bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Autonomy of Fiction
Authors: Thompson N S 
Published: October 2023

Abstract
In the previous chapter we saw how the two companies engage in a lively debate on the function of literature in response to the narratives they relate, using the interpretative binary groups ‘diletto—utile’ and ‘sentence—solaas’. This discussion is complicated by considerations of narratorial ambiguity and intention with regard to these functional claims, which is fostered by a dramatic interplay of appearance and reality in the text itself. Thus a narrator’s intention to be serious or simply to jest may be complicated by the text’s potential for another independent response, which is the subject of the present chapter. Nevertheless, that literature should always maintain a strict awareness of its audience is acknowledged by both groups of narrators and no matter how personal the differences may become between individuals, the discussion is still largely objective in that the narrators are defending a general point of view of fiction, rather than particular narratives of their own creation.
The Comic Tales: Fabliaux or Novelle?
Authors: Thompson N S 
Published: October 2023

Abstract
As I have suggested in the opening chapter, the ‘problem’ of the state of the world (the aporia) opens a debate about humanity and its deceptions under the guise of telling fiction; in Chapters 3 and 4 we have seen how this debate has been compounded by a discussion about the nature of fiction itself. The last three chapters will now consider the phainomena of the narratives, concentrating mainly on those which have been taken to be analogues, but suggesting new material and connections. In this particular chapter, the focus will be on the popular, comic narrative and I will consider the problem of defining such tales. In the ostensibly realistic portrayal of the world in the Decameron and the Canterbury Tales, things and people are not always what they seem. In literary terms as well, there is a fracturing of surface expectations and a blurring of the usual adjudication of praise and blame. Indeed, it is precisely by shifting the moral slant away from such simple categories and moving towards the complexities of real life that fiction does achieve the independent status desired by both authors. In this it is also helped by the purposeful confusion and variety of narratives.
The Romances: Noble and Ignoble Love
Authors: Thompson N S 
Published: October 2023

Abstract
In the last chapter, imbalance in age and social terms was seen to be the cause of a variety of extra-marital adventures. If comic disruption was analytic, in that it portrayed social and moral imbalances in marriage, the flail of judgement on the culprits of transgression was lightly applied, if at all. Furthermore, if the categories of praise and blame were neither strictly adhered to, nor even observed, the generic categories were similarly subverted in their reversal of normal expectations.
Conclusion
Authors: Thompson N S 
Published: October 2023

Abstract
I have not set out deliberately to prove anything in this study other than to show that there is a critical method beyond the search for verbal parallels by which a case can be made for seeing closer connections between the Decameron and the Canterbury Tales than have hitherto been proposed. If the evidence for influence is not seen to be conclusive in a positivist sense, I doubt that this ever could be achieved. In the end I hope that the readings given here will be taken as evidence of Chaucer’s knowledge of the Decameron—given that he exhibits many of its techniques—and, if nothing else, will show that there are stronger connections than have previously been thought.
Satirical Verse
Authors: Edwards Huw M 
Published: October 2023

Abstract
In view of the, albeit prejudiced, evidence of the Bardic Grammar and of the bards themselves, there can be little doubt that the Cler were notorious for their satire and vituperative verse. It must not be thought that the repertoires of all these minstrels were necessarily confined to this particular type of entertainment, but satirical verse is clearly one of the more likely areas of sub-literary influence on those poets who were active in the early part of the fourteenth century, and on their immediate successors-Dafydd ap Gwilym and his contemporaries. We are fortunate to have in the Red Book of Hergest, alongside the familiar compositions of panegyric and piety, a substantial collection of satirical poetry which represents an important aspect of bardic activity in this period. Most of these pieces are hardly to be counted among the century’s most inspired or artistically commendable productions, and they are certainly not the most edifying. But as their general technical accomplishment indicates, they are the work of trained poets, many, if not all, of whom were also adept at composing traditional eulogy in the awdl metres. They have, it will be seen, much in common with the early cywyddau, and they not only belong in part to a crucial period of transition for the bardic hierarchy, but afford a valuable insight into the world of the Cler themselves, who are often the subjects of the satire. It is, there fore, somewhat surprising that this corpus, which reflects the other, equally valid side of the bardic coin, should until recently have been largely neglected by editors and critics alike.
Figural Sources and Models
Authors: Tooke Adrianne 
Published: October 2023

Abstract
Pictorial art is a major source of inspiration for Flaubert, as much as written sources, if not more so. Flaubert draws heavily on pictorial art as a source and as a model. He then subsequently submits it to a process of elision, narrativization, or rationalization, never giving it its head.
A great deal of work has been done on this aspect of Flaubert’s writ­ing, so I will confine myself to a few points. Flaubert makes use of pictorial sources in different ways. They often cut in at points where he feels his imagination is flagging. The point has often been made that Flaubert frequently uses figural sources for descriptions which appear from the text to be entirely his own invention.
The Story of her life: Marguerite Duras’s L’Amant (1984)
Authors: Davis Colin , Fallaize Elizabeth 
Published: October 2023

Abstract
Why, in the mid-1980s, did a 70-year-old woman writer with a reputation for difficult, avant-garde texts, read by left-wing intellectuals, top the French best-seller lists and become an international star? In a variety of forms this question was posed repeatedly as sales of Marguerite Duras’s L’Amant climbed up towards the two million mark and her text carried off the Goncourt prize, designed to reward young writers of promise. In fact this was far from being the first time that Duras had caught the mood of her times: Moderato Cantabile (1958), a novel centring on a violent crime passionnel and jettisoning many traditional realist conventions had ensured her a place in the nouveau roman stable, the formalist literary movement spearheaded by Alain Robbe-Grillet and Nathalie Sarraute which dominated (some would say strangled) the French novel in the late 1950s and 1960s. Though she took a relatively back-seat role in the grouping, she succeeded in establishing a literary reputation in this period such that her apparently radical espousal of the feminist cause in the early and mid-1970s was met with interest, and her international reputation began to grow rapidly. However, her mantle as a writer of the ‘feminine’, largely cast upon her by others, cut little ice in France once the women’s movement began to lose its public impetus, and indeed she began to distance herself from feminism before the 1970s were over, though she remained a well-known media figure.
Recalling the past: Jorge Semprun’s La Montagne blanche (1986)
Authors: Davis Colin , Fallaize Elizabeth 
Published: October 2023

Abstract
As we saw in the previous chapter, the buried trauma around which the events of Pennac’s Au bonheur des ogres turn out to revolve originates in the Occupation. Pennac’s novel is thus picking up on one of the major problems of writing and film-making in the 1970s and 1980s: the painful recovery of a forgotten past, in particular the semi-occluded memory of the Second World War. Jorge Semprun’s La Montagne blanche takes this problem as its central, obsessive theme, describing the effects of recovered memory on a survivor of Buchenwald. Forty years after his deportation, the protagonist of the novel finds that his repressed past erupts into the present and leads to his suicide.
Playing with the postmodern: Jean Echenoz’s Lac (1989)
Authors: Davis Colin , Fallaize Elizabeth 
Published: October 2023

Abstract
The fictional world of Lac is immediately recognizable to its readers on two interconnected levels. On the one hand it displays the objects and signs, the fashions and spectacles of contemporary consumer society: characters wear fake designer sunglasses, watch game shows on television, listen to popular music on their walkmans, and shop in bland commercial centres. On the other hand, the characters are also the participants in a spy novel, and enact the rituals of surveillance and secret weapons, double-crossingand amorous intrigues familiar from the James Bond model. Yet the reader’s sense of familiarity is always at one remove: the text maintains a humorous and critical distance from both of these axes, signalling itself as a malicious mimic of the originals it imitates and revealing a sensibility which has positioned Echenoz as a postmodern cultural spectator. One of the purposes of this chapter will be to explore what such a position might entail, as well as to examine in more detail the way in which Echenoz exploits the thriller genre and evokes the scenes of contemporary urban life whilst revelling in humour and in the sheer possibilities of play in language.
Friendship and betrayal: Herve Guibert’s A L’ami qui ne m’a pas sauve la vie (1990)
Authors: Davis Colin , Fallaize Elizabeth 
Published: October 2023

Abstract
Hervé Guibert died of anAIDS-related illness combined with the effects of a suicide attempt in a Paris hospital in December 1991. Although Guibert had won critical acclaim for a series of fictional and other texts published throughoutthe 1980s, it was A l’amiqui ne m’apassauvela vie (1990), an account of the eight-year period of his life in which he had been HIV positive, which propelled him into the forefront of public consciousness. Like Duras before him, he made a celebrated appearance on ‘Apostrophes’, on 16 March 1990, alongside fellow AIDS sufferers historian Jean-Paul Aron and novelist Guy Hocquenghem, which produced soaring sales of his book and media star status.
Identity and Alterity in Indochine (Wargnier, I992)
Authors: Rollet Brigitte 
Published: October 2023

Abstract
France has always been reluctant to confront its own past; ‘amnesia’ is a word frequently used when referring to colonization and decolonization, even in recent historical work such as Les Lieux de m émoire edited by Pierre Nora. As far as the wars which led to decolonization are concerned, the silence is even greater. Since both the Inda-Chinese and Algerian wars were ‘lost’ by France, the painful memories of such ‘events’ (as the Algerian war has long been called) are more often than not suppressed in the national memory. Indirect or direct recollection of this aspect of recent French history has often led to controversy and to vivid reactions whichever side one stands on.I
Gender and Sexuality in Les Nuits fauves (Collard, I992)
Authors: Tarr Carrie 
Published: October 2023

Abstract
LES NU ITS fauves was an important film, not only for its controversial representation of sexuality and AIDS, but also for the way it highlighted differences in cultural criticism on either side of the Channel. In France, the film won four of the 1993 Cesars: Best Film, Best First Film, Best Female Newcomer (Romane Bohringer), and Best Editing (Lise Beaulieu). It was acclaimed for its energetic and eclectic cinematic style, its daring treatment of a love story centred on a bisexual character with AIDS, its facilitation of public discussion about AIDS and safe sex, and its revelation of a new talent in Romane Bohringer. In Britain, however, the film was criticized for its failure to emphasize the importance of safe sex in the prevention of HIV/AIDS;
Zapping without Mercy: Merci la vie (Blier, I99I)
Authors: King Russell 
Published: October 2023

Abstract
Blier’S easily recognized and oft-repeated ‘style’ of violence, surprise, and provocation is aggressively announced in the opening scenes of Merci la vie, in his preferred manner: ‘I like opening sentences in books; films that attack. It’s my aggressive nature: I need to grab people by the throat; I can’t begin gently’ (Toubiana 1991: 22). Merci la vie begins in this way, with a short scene, before the credits appear, showing a young woman (Joelle/Anouk Grinberg), dressed as a bride, being brutally kicked and punched by a young man who then drives away in a sports car. The spectator is cued to accepting this establishing scene as one that somehow begins the narrative and introduces thematic motifs.
Introduction
Authors: Cowling David 
Published: October 2023

Abstract
The anonymous author of the Conqueste du Chasteau d’Amours conquestee par lumilit é du Beau Doulx:, writing at the start of the sixteenth century, is acutely conscious of belonging to a tradition of architectural writing that can be traced back, without much difficulty, to the description of the New Jerusalem in the Book of Revelation. The lavish, fantastic building materials are a constant of this tradition, as is the tenuous relationship ¼1th con temporary architectural practice. ‘l’he modern reader is perhaps tempted to cast aside these decorative encrustations, to ignore the building that they adorn, and to concentrate on the narrative whose progress they so irritatingly delay. Here, for once, the author of the description seems to share this irritation, and rapidly resumes the narrative.
‘Ferme Estoit Sans Povoir Trebucher’: The State As A Building
Authors: Cowling David 
Published: October 2023

Abstract
The anonymous author of the early sixteenth-century Livre de la dédicace du temple Saint Françoys, celebrating through the mouth piece of the personified Desir the unshakeable solidity of the French royal dynasty, chooses to describe a perfect architectural form that provokes a reaction of admiration and bewilderment among those that look upon it. Given the popularity of metaphors of architecture in other contemporary domains, it is tempting to view this use of the image of the building as a safe, if uninspired, expression of political orthodoxy.
Introduction
Authors: Haines Brigid , Littler Margaret 
Published: October 2023

Abstract
The six literary works that are the focus of this study attempt nothing less than to change the subject of German literature. ‘Changing the subject’ is deliberately ambiguous. On the one hand it indicates the differing themes and concerns of works authored recently by women in a literary tradition where most established writers have been men. But also, and more importantly, it denotes the challenge contained in these works and others to the universalist notions of the subject on which that literature has traditionally been based, which, crudely expressed, assumed a subject that was unified, stable, and normatively male. ‘Subject’ and ‘subjectivity’, terms deriving from psychoanalysis, philosophy, and critical theory, and explained in more detail below (as well as briefly in the Glossary), are thus central to this study, which of necessity takes an explicitly, though we hope not heavy-handedly, theoretical approach to the analysis of literary texts.
Introduction
Authors: Martin-Marquez Susan 
Published: October 2023

Abstract
ANY discussion of women film-makers and feminist cinema must inevitably contend with a post-structuralist theoretical dilemma: in an era ushered in by the proclamation of the death of the author and the dispersal of the subject, how is it possible to theorize a female agency within the cinematographic realm? Feminist critics working in both literature and film have responded to questions of authorship and agency in a number of different ways. The demise of the author, as announced first by Roland Barthes and then by Michel Foucault, has in fact been celebrated by some feminists.
Imaging Agency: Pilar Miró
Authors: Martin-Marquez Susan 
Published: October 2023

Abstract
IN an interview conducted early in 1983, Ana Mariscal was asked her opinion concerning the recent appointment of Pilar Miró as Director-General of Cinema. Expressing her support, Mariscal indicated that ‘yo, al menos, confío en ella’ (‘I, at least, trust in her’); when pressed to indicate why she backed her younger colleague, Mariscal did not hesitate to cite Miró’s gender as a key contributing factor (P.E.).
Encountering the Other
Authors: Eskin Michael 
Published: October 2023

Abstract
Celan’s poetological response to Mandel’shtam points to a more originary response to the Russian poet on Celan’s part-a response which must have transpired, minimally, as some kind of interpretative reception, and this means: as translation. This translational response underlies and informs Celan’s more complex, less immediate poetic and poetological rejoinders to Mandel’shtam, which manifest themselves in Celan’s extant theoretical texts and poetry-most significantly, in his Mandel’shtam-translations and the cycle Die Niemandsrose. While Celan need not have recorded his encounter with Mandel’shtam, he could not have possibly avoided translating the latter’s interpellation, that is, being constituted as his interlocutor in and through translation.
Victoria Abril: The Sex Which Is Not One
Authors: Evans Peter William 
Published: October 2023

Abstract
Part of the difficulty of applying Richard Dyer’s seminal work (1979) in this area to analysis of Victoria Abril arises from her appearance in different categories of film, some of which—especially early on in her career— could loosely be termed popular, with the majority probably best classified as art or auteurist films. I am not interested here in theorizing the disparities or resemblances between popular and art/auteurist film, merely in arguing that while Dyer’s focus on the specific features of individual stars—voice, gesture, looks, role, etc.—is perfectly suited to analysis of European stars who move between the popular and the auteurist, his notion of Hollywood stars as constructs designed to resolve ideological contradiction is in this context more problematic, since in many of the films in which Victoria Abril appears (some of Aranda’s, all of Almodóvar’s), the exposure, not the resolution, of contradiction is the text’s primary ideological justification.
Two Callings
Authors: Smith G S 
Published: October 2023

Abstract
On the reverse of the certificate Mirsky received after being examined in 1903 is the following annotation: ‘Was accepted into the iimnaziya division of the Lycee into the VI form by entrance examination and departed from same according to the wishes of the parents, concerning which a special certificate was issued on 31 May 1906.’ The lyc ée concerned was the Imperial Lyc ée in Moscow, known as the ‘Katkov lyc ée’; the youth attended it for the academic years 1905-7.
Writing Russian
Authors: Smith G S 
Published: October 2023

Abstract
A good number of the front-rank Russian writers and critics active in 1917 emigrated rather than stay on in the Soviet state. There was something of a generational and genre split; on the whole, the older prose writers left, while the younger poets and critics stayed. Among Mirsky’s contemporaries who had made a reputation before 1917, Akhmatova, Mandelshtam, and Mayakovsky remained in Russia, for very different reasons. Tsvetaeva left Russia to join her husband in Czechoslovakia in 1922. Pasternak, Viktor Shklovsky, and Count A. N. Tolstoy —the last-named an aristocrat of fairly similar background to Mirsky —went back to Russia in 1923 after spending some time in Berlin.
Writing Politics
Authors: Smith G S 
Published: October 2023

Abstract
The final phase of Mirsky’s life in emigration began with an event that explicitly raised the idea of his going back to Russia: during the Christmas vacation of 1927-8 he went with Suvchinsky to visit Maksim Gorky in Sorrento. Many years later, Suvchinsky told Veronique Lossky: ‘One day Mirsky asked me to go with him, and we spent Christmas at Gorky’s.... We were followed the whole time. Gorky tried to persuade us to go to Russia, saying “I’ll fix you up”, and he convinced Mirsky and me.’1 Suvchinsky told me: ‘I had known Gorky back in Petersburg-Petrograd and met him at Shalyapin’s. D.P. didn’t know him and asked me to introduce him. I exchanged letters with Gorky and we got visas through the poet Ungaretti, which at that time was not easy.’
The Writing of the Beyond
Authors: Crowley Martin 
Published: October 2023

Abstract
According to one version, the story of Duras’s career begins as follows. Robert Antelme, the manuscript of Les Impudents under his arm, trails round various of his influential friends in search of a publisher. ‘.Jevous pr éviens’, he tells them, ‘si vous ne lui &lt;lites pas qu’elle est un ecrivain, elle se tuera.’
Writing and Historical Trauma
Authors: Crowley Martin 
Published: October 2023

Abstract
‘La reine des Juifs’, ‘la femme reine de la Samarie’, is captured by a Roman, ‘celui qui avait d étruit le temple de Jerusalem’ (NN, 85). They return to Rome, and develop an intense, forbidden passion. This is deemed an unacceptable political risk by the Senate (‘Le S énat a parlédu danger d’untel amour’), and she is exiled from her exile, banished from Rome, ‘R épudi ée pour raison d’Etat’ (88). She returns to Caesarea in agony, ‘Foudroyee par !’intolerable douleur de l’avoir quitté,lui, le criminel du temple’ (87).
Writing and Sex
Authors: Crowley Martin 
Published: October 2023

Abstract
If Irigaray is right, and the question of sexual difference is the question of our time, then Duras is one of our foremost questioners. The whole of her work is shot through with memorable examples of relations between the sexes in extremis, which invariably manage to present the gap of sexual difference as both an absolute given and an overwhelming questioning. During the first phase of her writing career, Duras hardly leaves off from presenting the question of heterosexual relations.
Writing and the Self
Authors: Crowley Martin 
Published: October 2023

Abstract
Throughout Part II of this study, we have seen the increased importance of the figure of Duras in her work after 1979. Born during her sabbatical from prose writing, notably in Le Camion, this figure implicates herself in the writing of historical trauma, as seen in Chapter 4, and suggests herself as a possible narrative frame for her 1980s work on sexuality, as discussed in Chapter 5. Beyond this prominence of the writing self, the status of the self per se emerges as a prominent question in Duras’s later work, particularly the status of the individual in relation to collective political discourses and national identity. This interest again allows Duras to re-visit earlier concerns (particularly the status of the dispossessed and a politics of loss), while taking a new look at these interests through the triple lens of an increased attention to their social implications (the issues of immigration and racism, for example, come to the fore of Duras’s fiction for the first time during this period, and the status of the individual is insistently related to its threatened totalitarian abolition), an explicit championing of the writing in which they are addressed, and the dramatically inflated importance of the writing self, the figure of Duras.