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This article engages with the readings of Flaubert's two versions of L'Éducation sentimentale (1845 and 1869) given respectively by Jean-Paul Sartre and Pierre Bourdieu in L'Idiot de la famille and Les Règles de l'art. In the first instance, Sartre's reading of the first L'Éducation sentimentale will be considered, in which Sartre argues that Flaubert rationalises and incorporates his 1844 illness into his protagonist Jules' moment of artistic revelation. The article will then examine Bourdieu's response to Sartre in Les Règles de l'art wherein he rejects the existential psychoanalysis of Sartre's biography by highlighting the need for an understanding of the author in his socio-literary context which he sees as objectified in the structure of the 1869 version of the novel. Ultimately, this article will seek to evaluate the distinct readings given of the two versions of Flaubert's novel by highlighting them as the clearest elucidations of Sartre and Bourdieu's differing approaches to Flaubert's authorship and the contexts in which his novels were produced. [ABSTRACT FROM AUTHOR]

Roland Barthes called attention to the barometer in 'Un Coeur simple' to illustrate the concept of l'effet de reel: the presence of objects which constitute a narrative luxury. For Flaubert's characters too, the barometer represents an objet de luxe since it goes unread. This article examines how humans interact with barometers figuratively and physically in Flaubert's works, and how contemporaneous cultural references view conversations about weather and barometers as evidence of provincial taste. Flaubert's unread barometers may not predict the weather, but they signal the pressure of gratuitous acquisition, preoccupation and conversation, and forebode the consequences of failed interpretation. [ABSTRACT FROM AUTHOR]

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Teatrologi se v svojih razpravah o kanonizaciji komedije navadno zanašajo na analize uspešnih besedil. Toda prav tako produktivno, če ne celo zanimiveje, bi bilo, če bi odgovore na svoja vprašanja iskali pri neuspešnih komedijah, še zlasti pri tistih, ki so jih napisali vrhunski pisatelji. V pričujočem prispevku se zato osredotočam na tri igre iz približno istega zgodovinskega obdobja, ki so ob praizvedbi klavrno propadle in si od poloma bodisi nikoli niso popolnoma opomogle ali pa jih od takrat vsaj ne štejemo več za komedije. Ta tri dramska besedila so: Kandidat (Le Candidat [1874]) Gustava Flauberta, Guy Domville (1894) Henryja Jamesa in Utva (Ча́йка [1895]) Antona Pavloviča Čehova. Čeprav so bila ta besedila uprizorjena v času, ko so bili njihovi avtorji že dodobra uveljavljeni, se premiersko občinstvo nanje vendarle ni odzvalo v skladu s pričakovanji. To je še presenetljivejše zato, ker sta tako Flaubert kot Čehov sicer napisala kar nekaj zelo zabavnih besedil. Da bi ugotovil, zakaj se je to zgodilo, sem izbrane igre primerjal z nekaj drugimi: s Sternheimovo priredbo Flaubertove komedije, z Wildovo Nepomembno žensko in z dvema zgodnjima burkama Čehova. Rezultati primerjav nakazujejo, da je najverjetnejši vzrok za polom vseh treh komedij neuravnovešen odnos med razumom in nerazumom, ki jih načeloma dela preveč negativne, da bi v njih lahko zares uživali.

Joseph Conrad’s Heart of Darkness has been praised for its critique of European colonialism in Africa and blamed for its racial stereotypes in depicting the victims of this enterprise. Its complex narrative strategies have likewise have provoked mixed reception. Conrad’s short story, “An Outpost of Progress,” written earlier than Heart, provides a clearer and more direct depiction of Europe’s role in Africa by focusing on two feckless and idle colonial agents who mindlessly repeat the alibis for ivory extraction while all the real work is performed by the indigenous foreman. When made aware of the role of slavery in this business, their friendship deteriorates amidst mutual recriminations to a point where they are of fighting over scarce supplies. The earlier portrayal of comic doubles exhibits Conrad’s debt to Flaubert, while the denouement consists in a struggle of violent doubles that ends up with one of them shooting the other and hanging himself thereafter, an outcome portrayed in a manner that accentuates the sacrificial dynamics working through their dealings with the native population. Oppression and self-destruction, murder and suicide, are Conrad’s unambiguous emblem for the colonial scheme. [ABSTRACT FROM AUTHOR]

Writing about Francis Bacon, Gilles Deleuze comments on the body as the 'zone of indiscernibility' between man and animal, especially 'as it is flesh or meat.' Bacon's fleshy zone, I argue, finds an early illustration in Madame Bovary, where Flaubert will also incorporate notions of 'animal life' as described by the nineteenth-century pathologist, Xavier Bichat. This essay will examine these fleshy zones as they relate to changing ideas of skin, tactility, and those, fluid permeable zones between human and animal and between individual bodies and the penetrating forces of others and the environment. [ABSTRACT FROM AUTHOR]

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Cet article se propose d’étudier la façon dont la lecture fut un élément essentiel dans la naissance à l’écriture d’Annie Ernaux. Deux formes de lectures différentes façonnent le parcours de l’écrivaine : des livres populaires, destinés à un public féminin, qui favorisent l’évasion et le bovarysme, et des œuvres appartenant à la littérature légitime qui poussent à une herméneutique de soi faisant fi du genre des lecteurs. Ces deux types de lectures seront au départ de son envie d’écrire et alimenteront son activité d’écriture. Aussi est-il possible d’observer la manière dont, après s’être identifiée à Emma Bovary, Ernaux se fait progressivement Flaubert, auteur qu’elle apprécie énormément et qu’elle compte parmi ses influences.

V prispevku se s socioliterarnega vidika ukvarjamo z zametki pesimizma, kakor se formira v Flaubertovem delu L‘Éducation sentimentale (Vzgoja srca, 1869). Izkaže se, da je pesimistični pogled na svet junaka Frédérica Moreauja tesno povezan z njegovim odnosom do obdajajoče ga potrošniške družbe. Najprej raziščemo pojem literarnega polja, kot ga je razdelal Pierre Bourdieu v delu Les Règles de l‘art (1992), zatem pa junakov odnos do potrošništva osvetlimo s pomočjo sociologije romana Luciena Goldmanna, pri kateri razvoj te literarne zvrsti v socioliterarnem oziru določa razmerje med posredujočo in posredovano vrednostjo (valeur médiatrice in valeur médiatisée), ki ga odraža romaneskni junak kot »problematični posameznik« (Goldmann 1964). To razmerje se je v drugi polovici 19. stoletja že povsem nagnilo v prid posredujoče, menjalne vrednosti dobrin, ki je zasenčila njihovo uporabno, pristno vrednost, pri čemer nas zanima, kako vsesplošni merkantilizem botruje preoblikovanju vloge denarja, ki odigra ključno vlogo pri emancipaciji literarnega polja in njegovi umestitvi v diskurz buržoaznega progresivizma. Skozi analizo položaja junaka Frédérica Moreauja v polju moči in umetnosti se izkaže, da v družbi, kakor jo beremo v romanu, niso komodificirane le materialne dobrine, pač pa tudi sama junakova želja in z njo povezana čustva, pri čemer prevzema ljubezen vedno bolj vlogo simbolnega kapitala in statusa. Takšna družbena razmerja potiskajo junaka v pesimizem, katerega simptom so njegove vélléités (želje brez prave volje do izpolnitve), in ga postavljajo v linijo antijunakov, ki se s postopnim razkrojem subjekta nadaljuje z nihilizmom Huysmansovega Folantina in absurdom Sartrovega Roquentina.

Notre recherche porte sur les traductions et retraductions de Madame Bovary en grec pendant les xxe et xxie siècles. Nous nous concentrons sur le parcours éditorial de ce ‘best-seller’, de sa toute première traduction en 1913 jusqu’à la plus récente en 2017, en essayant d'évaluer dans quelle mesure les conceptions de la retraduction proposées par les approches théoriques contemporaines s’y appliquent.

Mór Jókai's satiric novel Egy ember, aki mindent tud [A Man who Knows Everything] was first published in 12 parts in the illustrated satirical weekly Az Üstökös between 2 May and 18 July 1874. Its German translation was published parallel with the Hungarian text. This paper shows that, in several regards, Jókai's short novel is parallel to Flaubert's unfinished, subversive masterpiece Bouvard et Pécuchet. The structure of the two novels is obviously similar; both are built on a chain of metonymic contacts of failed "projects". Although in the fields of science and knowledge the heroes "encounter" do not follow the same order, the extent of thematic coincidence is surprising. Jókai's and Flaubert's novels are built on a scenic or episodic structure, the cut-at-will-form (Moretti). Both texts may be read as a narrative telling the story of the birth of the dilettante as a product of popular communication and mass media. [ABSTRACT FROM AUTHOR]

This article takes its lead from Barbara Wright's simple yet profound literary-critical imperative, '"Only Connect" ... ' (2010), to reflect Fromentin's Dominique critically in Flaubert's Salammbô – and vice versa – by means of the aesthetic compasses of critical reader response in 1862, and their authors' earlier travel writing. In therefore arguing by example for renewed examination of important works in word and image in Second Empire France that appear the same year, the article reorientates twenty-first-century critical debate concerning the status and aesthetic perspectives of mature, representative, enduring and canonical works in nineteenth-century French and Francophone Studies. [ABSTRACT FROM AUTHOR]

This essay analyzes the inventory as a literary strategy in the nineteenth-century French novels Bouvard et Pécuchet by Flaubert (1881) and À rebours by Huysmans (1884). We argue that the authors adopt the inventory process to determine the main characters’ identities in the lack of a proper plot line. For the petty-bourgeois Bouvard-Pécuchet couple, life is a plotless repetition of something ever new to do; for the sophisticated aesthete des Esseintes, it is a plotless repetition of what he wants to go on being. In comparing the two texts, we establish a reversal symmetry between depth and surface. Des Esseintes’ inventories (flowers, perfumes, books, gemstones) are presented as solid and deeply meditated, their narrative status relating to categories like mastering, intimacy, and distillation. In contrast, Bouvard and Pécuchet’s inventories sound precarious and spontaneous, relating to categories like naivety, extraneity, and cluttering. The same reversal symmetry is also found when comparing the ending of the two novels when their protagonists’ fates are decided. Taking inventories as a critical part of the social negative of the era, the two novels represent the pathological poles of the same generational malaise. [ABSTRACT FROM AUTHOR]

In a paper, written in polemics with mythology of the Flauberian studies of XX, particularly of the Soviet origin (the so-called realism or new realism, objectivism, impersonality, rationality of Flaubertian manner in “Madame Bovary”, identification of the author and his skills with the narrator, etc.), a figure of the narrator in this novel is discussed in full detail for the first time. This figure, a concrete person and a creator of narrative, is corresponded with Flaubert on various levels (biographical, gender, psychological, rationally creative, intertextual, subconscious) as well as with the characters (including the narrator on his own, his self-reflexion, psychological and psychic complexes, aims, methods and stylistics of narration). Antifeminine dimension of the narrative. «We» of the narrative is interpreted as a controversial sum of “I”, “non-I”, “other I-ies”, shadow projections of “I”, theatrical metamorphoses of “I”. In context of a special position of the narrator bourgeoisness, literatureness of the social consciousness, romanticism, palimpsest of the narrative, the double ending, and also the motives of story-telling and justification of creative efforts are analyzed. Symbolically the main events of the narrator’s world are death and positioning of himself as an inventor of fictions (“the lies”), a highly personal narrative the roots of which are in his school childhood, his mania of additional details and of endless improvement of his text. The narrator as a madman and an author of the madman’s diaries. The characters of the novel as artists. A study of the poetics of repetitions, mirror scenes, colours (blue, red, green), erotics, nature, historical details permits V. M. Tolmatchoff to introduce a rather new interpretation of Flaubert’s work as belonging to romanticism (partially baroqian, partially classical). The paper reconstructs chronology of events, age of the characters and poses a problem of Flaubert as inventor, of a meaning of non-correspondence in his novel between purely fictional time-space and strict historical details.

In a paper, written in polemics with mythology of the Flauberian studies of XX, particularly of the Soviet origin (the so-called realism or new realism, objectivism, impersonality, rationality of Flaubertian manner in “Madame Bovary”, identification of the author and his skills with the narrator, etc.), a figure of the narrator in this novel is discussed in full detail for the first time. This figure, a concrete person and a creator of narrative, is corresponded with Flaubert on various levels (biographical, gender, psychological, rationally creative, intertextual, subconscious) as well as with the characters (including the narrator on his own, his self-reflexion, psychological and psychic complexes, aims, methods and stylistics of narration). Antifeminine dimension of the narrative. «We» of the narrative is interpreted as a controversial sum of “I”, “non-I”, “other I-ies”, shadow projections of “I”, theatrical metamorphoses of “I”. In context of a special position of the narrator bourgeoisness, literatureness of the social consciousness, romanticism, palimpsest of the narrative, the double ending, and also the motives of story-telling and justification of creative efforts are analyzed. Symbolically the main events of the narrator’s world are death and positioning of himself as an inventor of fictions (“the lies”), a highly personal narrative the roots of which are in his school childhood, his mania of additional details and of endless improvement of his text. The narrator as a madman and an author of the madman’s diaries. The characters of the novel as artists. A study of the poetics of repetitions, mirror scenes, colours (blue, red, green), erotics, nature, historical details permits V. M. Tolmatchoff to introduce a rather new interpretation of Flaubert’s work as belonging to romanticism (partially baroqian, partially classical). The paper reconstructs chronology of events, age of the characters and poses a problem of Flaubert as inventor, of a meaning of non-correspondence in his novel between purely fictional time-space and strict historical details.

Écrire, c’est se souvenir. Ce sont les souvenirs, les souvenirs d’enfance, de voyages qui donnent naissance à l’écriture. C’est de ses souvenirs d’enfance ou de voyage que Gustave Flaubert a créé son personnel romanesque particulièrement féminin. Son premier écrit de jeunesse, Mémoires d’un fou, se nourrit de son souvenir de Maria, une jeune fille qu’il a aimée. Les spécialistes de l’écrivain rapprochent ce récit autobiographique à ses deux romans majeurs de sa période de maturité : Madame Bovary et L’Education sentimentale. Abstract To write is to remember. It is memories, memories of childhood, of travels that give birth to writing. It is from his childhood or travel memories that Gustave Flaubert created his particularly feminine romantic staff. His first youthful writing, Memoirs of a Madman, is nourished by his memory of Maria, a young girl he loved. The writer's specialists compare this autobiographical account to his two major novels of his period of maturity: Madame Bovary and L'Education sentimentale.

Este ensaio parte da ideia de uma literatura que produz pensamento crítico e da ficção como uma prática política que dá voz àqueles que não conseguem falar no cotidiano prático do mundo. Acompanhando a proposta de Jacques Ranciére acerca das políticas da ficção, a ideia é, a partir de encontros entre textos e personagens de diferentes espaços e tempos – a empregada Felicité, do conto “Um coração simples”, de Gustave Flaubert e o ser indefinido Odradek, do conto “Preocupação de um pai de família”, de Franz Kafka –, pensar a literatura como uma das formas de instaurar comunidades político-ficcionais. Vozes virtuais coletivas cujas histórias em que se apresentam compartilham existências sobrepostas pelo seu caráter desviante – ou, no limite, monstruoso. Para isso, a escrita pratica deslizamentos entre as coisas e os seres (ou seres-coisas) que se encontram nas duas narrativas. Colocar seres de ficção (Felicité e Odradek) existindo juntos em prol de uma possibilidade. A ideia é propor novas alianças entre modos de existência político-ficcionais que se instauram como força vivente e intensificam aberturas ao inesperado. Deslizar existências ficcionais para ampliar os possíveis caminhos do pensamento e da existência na literatura.

The article shows how Flaubert dismantles the notion of romantic love in L'Education sentimentale through a double use of traditional love topoi. Flaubert stages a number of literary scenes where romantic love usually is at large, scenes where authentic or spontaneous feelings of love historically have thrived. At the same time, he inserts unconventional elements into these scenes. In that way Flaubert not only disassembles the notion of romantic love but he also signals how post-romantic love can be reactivated through the idea of prostitution. The article then analyzes what consequences such a substitution has for the very notion of topos. It is argued that Flaubert's reworking of topoi can be theorized by way of a new, not rhetorical, but aesthetic idea of literary topology. The article identifies how Flaubert invents non-typical topoi, which rely on aesthetic meaning and not rhetorical verisimilitude. [ABSTRACT FROM AUTHOR]

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Reexamining Flaubert's use of simile in Madame Bovary yields fresh insights into old, deep questions in the study of realism: depiction of thought, free indirect speech, the relationship between representation and reality. Barthes thought the content of a simile was ultimately merely a gesture toward the realness that it thereby signified, and Proust assumed a simile ought to be precise, singular, and novel—but Flaubert's similes actually interact with his famously ironic narration to depict a particular kind of thought and feeling on the part of his characters. They are negative similes, hollow, meant to refract the comparison backward: as much as X is like Y, X is not Y. These similes intensify and dignify what they describe, but only within the penumbra of Flaubert's characteristically ironic detachment. By setting what is the case side by side with what is not, they continually aerate the prose with a sense of the grandeur that reality fails to attain. They challenge the reader to look at simile as an ironic figure rather than as needless ornament or (pace Barthes) straightforward denotation. The ambiguous relationship of simile to reality in Madame Bovary makes it a fitting rhetorical figure through which to consider the novel itself. [ABSTRACT FROM AUTHOR]

These are three pieces on reading ('surface reading', teaching and learning to read) that take lessons from Flaubert, Derrida, Billy Collins and Rousseau. [ABSTRACT FROM AUTHOR]

In the interchanges of the literary and the biographical, we are interested in shedding light on the Sartrian concept of "existential psychoanalysis" - a method that aims to understand the psychic constitution of the individual from his socio-historical reality. Gustave Flaubert is the concrete case on which Sartre focuses in the meticulous effort to demonstrate his "treatise". The little Gustave resists all the attempts of those who set about the difficult task of teaching him to read. Regarded as incapable: "you will be the idiot in the Family", he chooses passivity and inertia as a means of adapting to a world that appears hateful to him. Acting as an actor, the boy plunges into the imaginary world of representation, both in his life and in his projects, embodying the Sartrian maxim expressed in Jean Genet's study: "what matters is not what they make of us, but what we ourselves make of what they have made of us". [ABSTRACT FROM AUTHOR]

Introduction Definitions of Romanticism found in academic books on this movement indicate a specific duration and area. That is, at a certain period, it has developed in a well-defined geographical area, it has peaked, then lost its purpose. Concepts such as pre-romantic or post-romantic are evidence of the validity of this claim. In romantic stories, the structure of space-time, as described by Mikhail Bakhtin, is similar to that of other structures, which are subject to the requirements of the school of romanticism. To be more specific, and considering themes such as loneliness, hesitation, disorientation, the discomfort caused by the time or space in which the person lives, as well as daydreaming. a comparative study of the chronotopic structure of Mahan's story in The Seven Beauties by Nezami, a mystical story, with one of the most prominent works of the school of French Romanticism, Gustav Flaubert's Temptation of Saint Anthony, which also traces the process of salvation of the personality, shows that there is a great resemblance between the requirements of romanticism in the history of Flaubert and the themes used in the work of Nezami.. 2. Methodology The chronotope, or space structure, is the basis of our research. But in addition to this structure, we will use other factors, the most important of which are: Search for elements of romanticism such as loneliness, fantasy, travel desire, hesitation and ambiguity in understanding the situation. All of these elements come together to create self-knowledge. Thus, the methods of narrative analysis are the most important tools that we will use in this article. Examining the structure of space-time in the context of narratology is a way to show that there are many similarities between Iranian and French stories. 3. Discussion The first story belongs to Flaubert. In one of his books, Temptation of Saint Anthony, he used romantic elements to create the face of the protagonist. From the point of view of space-time, Saint Anthony embarks on a journey in the desert, alone, in the fantasy world, ending in self-knowledge. The story space is a humble cottage, with the most basic living things, in a dry desert with a terrible silence. But it is this space that keeps him immersed in the dream world. Saint Anthony travels in the fantasy world without moving. He goes through time and space, and each time he encounters imaginary and scary creatures. Each of these temptations becomes an obstacle so that he does not become self-aware; temptations like woman, lust, money, possessions, power, cruelty and even the devil himself. But that doesn't stop him from continuing. Each time Saint Anthony sleeps and wakes up, he takes a step forward and gets closer to his goal, knowledge. At the end of the story, it is true that seeing Christ shows that he has reached self-knowledge, but from a chronotopic point of view, despite the repetition of travels, there has been no change of place. Every time Saint Anthony wakes up, he sees that he is in the same desert, in the same humble hut. Mahan's story in The Seven Beauties shows that what we said about Flaubert also applies to the Nezami; That is to say, all three elements that we saw in the previous book can be seen in this story as well; Mahan, just like Saint Anthony, goes to a dry desert, finds himself alone there, falls asleep from the intensity of fatigue, and, in the imaginary world, he embarks on a journey that ends in self-knowledge. Like Saint Anthony, he encounters amazing creatures. His senses mislead him, every time he thinks what he sees is true. But when he wakes up, he sees that he has made a mistake; he finally wins this fight and sees Khidr. Mahan achieves self-awareness, but despite his many travels, he is still in the first place. 4. Conclusion Travel, withdrawal from solitude, loneliness, dissatisfaction with space and time, and fantasy are among the main forms of romanticism. An examination of the chronotopic structure of the Temptation of Saint Anthony, as a romantic work, illustrates this point: Saint Anthony is an ascetic and lonely man who expresses his feelings and doubts in the desert, away from the people, dissatisfied with the time he lives in. He does not trust what he sees, he looks back and fights all the temptations by taking refuge in the imaginary world. Saint Anthony finally sees Jesus and finds the way to happiness. These traits are also seen in Mahan's story in The Seven Beauties. An examination of the structure of the space-time story shows that Saint Anthony withdraws from the crowd, is afraid of the other, cannot trust what he sees, is dissatisfied with the space and time in which he finds himself, expresses his doubts and regrets the past. In the fantasy world, he encounters amazing creatures, each representing one of the manifestations of lust. He finally sees Khidr and is saved. The space in both stories is divided into real and imaginary parts. The main character of the story is constantly thinking about returning to the previous intimate atmosphere. Both heroes in both stories realize that their perception of the past is wrong; time is divided into present and past. The protagonist constantly regrets the past. Thus, there are striking similarities between Mahan's story in The Seven Beauties and the Temptation of Saint Anthony. Both authors have identified daydreaming as the first step to salvation. Thus, the dream world turns out to be superior to the world of reality and it becomes impossible to achieve happiness without going through the dream. Key words: Space-time, Nezami, Flaubert, Romanticism, Mahan, Anthony. t.

Cet article étudie comment Flaubert substitue à un texte religieux très connu un autre texte dans lequel non seulement il réécrit les savoirs livresques mais crée également une confluence entre les arts. Nous proposons de suivre l’évolution de cette réécriture dans les brouillons d’Hérodias. Nous nous interrogeons sur les motivations esthétiques de l’auteur et sur la manière avec laquelle il représente la dimension picturale, sculpturale, chorégraphiques et musicale dans son conte. Comment le style de Flaubert parvient-il à taire tous ses langages en développant une écriture synesthésique et une poétique du silence? C’est en employant l’approche génétique munie d’une poétique de l’intertextualité que nous essayons de mener une archéologie des arts dans le troisième conte de Flaubert l’un des textes les plus illisibles et les plus étranges de toute la littérature française.

Une tension paradoxale existe dans les imaginaires romanesques du second XIXe siècle entre la négociation d'une pudeur féminine révélant l'obsession de l'époque pour préserver l'intimité, et le voyeurisme de textes qui ne cessent de dévoiler cette intimité pourtant sans cesse mise en lumière. Si le dévoilement du corps féminin est revendiqué dans beaucoup de textes critiques, il est beaucoup plus problématique dans les romans, où la plupart des mentions du corps féminins sont voilées d'une gaze périphrastique moins pudique qu'érotique. [ABSTRACT FROM AUTHOR]

The author of article tells about the Novoye Obozreniye magazine that published the translation of the available chapters of the novel of G. Flaubert “Buvar and Pekyushe” in 1881. Important data on the autograph of the novel of Flaubert, on the basis of the analysis of data on the manuscript and the place of its storage, about Turgenev and Flaubert's relationship, about a language originality of the translated text are provided in article. It is proved that this translation was made by I. S. Turgenev. The author gives the interesting facts about Turgenev's idea on installation of a monument to Flaubert and on several indicative examples illustrates the reaction of the public (both inhabitants, and writers) to Turgenev's idea. The issue of cooperation of Turgenev and G. de Maupassant is partially touched in the article. The author discusses an anonymous article “Alexandre III” (Alexander III) about which Turgenev wrote to the editor of “La Revue politique et littéraire” Eugène Jung. Turgenev noted that the essence of this article was dictated to him by Maupassant. On the basis of this information the problem of similarity of beliefs and political ideas of the Russian and French writers was also put in the article.

The article is based on the analysis of Flaubert’s story “Simple Heart” (1877) and the peculiarities of embodying of the new concept of the hero in it. Unlike naturalist writers (Goncourt, Zola) and late realist writers (Champfleury, Maupassant), Flaubert leads to the subtext of social factors of the environmental influence on the formation of the consciousness of the “usual”, ordinary, not familiar with the achievements of culture, non-exclusive hero (heroine). The genre tradition of idyllic parody and lyricism reviewed by Flaubert (the preromantic tradition of Bernardin de Saint Pierre and the romantic tradition of Georges Sand) organically shifts the narrative into realism, where the character (Felicité’s maid), who is detached from society, develops a fantasy, religious and mystical consciousness in the process of evolution. “Clinical” analysis is giving way to social-ontological one. Long before Sartre, Flaubert paints the drama of existence – outside the reflexion of the subject of existence, making his heroine an exponent of the personal and universal experience of the archetypical. The image of Felisité is painted with shades of irony and grotesque, the specificity of the details of everyday life is combined with the space of faith and myth, forming a new integrity of being. The “Simple Heart” differs from the novel by Georges Sand (“La Mare au Diable”) in which the antithetical connection with the traditions of the “beautiful soul” phenomenon can be seen – not in the Hegelian sense – of the individual who is aware of the “greatness of his superiority”, but in the democratized myth – on another aesthetic basis opposing the «laws of the heart» and the “laws of reality”. Bourgeoisphobe Flaubert included in this phenomenon an intellectual, unconscious, democratic, potentially hagiographic beginning. The author of novels about the “world of mold colour” in the story about the “simple heart” has created a utopian version of the myth of the �« beautiful soul�», making the carrier of his repre- , making the carrier of his representative of the social grassroots. This myth was fundamentally different from the one that modeled Hegel in the “The Phenomenology of Spirit”. The philosopher put the individuality at the centre, knowing that “the inner voice of their direct knowledge is the divine voice”. In the novel “Simple Heart” the function of “leading”, understanding, knowledge belongs to the narrator – Flaubert. He gave Felisité an active kindness and a halo of sacredness. On this basis, his heroine reveals an epic commonality with the ideal heroes of romanticism (Hugo, Georges Sand), whose creators artistically embodied the ideal moral and ethical imperatives, combined the search for new personal values with “collectively shared meanings”. Flaubert’s story anticipates genre-aesthetic syntheses that characterize the search for European literature of the turn of the XIX and XX centuries.

Quelquefois caricaturé par ses contemporains, Flaubert suscite les réactions dans l'outrance, lui qui ose dans sa Correspondance abonder dans la caricature selon ses humeurs et ses opinions en excellant dans l'hyperbole et l ’emphase. Un mot de son cru le résume : « hénaurrrme ». Au demeurant, ses personnages les plus mémorables sont des caricatures : de l'amour avec Emma, de la bêtise avec Bouvard et Pécuchet, de la bonté avec Félicité d'Un Cœur simple… Dans la fabrique flaubertienne, l'incarnation est intrinsèquement liée à la déformation, elle-même dégradée en parodie. Car la caricature chez Flaubert est partie prenante d'une pensée nihiliste : le romancier participe d'une déconstruction généralisée de la société bourgeoise par une caricature évidemment politique même si l'écrivain se défend d ’utiliser l'œuvre comme une tribune, au nom de l'autotélisme de l'art. Au fond, c'est la modernité de Flaubert qui justifie le goût et l'usage de la caricature.

Although it is commonly held that good sense is the most equally distributed of all things, it is just as commonly acknowledged that we humans excel at stupidity in its boundless varieties. The aim of these reflections is to make a start with a philosophical examination of stupidity, combining both literature, myth, and philosophy. Rather than propose a “theory” or “concept” of stupidity, this exploration charts the archipelago of stupidity in both its wisdom and folly.

O artigo parte da recepção do romance Madame Bovary à época de seu lançamento na França para discutir a figuração literária trágica do romance realista do século XIX. Por se tratar de um período bastante abrangente, tanto em relação a obras e autores como à forma e aos temas, buscou-se abordar a questão do adultério feminino como tema estruturante, visto que o debate sobre o lugar social da mulher foi bastante relevante para a organização da sociedade burguesa oitocentista. A análise comparativa de Madame Bovary e Anna Kariênina, com destaque especial para o último, norteia o trabalho, que encontra na manifestação do trágico o ponto de contato principal entre os autores. Com isso, pretende-se apontar como a estrutura trágica do romance oitocentista constrói o imaginário de composição desse realismo social, especialmente no caso do autor russo.

This article examines the preparatory materials that Borges used to teach courses at the Colegio Libre de Estudios Superiores in Buenos Aires, on Kafka in 1951 and on Flaubert in 1952. Though several well known essays emerged from these courses - "Kafka y sus precursors", "Flaubert y su destino ejemplar" and "Vindicación de Bouvard et Pécuchet" - the manuscripts reveal far more of Borges's research and thinking about the two authors. Key concepts that he develops in these essays include his unusual (and influential) idea of the "precursor" that is only revealed through reading later works and heterodox ideas about realism and verisimilitude. [ABSTRACT FROM AUTHOR]

The author of this paper discusses the problem of peritextual and editorial issues, using the French 19th century novel Salammbô by Gustave Flaubert as an example. The following study consists of peritextual analysis of the Polish version of Druillet's comic book adaptation, which is the object of this research. The methodological approach is based on semiotic analysis. Umberto Eco's concepts of model reader and closed/opened texts are also applied. The aim of this paper is to define the role of editorial peritexts of literary comic book adaptations in the world of mass media. [ABSTRACT FROM AUTHOR]

Flaubert claimed mastery in matters of style in the French language as well as in the psychological sciences. Mastery in both areas is on clear display in the writing of Madame Bovary. Our heroine presents as a new kind of personality, namely as someone who depends greatly on sensory experience in order to maintain her emotional equilibrium. So, when under stress, she can only find some kind of soothing comfort in her perfumes, silks, and cashmeres. This dynamic pattern leaves her at a disadvantage when tasked with higher level life requirements – such as the payment of bills, the very thing that, in the end, causes her ruin. Dynamically, failures of memory and the resulting fragmentation of experience leave her with a precarious sense of self. For our heroine, there is little ability to link present experience to the past and therefore no possibility of metaphoric or symbolic thinking; in other words, she is condemned to repeat. Flaubert felt that Madame Bovary would only have original value as the sum of his psychological understandings. Further, he hoped his psychological work, often hidden under the form, would be deeply felt by the reader, as it was by him. [ABSTRACT FROM AUTHOR]

Massenet's Hérodiade (1881) is today one of the lesser-known variations of the Salomé myth. Although based on Flaubert's Hérodias (1877) and written and premiered at the height of the narrative's popularity, the opera displays some peculiar deviations from both Flaubert's tale and other, especially fin-de-siècle , renderings of the myth. By situating Hérodiade 's departures from Flaubert's short story within both the framework of operatic conventions and the broader context of the opera's genesis, this article highlights Hérodiade 's status as a self-contained rendering, rather than a mere dramatic rewriting of the story—let alone an unfaithful adaptation. In doing so, three main elements that played an essential role in the process of (re)creation are brought to attention: the conventions of grand opera, Massenet's own aesthetics and interpretation of the tale, and the impact of the socio-political context of France's Third Republic on the opera's development. [ABSTRACT FROM AUTHOR]

The aim of the article is to analyze the presentation of the novel body in the literature of the second half of the nineteenth century against the backdrop of the crisis of structures that appears along with romanticism and gains strength in the second half of the nineteenth century. This was a time saturated with ideas of socio-biological evolutionism, which promote materialism, entropy, transformation and the disintegration of permanent structures, including socio-economic ones (Marx, Capital). Flaubert, Zola and Mirbeau, faithful to this poetics, subordinate the presentation of the body to the dynamics of change, including images of "volatilization" and decay. These "volatile" and crumbling bodies are at odds with the realist-naturalistic poetics prevailing in the second half of the nineteenth century, dominated by ostentatious materialism. This peculiar transformation of the physical state of matter, from "solid" to "volatile," may have been interpreted as a symptom of a change in the way reality is presented. As this analysis shows, the volatility of bodies becomes in realist writers an indestructible form of decay and (still) a material form of absence that resists destruction by death. Paradoxically, taking a volatile form, the body does not disappear but reorganizes itself, dematerializing, transforming and reappearing. Both representations of the body and emerging modernity appear as a dynamic, constantly changing process and not as a frozen structure. [ABSTRACT FROM AUTHOR]

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Copyright of Philological Research & Studies. Romance Languages Series / Studii şi Cercetări Filologice. Seria Limbi Romanice is the property of Philological Research & Studies. Romance Languages Series and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

RESUMEN: La representació de la feminitat oriental en la literatura dels països colonitzadors al llarg del segle XIX tingué un paper clau en els discursos orientalistes del romanticisme. La imatge dels cossos orientals femenins, la qual dibuixa a les dones com a objectes eròtics del plaer visual masculí, ha contribuït a configurar un escenari eurocèntric. Aquesta figuració qualifica a diferents territoris extraeuropeus d’escassament civilitzats i monolítics, i sobretot feminitzats i susceptibles a ser colonitzats. Dintre d’aquests discursos orientalistes multidireccionals, escollim a Gustav Flaubert com a cànon literari de les diverses al·legories de les dones orientals, les quals basculaven entre la no-existència femenina fins la femme fatale, passant per la dona feble i necessitada de l’heroi occidental per al seu alliberament. ABSTRACT: The representation of the oriental femininity in the settler countries throughout the XIX century had a key role in the orientalists speeches of Romanticism. The feminine oriental bodies image, which exemplifies women as erotic objects of the male visual pleasure, has contributed to the configuration of a stage where Europe is considered the universal center. This image itself qualifies different extra-european territories as monolithic and with lack of civilization, but especially feminized and available to be colonized. Considering all these speeches, Gustav Flaubert has been chosen as literary cannon of the several representations that the oriental women can have. These allegories were searching from the feminine noexistence until the femme fatale, also seeing the weak woman who needed the occidental hero to achieve their liberty