In Bouvard et Pécuchet a consideration at a textual level of the protagonists' reading and misreading of Amoros's gymnastics manual reveals the process of Flaubert's production of irony.
George Sand's five very distinct novellas, La Marquise (1832), Lavinia (1833), Métella (1833), Mattéa (1832) and Pauline (1841), share one important aspect.
Labyrinth imagery in Balzac's Ferragus (1833) is extensive and diverse. It depicts heroic struggle, both in the real world and in the hero's imagination.
Dans cette étude, La Reine Margot est un prétexte à la mode pour analyser les nouvelles approches didactiques françaises à la littérature.
This article shows how the death penalty and its instrument (the guillotine) are literary themes of choice in Hugo's Le Dernier Jour d'un condamné à mort (1828-1829) and Nodier's Histoire d'Hélène Gillet (1832).
The letters that constitute Victor Hugo's Le Rhin are much more than the account of the poet's three trips to the Rhineland (1838-1840), which were combined into a single narrative.
Because of their protagonists' common fate (death), femininity, and alienation, Ourika (1823) and Edouard (1824) have been read as metaphors for the female condition.
A common collage technique produces an effect of liminality in three texts by Chateaubriand, Verne, and Meliès.
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