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1

Z dziejów bowaryzmu we Francji

100%

Staroń A.

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tom 49

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nr 3

27-42

EN

The first mention of the term “bovarism” appears shortly after the release of Flaubert’s novel, but the modern definition: “to perceive oneself differently than one is in reality”, was coined by the philosopher and critic Jules de Gaultier. He made bovarism the center of his concept of the modern man, or even of the modern society, and he dedicated 20 years of his life to its analysis. With time, he grew to understand that it was not only a pathology, but also the moving force of human actions. Many other researchers pursued the topic of bovarism after Gaultier, both in literature and in medicine spheres. Today the concept is still popular and used not exclusively in literature, but also in social and political meaning.

2

Flaubert au-delà de l’histoire littéraire. Genèse d’Un coeur simple et contre-modèle de servante à vie

88%

Fauve-Chamoux A.

Białostockie Studia Literaturoznawcze

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2017

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tom 11

EN

The character of Félicité, presented by Gustave Flaubert in A Simple Soul [Un coeur simple], a tale published in 1877, is considered here in historical perspective in order to better understand her work in domestic service, permanent celibacy and overall sad story. The first section traces the genesis of this work, as shown in the writer’s correspondence and his family background. The second part is devoted to his method, as he proclaimed it. The last section argues that F´elicit´e was a very ordinary victim who had fallen, as many other female servants, into the trap of lifelong service which had crushed her destiny. In the European past, a woman who stayed for life in the same family as maid-of-all-work and remained unmarried was far from being a rare case or counter-model. Actually, servants were considered unproductive by economists and therefore found themselves excluded by Marxism from the class struggle. The original piece of literature under study was more a short story than a fairy tale, and since it intended and succeeded to be true, it did not meet the readers’ expected enthusiasm.

3

„Autor to właśnie ja”: Gve Flaubert, czyli pisarz-rękopis

87%

Leclerc Y.

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nr 19

257-269

EN

The article attempts to present and discuss the juvenile works of Gustave Flaubert. Though the writer never allowed these juvenile works to be published, being extremely critical of their aesthetic value, the works such as November, Memoirs of a Madman or the diary-form Cahier intime de 1840–1841 still make important texts that provide a sizeable amount of information on the writer’s literary workshop. Interestingly enough, these early works show the writer’s attachment to the manuscript (tantamount to the dislike to the written word) and the author’s tools (pen, ink and paper). These juvenile attempts, in the main autobiographical in nature, are thus penetrated by the metatext element that is a key input in providing an opportunity for a reflection on the way the text itself does exist: this element also informs us on Flaubert’s growing maturity that ultimately defined his role of a fully-fledged author. The paratext elements (epigraphs, dedications, inscriptions, dates and signatures) in his juvenile works seem to be just as important as they allow us to follow, step by step, the way to the birth of a writer-manuscript and thus a writer who gets his fulfillment and the very existence exclusively in a text of a manuscript character.

4

Cécile – starsza siostra Effi Briest

75%

Pacholski J.

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tom 49

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nr 3

219-238

EN

This paper deals with Theodor Fontane’s novel Cecile published in 1886. This novel is the first part of the unofficial trilogy of the so-called Berlin novels, which also include Irrungen, Wirrungen (Trials and Tribulations, On Tangled Paths) and Stine. Among these three novels, Cecile is the only one which has not been translated into Polish. In each of these novels, the central motif is misalliance, which in two cases (Cecile and Stine) leads to a tragic end. The motif of a duel, in turn, in which the husband kills the lover or the admirer of the heroine links Cecile to Effi Briest – the most famous of Theodor Fontane’s works. This article attempts to interpret the novel in the context of the similarities between Cecile and Emma Bovary, the protagonist of the masterpiece by Gustave Flaubert and from the perspective of bovarysme –a term coined by Jules de Gaultier. In the analysis, what is important is not only the characterization of Cecile as a character but also the discussion of the role of a letter in the plot of the novel, a letter being a motif used by Fontane in an interesting and surprising way.

5

Święta ironia. Dwa oblicza parodii ekfrazy katedry w Pani Bovary Gustave’a Flauberta

71%

Shukla P.

Przestrzenie Teorii

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2023

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nr 39

61-76

EN

This article aims to analyze the use of parodic ekphrasis of the cathedral in Gustave Flaubert’s Madame Bovary. This matter was first brought to attention by Małgorzata Czermińska, who pointed out the satirical nature of the literary description of the gothic church in Rouen. However, to truly understand the way in which the novelist transformed the traditional formula of ekphrasis in Madame Bovary one must consider two drastically different dimensions of this treatment. The inspiration for this division comes from the work of Renata Lis, who argued that Flaubert’s work is marked by a fundamental ambivalence concerning spirituality, resulting in a variety of representations of holiness in his novels. On one hand, the parody of ekphrasis in the novel serves the most obvious function – it’s a cause for the mockery of the bourgeoisie and its distorted spiritual and aesthetic sensibilities. On the other hand, the parodic aspect of the discussed fragment is reminiscent of Olga Freudenberg’s approach. According to this Russian scholar, the essence of parody is not expressed through comedy and ridicule but rather through tragedy and an inseparable connection to the sacred. Such an understanding of the parodic ekphrasis of the gothic temple in Madame Bovary highlights the remarkable consistency with which Flaubert reflected on the existential condition of the protagonist. Emma’s inability to grasp the aesthetic values and sanctity of the cathedral expresses her tragic tendency to misrecognize, which leads to the novel’s somber finale.

6

Wizerunki niezamężnych służących w wybranych dziełach literatury francuskiej XIX wieku

71%

Kulak E. K.

Res Gestae. Czasopismo Historyczne

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2023

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tom 15

67-80

EN

The paper analyses the image of female domestic servants and their condition as unmarried women in three examples of nineteenth‑century French literature: A Simple Heart by Gustave Flaubert (1875), Germinie Lacerteux (1865) by Edmond and Jules de Goncourt and Diary of a Chamber-maid (1900) by Octave Mirbeau. The protagonists of these stories represent interesting versions of stereotypical images present in a great number of contemporary works: the life of a loyal and sacrificed servant (Flaubert), the sad history of a servant succumbing to sexual temptations (E. and J, de Goncourt) and the subversive portrait of a perverted chambermaid, exploited by and exploiting their masters at the same time (Mirbeau). The common trait of the three women is their solitude, as service means for them to remain unmarried, unable to realize the role considered socially as the only proper for a woman.

7

O Flaubertowym „zakamarku”

63%

Garlej B.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2021

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tom 27: IZOLACJA I KOMUNIKACJA – ROZWAŻANIA NAD FORMAMI KOMUNIKACJI LITERACKIEJ I KULTUROWEJ

93-111

EN

The article is devoted to illustrating two aspects of the drama of shaping artistic style, experienced by Gustave Flaubert. In reference to the thought which inspired the author (the notion of ‘little back shop’ by Michele de Montaigne), this drama of forming style is being reconstructed, as facilitated by two collections of letters. The first is the chronologically earlier one (letters written to Louise Colet), and the second is the latter collection (correspondence with George Sand). Thus, a conclusion stipulating that the first aspect of the drama of forming style unfolds at a basic level (the choice of linguistic toolkit), and the second aspect touches on the next, artistically more organised level (proficiency in the chosen toolkit), stems from correlating a correspondence analysis with the philosophical interpretation of the notion in which ‘little back shop’ belongs semantically. This is ‘solitude’. It is the interpretation of ‘solitude’ suggested by Piotr Domeracki, which has been used as a methodological instrument in depicting the differing aspects of Flaubert’s ‘little back shop’.

8

Fins de l’art : la réception de Hegel dans la littérature française du XIXe siècle

54%

Olivier A. P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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tom 32

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nr Special Issue

15-35

EN

In a period of global pandemic and confinement to our homes, the end of art is not only a philosophical hypothesis, it is a fact of society. We have experienced that modern societies, those that were able to make art an absolute at one point in their history, no longer need the arts, or the physical presence of artists and spectators, or have considered them inessential, and therefore contingent. Is this what G. W. F. Hegel prophesied with his thesis of the end of art? In this paper I aim to clarify this by referring to the sources of Hegel’s lectures and by examining the reception by nineteenth-century French writers. 1) First, I give a reminder of the different ways in which Hegel’s theme of the end of art can be interpreted. 2) Then, I give a second reminder concerning the reception of Hegel’s Aesthetics in France, with a focus on the translations. 3) Finally, I propose to study three writers who determine three ways of conceiving the appropriation of Hegel in the 19th century and of the theme of the end of art: Théophile Gautier, Charles Baudelaire and Gustave Flaubert.