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Separation, Mourning, And Consolation In La Route D'Altamont, Thomas M. Carr Jr.
Separation, Mourning, And Consolation In La Route D'Altamont, Thomas M. Carr Jr.
French Language and Literature Papers
In discussing Bonheur d'occasion Patrick Coleman has identified Gabrielle Roy's difficulty finding a vehicle to convey convincingly her insight that "an awareness of separation is a necessary condition of any moment of real connection" as one of her chief esthetic problems (77). Her successful negotiation of this tension in La Route d'Altamont owes much to presenting consolation as an antidote to separation. First, rather than deny the reality of separation, consolation mediates between it and union by allowing Roy to portray separation coexisting with communion; even the most stable consolations must be constantly renewed since consolation is more a process …
Under Mallarmé'S Wing, Marshall C. Olds
Under Mallarmé'S Wing, Marshall C. Olds
French Language and Literature Papers
The following was presented as a lecture in conjunction with the exhibit of 18th-century European fans, held at the McMullen Art Museum of Boston College, September, 2000. The author is Professor of French at the University of Nebraska. He is the author of books and articles on French literature, and the editor of Nineteenth- Century French Studies.
To have 19th-century French poetry breeze into this exhibit of beautifully crafted fans from the 18th century should be viewed as a complementary and friendly action. Indeed, the exhibition title, "Hand-held Delight," is especially apposite for our topic today, for the poet in …
Prévert Reads Shakespeare: Lacenaire As Iago In Les Enfants Du Paradis, Russell J. Ganim
Prévert Reads Shakespeare: Lacenaire As Iago In Les Enfants Du Paradis, Russell J. Ganim
French Language and Literature Papers
First impressions seem to suggest little more than a casual link between Othello and the film Les Enfants du Paradis despite multiple references to Shakespeare’s tragedy in Jacques Prévert’s screenplay. Many glaring differences present themselves with respect to both works. The Elizabethan drama appears to have little in common with a film made and released in France during the Occupation that focuses on a troupe of actors, a petty criminal, and an aristocrat in early nineteenth-century Paris. Yet, Prévert’s numerous appropriations of Shakespeare are crucial to the film’s meaning. Edward Baron Turk, who mentions the film’s allusions to Shakespeare, argues …