Papers by Andrea Turekova
VAGUENESS AND PRECISION OF CONTEMPORARY REWRITINGS: LES LIAISONS DANGEREUSES PUT TO THE TEST BY S... more VAGUENESS AND PRECISION OF CONTEMPORARY REWRITINGS: LES LIAISONS DANGEREUSES PUT TO THE TEST BY SOCIAL NETWORKS Les Liaisons dangereuses (1782) by Choderlos de Laclos is one of the best-known and most imitated novels in French literature. Despite the great number of adaptations and rewritings that have appeared since the second half of the 20 th century, these continue to be made, assimilating the world of the libertines into that of teenagers. This study looks at the novel transposition from a film script, published in 2022 by Rachel Suissa and Wendy Thévin, under the same title Les Liaisons dangereuses. The paper analyses the way in which Laclos's novel is adapted to the age of social networks and shows how the strategies of modernisation oscillate between "vagueness" and "precision", considering the narrative technique, the libertine theme and the intertextual relationship between the rewriting and the original novel.
Romanica Olomucensia, Dec 1, 2015
This paper proposes an analysis of Mme Riccoboni's Lettres d'Adélaïde de Dammartin by connecting ... more This paper proposes an analysis of Mme Riccoboni's Lettres d'Adélaïde de Dammartin by connecting this novel to two particular works to which it deliberately refers, namely La Princesse de Clèves by Mme de Lafayette and the Mémoires du comte de Comminge by Mme de Tencin. The analysis is then oriented towards the problem of the heroine's internal dilemma between love and virtue, which is enriched by Mme Riccoboni with considerations on the status of women and particularly on the issue of marriage.
Sens public, Apr 29, 2007
Depuis la parution des Liaisons dangereuses en 1782, jusqu'à nos jours, les lecteurs du chef-d'oe... more Depuis la parution des Liaisons dangereuses en 1782, jusqu'à nos jours, les lecteurs du chef-d'oeuvre de Choderlos de Laclos se trouvent fascinés par le personnage énigmatique de la marquise de Merteuil. En dépit de sa condamnation immédiate et quasi unanime, il est clair aujourd'hui qu'il serait quelque peu réducteur de ne voir en elle qu'un « Tartuffe femelle ». Essayons donc de comprendre, au moins en partie, ce qui se cache sous le masque de la marquise, l'une des femmes les plus redoutables de la littérature française. Conférence prononcée au Colloque de Presov « Tolérance et différence »*. Voir le programme des communications en ligne.
Romanica Olomucensia, Jun 1, 2013
This paper aims to provide an analysis of two novels written by Mme de Tencin, Les Mémoires du co... more This paper aims to provide an analysis of two novels written by Mme de Tencin, Les Mémoires du comte de Comminge and Les Malheurs de l'amour, insofar as they can be partly considered as a rewriting of the famous Mme de Lafayette's novel La Princesse de Clèves. The analysis focuses on three main woman characters: Adélaïde, Eugénie and Pauline who appear as « sisters » of the Princesse de Clèves, each of them being a different version. The paper demonstrates that despite certain similarities, they are not "exact copies" and that Mme de Tencin succeeded in creating complex and original heroines.
Romanica Olomucensia, Dec 31, 2020
Svět literatury, Oct 26, 2020
This paper dedicated to the issue of the memory and the novel in the 18 th century aims at questi... more This paper dedicated to the issue of the memory and the novel in the 18 th century aims at questioning the memoir-novels, as a privileged form of the fiction during the first half of the century. The memoir-novel is indeed based on memories of a hero-narrator reminiscing about his past love life. As memory and imagination are strongly linked in the thought of the 17 th and 18 th century, the question of their relationship is particularly relevant in the novels by Antoine Prévost, insofar as his heroes claim to produce a pathetic effect and seduce their interlocutor/reader. Our reflection takes as an example La Jeunesse du Commandeur (1741)-a kind of "reverse story" to that of the Chevalier Des Grieux-where memory and imagination are put at the service of a burlesque treatment of passion.
DOAJ (DOAJ: Directory of Open Access Journals), Sep 1, 2012
Romanica Olomucensia, Aug 1, 2018
The animal is an integral part of the literary fancy, and especially the fancy of the marvellous.... more The animal is an integral part of the literary fancy, and especially the fancy of the marvellous. Yet the birth of the fairy tale as a literary genre is situated at the end of the 17 th century. The keen interest in fairy tales, strengthened by the entrance of the oriental fairy tale in the early 18 th century, brought, together with the influence of libertinism, a parodic reaction. The question is, then, in view of parodic processes and the presence of libertinism in these fairy tales, to understand how animals (as a traditionally inseparable element of the fairy tale) enter storytellers' critical and subversive intentions. A corpus of representative tales on this subject enables the diverse ways of using animals as characters to be approached. Three categories of animals as characters are thus studied: first, metamorphosed heroes, then the adjuvant and opponent animals, and, finally, the "scenery" animals. Each of these categories, also identifiable in the "traditional" tale, presents modifications that are specific to the parodic and licentious nature of stories. The analysis of the bestiary in the libertine tale leads to the conclusion that the animal, which is inseparable from the traditional marvel, becomes only a rather necessary pretext for subverting the genre. And if many authors respect this convention typical of the land of fairy, it is to better submit it to the spirit of derision.
Sens Public, Sep 19, 2006
Presentation : Si je vous propose une lecture, ou plutot une relecture de l'Histoire du cheva... more Presentation : Si je vous propose une lecture, ou plutot une relecture de l'Histoire du chevalier Des Grieux et de Manon Lescaut, si je veux revenir encore une fois sur cette incomparable histoire (...)
DOAJ (DOAJ: Directory of Open Access Journals), Dec 1, 2012
World literature studies, Mar 30, 2023
Svět literatury, 2020
This paper dedicated to the issue of the memory and the novel in the 18 th century aims at questi... more This paper dedicated to the issue of the memory and the novel in the 18 th century aims at questioning the memoir-novels, as a privileged form of the fiction during the first half of the century. The memoir-novel is indeed based on memories of a hero-narrator reminiscing about his past love life. As memory and imagination are strongly linked in the thought of the 17 th and 18 th century, the question of their relationship is particularly relevant in the novels by Antoine Prévost, insofar as his heroes claim to produce a pathetic effect and seduce their interlocutor/reader. Our reflection takes as an example La Jeunesse du Commandeur (1741)-a kind of "reverse story" to that of the Chevalier Des Grieux-where memory and imagination are put at the service of a burlesque treatment of passion.
Romanica Olomucensia, 2015
This paper proposes an analysis of Mme Riccoboni's Lettres d'Adélaïde de Dammartin by connecting ... more This paper proposes an analysis of Mme Riccoboni's Lettres d'Adélaïde de Dammartin by connecting this novel to two particular works to which it deliberately refers, namely La Princesse de Clèves by Mme de Lafayette and the Mémoires du comte de Comminge by Mme de Tencin. The analysis is then oriented towards the problem of the heroine's internal dilemma between love and virtue, which is enriched by Mme Riccoboni with considerations on the status of women and particularly on the issue of marriage.
Romanica Olomucensia
The animal is an integral part of the literary fancy, and especially the fancy of the marvellous.... more The animal is an integral part of the literary fancy, and especially the fancy of the marvellous. Yet the birth of the fairy tale as a literary genre is situated at the end of the 17 th century. The keen interest in fairy tales, strengthened by the entrance of the oriental fairy tale in the early 18 th century, brought, together with the influence of libertinism, a parodic reaction. The question is, then, in view of parodic processes and the presence of libertinism in these fairy tales, to understand how animals (as a traditionally inseparable element of the fairy tale) enter storytellers' critical and subversive intentions. A corpus of representative tales on this subject enables the diverse ways of using animals as characters to be approached. Three categories of animals as characters are thus studied: first, metamorphosed heroes, then the adjuvant and opponent animals, and, finally, the "scenery" animals. Each of these categories, also identifiable in the "traditional" tale, presents modifications that are specific to the parodic and licentious nature of stories. The analysis of the bestiary in the libertine tale leads to the conclusion that the animal, which is inseparable from the traditional marvel, becomes only a rather necessary pretext for subverting the genre. And if many authors respect this convention typical of the land of fairy, it is to better submit it to the spirit of derision.
Presentation : Si je vous propose une lecture, ou plutot une relecture de l'Histoire du cheva... more Presentation : Si je vous propose une lecture, ou plutot une relecture de l'Histoire du chevalier Des Grieux et de Manon Lescaut, si je veux revenir encore une fois sur cette incomparable histoire (...)
Resume : Depuis la parution des Liaisons dangereuses en 1782, jusqu'a nos jours, les lecteurs... more Resume : Depuis la parution des Liaisons dangereuses en 1782, jusqu'a nos jours, les lecteurs du chef-d'œuvre de Choderlos de Laclos se trouvent fascines par le personnage enigmatique de la marquise de (...)
Romanica Olomucensia, 2013
This paper aims to provide an analysis of two novels written by Mme de Tencin, Les Mémoires du co... more This paper aims to provide an analysis of two novels written by Mme de Tencin, Les Mémoires du comte de Comminge and Les Malheurs de l'amour, insofar as they can be partly considered as a rewriting of the famous Mme de Lafayette's novel La Princesse de Clèves. The analysis focuses on three main woman characters: Adélaïde, Eugénie and Pauline who appear as « sisters » of the Princesse de Clèves, each of them being a different version. The paper demonstrates that despite certain similarities, they are not "exact copies" and that Mme de Tencin succeeded in creating complex and original heroines.
Sens Public, Sep 19, 2006
Sens Public, Apr 29, 2007
Résumé : Depuis la parution des Liaisons dangereuses en 1782, jusqu'à nos jours, les lecteur... more Résumé : Depuis la parution des Liaisons dangereuses en 1782, jusqu'à nos jours, les lecteurs du chef-d'uvre de Choderlos de Laclos se trouvent fascinés par le personnage énigmatique de la marquise de (...).
Abstract: The animal is an integral part of the literary fancy, and especially the fancy of the m... more Abstract: The animal is an integral part of the literary fancy, and especially the fancy of the marvellous. Yet the birth of the fairy tale as a literary genre is situated at the end of the 17 th century. The keen interest in fairy tales, strengthened by the entrance of the oriental fairy tale in the early 18 th century, brought, together with the influence of libertinism, a parodic reaction. The question is, then, in view of parodic processes and the presence of libertinism in these fairy tales, to understand how animals (as a traditionally inseparable element of the fairy tale) enter storytellers' critical and subversive intentions. A corpus of representative tales on this subject enables the diverse ways of using animals as characters to be approached. Three categories of animals as characters are thus studied: first, metamorphosed heroes, then the adjuvant and opponent animals, and, finally, the "scenery" animals. Each of these categories, also identifiable in the "traditional" tale, presents modifications that are specific to the parodic and licentious nature of stories. The analysis of the bestiary in the libertine tale leads to the conclusion that the animal, which is inseparable from the traditional marvel, becomes only a rather necessary pretext for subverting the genre. And if many authors respect this convention typical of the land of fairy, it is to better submit it to the spirit of derision.
Résumé : L'animal fait partie intégrante de l'imaginaire littéraire, et en particulier de l'imaginaire du merveilleux. Or la naissance du conte de fées en tant que genre littéraire se situe à la fin du XVII e siècle. L'engouement pour les contes de fées, fortifié par l'entrée en scène du conte oriental au début du XVIII e siècle, amène une réaction parodique arrivant main dans la main avec l'influence du libertinage. La question qui se pose alors, dans la perspective des procédés parodiques et de mise en scène du libertinage dans ces contes, est de savoir comment les animaux (en tant qu'élément traditionnellement indissociable du conte) entrent au service des intentions critiques et subversives des conteurs libertins.
Uploads
Papers by Andrea Turekova
Résumé : L'animal fait partie intégrante de l'imaginaire littéraire, et en particulier de l'imaginaire du merveilleux. Or la naissance du conte de fées en tant que genre littéraire se situe à la fin du XVII e siècle. L'engouement pour les contes de fées, fortifié par l'entrée en scène du conte oriental au début du XVIII e siècle, amène une réaction parodique arrivant main dans la main avec l'influence du libertinage. La question qui se pose alors, dans la perspective des procédés parodiques et de mise en scène du libertinage dans ces contes, est de savoir comment les animaux (en tant qu'élément traditionnellement indissociable du conte) entrent au service des intentions critiques et subversives des conteurs libertins.
Résumé : L'animal fait partie intégrante de l'imaginaire littéraire, et en particulier de l'imaginaire du merveilleux. Or la naissance du conte de fées en tant que genre littéraire se situe à la fin du XVII e siècle. L'engouement pour les contes de fées, fortifié par l'entrée en scène du conte oriental au début du XVIII e siècle, amène une réaction parodique arrivant main dans la main avec l'influence du libertinage. La question qui se pose alors, dans la perspective des procédés parodiques et de mise en scène du libertinage dans ces contes, est de savoir comment les animaux (en tant qu'élément traditionnellement indissociable du conte) entrent au service des intentions critiques et subversives des conteurs libertins.