DOCSLIB.ORG

The University of Hull Colour Symbolism in the Works Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The University of Hull Colour Symbolism in the Works Of THE UNIVERSITY OF HULL COLOUR SYMBOLISM IN THE WORKS OF GUSTAVE FLAUBERT being a Thesis submitted for the Degree of Doctor of Philosophy in the University of Hull by PAUL ANDREW TIPPER, B.A. (hons). October 1989 Summary of Thesis submitted for PhD Degree by Paul Andrew Tipper on Colour Symbolism in the Works of Gustave Flaubert The thesis adopts a structural and systematic approach to the study and analysis of colour terms in Flaubert's fiction. The Introduction highlights how Flaubert has come to be regarded as a problematic writer and how much existing work on his colour terms is in some way lacking in clarity. I proceed to fill this gap in Flaubert studies by elaborating a method of analysis of colour terms which clarifies how meaning is produced by the text. The method of analysis comprises eight stages which are systematically worked through as one considers eleven variables, one or several of the latter coming into play at any stage in the method and which may influence the ultimate type and degree of value—charge carried by a colour term. The method and the variables should be thought of as one ensemble or a methodology for the analysis of colour terms in prose fiction. The methodology is highly refined and is without precedent in that I examine the dual exchange of figurative charging which is always operational between a colour term and its associated referent. The thesis is divided into five chapters where each text is studied separately. The Oeuvres de Jeunesse are experimental writings and Flaubert is testing the figurative potential of colour terms. The chromatic codification is mainly traditional, though a nascent private elaboration may be discerned. Madame Bovary represents the peak of literary perfection. All the novel's colours contribute to the overall illusion/reality dichotomy which lies at the heart of the text. SalanHa exploits colour within a relatively limited symbolic arena. Blanc and rouge underscore the moon/sun opposition with the associated male/female opposition. L'A'ducation sentimentale illustrates, once more, the central illusion/reality dichotomy and rouge/rose are exploited with subtle figurative dimensions in order to bring out differences between the profane and pure woman. Trois con tes display a reduced colour palette but each tale uses colour to a specific symbolic end. Un Coeur simple uses bleu in connection with saintliness; Saint Julien exploits blanclnoir in connection with female/male space and human/ animal space; Herodias uses rouge/bleu to underscore essential differences between flesh and spirit. ACKNOWLEDGEMENTS .I should very much like to thank the following individuals and institutions for the significant contributions they have made to my research and to the completion of this thesis: the British Academy for a Major State Studentship; my supervisor, Tony Williams, for his help and advice and without whose expert guidance the writing of this thesis would not have been possible; to the French Department of the University of Hull; to the staff of the Brynmor Jones Library (University of Hull); finally to family and friends for encouragement and unstinting moral support. CONTENTS page INTRODUCTION 1 Chapter 1 The Oeuvres de Jeunesse: The Quest for Structural and Thematic Unity .... .. .. .. 20 Chapter 2 Madame Bovary: The Perfection of a Symbolics .. 104 Chapter 3 Sala= 8: A Polychromatic Extravaganza .. .. 188 Chapter 4 L'Education sentimentale: Diametrical Oppositions and Semantic Encoding „ 224 Chapter 5 Trois Contes: Literality, Ambivalence and Deflation„ .. .. .. .. .. .. 252 CONCLUSION .. .. .. APPENDIX .. .. .. .. .. .. .. .. 322 BIBLIOGRAPHY.. .. .• .. .. .. .. .. INTRODUCTION The mainstay of much recent Flaubert criticism focuses upon the writer's notoriety as a disturber of fictional peace. In his writings there is an evident shift from the 'comfortable' and readily available signification yielded by the classic nineteenth—century texts to Flaubert's own brand of textual meaning which is, by general admission, problematic. Indeed, his novels have come to be accepted as forerunners of the twentieth—century TerAer/y texts associated with modernists like Barthes and Sarraute. As we read, we not only enjoy the spectacle of the text writing itself, as it were, but as readers are indispensable to the very process of literary production. It is for this reason that Flaubert is regarded as a difficult writer. The reputation he continues to enjoy has given rise to a flourishing critical output, both imaginative and authoritative, and which seeks to exhaust his richly allusive fiction. Some of the more detailed studies on him concentrate on various aspects of his style, namely imagery, symbolism and patterns of allusion, all of which form an integral part of the substructure of his narratives. This substructure, or le dessous as Flaubert termed it, is a meticulous organization of symphonically orchestrated detail, seething with symbolic potential (frequently mythical or religious) and which is ultimately assimilated into that mystical and harmonious whole which he conceived of as la forme. Flaubert's celebrated doctrine of impassibility favoured the elaboration of a style which would enable the reader to experience directly his text without authorial guidance. Flaubert desists from moralizing or from passing direct judgement on his characters, preferring to shape our inferences through patterns of poetic symbolism which in their own right afford him an effective means of metacommentary on human affairs. Any reader who has a genuine interest in Flaubert will not fail to notice his liberal and often remarkable use of colour terminology which, when deftly manipulated, can easily make us feel we are looking at an Impressionist canvas in all its sumptuous iridescence and liquefied luminosity. This is most apparent when intense and striking hues are made to foregather 1 around a particular tableau. Critics such as Pierre Monnier , Jacques de la 2 3 Varende and Jean Canu have long since drawn attention to this facet of Flaubert's work, demonstrating how pictorial effects achieved in his narratives are the results of his careful note-taking during trips to the East where infinitely resplendent tonalities almost overloaded his sensory 4 capacities. Don Demorest in his pioneering study makes much the same point, but goe3 astep further by pointing to vistas of figurative import discernible in Flaubert's colour terms. In addition to all this, the abundance of colour terms in the Correspondance reveal his predilection for sensory effects - recorded with unreflecting spontaneity - and bleu, in particular, is at once linked with a sentimentalism he discredited and with the beauty of poetry. Fortunately, for our purposes at least, we have today much more ambitious studies on Flaubert. The figurative possibilities of colour have been delineated in several articles which touch upon the notion of colour as representing a fundamental element in Flaubert's aesthetic vision. The fact that more attention has been paid to Flaubert's use of colour than to that of any other nineteenth-century writer suggests that his exploitation of it is a more salient and noteworthy feature of his writings. Studies range (1) 'Gustave Flaubert coloriste', Mercure de France (1.12.21), 401-417. (2) Grands Normands, etudes sentimentales, 1939. (3) 'La Couleur normande de Madame Bovary', Publications for the Modern Language Association of America (XLVIII), 167-208. (4) L'Expression figur ge et symbolique dans l'oeuvre de Flaubert, Les Presses Modernes, Conard, Paris, 1931. -3 from brief footnotes to more comprehensive examinations dealing with colour as an integral and atypical aspect in its own right. There are three American 5 theses and one German doctoral thesis to date which consider some of the uses Flaubert makes of colour terms in his fiction. There exists also a wealth of material in the form of articles focusing on particular colour terms, often 6 in Madame Bovary , and many others looking at colour usage in well-known 7 modern works of fiction . The area of concern is with bleu, predominantly, though some critics touch upon symbolic signification issuing from rouge, (5) Judith-Poole Knapp, 'Madame Bovary: The Dialectics of Color and Light', Dissertation Abstracts International, 41 (1980-81), 1629A, University of Arizona, 1980. Robert F. Allen, 'A Study of the Adjective in the Characterization of Style in Le Rouge et le noir, Le Pere Goriot, Madame Bovary', Dissertation Abstracts International, 28 (1967-68), 3629A-3630A, University of Colorado, 1967. Radmila Lapov, 'Le Vetement dans l'Oeuvre de Flaubert', DAI, 43 (1982-83), 178A, University of Maryland, 1981. An earlier version of this thesis was, indeed, 'Colour Symbolism in the Works of Flaubert'. Inge Zimmermann, 'Farbsymbolik und Handlungsstruktur im Romanwerk Flauberts' University of Bonn, 1968. (6) B.F. Bart, 'Flaubert's Documentation goes awry or what Colour were Emma Bovary's Eyes?', Romance Notes, 5 (1963-64), 138. William Bysshe Stein, 'Madame Bovary and Cupid Unmasked', Sewanee Review, 73 (1965), 197-209. Jutta Lietz, 'Zur Farbsymbolik in Madame Bovary', Romanistisches Jahrbuch, 18 (1967), 89-96. Stirling Haig, 'The Madame Bovary Blues', Romanic Review, 61 (1970), 27-34. Ole Wehner Rasmussen, 'La Signification de l'adjectif Ole dans Madame Bovary, Revue Romane, 7 (1972), 26-31. Rita S. Mall, 'The Dream-Merchants: Musicians in Madame Bovary', Hartford Studies in Literature, 2 (1979), 185-96. Phillip A. Duncan, 'Symbolic Green and Satanic Presence in Madame Bovary', Nineteenth Century French Studies, 13, nos. 2 & 3 (winter-spring 1985), 99-104. (7) See my Bibliography. — 4 -- dore, jaune and rose. With special reference to Flaubert, much of the critical material is diffuse, highly subjective and fails to accentuate the importance of the internal rigour of Flaubert's narrative structures. Close study of these surveys reveals that there is still much room for a systematic analysis of colour terms. What I propose to do is to draw upon the material already at hand, develop it methodically and analyse the figurative impact of colour terms in all of Flaubert's principal writings with the aid of a new methodology.
Load more

Recommended publications
  • Maupassant and Literary Relationship with His Mentor Gustave Flaubert
    Maupassant and Literary Relationship with his Mentor Gustave Flaubert –Richa Smriti* & Dr. Aroonima Sinha# *Research Scholar, Department of English, LN Mithila University, Darbhanga, Bihar (India). Email: [email protected], Mob. No.: 9523560543 #Professor and Head, University Department of English, LN Mithila University, Darbhanga The short stories of the nineteenth century French writers Gustave Flaubert and Guy de Maupassant deeply influenced and helped to define the short story as a distinct and serious genre with its own protocols, techniques and interests. Maupassant is considered one of the fathers of the modern short story, who shares a number of literary qualities with his mentor Gustave Flaubert. Both men aspired to great meticulous and their works noted for their truthful characterization, psychological complexity, ironic treatment and a commitment to what came to be known as literary realism, distinguished for its unvarnished depiction of contemporary life and society and the common man and woman. The greatest influence on Maupassant’s life and career was Flaubert, a childhood friend of his mother, who personally said to Flaubert to take her son under his wing. Hence she sent her son to make Flaubert’s acquaintance at Croisset in 1867, and when he returned Paris after the war, she asked Flaubert to keep an eye on him. This was a beginning of the apprenticeship that was the making of Maupassant, the short story writer. Whenever Flaubert was staying in Paris, he used to invite Maupassant to lunch on Sundays, lecture him on prose style and correct his youthful literary exercises. Even Flaubert’s advises Maupassant’s mother to encourage her son in his taste of verse, writing and holds out hope that in time the young man may accomplish something worthy of literary fame (Riddell, 2).
    [Show full text]
  • A Comparative Study of Gustave Flaubert's Madame Bovary
    A COMPARATIVE STUDY OF GUSTAVE FLAUBERT'S MADAME BOVARY AND EMILE ZOLA'S THERESE-RAQUIN A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY ALSYLVIA SMITH DEPARTMENT OF FRENCH ATLANTA, GEORGIA JUNE 1969 w TABLE OF CONTENTS Page PREFACE Chapter I. INTRODUCTION 1 II. A CRITICAL ANALYSIS OF MADAME BOVARY 27 III. A CRITICAL ANALYSIS OF THERESE-RAQUIN 56 CONCLUSION 77 BIBLIOGRAPHY 86 ii PREFACE The purpose of this study is to analyze Gustave Flaubert's Madame Bovarv and Emile Zola's Therese-Raquin and to point out the similari ties and differences between the two works. In order to make a com parison between these two works, a critical analysis will be made of each work, placing emphasis on the theme, style, and character develop ment. Although Madame Bovarv is a Realistic novel while TheVese-Requin is a Naturalistic novel, there still remains a great deal of similarity between the two literary works. Since Flaubert was the leader of the Realist school and Zola was the leader of the Naturalist school, it was felt that a comparative study of a representative work of each au thor would contribute to a better appreciation of these two phases of the nineteenth century novel. This study is divided into three chapters. The first chapter serves as an introduction and includes a biographical sketch of each author and vital details concerning their milieu. Chapter two consists of an analysis of Madame Bovarv. In Chapter three will be presented an analysis of Therese-Raquin.
    [Show full text]
  • Madame Bovary : Notes Cliffs Notes On--; Title: Rev
    Madame Bovary : Notes Cliffs Notes On--; title: Rev. Ed. author: Roberts, James Lamar. publisher: John Wiley & Sons, Inc. (US) isbn10 | asin: print isbn13: 9780822007807 ebook isbn13: 9780822071259 language: English Flaubert, Gustave,--1821-1880.--Madame subject Bovary. publication date: 1964 lcc: ddc: 840.9 Flaubert, Gustave,--1821-1880.--Madame subject: Bovary. Page i Page 1 Madame Bovary Notes by James L. Roberts, Ph.D. Department of English University of Nebraska including Introduction to the Novel Brief Synopsis of the Novel List of Characters Chapter Summaries and Commentaries Character Analyses Flaubert's Life and Works Questions for Review INCORPORATED LINCOLN. NEBRASKA 68501 Page 2 Editor Gary Carey, M.A. University of Colorado Consulting Editor James L. Roberts, Ph.D. Department of English University of Nebraska ISBN 0-8220-0780-0 © Copyright 1964 by Cliffs Notes, Inc. All Rights Reserved Printed in U.S.A. 1999 Printing The Cliffs Notes logo, the names ''Cliffs" and "Cliffs Notes," and the black and yellow diagonal-stripe cover design are all registered trademarks belonging to Cliffs Notes, Inc., and may not be used in whole or in part without written permission. Cliffs Notes, Inc. Lincoln, Nebraska Page 3 Contents Introduction 5 A Brief Synopsis 5 List of Characters 6 Critical Commentaries Part I 11 Part II 25 Part III 46 Character Analyses 62 Critical Problems 67 Flaubert's Life and Works 72 Suggestions for Further Reading 74 Sample Examination Questions 75 Page 5 Introduction Gustave Flaubert's masterpiece, Madame Bovary, was published in 1857. The book shocked many of its readers and caused a scandalized chain reaction that spread through all France and ultimately resulted in the author's prosecution for immorality.
    [Show full text]
  • Satellite Network Providing Continuous Communications to Support
    SATELLITE NETWORK PROVIDING CONTINUOUS COMMUNICATIONS TO SUPPORT MANNED AND UNMANNED EXPLORATION OF THE INNER- PLANETS A Master Thesis Submitted to the Faculty of American Public University by Ralph Leroy Spangler, Jr. In Partial Fulfillment of the Requirements for the Degree of Master of Science July 26, 2016 American Public University Charles Town, WV The author hereby grants the American Public University System the right to display these contents for educational purposes. The author assumes total responsibility for meeting the requirements set by United States copyright law for the inclusion of any materials that are not the author’s creation or in the public domain. © Copyright 2016 by Ralph Leroy Spangler, Jr. All rights reserved. 2 DEDICATION I dedicate this thesis to my wife and sons. Without their encouragement, patience, understanding, support, and most of all, love, the completion of this work would not have been possible. I cannot leave out my faithful furry companion, Veritas, who patiently laid at my feet while I worked. 3 ACKNOWLEDGMENTS I wish to thank the instructors, administration, and fellow students of American Military University for their support, insight, differing viewpoints, openness, and sometimes humor. Their commitment and involvement in my time of studies has been most appreciated. From the beginning, they reinforced the confidence I have in my abilities not only to complete a Master’s degree, but to complete it with excellence. I have found my course work throughout the Space Studies program to be stimulating and thoughtful, providing me with the tools and knowledge with which to explore past, present and future ideas and issues.
    [Show full text]
  • Gustave Flaubert's Journey to the Holy Land: Anticipation, Disenchantment and Enduring Fascination
    Digital Commons @ Assumption University Modern and Classical Languages and Cultures Modern and Classical Languages and Cultures Department Faculty Works Department 2013 Gustave Flaubert's Journey to the Holy Land: Anticipation, Disenchantment and Enduring Fascination Anthony Zielonka Assumption College, [email protected] Follow this and additional works at: https://digitalcommons.assumption.edu/mclc-faculty Part of the European History Commons, and the French and Francophone Language and Literature Commons Recommended Citation Zielonka, Anthony. "Gustave Flaubert's Journey to the Holy Land: Anticipation, Disenchantment and Enduring Fascination." Aller(s)-Retour(s): Nineteenth-Century France in Motion, edited by Loïc Guyon and Andrew Watts, Cambridge Scholars Publishing, 2013, pp. 125-135. This Book Chapter is brought to you for free and open access by the Modern and Classical Languages and Cultures Department at Digital Commons @ Assumption University. It has been accepted for inclusion in Modern and Classical Languages and Cultures Department Faculty Works by an authorized administrator of Digital Commons @ Assumption University. For more information, please contact [email protected]. CHAPTER EIGHT GUSTAVE FLAUBERT’S JOURNEY TO THE HOLY LAND: ANTICIPATION, DISENCHANTMENT AND ENDURING FASCINATION ANTHONY ZIELONKA Jérusalem est d’une tristesse immense. Cela a un grand charme. La malédiction de Dieu semble planer sur cette ville où l’on ne marche que sur des merdes et où l’on ne voit que des ruines. C’est bougrement crâne.1
    [Show full text]
  • Z Dziejów Bowaryzmu We Francji
    ACTA UNIVERSITATIS LODZIENSIS Folia Litteraria Polonica 3(49) 2018 http://dx.doi.org/10.18778/1505-9057.49.02 Anita Staroń* Z dziejów bowaryzmu we Francji Historia pojęcia „bowaryzm” zaczyna się zaraz po opublikowaniu powieści Flau- berta. Jego znaczenie podlegało jednak istotnej ewolucji. Pierwsze użycie – w nieco odmiennej formie1 – dotyczyło zwolenników śmiałej obyczajowo Pani Bovary, któ- rzy stanęli w jej obronie podczas słynnego procesu z 1857 roku. Utwór był wówczas obszernie komentowany w prasie, a i w kolejnych latach zainteresowanie nim nie słabło. W 1860 roku Gustave Merlet poświęcił mu długi tekst, pełen zastrzeżeń dotyczących „sztuki i moralności”. W zakończeniu artykułu pojawia się pierwszy raz termin „bowaryzm”, mający określać niewłaściwie pojmowany realizm: …ten zaś realizm, który zabija wymowę i poezję utworu, w człowieku widzi tylko dzikusa, pozbywa się duszy i serca, pragnie się nam przypodobać smakiem wypa- czonym, zohydza twórczość i społeczeństwo udając, że nie znajduje w nich nic prócz brzydoty fizycznej i moralnej – ten więc realizm proponuję zwać odtąd bowaryzmem2. Propozycja nie przyjęła się, jednak termin pozostał. Pięć lat później Jules Bar- bey d’Aurevilly użył go w znaczeniu bliższym współczesnemu, pisząc o bohater- ce pewnej powieści, że „stacza się coraz niżej, aż wreszcie osiąga stan absolutne- go bowaryzmu”3. Prawdziwa kariera słowa rozpoczęła się wszelako pod koniec XIX wieku, pod piórem krytyka i filozofa Julesa de Gaultiera. Uczynił on z bowa- ryzmu sedno swojej koncepcji współczesnego człowieka, szerzej – nowoczesnego społeczeństwa. Jego pierwszy esej z 1892 roku, Le Bovarysme. La psychologie dans * Dr hab., prof. UŁ, Uniwersytet Łódzki, Instytut Romanistyki, Zakład Literaturoznawstwa Ro- mańskiego, ul. Pomorska 171/173, 90-236 Łódź, e-mail: [email protected] 1 Mówiło się wtedy o „bowarystach” (les bovaristes); podobno termin ukuł sam Flaubert.
    [Show full text]
  • Editing Flaubert: from Paper to Screen
    1 Communication inédite prononcée lors du séminaire de Bergen (Norvège), 26-27 mai 2005 (Université de Bergen / AKSIS – Université Lumière Lyon 2-CNRS / LIRE) : « Publication et lecture numériques. Défis et processus engagés par l’édition critique et les activités de lecture sur supports numériques ». Editing Flaubert: From Paper to Screen. Among Texts and Avant-textes. Stéphanie Dord-Crouslé (CNRS – UMR 5611 LIRE) In order to deal with the editorial problems raised by the work of Gustave Flaubert, I would like here to focus on the point of intersection of two developments, both of them historical, although in different senses. The first one is related to a changing technological situation, thanks to the fast and widespread movement towards using digital supports for the publication of large-scale corpora. The networks for publishing research in France, nonetheless, remain strongly tied to the printed medium. The second problem, less historical than biographical, is rather in connection with my scientific career. I would like to explain how my work on Flaubert’s avant-textes and their publication have transformed my vision of what the final edited version of a text should be, whether it be on paper or in digital form. I will thus especially try to emphasize the interferences at the crossroads (between history and my story), while describing various projects in progress. The corpus of Flaubert’s « complete works » is well defined and of approachable size; it has nothing in common with Balzac's Human Comedy or Proust's Remembrance of Things Past . It contains a collection of « short stories », entitled Three Tales , four novels: Madame Bovary , Salammbô , A Sentimental Education and Bouvard and Pécuchet , and a text of a problematic genre : The Temptation of Saint Anthony , a hybrid between novella and play.
    [Show full text]
  • L'exemple De Gemma Bovery De Posy Simmonds
    Synergies Espagne n° 14 - 2021 p. 25-41 GERFLINTGERFLINT Adapter l’ironie flaubertienne : l’exemple ISSN 1961-9359 de Gemma Bovery de Posy Simmonds ISSN en ligne 2260-6513 Marina Isabel Caballero Muñoz Université de Séville, Espagne [email protected] https://orcid.org/0000-0002-7680-3534 Reçu le 04-11-2020 / Évalué le 12-12-2020 / Accepté le 17-03-2021 Résumé Gustave Flaubert a refusé d’illustrer ses livres tout au long de sa vie ; une attitude qui contraste, paradoxalement, avec les nombreuses occasions où ses œuvres ont été adaptées aux formats graphiques et cinématographiques. Dans l’univers de la narration graphique, nous trouvons Gemma Bovery (2014) de Posy Simmonds, actuel- lement le seul roman graphique inspiré du chef-d’œuvre Madame Bovary (1857) de Gustave Flaubert. L’objectif du présent article est d’étudier l’ironie flaubertienne comme source de l’humour de Posy Simmonds dans Gemma Bovery (2014). D’abord, nous contextualiserons notre étude dans le domaine des adaptations, de la bande dessinée et du roman graphique à partir des ouvrages et des auteurs clés. Ensuite, dans une partie méthodologique, nous essayerons de définir brièvement le concept d’ironie ainsi que les différents concepts qui peuvent la déclencher dans un texte littéraire. Finalement, dans l’analyse proposée, nous étudierons la présence de l’ironie flaubertienne de la forme au contenu de ce roman graphique, afin d’observer également son originalité. Mots-clés : Adaptation, roman graphique, Posy Simmonds, Gemma Bovery, Madame Bovary Adaptar la ironía flaubertiana: el ejemplo de Gemma Bovery de Posy Simmonds Resumen Gustave Flaubert rechazó ilustrar sus libros durante toda su vida.
    [Show full text]
  • George Sand – Gustave Flaubert, Echanges Epistolaires Catherine Masson
    Dossier établi par Claude Beauclair avec le concours de Catherine Masson George Sand – Gustave Flaubert, Echanges Epistolaires Catherine Masson Personnages George Sand (1804-1876) et Gustave Flaubert (1821-1880) Décor Du côté de Nohant, bureau de Sand, côté jardin1 Au centre un canapé devant une bibliothèque Du côté de Croisset, bureau de Flaubert, côté cour A l’occasion du bicentenaire George Sand Automne 2004 „ catherine masson Dossier pour préparer le spectacle Sand-Flaubert I. Biographie de George Sand suivie de : « La rencontre Flaubert-Sand » II. Résumé du spectacle III. Sujets évoqués par Sand et Flaubert qui peuvent être présentés et discutés avec les étudiants à l’aide d’extraits du spectacle : n La vie littéraire à Paris au XIXe siècle : les « dîners Magny » n L’écriture, la place de l’auteur dans ses écrits 1 Pour le spectateur, le côté jardin est à gauche et le côté cour est à droite. 2 n L’hystérie, le masculin et le féminin n Le théâtre et les acteurs n La guerre de 1870 et la Commune de Paris n Le mariage n La publication et la postérité n Dernières lettres Ces sujets sont présentés sur des fiches séparées permettant ainsi aux enseignants de n’exploiter que les sujets qui leur semblent appropriés pour leurs étudiants. IV. « Histoire de France pendant la vie de George Sand (1804-1876) » Liste de sites internet où les étudiants peuvent trouver des informations sur George Sand et sur Gustave Flaubert : n www.george-sand.info avec lien au site Les amis de George Sand et à celui de la BNF (Bibliothèque Nationale de France).
    [Show full text]
  • Naval Juniorreserve ()Hiders
    DOCUMENT RESUME ED 219 280 SE 038 787 e $ . AUTHOR ' Omans, S. E.; And Others TITLE Workbook for Naval Science 3: An Illustrated Workbook for the NJROTC Sjudent. Focus. on the Trained Person. Technical Report 124. INSTITUTION University of Central Florida, Orlando.. -, SPONS AGENCY Naval %Training Analysis and Evaluation Group, Orlando, Fla. PUB DATE May f2 GRANT N61339-79-D-0105 4 NOTE if 348p.- 4 ,EDRS PRICE MF01/PC14 Plus Postage. DESCRIPTORS Astronomy; Electricity; High Schools; Instructional -Materials; *Leadership; Meteotiology; Military Science; *Military Training; *Physical Sciences; ( *Remedial Reading; *Secondary School Science; Workbooks' _ IDENTIFIERS Navaleistory; *Naval JuniorReserve ()Hiders . ,-..\ Traiffing torps , '-'--..... ..,. ABSTRACT This workbook (first in a series of three) - supplements the textbook of the third year Naval Junior Reserve Officers Training Corps (NJROTC),program and is designed for NJROTC students who do not have the reading skillsOlecessary to fully benefit from the regular curriculum materidls. The workbook is written at the eighth-grade readability level as detprmined by a Computer Readability Editing System'analysis. In addition to its use in the NJROTC program, the wdrkbook may be useful in 'several remedial programs such as Academic Remedial Training(ART) and;the Verbal' Skills Curriculum,\Jzoth of which are offered at each 'of the three . RecruitTraining Com?nands to recruits deficient in reading or oral English skills.' Topics' in the workbook include naval history (1920-1945), leadership.characteristiCs, meteorology, astronomy, sand introductory electricity.'Exercises-include'vocabulary development, matching, concept application, and -extending Yearning actrties. (Author/JN) V 1' ****************************.0***,*************************************** * * Reproductions suppled'bi EDRS are the best that can be made. from- the oryiginal% document.
    [Show full text]
  • Disjecta Membra a Poetic Interplay of Fragments
    disjecta membra disjecta membra A poetic interplay of fragments Lyna Ayr master of art & design 2012 contents page. attestation of authorship [011] intellectual property rights [013] acknowledgements [015] abstract [017] synopsis [019] introduction [021] chapter 1: positioning of the researcher [023] Illustrating poetics [024] Childhood and the fragment [035] Culture and fracture [036] John the Baptist [037] chapter 2: review of contextual knowledge [039] Disjecta Membra as a poetic concept [040] Constructions of the death of John the Baptist [041] Poetry-film as a media form [043] chapter 3: methodology [047] Heuristics [049] Design of the research [050] Reviewing and pattern finding [051] Breaking [052] Making and order [061] Reassembly and refinement [071] chapter 4: critical commentary [077] This exegesis is submitted to the Auckland University of Technology Poetry-film [078] for the Masters of Art & Design. Disjecta membra and textual fragments [080] Lyna Ayr B. Art & Design Honours, AUT University: Auckland. 2011 Lyna Ayr, B. Graphic Design, AUT University: Auckland. 2009 Iconography [082] Printed July 2013 Structure [088] © Lyna Ayr 2014 All rights reserved. conclusion This publication, may not be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, The work and its journey [090] mechanical, photocopying, recording or otherwise without the Post examination reflective statement [092] prior permission of the owner. Printed and bound by Printsprint, Wellesley, Auckland. 5 table of images chapter 1 [positioning of researcher] reference list [095] Creative texts relating to the beheading of John the Baptist [100] Figure 1:1 Ayr, L. (2009) Mother the Eternal [Photography, 376 mm x 1200mm].
    [Show full text]
  • French Realism in English Literature International
    INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in (Impact Factor : 5.9745) (ICI) KY PUBLICATIONS RESEARCH ARTICLE ARTICLE Vol. 7. Issue.3. 2020 (July-Sept) FRENCH REALISM IN ENGLISH LITERATURE Dr. RICHA SMRITI PhD, English Literature, LNMU Darbhanga Director, Navodaya Mission Trust Email: [email protected] ABSTRACT Realism is a literary movement that represents reality by portraying mundane, everyday experiences as they are real in life. As in simple terms, we can say that Realism is a representation of reality. Realism is most often associated with the mid nineteenth century movement that developed in France. The French literature has given the world some of the most famous French realist writers. Among them immortal French realist writers are Racine, Moliere, Balzac, Flaubert and Maupassant. Their writings are sometimes romantic and vivid, and at other times more realistic Dr. RICHA SMRITI showing societal concern. Their short stories exemplify the defining qualities of Article information Received:11/09/2020 Realism. We can easily visualize that their works cover the panorama of French life Accepted: 29/09/2020 describing different social classes and their struggle. Published online: 05/10/2020 doi: 10.33329/ijelr.7.3.261 Keyword: Realism, French, Nineteenth Century, Reality, Writers, Societal Concern It was in the nineteenth century France that realism attained its most coherent formulation, with echoes, parallels and variations elsewhere in Europe and America. The term Realism, is an expression applied to literature of the nineteenth century, implies the attempt to depict contemporary life and society.
    [Show full text]