1977

The Present Directions of French Romantic Studies, 1960-1975

There have been many diachronic studies, but too few synchronic ones.

Porter, Laurence M

Henry Céard's Une Belle Journée

In Une belle journée (1881), Henry Céard, through the deliberate reduction of the traditional elements of the novel to total banality turns away from Zola's naturalism and uses techniques resembling those of modern novelists.

Thomas, William

Paroles et musique' – Verlaine's Composers

The musical imagery of Verlaine's poetry and the numerous musical settings of his poems arouse our curiosity as to his own musical tastes and talents his relationships with composers and his possible endorsement of the well know

Wright, Alfred J

Quincey, Baudelaire and `Le Cygne'

Parallels of theme, symbol, and structure between De Quincey's Suspiria de Profundis and Baudelaire's "Cygne" suggest some influence of the former upon the latter.

Gale, John E

Flaubert and the Brothers Goncourt

The Goncourt brothers' chief artistic interest was the novel. Their criticism of Flaubert, in the Journal: Mémoires de la vie littéraire, may be used to evaluate their critical abilities.

Bascelli, Anthony L

A Stylistic Comparison of Two Versions of Zola's Short Story `Les Fraises'

The six years that separate the two versions of Zola's short story, "Les Fraises" are among the most crucial in the formative period of his career.

Weinberg, Henry H

Ambivalence and Fragmentation: Structural Similarities in the Work of C. F. Meyer and Baudelaire

The 1882 poetry collection of the Swiss writer Conrad Ferdinand Meyer (1825-1898) contains the first symbolist poems in German literature.

Burkhard, Marianne

Michelet, la mer, la Baleine et la femme

In Michelet's vision, the Sea, the Woman, and the Whale are essentially identical in their fundamental maternal characteristics: blood, milk, and love for the beings they engender.

Calo, Jeanne E

Romanesque Seduction in Nerval's Sylvie

Gérard de Nerval's Sylvie is a study in the romanesque. It is structured on the principle that literature corrupts one's innocent perception of the world by imposing a grid of literature over the eyes of the reader.

Carroll Robert C

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