illustrated portrait of French author Guy de Maupassant

Guy de Maupassant

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  • Abamine, E. P., "German-French Sexual Encounters of the Franco-Prussian War Period in the Fiction of Guy de Maupassant," CLA Journal 32, No. 3 (March 1989): 323-34. (Considers the sexual aspect of the German military occupation of France following the Franco-Prussian War (1870-71) in three of Maupassant's stories—"Boule de suif," "Mademoiselle Fifi," and "Le Lit 29.")
  • Betts, Christopher J., "Surface Structure and Symmetry in Maupassant: An Alternative View of 'Deux Amis'," The Romanic Review 88, No. 2 (March 1997): 251-67. (Offers a stylistic analysis of "Deux amis.")
  • Bolster, Richard, "The Patriotic Prostitutes of Maupassant: Fact or Fantasy?" French Studies Bulletin, No. 51 (Summer 1994): 16-17. (Briefly discusses the connection between Maupassant's characterization of the patriotic French prostitute in his works and a newspaper article published during the Franco-Prussian War.)
  • Bowles, Thelma, "The Stacked Deck: A Study of Technique in Maupassant's Novels," Romance Notes 36, No. 1 (Fall 1985): 55-62. (Using Maupassant's six novels, argues that although the characters seem to exist in a realistic framework, they are in fact unrealistic, being situated in a multilayered system of cultural codes.)
  • Calder, Martin, "Something in the Water: Self as Other in Guy de Maupassant's 'Le Horla': A Barthesian Reading," French Studies 52, No. 1 (January 1998): 42-57. (Explores the theme of language in the diary version of Maupassant's "Le Horla.")
  • Cogman, P. W. M., "Maupassant's Unacknowledgeable Puns," French Studies Bulletin, No. 53 (Winter 1994): 8-11. (Briefly discusses the nature of Maupassant's use of "oblique" puns—words or expressions with obscene undertones likely grasped only by careful readers.)
  • Donaldson-Evans, Mary, "Beginnings to Understand: The Narrative 'Come-On' in Maupassant's Stories," Neophilologus 68, No. 1 (January 1984): 37-47. (Defends the value and importance of short stories in literary criticism through an examination of unusual beginnings in several of Maupassant's stories.)
  • Donaldson-Evans, Mary, "Doctoring History: Maupassant's 'Un Coup D'Etat,'" Nineteenth Century French Studies 16, Nos. 3-4 (Spring-Summer 1988): 351-60. (Places "Un Coup D'Etat" within its political, cultural, and literary context.)
  • Donaldson-Evans, Mary, "The Matrical Marsh: A Symbol of Hope in Maupassant's Work," French Forum 2, No. 3 (September 1977): 255-62. (Argues that understanding the metaphor of the marsh and how it stands apart from Maupassant's other aquatic images is essential to grasping the author's worldview.)
  • Freimanis, Dzintars, "Maupassant as a Romantic," The Romanic Review 54, No. 3 (October 1963): 274-80. (Argues that some of Maupassant's short stories mark him as somewhat of a romantic, rather than an entirely realist or objective author, as most critics contend.)
  • Fusco, Richard, Maupassant and the American Short Story: The Influence of Form at the Turn of the Century, University Park: Pennsylvania State University Press, 1994, 230 p. (Traces the development of the short story form throughout Maupassant's oeuvre and argues for the significant influence of Maupassant's works on turn-of-the-century American short story writers.)
  • Harris, T. A. Le V., "Repetition in Maupassant: Irony as Originality?" Forum for Modern Language Studies 25, No. 3 (July 1989): 265-75. (Provides a brief summary of two critical studies on Maupassant's reuse of textual material, then offers an interpretation of this narrative strategy, taking into account the author's ironic vision.)
  • Hiner, Susan, "Hand Writing: Dismembering and Re-Membering in Nodier, Nerval, and Maupassant," Nineteenth-Century French Studies (Spring-Summer 2002): 300-15. (Finds connections between Maupassant's "La Main d'écorché," Charles Nodier's "Une Heure, ou la vision," and Gérard de Nerval's "La Main enchantée.")
  • Issacharoff, Michael, "Telling Terror(?): Against Taxonomies," Rivista di Letterature moderne e comparate 49, No. 1 (January-March 1996): 1-11. (First examines the problematic nature of classifying works of literature as "fantastic" or "supernatural" (especially as pertaining to Maupassant's stories), then considers the possibility of Maupassant's stories as "terrorist.")
  • Jobst, Jack W. and W. J. Williamson, "Hemingway and Maupassant: More Light on 'The Light of the World'," Hemingway Review 13, No. 2 (Spring 1994): 52-61. (Considers parallels between Hemingway's "The Light of the World" and Maupassant's "La Maison Tellier.")
  • Johnston, Mario, Introduction to A Parisian Bourgeois' Sundays and Other Stories, by Guy de Maupassant, translated by Mario Johnston, pp. 6-14. London: Peter Owen, 1997. (Introduces fifteen of Maupassant's early short stories, twelve of which had never before been published in English. Also includes a chronology.)
  • Killick, Rachel, "Family Likeness in Flaubert and Maupassant: 'La Légende de Saint Julien L'Hospitalier' and 'Le Donneur D'Eau Bénite'," Forum for Modern Language Studies 24, No. 4 (October 1988): 346-58. (Discusses similarities between "Le Donneur D'Eau Bénite" and Flaubert's "La Légende de Saint Julien L'Hospitalier.")
  • Lerner, Michael G., "Maupassant," George Braziller, New York, 1975, 301 p. (Biography of Maupassant. Includes discussion of his period's social and literary evolution and how it affected his development as a writer.)
  • MacNamara, Matthew, "A Critical Stage in the Evolution of Maupassant's Story-Telling," Modern Language Review 71, No. 2 (April 1976): 294-303. (Discusses the significance of the years 1880 to 1882 in Maupassant's development as a short-story writer.)
  • McCrory, Donald, "Maupassant: Problems of Interpretation," Modern Languages 70, No. 1 (March 1989): 39-43. (Offers possible explanations for Maupassant's enduring popularity among literature teachers and students alike, noting Maupassant's literary skill, his clarity of style, and his brevity.)
  • Moger, Angela, "Kissing and Telling: Narrative Crimes in Maupassant," In Maupassant Conteur et Romancier, edited by Christopher Lloyd and Robert Lethbridge, pp. 111-23. London: University of Durham, 1994. (Uses three of Maupassant's stories—"Le Modéle," "Découverte," and "Rose"—to discuss how the repetition or reenactment of plot elements reveals a metaphoric shift from nature to art.)
  • Moger, Angela S., "Narrative Structure in Maupassant: Frames of Desire," PMLA 100, No. 3 (May 1985): 315-27. (Investigates the role of the narrator in "La rempailleuse" and "En voyage.")
  • Moore, Gene M., "Conrad's 'The Idiots' and Maupassant's 'La Mère aux monstres'," In Conrad: Intertexts & Appropriations, edited by Gene M. Moore, Owen Knowles, and J. H. Stape, pp. 49-58. Amsterdam: Rodopi, 1997. (Notes parallels between "La Mère aux monsters" and Joseph Conrad's "The Idiots.")
  • Schapira, Charlotte, "Proper Names in Maupassant's Short Stories," Names 40, No. 4 (December 1992): 253-59. (Argues that Maupassant's creation and use of proper names for the characters in his works is an important yet unexamined area of study.)
  • Stivale, Charles J., "Guy de Maupassant and Narrative Strategies of 'Othering'," Australian Journal of French Studies 30, No. 2 (May-August 1993): 241-51. (Examines several of Maupassant's stories, including "Mademoiselle Fifi" and "La Maison Tellier," to demonstrate the author's method of portraying women as "other" through their sexual, ethnic, and racial differences.)
  • Sullivan, Edward D., Maupassant: The Short Stories, London: Edward Arnold (Publishers) Ltd., 1962, 64 p. (Examines various aspects of Maupassant's contes, such as narration, resonance, and atmosphere, then discusses several of his nouvelles, including "Boule de Suif" and "La Maison Tellier.")
  • Traill, Nancy H., "Guy de Maupassant: The Scientific Cynic," In Possible Worlds of the Fantastic: The Rise of the Paranormal in Fiction, pp. 105-34. Toronto: University of Toronto Press, 1996. (Explores the fantastic in Maupassant's tales by analyzing three sets of narratives—traditional stories equating the unknown with the supernatural; tales revealing some consideration of the paranormal; and stories in which the paranormal is tangible.)

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Maupassant, Guy de
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