Flaubert's Madame Bovary Research Articles

Between the sacred and the profane exists a woman: the case of madame Bovary, by Gustave Flaubert

This article delves into the analysis of the sacred and profane phenomena present in Flaubert's Madame Bovary from a literary perspective, aiming to understand the human existence in relation to the divine through the lens of religious anthropology. The objective is to examine the manifestations of the sacred and profane in the construction of meaning within the play. It also explores the comprehension of these manifestations during the realism era, when individuals sought guidance from various forms of sacredness or symbolic elements while simultaneously rejecting what was deemed sacred. Drawing on the theories of philosophers such as Gilles Lipovestsky and Mircea Eliade, this bibliographical research briefly touches upon certain historical events in 19th-century France to enhance social criticism and contextualize life experiences and expectations in an impious world. The results reveal that Emma Bovary's attitudes amalgamate values, experiences, and religious principles, indicating that individuals can only find fulfillment by desecrating themselves and the world around them.

What Would Janeway and Roslin Do?: A Sci-Fi–Watching Library Historian Confronts COVID-19

What Would Janeway and Roslin Do?: A Sci-Fi–Watching Library Historian Confronts COVID-19

Narrative Peculiarities in Translation: Lexical Units Pauvre and Bonhomme in G. Flaubert's novel Madame Bovary

The present research featured some narrative peculiarities, which could belong both to the narrator or other characters and violate the initial focalization. The paper focuses on zero focalization and evaluation of personages. The research objective was to analyze Russian equivalents of adjective pauvre and substantive bonhomme, which contain subjective evaluation in character’s nomination. The research featured fragments from G. Flaubert’s novel Madame Bovary and its nine Russian translations. They were selected according to the continuous sampling method and then analyzed using the comparative method. The study was based on mono- and bilingual Russian and French dictionaries. The multiple translations often preserved the original evaluation, especially in case of pauvre. Unlike bonhomme, pauvre has more Russian equivalents. Therefore, lexical isomorphism was not always preserved in translation: in some cases, the evaluation was neutralized, or even opposed to the original one, and Russian variants acquired extra semantic and stylistic meanings. These flaws may change the initial narrator-character or character-narrator point of view. They could have resulted from the lack of Russian equivalents. In early translations, they might be explained by the translator’s choice of obsolete words with an archaic effect or adding extra semantic and stylistic information. In some cases, translators might have ignored the original meaning or could have been misled by the overall peculiarities of the narrative. The research can contribute to bilingual corpora of parallel texts, as well as to textbooks on comparative lexicology.

Modernism and Identity: The Subject of Madame Bovary

This article reads Flaubert's Madame Bovary as a work of 'modernist pedagogy': whereas recent readers, such as Rancière, and Vallury in MLN 134:4, understand Flaubert as an author of disidentification and impersonality, I read his work in terms of a dynamic of disidentification and reidentification, drawing on contemporary theories of 'practical identity' (Korsgaard, Hägglund). Flaubert's modernist pedagogy disidentifies the reader's immersion in the fictional world so as to promote reflection on the self-defeating ways in which his characters define themselves, and solicits this reader's cultivation of a reflexive attitude towards identity as a revisable and social activity, beyond the failings of identity Madame Bovary depicts.

Paul Cololian (1869–1956) : membre de la Société Médico-Psychologique (1902) et fondateur de l’Union des Médecins Arméniens de Paris (1920) et de la Croix-Rouge Arménienne de Paris (1922) (Partie I)

Maksoud Boghos Cololian was born December 12, 1869 in Ortakeuy. It was a suburb of Constantinople. The young Maksoud Boghos was sent to the Armenian school of Berberian when he is expected to learn to read and write in. It was here he developed a taste for litterature and the knowledge of the French language thanks to a thorough instruction. When he completed his secondary schooling, he left Armenia for France. In September 1889, he registered at the faculty of medicine of Paris. Extern in 1891 then intern from the asylums of the Seine (1894), he was appointed doctor of medicine in 1898. Cololian acquired a deep knowledge of psychiatry under the direction of great specialists (Taguet, Briand, Magnan, Garnier). Member of the Société Médico-Psychologique in 1902, his happy memories of his non-residential internship in the department of Nicolas Augustin Gilbert (1858–1927) led him to practice general medicine. That is the speciality he dedicated to as a liberal, in Paris rue de Ponthieu, without forgetting his training in psychiatry. In the Rosenwald Book, his speciality was neuropsychiatry. Considering he was a former Ottoman subject and volunteer since the beginning of hostilities in 1914, Cololian became immediately naturalized French with the title of assistant major physician medical. He was appointed head physician of the physiotherapy centers of Versailles (VR 69 and 74), Grignon and the Officers’ Hospital at Versailles. Also, he named himself Paul. He took care of war-wounded and became a precursor in the field of mechano-therapeutic on one hand, and for the measurement of impotence and infirmities one the other hand. In 1918, Cololian was decorated with the Legion of Honor by Raymond Poincaré (1860–1934) himself. Several times laureate of the Academy of Medicine and the Institute, Cololian wrote articles or memories on semiology and psychiatric treatment. He was with P. Garnier the author of a treatise on therapeutics of mental and nervous diseases (1901). Author of chronic hunting in the newspaper “Le Figaro”, medical and scientific popularization in the review “Guérir” and “La Femme et l’Enfant” and too informal written in “Les Annales politiques et littéraires”, Cololian published various articles or analyzes on studies based on morbid psychological constitutions from characters in literature, plays, movies or politics (Emma Bovary, Marie Lafarge, Hitler…). In his psychiatric and psychoanalytic reading of Flaubert's Madame Bovary, Cololian asserted that the creator of Freudianism was Flaubert. Regarding psychoanalysis, he felt Freud's theory had been taken too far by the founder and mostly by his students.

As assombrações nos Romances O Primo Basílio de Eça de Queirós e Effi Briest de Theodor Fontane

The works that will be dealt with next are part of set of adultery novels that appeared in the second half of the 19th century in Europe, such as Flaubert's Madame Bovary (1857) or Tolstoy's Anna Karenina (1877), and that became a privileged type of period and social criticism novel (Oliveira, 2000: 43). The theme of hauntings in the novels Effi Briest (1895) by Theodor Fontane and O Primo Basilio (1878) by Eca de Queiros will be addressed.

The Pharmacist's Dream: Where Charles Fourier Meets Gustave Flaubert

Katsaros intersects the social doctrine of Charles Fourier with the literary realism of Gustave Flaubert's Madame Bovary to argue that the town and real characters that are believed to have inspired the novel Madame Bovary were themselves inspired and guided by the social doctrine and efforts of Charles Fourier. Adolphe Jouanne, who opened a school that emulated the values of Fourier's educational doctrine by encouraging children to cultivate their own interests and engage with skills such as gardening and story telling, as well as help teach other children in a pedagogical method rather than solely being taught by their parents.

Paisagem Sonora de Emma

Esta peça é parte de uma instalação audiovisual de vários ecrãs, concebida pelas artistas visuais Mieke Bal e Michelle Williams-Gamaker. A instalação é baseada no romance de Flaubert Madame Bovary (1856). Emma (Madame B.) é uma ouvinte atenta e sensível ao ambiente que a rodeia. A banda sonora (quer na instalação, quer na longa-metragem) foi desenvolvida através de uma série de motivos sonoros que servem como caracterização sonora da personagem. Escutar estes motivos sonoros é um exercício de “focalização sonora”: os objectos que a caracterizavam fa-lo-iam sonoramente também. A paisagem sonora de Emma reflecte os sons acumulados de uma vida individual, que simultaneamente forma e limita o espaço que a define. Estes sons marcam e traçam a história da personagem, eventualmente delineando ‘a sua expansão no mundo tanto quanto a sua reclusão no mesmo’.
 Deve ser ouvida preferencialmente com monitores, desde que não haja mais sons a interferir. A peça deverá ocupar uma sala vazia.

Some Stylistic Considerations of Free Indirect Discourse in Film Adaptations of Flaubert's <em>Madame Bovary</em>

Some Stylistic Considerations of Free Indirect Discourse in Film Adaptations of Flaubert's Madame Bovary Colin Gardner (bio) Variously known as style indirect libre or erlebte Rede, free indirect discourse has always been of particular interest to both literary and film theorists because of its identification with the modernist innovations of Gustave Flaubert and the nineteenth-century bourgeois novel as well as the narrative properties of traditional Hollywood cinema. Gilles Deleuze, for example, ties it directly to his discussion of what he calls the "perception-image." In film, a perception has two poles, subjective and objective. Thus, "a subjective perception is one in which the images vary in relation to a central and privileged image; an objective perception is one where, as in things, all the images vary in relation to one another, on all their facets and in all their parts."1 However, it is important to note that the narrative film's scopic economy is not a simple binarism between subjective point of view and objective rendering on-screen (expressed most economically, for example, in shot-reverse-shot editing), but also behaves in accordance with a free indirect discourse that is able to express characters' inner states via the mise-en-scène, while the character is also present within the mise-en-scène. The free indirect discourse therefore suggests the possibility of expressing a first-person focalization (inside), while continuing to present the character in the third person (outside). This complication of the subjective-objective duality is acknowledged by Deleuze in his analysis of Pier Paolo Pasolini's "Cinema of Poetry"2 and its relation to the free indirect in Cinema 1: The Movement Image. Here, Deleuze argues that the perception-image is often able to override the intentionality of bodily motility (the vectorial space of Deleuze's "action-image") via a form of camera self-consciousness. "We are no longer faced with subjective or objective images," notes Deleuze; "we are caught in a correlation between a perception-image and a camera-consciousness which transforms it (the question of knowing whether the image was objective or subjective is no longer raised)."3 Deleuze calls this "a very [End Page 587] special kind of cinema" because it makes the presence of the camera both felt and palpable.4 In this way, the perception-image takes on the guise of a free indirect subjectivity as soon as it manifests itself through an autonomous camera-consciousness. Consequently, the free indirect allows us to get a clearer idea of how a pure perception-image—with its specific roots in bodily affect—might work when freed from the subjective baggage of suturing film language. Earmarked as a direct advance on, and contrast to, the all-seeing, God's-eye objectivist realist novels of Balzac and Stendhal, Gustave Flaubert's Madame Bovary (1857) is often cited specifically as the prototypical text of this hybrid subjective / objective style, although Pasolini has traced a variation of its use as far back as Dante.5 Given this general hermeneutic regard for the free indirect as a historicizing, ideologically motivated textual practice, the paucity of discussion concerning its application to film is all the more surprising, especially given the import of Deleuze's analysis in both Cinema 1 and Cinema 2: The Time-Image. With that in mind, this essay thus posits the following questions: What is free indirect discourse? How does it work in the literary context of Flaubert in general and Madame Bovary in particular? Does it translate directly into cinematic terms? If so, how has this affected film adaptations of Madame Bovary, specifically those of Jean Renoir, Vincente Minnelli, and Claude Chabrol? If not, and this constitutes the crux of this essay's thesis, is there an indirect filmic substitute that can generate equivalent stylistic effects? The short answer to the last question is yes, and it lies, as we shall see, in film's ability to foreground the body's performative ability to express inner states as an outward form of affect or gest. First, let us clear some semantic ground and try to establish a terminological consensus via some specific definitions. In A Dictionary of Narratology, Gerald Prince defines "direct discourse...

À L’ombre de Flaubert et d'Eça de Queiros. Minores portugais lecteurs de Madame Bovary et du Cousin Bazilio

Many portuguese writers of the 19th-century read Flaubert in French, the original language. Some, specially those who wereo realist and naturalist writer, were directly influenced by Flaubert's Madame Bovary or indirectly by Eça de Queiroz' s novel, O Primo Bazílio. This paper pretends to show how it happened in Julio Lourenço Pinto, Reis Damaso and Luis de Magalhães's works.

Mother to Other: Feminine Becoming in Fiona McGregor’s <em>Indelible Ink</em>

In tradition of Gustave Flaubert's Madame Bovary (1857), Henrik Ibsen's A Doll's House (1879), and Kate Chopin's Awakening (1899), feminine desire for self-transformation, or becoming, features as recurrent theme across several twenty-first-century novels by Generation X Australian women writers. Joanna Murray-Smith's Sunnyside (2005), Georgia Blain's Too Close to Home (2011), Peggy Frew's House of Sticks (2011), and Anita Heiss's Tiddas (2014) all share character of desperate for some kind of metamorphosis-or, as one of characters in Sunnyside quips, a radical shift in her life map (Murray-Smith 305). Although flight from suburbia dominates as mode of in Australian fiction (McCann 56), these novels explore alternative conduits to feminine reinvention.Among this set, Fiona McGregor's Indelible Ink (2010) offers most complex portrayal of how female protagonist might undergo transformation without recourse to physical relocation away from suburban realm. novel opens about year after King's divorce. We meet lonely fifty-nine-year-old woman, seeking solace in bottle and struggling to maintain an extravagant Mosman lifestyle with no income. After drunken lunch with an old friend, throws up in high-end furniture store, breaking lamp, and she subsequently purchases $10,000 lounge suite on credit to assuage her embarrassment. Humiliated and restless, she stumbles alone into gritty King's Cross hoping for distraction, but she is disappointed: Marie had thought that walk through Cross would testing odyssey, but street was surprisingly bright and short (17). Marie's desire to undertake transformative journey is highlighted by use of word odyssey. But although seeks change, she does not know how to precipitate her becoming-defined by Luce Irigaray as the fullness of all that one could be (Sexes 73). Indeed, as I will argue, Marie's becoming emulates Irigaray's in its evolution from unitary and imposed identity as mother (and former wife) to nonunitary constitution of many others, achieved via an autonomous process of layering and embellishment rather than reductionism or distillation. McGregor's narrative evidences preference for Irigaray's re-essentialism as conduit to feminist becoming via embodiment over Gilles Deleuze's de-essentialism-a theoretical distinction observed by Rosi Braidotti (52). And yet text, relentlessly contradictory in its resistance to simplistic linear trajectories reaching for transformation, accommodates both modes of becoming at different points in narration.While in The Cross, spots tattoo parlor, and in defiant acknowledgment of gulf between her affluent status and this other world, she enters, asking herself, why shouldn't she allowed into places like this? (McGregor, Indelible 19). Emerging with tattoo of cliched red rose on her shoulder, rejoices, interpreting this radical act of border crossing-and for woman from her milieu it is radical-as first step toward becoming after decades of servitude, confinement, and obedience within prescribed roles of mother and wife. Marie's determination to transcend these restrictive labels of femininity, both of which connote self-sacrifice and suppression of desire, echoes Irigaray's call for women to break free from the social roles imposed on [them] as commodities of patriarchal exchange-namely, mother, virgin, prostitute (Irigaray, Women 186)-all of which deny women any right to her own pleasure (187). language that McGregor employs to describe transformative power of Marie's initial tattoo is that of colonization, reclamation, and autonomy: Yet, now, finally, here was mark she had chosen. She had planted her own flag in her own country (McGregor, Indelible 21). Moreover, this catalytic shift toward Marie's metamorphosis from mother (and former wife) to other is enacted on and via body-a narrative choice that iterates McGregor's work as performance artist concerned with body, while invoking materiality of female body as site on and through which feminist might performed. …

Flaubert's Alibi: The Impossible Ensemble ofMadame Bovary

The infamous fiacre passage of Flaubert's Madame Bovary, though suppressed by the editors of the Revue de Paris in the initial publication, nevertheless becomes crucial to the 1857 obscenity trial brought against the author and publishers. The absent passage circulates within the arguments of both the imperial prosecution and the defense, which thereby misrecognize and register the novel's mode of insinuating scandal without representing it. In the process, the trial's own discourse becomes entangled in that paraliptical mode, with the result that the novel and the trial form an inextricable aesthetic ensemble. This essay claims that this strange relationship has quietly shaped central categories of subsequent literary criticism. By reading the novel in the trial and the trial in the novel, the essay suggests a more nuanced sense of Flaubertian style—but also of the relationships between the literary and the institutions of the sociohistorical world.

A Bakhtinian Perspective on the Nineteenth Century Chronotope: Charlotte Brontë's Jane Eyre as a Chronotopic Counterpart for Gustave Flaubert's Madame Bovary

This paper revisits Jane Eyre and Madame Bovary in the light of Mikhail Bakhtin's theory of literary chronotope, highlighting the importance of time and space; it aims to suggest that that despite living in different times and spaces, both protagonists eventually approximate similar catastrophic ends as manifest in Emma’s literal and Jane’s symbolic deaths. Jane seems to be a historical counterpart for the French Madame Bovary – as both women seem to share a highly romanticized view of the world, unconsciously craving prosperity, passion, and high society. On the other hand, however, both women are oddities in their respective historical contexts, struggling for an idealized life beyond the norms of the nineteenth-century society. This paper suggests that despite living in different times and spaces, both character dynamics tend to eventually approximate similar catastrophic endpoints.

Eleanor Marx: a life

Unrestrained by convention, lionhearted and free, Eleanor Marx (1855-98) was an exceptional woman. Hers was the first English translation of Flaubert's Madame Bovary. She pioneered the theater of Henrik Ibsen. She was the first woman to lead the British dock workers' and gas workers' trade unions. For years she worked tirelessly for her father, Karl Marx, as personal secretary and researcher. Later, she edited many of his key political works and laid the foundations for his biography. But foremost among her achievements was her pioneering feminism. For her, gender equality was a necessary precondition for a just society, and she crusaded for this in Britain and on a celebrated tour across America in 1886. Drawing strength from her family and their wide circle, including Friedrich Engels and Wilhelm Liebknecht, Eleanor Marx set out into the world to make a difference. Her favorite motto: Go ahead! With her closest friends--among them Olive Schreiner, Havelock Ellis, George Bernard Shaw, Will Thorne, and William Morris--she was at the epicenter of British socialism. She was also the only Marx to claim her Jewishness. But her life contained a deep sadness: She loved a faithless and dishonest man, the academic, actor, and would-be playwright Edward Aveling. Yet despite the unhappiness he brought her, Eleanor Marx never wavered in her political life, ceaselessly campaigning and organizing until her untimely end. Rachel Holmes has written a dazzling and original portrait of one of the most remarkable women of the nineteenth century.

Personality and Individual Differences: Literature in Psychology- Psychology in Literature

Literature, which intertwines within such fields as history, philosophy, sociology, psychology and so on, is a discipline wherein language is used as a medium of expression so as to interpret man, existence and culture. The objective of this paper is to discuss literature in terms of its interdisciplinary structure, psychology, in particular, considering man and existence, personality and individual differences which have always been studied by writers, philosophers, artists, psychologists and psychiatrists. Several complex notions, unfathomable personalities and ambiguous motives have been associated with characters in literary genres: For example the term Bovarism is explained by means of Flaubert's Madame Bovary. Similar examples in literary works could be multiplied. Man and existence have been fundamental themes in literature, which has existed even before psychology. Works of literature and art enable individuals to be aware of their personalities and individual differences and to question life and existence, the main data in the field of psychology as well. It is overtly seen that there is a very strong correlation between literature and psychology since both of them deal with human beings and their reactions, miseries, desires, and their individual and social concerns by means of different concepts, methods, and approaches.

Travel's Others: Realism, Location, Dislocation

This article explores the realist novel's reliance on the discourse of travel developed in the early decades of the nineteenth century, the discourse that authorized self-styled travelers over against the vulgar and proliferating tourists. Taking Gustave Flaubert's Madame Bovary as a case study, the article shows how the novel structures itself around the sets of oppositions travel discourse employed, most notably that of stasis and mobility, or dwelling and traveling. The fictional narrator strives for authority over against a set of characters differently figured as fixed in place or in entrenched mentalities, and Flaubert's masterful use of free indirect style becomes the narrator's means of establishing that authority through the demonstration of unparalleled mental mobility the technique affords.

Never Great, Only Popular: Mary Elizabeth Braddon’s The Doctor’s Wife and The Literary Marketplace

From the time of its initial publication, Mary Elizabeth Braddon's 1864 novel The Doctor's Wife (1) has most frequently been read in relation to Gustave Flaubert's Madame Bovary (1856), the plot of which Braddon borrowed for her first serious foray into realist fiction. In terms of style, character, and, for the most part, plot, The Doctor's Wife presents an ostensible departure from the sensation fiction on which Braddon had built her reputation, yet as the Pall Mall Gazette recognized in an 1865 review, the tie to Madame Bovary rather cleverly positioned the novel for success in the literary marketplace: [A] good stroke of business may sometimes be done by taking a clever but improper French novel, omitting the improper incidents or transforming them when they are not hopelessly bad into proper ones, and giving the residuum to the world as an entirely original story. The great advantage of this literary and commercial operation ... lies in the fact that in England the improper original, whatever scandal may say to the contrary, is tolerably sure not to have been read by ladies; and they are the great supporters of novel literature. (4) In his analysis of the commercially-driven motives he assumes were behind Braddon's choice to adapt Flaubert's novel, this reviewer conflates Braddon with Sigismund Smith, her sensation novelist alter-ego within The Doctor's Wife; to Smith, the reviewer attributes the ingenious plan to make money by transforming Flaubert's story for an English audience, while to Braddon, he assigns blame for presenting a corrupting influence to impressionable young ladies through a novel that is superficially 'proper' but altogether unsound (4). The business of novel-writing, the destructive models of behavior fiction provided for women readers, and Braddon's self-representation through Smith are indeed central concerns in The Doctor's Wife, yet these themes work together to quite different ends than the Pall Mall Gazette's reviewer supposes. Braddon's novel certainly resembles Madame Bovary in its use of a romantic heroine who marries a boring country doctor and then engages in an extramarital relationship (albeit an innocent one in Braddon's version of the story) to experience some of the romance she desires in her life, but the two novels are quite different beyond this shared plotline. Reading novels initially feeds Emma Bovary's dreams of a luxurious lifestyle, yet Flaubert shows little interest in chronicling the details of what Emma reads. (2) The Doctor's Wife, on the other hand, is concerned with the specifics of the heroine's reading as well as the business of novel-writing. Unlike Flaubert, Braddon includes references to specific character names and plot points when describing Isabel Gilbert's reading, and she could safely assume that her readers would understand these allusions because she cites only famous, highly-respected authors--Byron, Shelley, Scott, Dickens, Thackeray, Bulwer-Lytton, Tennyson, and Charlotte Bronte are featured most prominently. Braddon moves even farther away from Madame Bovary through her inclusion of Sigismund Smith, who allows her to engage quite pointedly in the heated debate over sensation fiction at the center of which she found herself because of her wildly successful novels. Braddon's contemporaries were confused by her overt references to sensation fiction in The Doctor's Wife. The Bristol Mercury (in a favorable 1864 review) misinterprets Braddon's characterization of Smith as well as the types of works her heroine reads: To show how much she despises the fame of a mere 'sensation' writer, as against the reputation of an author who regards true artistic development, she introduces, as one of the characters of the book before us, Sigismund Smith, a shining light of that 'raw-head and blood-bones' kind of literature which figures in numerous penny publications, and no small pains are taken to hold up the class he represents to ridicule. …

‘Trust Not Appearances’: Political and Personal Betrayal in James Joyce's Ulysses

Literary historians such as Tony Tanner have speculated that adultery, with its assault upon the patriarchal institution of marriage and its potential for family drama, is the principal theme of the bourgeois novel that evolves in Europe during the nineteenth century. Joyce's famous work was heir to the great nineteenth-century novel of adultery – a tradition which includes the likes of Tolstoy's Anna Karenina (1873–77), Flaubert's Madame Bovary (1857), and Zola's Thérèse Raquin (1867). An act of marital betrayal lies at the heart of the story, an act which Joyce explores in all its emotional and moral complexity. Other critics (such as David Lloyd) have argued that his condition as an Irish writer obliged Joyce to develop an ‘adulterated’ form of writing – one which refused the precepts of patriarchal authorship, and in so doing contributed significantly to the emergence of the cultural sensibility known as Modernism. This article addresses Joyce's imagination of personal and political betrayal as explored in both the thematic and formal aspects of Ulysses.

Motherhood and Sexuality in Flaubert's Madame Bovary

In her article "Motherhood and Sexuality in Flaubert's Madame Bovary" Amanda Kane Rooks examines the narration of relationships in Gustave Flaubert's Madame Bovary between Emma's role as mother and her sexuality. Rooks argues that this narrative relationship provides a space where the association between the oppressions of motherhood and women's sexuality can be better understood. Further, Rooks posits that Flaubert's narrative condemns the nineteenth-century Western predilection for constructing a relationship of mutual exclusivity between motherhood and sexuality, while it exposes socially sanctioned performances of motherhood and sexuality as allied, perverse manifestations of the same repressive ideological system.

Courtly Seductions, Modern Subjections: Troubadour Literature and the Medieval Construction of the Modern World

Courtly Seductions, Modern Subjections: Troubadour Literature and the Medieval Construction of the Modern World