FRENCH REVIEW最新文献

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Un sang d’encre: du corps en littérature contemporaine by Nora Cottille-Foley (review) 《墨水之血:当代文学中的身体》诺拉·科蒂尔-福利(评论)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911375
Adrienne Angelo
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引用次数: 0
Matisse in the 1930s by Affron, Matthew, Cécile Debray and Claudine Grammont (review) 马蒂斯在20世纪30年代由阿夫隆,马修,c<s:1> cciile Debray和克劳丁格拉蒙(回顾)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911384
Celina Vargas
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引用次数: 0
Zéro gloire par Aurélien Guénard (review) 奥雷利安-盖纳尔的《零度荣耀》(评论)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911346
Nacer Khelouz
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引用次数: 0
Intermediality in French-Language Comics and Graphic Novels ed. by Jan Baetens, Hugo Frey and Fabrice Leroy (review) 《法语漫画与图画小说中的中间性》,简·贝滕斯、雨果·弗雷、法布里斯·勒罗伊主编(书评)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911371
Patricia Geesey
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引用次数: 0
Pascal et la proposition chrétienne par Pierre Manent (review) 逾越节与彼得·马南特的基督教建议(回顾)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911365
Khadija Khalifé
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引用次数: 0
Passage du cyclone par Jennifer Lesieur (review) Jennifer Lesieur气旋通道(回顾)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911349
Annie Bandy
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引用次数: 0
Cher connard by Virginie Despentes (review) 维吉妮·德彭特斯《雪儿·康纳》(书评)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911343
Ann Williams
{"title":"Cher connard by Virginie Despentes (review)","authors":"Ann Williams","doi":"10.1353/tfr.2023.a911343","DOIUrl":"https://doi.org/10.1353/tfr.2023.a911343","url":null,"abstract":"Reviewed by: Cher connard by Virginie Despentes Ann Williams Despentes, Virginie. Cher connard. Grasset, 2022. ISBN 978-2-246-82651-4. Pp. 352. In today’s world we can’t survive without sorting through information. What is true? What is significant? From the start, this novel gives readers ample opportunity to hone critical skills as Virginie Despentes deploys her talents as a writer and critic of contemporary society. Social media and email host the attempts at communication that constitute this book. It begins with an Instagram post where Oscar, one of the two principal narrators, comments on how poorly a certain famous actress has aged. This elicits an acrimonious email response from the latter, Rebecca, the second main narrator. Her salutation “Cher connard” (8) begins their personal exchange. We learn that Oscar, forty-three, and Rebecca, now fifty-ish, grew up in the same grim part of Nancy and he’s reaching out to her. Oscar is a novelist of some renown, but he feels desperately alone. He’s struggling with addictions and recovery and is also facing public criticism for sexual harassment. Little by little, Rebecca begrudgingly warms to this self-centered man and reveals her own addictions to heroin and to public acclaim. The limited acting opportunities she now faces are a source of anguish and she, too, feels she has nowhere to turn. The Covid-19 lockdowns make this virtual interaction even more significant, and Oscar and Rebecca find consolation in their exchange. The third narrator, whose feminist blog keeps this work from being a purely epistolary novel, is Zoé Katana who angrily tells her side of the harassment story and presents her views on how the world needs to change. She gives voice to important social problems and inequities, but Despentes dedicates fewer pages of the novel to Zoé’s fight than she does to Oscar and Rebecca. We learn from email exchanges that Zoé appears in real life in Rebecca’s world and then again in Oscar’s, but these encounters feel somewhat like devices to move the story along. One might see Zoé’s immutable character as little more than a foil that highlights the personal growth of the other two. For them, compassion replaces animosity and by the end of the novel it’s clear that they are friends and will replace their virtual relationship by meeting in real life. From a literary perspective, the lack of differentiation between the narrators’ voices might throw off a reader who wants to engage with distinct characters rather than with an author. Incantatory phrases without punctuation express emotion, and while this flow signals the depth of feelings, it often makes all three characters sound alike. Is this a stylistic weakness or a strategy to show how similar all of us are despite what we often see as fundamental dif ferences? Oscar and Rebecca both come to understand that they cannot be defined by just one aspect of who they are. When Oscar says, referring to his role as harasser, “Je suis ça, aussi” (277","PeriodicalId":44297,"journal":{"name":"FRENCH REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136167597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
From Memling to Rubens: The Golden Age of Flanders by Katharina Van Cauteren et al (review) 从梅姆林到鲁本斯:佛兰德斯的黄金时代(Katharina Van Cauteren等人著)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911385
James P. Gilroy
{"title":"From Memling to Rubens: The Golden Age of Flanders by Katharina Van Cauteren et al (review)","authors":"James P. Gilroy","doi":"10.1353/tfr.2023.a911385","DOIUrl":"https://doi.org/10.1353/tfr.2023.a911385","url":null,"abstract":"Reviewed by: From Memling to Rubens: The Golden Age of Flanders by Katharina Van Cauteren et al James P. Gilroy Van Cauteren, Katharina, et al. From Memling to Rubens: The Golden Age of Flanders. Hannibal, 2021. ISBN 978 94 6388 744 1. Pp. 432. This richly illustrated book is the catalogue of an exhibit held at the Denver Art Museum, from October 2022 to January 2023, titled “Saints, Sinners, Lovers, and Fools: 300 Years of Flemish Masterworks.” Over a hundred paintings created in the French and Flemish-speaking Southern Netherlands from the fifteenth to the seventeenth centuries were displayed and are reproduced in the catalogue. The volume is divided into two parts. The first half is an insightful, somewhat irreverent, narrative by Katharina Van Cauteren from the Phoebus Foundation in Antwerp, whose collection provided most of the paintings on display. With works of art from the exhibit as examples, she traces the social and religious evolution of the cities of Flanders and Brabant from the late Middle Ages through the Renaissance to the Baroque era. The Southern Netherlands were a part of the French sphere of influence since they were ruled for over a century by the Dukes of Burgundy, cousins of the Kings of France. The Dukes sought to recreate the Carolingian “middle empire” of Lothair (22). Tournai-born painter Rogier Van der Wyden, “the court painter of the dukes of Burgundy in Brussels” influenced several later artists, like the Master of the Prado Adoration (232) and Hugo Van der Goes by his “emotionally charged” inspiration (238). A later artist, Joos Van Cleve, was engaged by King Francis Ist to do a series of portraits of the French royal family (282). Medieval works were of a highly religious import. The Church inspired a fear of hell among the people, who were urged to follow a righteous path in this life to be deemed worthy of entrance into heaven after death. Painters were inspired by the teachings of Saint Francis of Assisi who preached a more human image of God. The maternal love of Mary for her Son and the sufferings of Jesus on the Cross became more intensely felt by artists and their public. The “Modern Devotion” that developed in Flanders in the fifteenth century beheld manifestations of the divine presence in every aspect of nature and humanity. A growing middle class in commercial centers like Antwerp at first sought to emulate but later came to challenge the nobility and clergy who had dominated society up until then. There was a growing secularization as the desire for worldly affluence and prestige became a stronger motivation than fears about the afterlife. The second half of the catalogue is devoted to analyses of the individual works in the exhibit by six art experts. They trace noteworthy artistic trends. Just as Flemish painters had influenced Italian artists in the fifteenth century by their depiction of minute details and the technique of oil on canvas, later Northern masters like Rubens traveled to Italy and came","PeriodicalId":44297,"journal":{"name":"FRENCH REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136167873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
La presse française historique: histoire d’un genre et histoire de la langue by Mairi McLaughlin (review) 法国历史出版社:性别史和语言史,迈里·麦克劳克林(评论)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911360
Peter A. Machonis
{"title":"La presse française historique: histoire d’un genre et histoire de la langue by Mairi McLaughlin (review)","authors":"Peter A. Machonis","doi":"10.1353/tfr.2023.a911360","DOIUrl":"https://doi.org/10.1353/tfr.2023.a911360","url":null,"abstract":"Reviewed by: La presse française historique: histoire d’un genre et histoire de la langue by Mairi McLaughlin Peter A. Machonis McLaughlin, Mairi. La presse française historique: histoire d’un genre et histoire de la langue. Garnier, 2021. ISBN 978-2-406-10356-1. Pp. 407. This first systematic study of the language of the early French press shows how historical periodicals can shed light on our understanding of language changes during the 17th and 18th centuries. This 500,000-word manually digitized corpus was created using samples of a variety of successful periodicals from 1631 to 1789: the official and impersonal Gazette de France, the scientific Journal des sçavants, the lighter and more intimate Mercure galant, the first French-language daily newspaper Journal de Paris, and the international Gazette d’Amsterdam. The first part examines usage of first and second person pronouns, reported discourse (direct, indirect, free indirect), and passive voice in historical periodicals. The author furthers her quantitative and qualitative comparison by examining today’s French press. Although certain features, such as the masthead, have long been characteristic of periodicals, others, such as using headlines and putting the most important information first, are completely absent in all of the 17th and 18th century journals examined. While dispatches were chronologically ordered in the historic press, today they are sorted according to interest. McLaughlin claims, “Aucun des périodiques […] de 1631 jusqu’à la Révolution […] ne se sert de la première page pour capter le lecteur éventuel en y présentant les informations les plus importantes et accrocheuses comme le font les journaux contemporains” (160). The second part examines linguistic changes using quantitative data from seven year-long periods spaced every 20–30 years from 1632 to 1782. Certain obsolete forms still used in 17th century literary examples taken from FRANTEXT (ils prindrent, il print, ils tindrent) are completely absent in the historic press showing that there was “une sorte de décalage chronologique entre le français journalistique et le français littéraire” (209). Other modifications such as pour ne pas faire, for the older pour ne faire pas or je veux le faire for the former je le veux faire show a clear progression in this evolution with only a few examples of obsolete word order in the historic press in 1782. McLaughlin confirms that the 18th century was a crucial moment for the change from passé simple to passé composé, even examining contexts that contain adverbial expressions that trigger an increase of the passé composé. Orthographic changes are particularly interesting, since the 18th century is considered to be when modern French becomes standardized. McLaughlin explores etymological and double consonants, usage of i/j and u/v, introduction of accents, restriction of the -ez ending (amitiez, bontez), and the replacement of oi by ai. This later change is particularly noticeabl","PeriodicalId":44297,"journal":{"name":"FRENCH REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136167875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Aspect et formes verbales en français par Laurent Gosselin (review) Laurent Gosselin的法语动词形式和方面(回顾)
4区 文学
FRENCH REVIEW Pub Date : 2023-10-01 DOI: 10.1353/tfr.2023.a911359
Charles A. Mignot
{"title":"Aspect et formes verbales en français par Laurent Gosselin (review)","authors":"Charles A. Mignot","doi":"10.1353/tfr.2023.a911359","DOIUrl":"https://doi.org/10.1353/tfr.2023.a911359","url":null,"abstract":"Reviewed by: Aspect et formes verbales en français par Laurent Gosselin Charles A. Mignot Gosselin, Laurent. Aspect et formes verbales en français. Garnier, 2021. ISBN 978-2-406-10549-7. Pp. 174. Si la différence entre le passé composé et l’imparfait, ou si toute question liée à l’aspect verbal vous intrigue, cet ouvrage répondra sans doute à toutes vos interrogations. Conçu suivant une progression allant du plus accessible au plus complexe, cette monographie résume les principaux travaux de ces trente dernières années sur le sujet et propose de nouvelles modélisations des formes et valeurs aspectuelles. Le premier chapitre passe en revue des études portant sur les différentes catégories liées à l’aspect verbal, à savoir, l’aspect lexical, l’aspect grammatical, l’aspect de phase et l’aspect itératif. Le deuxième chapitre propose une grammaire de l’aspect conceptuel, notamment pour le cas de l’aspect itératif que l’auteur analyse à travers le concept de procès lato sensu et de l’application de quatre règles qui génèrent ou sont liées aux procès stricto sensu, aux séries itératives, aux phases et aux agglomérats. Le troisième chapitre porte sur les périphrases aspectuelles, c’est-à-dire, des périphrases verbales inscrites dans le continuum de la grammaticalisation comme marqueurs d’aspect lexical et/ou grammatical (ex: avoir l’habitude de, commencer à, être en train de, etc.). L’auteur en propose un classement en opposant, entre autres, verbes et coverbes, coverbes prédicatifs et non-prédicatifs, opérateurs aspectuo-temporels, opérateurs de diathèse, opérateurs modaux, etc. Le quatrième chapitre présente une modélisation du système verbal. Après en avoir défini le cadre épistémologique, l’auteur propose un modèle schématisé de la morphosyntaxe verbale du français et y attribue des valeurs spécifiques liées à la construction de structures d’intervalles. Ainsi, de la structure morphosyntaxique se déduisent la structure fonctionnelle (sous forme d’opérateurs) et la structure aspectuo-temporelle (sous forme d’intervalles) dont on déduit finalement la structure conceptuelle de l’énoncé. Le dernier chapitre traite des interactions entre aspect, temps et modalité. L’auteur soutient la thèse que l’aspect s’articule autour du temps ramifié représenté par une asymétrie, centré sur un temps t0, entre, d’une part, une ligne droite qui symbolise le passé irrévocable et, d’autre part, un ensemble de branches qui correspondent aux possibles de l’avenir, et propose une distinction entre modalité temporelle et modalité aspectuelle dont la différence tient sur le choix de deux points de ramification distinct. Cet ouvrage offre ainsi un travail de synthèse très rigoureux de la recherche sur l’aspect en français, en tenant compte des divergences théoriques et des convergences d’analyse en aspectologie, et démontre que les valeurs aspectuelles liées aux nombreuses formes verbales du français sont de nature systématique et systémique: elles suivent à la fois des princip","PeriodicalId":44297,"journal":{"name":"FRENCH REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136167079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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