Read Book > the Trip of the Horla
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
1998 Fellows Thesis S62.Pdf (2.156Mb)
MADNESS, THE SUPERNA TUBAL A1VD THE UNRELIABLE NARRA TOR IN GUYDE MA UPASSA1VT'S LE HORLA AND HENRY JAMES'S THE TURN OF THE SCREiW A Senior Thesis By Janna Smartt 1997-98 University Undergraduate Research Fellow Texas A@M University Group: Humanities Madness, the Supernatural and the Unreliable Narrator in Guy de Maupassant's Le Horla and Henry James's The Turn of the Screw by Janus Smartt Submitted to the Office of Honors Programs and Acadetnic Scholarships Texas AdcM University in partial fulfillment of the requirements for 1997-98 UNIVERSITY UNDERGRADUATE RESEARCH FELLOWS PROGRAM April 16, 1998 Approved as to style and content by: David McWhirter Department of English Susanna Finnell, Executive Director Honors Programs and Academic Scholarships Fellows Group: Humanities Abstract Madness, the Supernatural, and the Unreliable Narrator Janna S martt (Dr. David McWhirter), Undergraduate Fellow, 1997-98, Texas AdkM University, Department of English In both Guy de Maupassant' s Le Horla and Henry James' s The Turn of the Screw, narrators of questionable reliability claim to encounter other-worldly beings, leaving the reader to wonder whether the apparitions are real or the narrators are insane. This madness/supernatural conundrum recurs because of certain trends within the writers' cultural and literary milieux. From a literary standpoint, both Maupassant and James were working in the fanrastique, a genre which, by definition, indicates that the reader hesitates between natural and supernatural explanations for the story's events. And, from a cultural perspective, both writers were writing in environments where the distinction between spiritualism and psychology was often unclear. Maupassant leaves his reader in hesitation as a way of expressing the cultural ambiguity between madness and the supernatural, whereas James utilizes the blur between madness and the supernatural to explore the "reading effect" that the reader experiences when left in hesitation. -
Le Horla De Guy De Maupassant, Un Récit « Dédoublé » En Deux Versions
ROCZNIKI HUMANISTYCZNE Tom LXIII, zeszyt 5 – 2015 DOI: http://dx.doi.org/10.18290/rh.2015.63.5-9 ANNA KACZMAREK * LE JEU DU MÊME ET DE L’AUTRE : LE HORLA DE GUY DE MAUPASSANT, UN RÉCIT « DÉDOUBLÉ » EN DEUX VERSIONS Le sommeil de la raison enfante des monstres Titre d’un tableau célèbre de Goya, 1797 A b s t r a i t. Deux versions du Horla de Guy de Maupassant, considéré comme le chef-d’œuvre du genre, ne cessent d’éveiller des controverses parmi les critiques ; les uns les traitent comme deux versions du même récit dont la seconde est censée « corriger » et compléter la première, tandis que les autres y voient deux histoires indépendantes. L’article soutient la thèse que les deux versions constituent comme deux volets complémentaires du même récit dont le premier est raconté par un homme lucide, quoiqu’enfermé, de son propre gré, dans un asile de fous ; le second volet est l’histoire dramatique et émotionnelle d’une personne en proie à des troubles mentaux de plus en plus forts, provoqués par la peur de l’invisible, l’innommable, l’inconnu. Considéré dans une telle perspective, le texte de Maupassant serait un récit autoscopique, con- stituant son propre reflet ; les lignes narratives divergentes et une fin différente correspondraient aux deux côtés de la personnalité du narrateur : le rationnel et l’irrationnel. Les sources de ce dualisme sont autant la biographie de l’écrivain (qui sombre peu à peu dans la folie) que la fascination particulière de l’époque pour les maladies et les troubles mentaux. -
Quotes and Images from the Short Stories of Maupassant
Quotes and Images From The Short Stories of Maupassant Guy de Maupassant - Edited and Arranged by David Widger The Project Gutenberg EBook of Quotes and Images From The Short Stories of Maupassant, by Guy de Maupassant, Edited and Arranged by David Widger This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Quotes and Images From The Short Stories of Maupassant Author: Guy de Maupassant Edited and Arranged by David Widger Release Date: September 4, 2004 [EBook #7549] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK QUOTES FROM MAUPASSANT *** Produced by David Widger QUOTES AND IMAGES FROM MAUPASSANT THE ORIGINAL SHORT STORIES GUY DE MAUPASSANT CONTENTS Volume I. Volume II. Volume III. Volume IV. Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. Volume V. Volume VI. Volume VII. Volume VIII. Volume IX. Volume X. Volume XI. Volume XII. Volume XIII. Contents of the 13 Volumes (180 Stories) Volume I. A Study by Pol. Neveux Boule De Suif Two Friends The Lancer's Wife The Prisoners Two Little Soldiers Father Milon A Coup D'etat Lieutenant Lare's Marriage The Horrible Madame Parisse Mademoiselle Fifi A Duel Volume II. The Colonel's Ideas Mother Sauvage Epiphany The Mustache Madame Baptiste The Question of Latin A Meeting The Blind Man Indiscretion A Family Affair Beside Schopenhauer's Corpse Volume III. -
La Critique Génétique Du Horla De Maupassant Par Isabelle Nolin
La critique génétique du Horla de Maupassant par Isabelle Nolin Département de langue et littérature françaises Université McGilI, Montréal Mémoire soumis à l'Université McGill en vue de l'obtention du grade de M.A. en langue et littérature françaises mars 2005 © Isabelle Nolin, 2005 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 0-494-12752-X Our file Notre référence ISBN: 0-494-12752-X NOTICE: AVIS: The author has granted a non L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. -
Maupassant's the Horla Is a Portrayal of Human Frailties and a Critique Of
International Journal of Linguistics, Literature and Translation ISSN: 2617-0299 (Online); ISSN: 2708-0099 (Print) DOI: 10.32996/ijllt Journal Homepage: www.al-kindipublisher.com/index.php/ijllt Maupassant’s The Horla is a Portrayal of Human Frailties and a Critique of Anthropocentrism: An Ecocritical/Deep Ecological Perspective Mohammad Afzal Hossain Lecturer, Department of English, Mawlana Bhashani Science and Technology University (MBSTU), Bangladesh Corresponding Author: Mohammad Afzal Hossain, E-mail: [email protected] ARTICLE INFORMATION ABSTRACT Received: May 08, 2021 This research analyzes how nature, human and non-human, have been represented in Accepted: June 14, 2021 Guy de Maupassant’s short story The Horla through an ecocritical lens. In its Volume: 4 fundamental form, the ecocritical theoretical framework investigates how nature, Issue: 6 landscape, and places have been represented in a literary text and explore how DOI: 10.32996/ijllt.2021.4.6.27 human and non-human interrelations have been portrayed. In this story, Maupassant has portrayed nature as a positive, healing force and delved into the anthropocentric KEYWORDS and anthropomorphic constructivist attitude to non-human, invisible, emergent being, in this context, the Horla. The narrator’s anthropocentric world view has denied justice Anthropocentrism, toward Horla to exist, fearing he will shake the human-centred ecological hierarchy. Anthropomorphic, Ecojustice, Guy According to the Deep Ecological philosophical position or ecosophy, all things, de Maupassant, The Horla, including spiritual being that cannot be seen, are interconnected and have their Ecocriticism, Ecosophy, Deep necessary position in various modalities of Nature. Denial of the existence of a new Ecology, Nature Writing. emerging entity and the inability to schematize and adopt it will destroy the new being and the human race itself. -
Maupassant's Mirror of Self-Reflection
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 5 (2003) Issue 1 Article 3 The Horlas: Maupassant's Mirror of Self-Reflection Edward J. Lusk Otto von Guericke University Marion Roeske Siemens Science High School Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Lusk, Edward J.; and Roeske, Marion. "The Horlas: Maupassant's Mirror of Self-Reflection." CLCWeb: Comparative Literature and Culture 5.1 (2003): <https://doi.org/10.7771/1481-4374.1180> This text has been double-blind peer reviewed by 2+1 experts in the field. -
Huysmans and Maupassant Following Zola's Model Of
THE MEDAN MATRIX: HUYSMANS AND MAUPASSANT FOLLOWING ZOLA’S MODEL OF NATURALISM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Kristen Wolter, B.A., M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Charles D. Minahen, Adviser Professor Christiane Laeufer ______________________________ Adviser Professor Mihaela Marin Department of French and Italian Copyright by Jennifer Kristen Wolter 2003 ABSTRACT Comparable to a matrix, the Médan group incarnates a system for the production of naturalist literature with Emile Zola serving as the model for a select handful of writers. Nourished by the scientific developments of the nineteenth century, Zola’s theories and successful practice of naturalism drew Joris-Karl Huysmans and Guy de Maupassant, among others, to the movement. Yet, they soon diverged from Zola’s model of naturalism, as did Zola himself at times. The first chapter of this dissertation seeks to reveal the inherent discrepancies within the theory of naturalism that prevent a true fusion of science and art in the novel. Les Soirées de Médan, a collection of stories about the Franco-Prussian War, united the writers in a show of adherence to the naturalist movement. While the work garnered the reputation of a manifesto, the stories belie the deviations from naturalism that were present and growing in Huysmans, Maupassant, and even Zola. Chapter two approaches the Médan group from its foundation in support of an aesthetic ideal to the contradictory display of naturalist and non-naturalist features in Les Soirées de Médan. -
NARRATIVE INSTABILITY, INSANITY, and the SEARCH for ANSWERS in LATE NINETEENTH CENTURY FRENCH FICTION by ELIZAB
A MAD CERTAINTY: NARRATIVE INSTABILITY, INSANITY, AND THE SEARCH FOR ANSWERS IN LATE NINETEENTH CENTURY FRENCH FICTION by ELIZABETH B. COGAN A DISSERTATION Presented to the Department of Romance Languages and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2019 DISSERTATION APPROVAL PAGE Student: Elizabeth B. Cogan Title: A Mad Certainty: Narrative Instability, Insanity, and the Search for Answers in Late Nineteenth Century French Fiction This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Romance Languages by: Evlyn Gould Chairperson Fabienne Moore Core Member Regina Psaki Core Member David Frank Institutional Representative and Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2019 ii © 2019 Elizabeth B. Cogan iii DISSERTATION ABSTRACT Elizabeth B. Cogan Doctor of Philosophy Department of Romance Languages December 2019 Title: A Mad Certainty: Narrative Instability, Insanity, and the Search for Answers in Late Nineteenth Century French Fiction Writers of every period articulate a sense that the world is changing; in modernity, that constant change is intensified by an accelerating pace and comprehensive upheaval. Our reaction to change (personal, social, or technological) and its concurrent disequilibration defines us. Some adapt to new circumstances and struggle through the uncertainty while others turn instead to delusion or constructed realities that provide the illusion of certainty. In the latter reaction late19th-century French psychologists recognized the possibility of insanity: religious mania, megalomania, spiritualism, and use of hallucinogens were all possible pathologies related to this dynamic. -
A SELECTION from the WRITINGS of GUY DE MAUPASSANT SHORT STORIES of the TRAGEDY and COMEDY of LIFE with a CRITICAL PREFACE by PA
A SELECTION from the WRITINGS of GUY DE MAUPASSANT SHORT STORIES of the TRAGEDY AND COMEDY OF LIFE WITH A CRITICAL PREFACE BY PAUL BOURGET of the French Academy AND AN INTRODUCTION BY ROBERT ARNOT, M.A. VOL. I {of III ??} TABLE OF CONTENTS.[*] VOLUME I. 1. MADEMOISELLE FIFI 2. AN AFFAIR OF STATE 3. THE ARTIST 4. THE HORLA 5. MISS HARRIET 6. THE HOLE 7. LOVE 8. THE INN 9. A FAMILY 10. BELLFLOWER 11. WHO KNOWS? 12. THE DEVIL 13. EPIPHANY 14. SIMON'S PAPA 15. WAITER, A "BOCK" 16. THE SEQUEL TO A DIVORCE 17. THE MAD WOMAN 18. IN VARIOUS ROLES 19. THE FALSE GEMS 20. COUNTESS SATAN 21. THE COLONEL'S IDEAS 22. TWO LITTLE SOLDIERS 23. GHOSTS 24. WAS IT A DREAM? 25. THE DIARY OF A MADMAN 26. AN UNFORTUNATE LIKENESS 27. A COUNTRY EXCURSION [*] At the close of the last volume will be found a complete list of the French Titles of De Maupassant's writings, with their English equivalents. GUY DE MAUPASSANT Of the French writers of romance of the latter part of the nineteenth century no one made a reputation as quickly as did Guy de Maupassant. Not one has preserved that reputation with more ease, not only during life, but in death. None so completely hides his personality in his glory. In an epoch of the utmost publicity, in which the most insignificant deeds of a celebrated man are spied, recorded, and commented on, the author of "Boule de Suif," of "Pierre et Jean," of "Notre Coeur," found a way of effacing his personality in his work.