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A spirited exchange 1760-1960
Editor: Avril Horner

The essays in this book demonstrate the importance of translation and European writing in the development of the Gothic novel. Cross-cultural exchanges occurred with the translation of novels by English writers into French. The book first situates works by British writers and American writers within a European context and legacy. Next, it offers readings of less-known works by Gothic authors. The book introduces the reader to a range of neglected, albeit influential, European Gothic texts which originated in Russian, Spanish, French and German. It argues that the level of ideological manipulation, which occurred as texts were translated, mistranslated, appropriated, misappropriated, altered and adapted from one language to another, was so considerable and so systematic that generic mutations were occasioned. The book suggests that Matthew Lewis's The Monk offers a few models of femininity, all deriving from and intended to disrupt, previous literary representations. It focuses on the automatic and the systematic in Charles Maturin's work in relation to Denis Diderot's contemporary philosophical conceptualizations of consciousness and identity. Gothic treacheries are dealt with through Samuel Coleridge's analysis of misappropriation of Friedrich Schiller's Die Rauber. The book also discusses the representations of ritual violence, as sanctioned by the Catholic Church, in English and Spanish pictorial and literary texts between 1796 and 1834. It talks about the Arabesque narrative technique of embedding tales within tales to create a maze in which even the storyteller becomes lost, reflecting the Eastern notion that the created is more important than the creator.

literature since 1860) – Louis Malleret noted that these works were virtually unknown in France, and their existence barely guessed at in some parts of colonial society. Background French fiction on Indo-China is mainly about the European experience of Asia. Deep insights into the indigenous society are rare. Intentionally or not, the typical author portrays the position of the alien

in Asia in Western fiction
Eliza Haywood’s Love in Excess

4  Fashioning fictional selves from French sources: Eliza Haywood’s Love in Excess Orla Smyth Even a cursory look at the English fiction market of the last three decades of the seventeenth century and the early decades of the eighteenth immediately makes plain the important place therein of French fiction. French nouvelles galantes, nouvelles historiques and histoires were promptly translated into English and the number of those translations, as well as the promptitude with which so many of the titles were translated, suggests that they were very avidly read.1

in Writing and constructing the self in Great Britain in the long eighteenth century
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Mapping French memories of the Second World War

 representations  of  the  Second  World  War  in  two  key  respects.  Firstly,  his  chronological model of memory evolution is not one that corresponds well to patterns of production in Frenchfiction. As a number of critics have noted,  French fictional representations of the war years, specifically the novel,  do not necessarily follow a temporal phasing of silence, repression, return and obsession or the shift from memories of glorious resistance to  the darker secrets of collaboration and Jewish persecution.29 In the case  of Frenchfiction, a more fluid model is required

in French crime fiction and the Second World War
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that Leroux recuperates earlier French transformations of the Anglo-American Gothic ‘into dark psychological fantasies or descriptive devices within bourgeois hyper-realism’ (p. 213). My own essay, ‘”A detour of filthiness”: French fiction and Djuna Barnes’s Nightwood’, continues Hogle’s examination of the Anglo-American/French dynamic within the Gothic and maintains his focus on Paris. I argue here

in European Gothic
Open Access (free)

in this volume, the tension between experiment and experience and the self-implication that is involved is a risky business for contemporary (women) writers and artists. In French Fiction in the Mitterand Years, in the wake of the dominance of the nouveau roman in French literature during the s and s, and in the context of debates about the future of ‘the novel’, Elizabeth Fallaize and Colin Davis identify three ‘returns’: ‘the return to history, the return of the subject and the return of storytelling’ (p. ). In the texts discussed in this volume, the

in Women’s writing in contemporary France
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confirm the modest appeal of the director’s concerns: only Ma Nuit chez Maud topped one million tickets sold in France, while most of his pictures have hovered in the 200,000–400,000 range during their year of release, pushing the half million mark thanks to frequent revivals. 2 In France and abroad, critics have largely neglected the extent to which Rohmer’s quintessentially French fictions, seductive

in Eric Rohmer
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Theory of the novel and the eccentric novel’s early play with theory

Postscript: theory of the novel and the eccentric novel’s early play with theory entric novel’s early play with theory Theorists such as Felman borrow the spatialized discourse of eccentricity to describe ex-centric developments in recent French fiction, as do Deleuze and Guattari in describing a modern shift from a ‘root-book’ model to a fragmented ‘radicle-system or fascicular’ model.1 But Russian and Brazilian nineteenth-century literature and early twentieth-century cultural theory anticipate and complicate Deleuze and Guattari’s ideas of modernist fascicular

in EccentriCities
October 17, 1961, a case in point

a particular form, both new and perhaps different from the practice of mainstream French fiction, a trend confirmed with the 1990s Arabo-French fiction inherited from the early romans beurs. Extending over the entire period of postcolonial writing in France, postmemorial writing is based on Marianne Hirsch’s umbrella term of postmemory. It refers to the specific ways in which bits of colonial history are presented in the novels. Therefore, postmemorial writing also refers to the techniques that mark the inscription of the memory of the past in present postcolonial

in Reimagining North African Immigration
Challenging the epic in French crime fiction of the 1940s and 1950s

 narratives in the late 1940s. They attributed this to  two  factors:  the  reluctance  of  returnees  themselves  to  tell  their  stories  and  the  lack  of  receptivity  to  such  narratives  of  suffering;  people  were  already fatigued by their own experiences of wartime hardships at home  and scarcely able to process the stories of others.16 Yet, war narratives of  deportation  are  evident,  if  fleeting,  in  Frenchfiction  and  film  of  these  • 25 • French crime fiction and the Second World War years. Simone de Beauvoir’s 1945 novel, Le Sang des autres

in French crime fiction and the Second World War