Parue en 1865, La Confession de Claude a longtemps été jugée comme la tentative plus ou moins ratée d’une application par Zola de sa nouvelle doctrine naturaliste à l’écriture romanesque.
As the nineteenth-century French literary tradition becomes increasingly focused on the project to know the body – to make it intelligible as a cultural sign and as a vehicle of consciousness and subjectivity – it progressively
The representation of Topino – in Champfleury’s 1859 novel, La Mascarade de la vie parisienne – as a figure for the realist writer is one of a number of representations of the rag-picker in the literature of the July Monarchy an
Throughout the nineteenth century, French writers projected their fears of contagion and social instability onto the figure of the prostitute, fantasizing that these problems could be eradicated through her destruction, containm
This essay seeks to outline Rodolphe Töpffer’s relationship with Romanticism in light of the discourse surrounding his introduction to France’s literary scene.
This article argues that Stendhal saw historical insight as offering nineteenth-century French women the means of understanding their present condition, of deriving a maximum of happiness from it, and ultimately of moving beyond
Despite its superficial similarities with Rousseau’s Confessions, Constant’s Adolphe functions in fact as a devastating critique from within of the entire autobiographical project.
Regarded as a painter of nineteenth-century Paris, J.-K. Huysmans writes repeated impressionist scenes in his novel Les Sœurs Vatard. His eyes are visiting working-class districts in detail.
The first installment of Louis Viardot’s translation of the sixteenth-century Spanish novel El Lazarillo de Tormes appeared in Le Siècle in the summer of 1836, weeks before the publication of Balzac’s Une Vieille Fille inaugurat
