L\u27Egal Franglais

The following list of words that look the same in French and English is a modified form of one made for the members of the Ouvroir de Literature Potentielle (OuLiPo), a group of eighteen writers and mathematicians based in Paris whose raison d\u27etre is the literary use of constructive form. Specifically, it was generated to provide material for the composition of heteronymic, ambivalent Anglo-French texts. The list, which is not meant to be exhaustive, has been drawn up according to three principles

French women writers, 1800-1850

The relative position of women in literature is now so important that it is difficult for one to realize that women writers have not always had such prestige. Since the time of Sappho, one of the first women writers of whom we have record, the feminine touch has gradually, by a much slower process than one would expect, been applied to the different realms of literature. The development of feminine literature in France, chronologically, has followed much the same pattern as that of the other nations of the western world. In this developing pattern, the first half of the nineteenth century has been chosen to be studied in the light of the feminine achievement and contribution to French literature. A general survey of feminine achievement of that particular era will have the purpose of discovering either: (1) why there were so few feminine writers during the period, or (2) why so few achieved great fame

The Spectatorial press in Dutch

The present paper outlines the main periods and tendencies in Dutch moral weekly publishing. Although academic research has, for a long time, been focussed on Justus van Effen, who published spectatorial magazines in both French and Dutch, many other writers between 1718 and the 1790s also took part in the endeavour of moral weekly writing or reacted to it by producing ‘anti-spectators’

Salvator Rosa in French Literature: From the Bizarre to the Sublime

Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.https://uknowledge.uky.edu/srls_book/1000/thumbnail.jp

SKOPJE IN THE WORKS OF FRENCH TRAVEL WRITERS IN THE SECOND DECADE OF THE 19TH AND EARLY 20TH CENTURIES

The City of Skopje was presented in many works by domestic and foreign authors, but the subject of this seminar paper is Skopje in the works of French travel writers, who visited and wrote their impressions of this city in the second decade of the XIX and early XX centuries.In the second decade of the 19th and early 20th centuries, the European public was very interested about the situation on the Macedonian land. It’s the time of the Balkan Wars and the First World War, and the French travel writers, among which military officers also wrote about these events. Besides political and events in the battlefields, also wrote about cultural processes, spiritual and material culture, and they also wrote about the cities through which they passed, and among the most important cities was Skopje.French travel writers Ami Boué, Commander Leon Lamouche, General Herr Frédéric-Georges, Louis Léger, Gabriel Louis-Jaray, André Cherdamme, Colonel André Orioni and other travel writers stayed on the Macedonian land, and passing through Skopje they wrote about people, the town, the architecture, religious objects and they presented their works to the European and French readers.In this paper we used the methodology of historical analysis and heuristics, methods of analysis and synthesis, literature of travel writers in French, and we compared this material and made an analysis of the content and argument synthesis in order to get to objective conclusions.In this paper we have tried to prove that during the second decade of the twentieth century in Skopje there was a rich spiritual and material cultural and that this was recorded by French travel writers.Keywords: travel writers, Skopje, Macedonia, culture, architecture

7. Modern Totalitarianism: Russian Communism

Some political analysts place fascism at the extreme right of the political spectrum, Communism at or near the extreme left. This classification has been much favored by Marxist writers who believe that fascism is the last desperate effort of embattled capitalism to stave off the proletarian victory. Doubtless, Communist writers are aware of the value in some circles of the leftist label with its overtones of progress, freedom, and the general welfare. We have already noted the origin of the terms Left and Right in the French Revolution when they were used to distinguish between the advocates of change and the more conservative. Survival of these labels into a later age with vastly different problems and proposals has not helped clarify political thinking. It may already have occurred to the thoughtful reader that to classify Nazism as a near relative of conservatism creates as many difficulties as it solves. Similar difficulties attend the classification of Russian Communism as a party of the Left. [excerpt

Destins de femmes: French Women Writers, 1750-1850

Destins de femmes is the first comprehensive overview of French women writers during the turbulent period of 1750-1850. John Isbell provides an essential collection that illuminates the impact women writers had on French literature and politics during a time marked by three revolutions, the influx of Romantic art, and rapid technological change. Each of the book’s thirty chapters introduces a prominent work by a different female author writing in French during the period, from Germaine de Staël to George Sand, from the admired salon libertine Marie du Deffand to Flora Tristan, tireless campaigner for socialism and women’s rights. Isbell draws from multi-genre writers working in prose, poetry and correspondence and addresses the breadth of women’s contribution to the literature of the age. Isbell also details the important events which shaped the writers’ lives and contextualises their work amidst the liberties both given and taken away from women during the period. This anthology fills a significant gap in the secondary literature on this transformative century, which often overlooks women who were working and active. It invites a further gendered investigation of the impact of revolution and Romanticism on the content and nature of French women’s writing, and will therefore be appropriate for both general readers, students, and academics analysing history and literature through a feminist lens

Napoleon Reversing the French Revolution.

Napoleon Bonaparte turned France into a police state during his reign.[1] However, he did not continue the French Revolution as the French people hoped. The French Revolution brought forth liberty and to do as ones will if it does not harm another.[2] A new document brought by the French Revolution embodying these principles was the French Declaration of Rights of Man and Citizen in 1789.[3] This Declaration stated under article 11 that there was to be a free flow of ideas and opinions in writing and the press.[4] Article 7 outlawed any cruel harsh punishment and arbitrary sentencing.[5] However, Napoleon reversed these fundamental principles of the French Revolution. Writers, the press, along with the French people were subjected to the General police and prefects and were banned from saying anything controversial, against his regime, anything about France’s revolutionary past, and against France’s allies.[6] Arbitrary, cruel punishments, and harsh rules were enacted by Napoleon through the Penal Code in 1810.[7] Napoleon did not continue the French Revolution and reversed it by turning France into a police state and monitored and censored the French people, the press, and writers

Writing on stage: performative authorship and contemporary francophone African writers

The concept of the author has changed over time, along with the forms of media that have been used to circulate texts. In my dissertation, I examine assumptions about writers with roots on the African continent by looking at representations of their status and function as authors as they appear in fiction and in the public sphere. I explore the changes in both the academy's and the public's perceptions of literature in French, and examine how these perceptions are related to current understandings of migration, transnationalism, and "legitimate" cultural production. The generation of writers working after independence from European colonialism in the 1960s, 70s, and 80s re-appropriated language and forms, resisting political and cultural domination. Decades later, can it be said that francophone writers today are as much a part of the literary landscape in French as any other author? I study the writings and self-presentation of five prominent authors writing in French today: Calixthe Beyala (Cameroon), Fatou Diome (Senegal), Bessora (Gabon/Switzerland), Alain Mabanckou (Congo), and Léonora Miano (Cameroon). Through their public performances as well as in their published work, these five writers adapt the repertoire for the writer labeled as "African" or "immigrant" in their own ways. They may play into or play up some of these prescribed roles, but in so doing they highlight the apparatus that structures the publishing industry, including the problematic vestiges of colonialism that remain in place there. Recent theories of the posture de l'écrivain (posturing of the writer) have not yet been fully applied to writers outside the Franco-French, Parisian-centered literary field. I examine the implications of considering the performance of the authorial persona when applied to works by French-speaking authors with origins outside this hyper-centralized industry. My corpus includes their written works, their presence in both traditional and digital media, and their appearances in person at literary events. Focusing on their self-presentation in written and embodied performances enables a more complete grasp of specific ways the literary field is configured for francophone writers, and the differences that remain: in the roles imposed upon them, and in their own authorial aesthetic