120 research outputs found
Nimroud ou Orphée : Joséphin Péladan et la société décadente
No full textBesnard-Coursodon Micheline. Nimroud ou Orphée : Joséphin Péladan et la société décadente. In: Romantisme, 1983, n°42. Décadence. pp. 119-136
Une « chaise basse en crêpe de Chine » : sommeils maupassantiens
No full textBesnard-Coursodon Micheline. Une « chaise basse en crêpe de Chine » : sommeils maupassantiens. In: Romantisme, 1982, n°37. Différences. pp. 41-52
D'un innommable l'autre : Féerie pour une autrefois
No full textBesnard Micheline. D'un innommable l'autre : Féerie pour une autrefois. In: Littérature, n°60, 1985. Corps empêché, corps énoncé. pp. 19-30
Monsieur Vénus et Madame Adonis : sexe et discours
No full textBesnard-Coursodon Micheline. Monsieur Vénus et Madame Adonis : sexe et discours. In: Littérature, n°54, 1984. Des noms et des corps. pp. 121-127
Le masque de la mort verte : Jean Lorrain et l'abject
No full textBesnard Micheline. Le masque de la mort verte : Jean Lorrain et l'abject. In: Romantisme, 1993, n°79. Masques. pp. 53-72
Diderot et Danton vus par le 19e siècle : problèmes d'une filiation
No full textMicheline Besnard-Coursodon : The problem of a filiation : Diderot and Danton as seen by the nineteenth century.
Throughout the second half of the 19th Century, Comte and his followers stressed the influence of the Encyclopédists on the French Revolution, and, more particularly, the close relationship between Diderot's personality and thought and that of Danton. While the parallel was almost universally accepted, judgements of the two men varied widely, ranging from the Positivists' unconditional admiration (which was eventually shared by materialists, free-thinkers and Republicans) to violent indictments of their alleged immorality by right-wingers and the Academic Establishment. Thus, the reassessment of Diderot's and Danton's reputations became a familiar bone of contention between political adversaires in the socio-ideological clashes that marked the early decades of the Third Republic.Besnard-Coursodon Micheline. Diderot et Danton vus par le 19e siècle : problèmes d'une filiation. In: Dix-huitième Siècle, n°10, 1978. Qu'est-ce que les Lumières ? pp. 329-344
Simples dérives (Sur l'eau)
No full textMaupassant's travel diary, miming the prit ries of a cruise's log-hook keeps the narrative adrift on a fantasy of fusion, itself encouraged by the movement — or the imaginary — of the sea. But Maupassant is careful to frame the story, an initial comment announces that nothing of interest can be derived from the diary, while a conclusion observes that nothing but vague daydreams have emerged. Thus the author both complies with his obligation to the reader and the editor by judging the narrator, and allows himself — and the reader ? — to drift along at the diary's invitation.Besnard Micheline. Simples dérives (Sur l'eau). In: Littérature, n°94, 1994. Réalismes. pp. 53-67
Beat Contenders (Micheline, Sanders, Kupferberg)
No full textIn his article Beat Contenders (Micheline, Sanders, Kupferberg) A. Robert Lee asks if we are in danger of too fixed a Beat canonization. That is, do the Usual Suspects—Ginsberg, Kerouac, and Burroughs, with Corso, Ferlinghetti, Cassady, and Snyder in the frame—assume too presiding a role? There is, for sure, rightly, increased recognition of Beat women writers and attention has been given to the Afro-Beat circuit and, indeed, to a wider multicultural roster to include Latino/a and Asian American authorship. Beat\u27s international reach has won its place, from the United Kingdom and Continental Europe to Japan and Australia. Even so, other voices invite their due. Lee gives context and a brief exploration of three voices, each Beat to the one extent or another although whose styling remains insistently their own: Jack Micheline (self-termed street poet for whose River of Red Wine Kerouac wrote a preface), Ed Sanders (classicist, musician, and author of Tales of Beatnik Glory), and Tuli Kupferberg (poet-musician, anarchist, and co-founder of the rock-satirical group The Fugs)
Symptôme du goût de l’idéal : les vêtements d’À Rebours
No full textMême si des Esseintes se livre, comme l’a relevé Micheline Besnard-Cour- sodon, à ce qu’on pourrait définir comme «le fantasme de l’habillage» (1978: 53), qui frappe chaque sphère de son univers où «tout n’est que vêture, tapisserie, reliure, couverture» (Ibidem), À rebours accorde un espace limité aux vêtements. L’isolement dans lequel vit des Esseintes fait de manière qu’un nombre extrêmement exigu de figures humaines – de représentants de la société, du monde que des Esseintes, à partir d’..
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