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Articles 1 - 8 of 8
Full-Text Articles in Modern Languages
El Cine Como Precursor: Von Sternberg Y Borges, Pablo A.J. Brescia
El Cine Como Precursor: Von Sternberg Y Borges, Pablo A.J. Brescia
World Languages Faculty Publications
No abstract provided.
Review Of Michael Bishop, Nineteenth-Century French Poetry, Marshall C. Olds
Review Of Michael Bishop, Nineteenth-Century French Poetry, Marshall C. Olds
French Language and Literature Papers
Michael Bishop has written extensively and well on some of the best of mid and late twentieth-century French poets--Char, Deguy, Jaccottet-and in this volume turns his attention to a thematic consideration of the major practitioners of the last century. The results are somewhat mixed. On the one hand, just about everyone is included whom one would expect to find (Lamartine, Vigny, Baudelaire, Hugo, Mallarmé, Verlaine, Rimbaud, Lautréamont, Laforgue; Desbordes-Valmore is present, Musset is not). Moreover, Bishop has read through the oeuvre of each poet, so his perceptive observations pertain not only to familiar poems but also to some that have …
The Similarities Between Mikahil Bulgakov's The Master And Margarita And Salman Rushdie's The Satanic Verses, Radha Balasubramanian
The Similarities Between Mikahil Bulgakov's The Master And Margarita And Salman Rushdie's The Satanic Verses, Radha Balasubramanian
Russian Language and Literature Papers
After more than a year of silence and hiding since the publication of The Satanic Verses, Salman Rushdie spoke out in a 1990 article appearing in Newsweek "The Master and Margarita and its author were persecuted by Soviet totalitarianism. It is extraordinary to find my novel's life echoing that of one of its greatest models." In this surprising claim, Rushdie not only links his novel with Bulgakov's masterpiece, but also joins his fate with that of the Russian author. For Rushdie, there is a clear parallel between Bulgakov's suffering under Stalinism and his own situation vis-a-vis the Muslim world.
Concretely, …
Tensión Antitética: Estilo Y Contenido En El Teatro De Antonio Gala, Estrella Cibreiro
Tensión Antitética: Estilo Y Contenido En El Teatro De Antonio Gala, Estrella Cibreiro
Spanish Department Faculty Scholarship
No abstract provided.
A Paraître/Apparaître: Genet And His Press, Brian Gordon Kennelly
A Paraître/Apparaître: Genet And His Press, Brian Gordon Kennelly
World Languages and Cultures
No abstract provided.
The Demand For Love And The Mediation Of Desire In La Traición En La Amistad, Matthew D. Stroud
The Demand For Love And The Mediation Of Desire In La Traición En La Amistad, Matthew D. Stroud
Modern Languages and Literatures Faculty Research
María de Zayas's comedia, La traición en la amistad [Friendship betrayed], presents us with a truly stunning demonstration of intrigue and deception in the service of love. Based on the relationships among nine people, we have women who deceive men, men who deceive women, women who betray each others' friendships, servants who are quick to comment on the absurdity of all these machinations, and a final scene in which most of the principals get married. What distinguishes this play is the presence of the ninth character, Fenisa, who acts and reacts just as the other women do before the …
Les Contextes Du Portrait Chez Bussy-Rabutin: Fiction Et Réalité, Nina Ekstein
Les Contextes Du Portrait Chez Bussy-Rabutin: Fiction Et Réalité, Nina Ekstein
Modern Languages and Literatures Faculty Research
L' Histoire amoureuse des Gaules est un de ces romans curieux qui résistent aux catégories conventionnelles. Il trouve difficilement une place dans les courants narratifs du dix-septième siècle. Très court, il a délaissé les normes du roman héroïque, mais sa brièveté n'a rien de classique. L' Histoire amoureuse des Gaules est aussi éloignée que possible de la clarté et de la netteté de La Princesse de Cleèves. Quoiqu'on puisse attribuer au roman de Bussy une source d'inspiration (le Satiricon de Pétrone), on n'arrive pas à Iui trouver de parenté solide chez ses contemporains ni de suite dans …
A Woman's Tragedy: Catherine Bernard's 'Brutus', Nina Ekstein
A Woman's Tragedy: Catherine Bernard's 'Brutus', Nina Ekstein
Modern Languages and Literatures Faculty Research
The theater has traditionally been a male domain. The ranks of authors, directors, and even actors have long been overwhelmingly dominated by men. In Western drama, no women playwrights have gained admittance to the literary canon. While never absolute, the relative exclusion of women from dramatic authorship is even greater when the type of theater in question is tragedy. Carol Gelderman asks bluntly: "Why is it that no woman has ever written a great tragedy?". A number of explanations have been put forward that suggest deep-seated links between men and tragedy: Susan Gilbert and Susan Gubar find that "the structure …