile. In this article, we will attempt to explore the three levels of hope in the author’s work. Hope in Houellebecq’s writing is first presented in a derisory way as a variant of an illusion. It constitutes an evil associated with sexual desires in contemporary hyper-liberalist society. Then, the author stages a positivist utopia, that of immortal neo-humans. But hope does not exist in this post-human society. Finally, by freeing himself from all illusory hopes, the author intends to seek hope in the present, in the manner of Schopenhauerian contemplation. He uses an approach that is both clinical and pathetic and gives a new form to hope that hopes for the unhoped-for.
    Źródło:
    Cahiers ERTA; 2022, 29; 44-70
    2300-4681
    Pojawia się w:
    Cahiers ERTA
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    «L’illusion du jardin décevant». L’écriture de la crise dans les Jardins maures d’Aline Réveillaud de Lens
    “The illusion of the deceiving garden”. Crisis Writing in Jardins maures [Moorish Gardens] by Aline Réveillaud de Lens
    Autorzy:
    Sokołowicz, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/2130957.pdf
    Data publikacji:
    2022-08-12
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    jardin
    crise
    Aline Réveillaud de Lens
    Maghreb
    femme
    garden
    crisis
    woman
    Opis:
    Le but de cette contribution est de répondre à la question de savoir pourquoi dans les Jardins maures, cycle de nouvelles de l’écrivaine et peintre française de l’époque coloniale, Aline Réveillaud de Lens (1881-1925), l’imaginaire du jardin s’unit à celui de la crise. Avons-nous affaire tout simplement à la crise du jardin compris comme un espace paradisiaque ou s’agit-t-il d’autres crises encore que l’écrivaine évoque en se servant de cette union incongrue du jardin et de la crise ? Pour répondre à ces questions, nous avons divisé notre article en trois parties. La première présentera brièvement l’écrivaine et le cycle. La deuxième montrera que le jardin en crise peut cacher des crises propres à la société musulmane et la troisième décrira le jardin en crise comme la crise d’un certain rêve.
    The aim of this contribution is to answer the question of why in Jardin maures [Moorish Gardens], a collection of short stories written by a French writer and painter of the colonial era, Aline Réveillaud de Lens (1881-1925), the imaginary of the garden intervenes with that of the crisis. Are we simply dealing with the crisis of the garden understood as an Edenic place or are we faced in those short stories with other crises that the writer evokes by using this incongruous union of the garden and the crisis? To answer these questions, we have divided our paper into three parts. The first will briefly introduce the writer and the collection. The second will show that the crisis of the garden may denounce some crises of Muslim society and the third part will describe the crisis of the garden as the crisis of a certain dream.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Romanica; 2022, 17, 1; 51-65
    1505-9065
    2449-8831
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Romanica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pouvoir et magie de la comédie dans L’Illusion comique de Corneille
    Autorzy:
    Bonolas, Philippe P.
    Powiązania:
    https://bibliotekanauki.pl/articles/973584.pdf
    Data publikacji:
    2009
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    corneille’s theatre
    baroque
    comedy
    a play within a play.
    Opis:
    Although Corneille drew fame from his tragedies, he launched his career bywriting comedies. Considered for a long time as less worthy of attention, they have been reconsidered since the end of the nineteenth century and some of them like the Illusion comique have been regularly performed and praised as a good example of French baroque theatre. In Corneille’s time, the success of a play was due to its freshness and modernity exploiting various themes favoured by the Age of Louis XIII. A play within a play was not entirely new, but mingling the intrigue of a tragedy within a more general one of a comedy was uncommon. Introducing the role of a magician, Alcandre, able to play with the dimensions of space and time when the three rules of unity began their magisterial reign, was an audacious expression of creative liberty. Besides, Corneille epitomized the baroque metaphorical vision of the world by insisting on the aspects of its instability, putting its personages in constant psychological and physical motion and metamorphosis, situations leading at times to uncertainty about moral values. But throughout the play, the theatre appears progressively as a metaphorical rationalisation of this instability through the adventurous life of the main hero, Clindor, allowing the author through Alcandre’s voice to advocate the cathartic power of comedy and assert the social importance and legitimate place of the theatre in the 17th century France. After the Illusion comique, the theatre could clearly be perceived as a school of humanism. Key words: Corneille’s theatre, baroque, comedy, a play within a play.
    Although Corneille drew fame from his tragedies, he launched his career by writing comedies. Considered for a long time as less worthy of attention, they have been reconsidered since the end of the nineteenth century and some of them like the Illusion comique have been regularly performed and praised as a good example of French baroque theatre. In Corneille’s time, the success of a play was due to its freshness and modernity exploiting various themes favoured by the Age of Louis XIII. A play within a play was not entirely new, but mingling the intrigue of a tragedy within a more general one of a comedy was uncommon. Introducing the role of a magician, Alcandre, able to play with the dimensions of space and time when the three rules of unity began their magisterial reign, was an audacious expression of creative liberty. Besides, Corneille epitomized the baroque metaphorical vision of the world by insisting on the aspects of its instability, putting its personages in constant psychological and physical motion and metamorphosis, situations leading at times to uncertainty about moral values. But throughout the play, the theatre appears progressively as a metaphorical rationalisation of this instability through the adventurous life of the main hero, Clindor, allowing the author through Alcandre’s voice to advocate the cathartic power of comedy and assert the social importance and legitimate place of the theatre in the 17th century France. After the Illusion comique, the theatre could clearly be perceived as a school of humanism.
    Źródło:
    Romanica Silesiana; 2009, 4
    1898-2433
    2353-9887
    Pojawia się w:
    Romanica Silesiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Quête de soi, quête du sens : alchimie et roman comique à la première personne dans Le Page disgracié et L’Autre Monde
    Quest for Self, Quest for Meaning: Alchemy and First Person Novel in Le Page disgracié and L’Autre Monde
    Autorzy:
    Gauthier, Patricia
    Powiązania:
    https://bibliotekanauki.pl/articles/2020939.pdf
    Data publikacji:
    2020
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    Tristan
    Cyrano
    alchemy
    illusion
    sense
    libertinism
    Opis:
    The Other World and Le Page disgracié (The Disgraced Page) occupy a singular place in the luxuriant seventeenth-century novel landscape on account of their first-person writing. In a process quite akin to the formative novel, the experiences of the “I” are stages in the construction of a meaning that is elaborated in the course of adventures rather than set as a goal to be reached. Meaning remains elusive, never predetermined, ravelled and unravelled as it is along with the episodes experienced by the narrator, regardless of whether those episodes are conveyed by the imagination of Cyrano or by the memory of Tristan’s experiences. No matter whether we are dealing with the most unbridled fantasies or autobiographical narrative, the route followed by the “I” is not oriented towards a goal that would make sense. Both texts call for alchemy, but the narrators do not make the quest for the philosopher’s stone the guiding thread of their narrative. Alchemy, described as a deception in Tristan and as an approach among others to the mysteries of the world in Cyrano, is presented as the touchstone of a possible decoding of the world, as the reign of illusion and, therefore, of the impossibility even to fix meaning. A pie-in-the-sky quest for meaning leading to a goal that does not exist (the two texts are abruptly interrupted), the formative novel finds a possible hermeneutic opening in the form of libertinism that forces one to play with meaning. Both works put sensual pleasure at the heart of the adventures lived by the characters and this rehabilitation of sensuality could offer itself as the key to a libertine strategy.
    Źródło:
    Academic Journal of Modern Philology; 2020, 9; 255-263
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Hypotypose et objectivation de la scène de l’horrible : les enjeux de l’illusion du réel dans quelques romans francophones contemporains
    Hypotyposis and Objectification of the Horrible Scene: Stylizing the Figure of Reality in Some Contemporary Francophone African Novels
    Autorzy:
    Eyenga Onana, Pierre Suzanne
    Powiązania:
    https://bibliotekanauki.pl/articles/683272.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    hypotypose
    objectivation
    scène de l’horrible
    sociocritique
    roman africain francophone contemporain
    narration
    hypotyposis
    objectification
    horrible scene
    sociocriticism
    contemporary Francophone African novel
    Opis:
    This study shows that it is simplistic to argue that the narrative dynamics in contemporary Francophone African novel is monotonous. It then consists in demonstrating that it is rather indicative of a striking realism that it sometimes offers to see horrific scenes of life exhibited such that the reader immediately succumb to the temptation to share the worldview of author in review through the characters involved. Based on the operationalization of the explicit-implicit duality as structured in Pierre Barberis’s sociocriticism framework, the study postulates, in two parts, that hypotyposis is a fertile and multiple variable figure which is spread at the same time like the modalisation of an event, a relevant semiological sign, a figure of the transcendence convened by the novelist in order to collect the attention of the reader by touching his psyche and causing in him a certain number of emotions such as the feeling of horror.
    La présente étude montre qu’il est réducteur de soutenir que la dynamique de narration dans le roman africain francophone contemporain est monocorde. Il s’agit alors de la monstration qu’elle est plutôt révélatrice d’un réalisme si saisissant qu’il offre parfois à voir des scènes de vie horribles exhibées telles que le lecteur succombe immédiatement à la tentation de partager la vision du monde de l’auteur en examen par le biais des personnages mis en jeu. Fondée sur l’opérationnalisation du diptyque explicite-implicite structuré à travers la sociocritique de Pierre Barbéris, l’étude postule, en deux parties, que l’hypotypose est une figure féconde à variable multiple qui se déploie à la fois comme la modalisation d’un événement, un signe sémiologique pertinent, une figure de la transcendance convoquée par le romancier en vue de capter l’attention du lecteur et de toucher sa psyché en suscitant en lui un certain nombre d’émotions, par exemple le sentiment de l’horrible.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Romanica; 2016, 11; 249-260
    1505-9065
    2449-8831
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Romanica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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