Titlebook: Wandering Women in French Film and Literature; A Study of Narrative Mariah Devereux Herbeck Book 2013 Mariah Devereux Herbeck 2013 film.nov

改良

Introduction,ntly, he may propose ways in which to eliminate them and their ill effects from French society. Paratextual clues on the title page—in particular, . (social refuse)—announce that this work was published as part of a larger series that sought to analyze, categorize, and propose solutions to problems

hidebound

Magnitude

An Introduction to Narrative Drift,t a nascent art, both knew an era of “rebirth” during the 1950s and 1960s when literary authors wrote “New Novels” often described as having cinematic qualities . and filmmakers used their cameras to “write” New Wave films. . As the names of these moments in novel and film history suggest, both nove

障碍物

Ostrich

Qui suis-je?,stions that motivate the writing of the text. Although translations in English have interpreted this interrogative incipit as simply “Who am I?” and critical studies in both French and English have understood it solely as a question of “being,” the verb “.” has two distinct meanings in French. It is

circuit

Flu表流动

,“Impersonal” Narrative: Fade to Lack—Detachment and Discontinuity,ownward spiral to homelessness, police arrest, and eventually prostitution. Despite the fodder for in-depth, psychological character development that such a downtrodden tale could inspire—take Zola’s nineteenth-century eponymous courtesan and Nana’s presumed namesake, for example—Godard’s film remai

MOT

,“Personal” Narrative: Taking It Personally—Men Telling the Stories of Wandering Women,nd nearly 70 years later in Laetitia Masson’s film, . (., 1998). Although a precise reproduction of Breton’s inquiry is absent from these female-authored works, the male narrative agents . of the respective works do propose answers—equivocal as they may be—to questions about their own identity and a

fluffy

雄辩