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Some eighteen film directors from France to the United States, Germany to India, have applied themselves to the task of adapting Madame Bovary to the screen. Why has Flaubert's 1857 classic novel been so popular with filmmakers? What challenges have they had to meet? What ideologies do their adaptations serve? Madame Bovary at the Movies seeks to answer these questions, avoiding value judgments based on the notion of fidelity to the novel. In-depth analyses are reserved for the studio films of Renoir, Minnelli and Chabrol and the small-screen adaptation of Fywell. As the first book-length examination of the Madame Bovary adaptations, this volume, in addition to its pedagogical applications, will be a useful reference for scholars of literature and film and for those interested in the burgeoning field of adaptation studies.

From the crude battlefield surgery of Revolutionary times to the birth of modern clinical medicine, the nineteenth century witnessed impressive developments in the medical sciences and a concomitant growth in the prestige of the medical practitioner. In France this phenomenon had important implications for literature as writers scrambled to give legitimacy to their enterprise by allying themselves with science. Overflowing its traditional banks, medical discourse inundated the field of French literature, particularly in the realist and naturalist movements. The literati's enthrallment with medicine and their subservient adoption of a medical model in the creation of their plots and characters have not previously been seriously questioned. In Medical Examinations , Mary Donaldson-Evans corrects this oversight. Exploring six novels and two short stories published during the Second Empire and the early Third Republic, she argues that there was a growing resistance to medicine's linguistic and professional hegemony, a resistance fraught with ideological implications. Tainted by a subtle—and sometimes not so subtle—anti-Semitism, some of the fiction of this period adopts counterdiscursive strategies to tar the physician with his own brush. Featured authors include Gustave Flaubert, Edmond and Jules Goncourt, Emile Zola, Joris-Karl Huysmans, Guy de Maupassant, and Alphonse and Léon Daudet.

[...]I'm convinced that it was the fact that I was married to one of Ross's compatriots that paved the way for my friendship with him, even though the two did not meet until well after Ross and I had begun to correspond with each other. Ross had traveled to Vanuatu in 2012, and his enthusiasm for that exotic island and its people was boundless, so the desire to share the experience was genuine, notwithstanding the hyperbolic nature of the imagined payback. For in addition to his generosity and his humility, which tended at times to be almost militant (as, for example, his devotion to teaching at a state university-albeit an excellent one-despite opportunities to join the faculty of prestigious private institutions), Ross was defined by his gratitude.

If the ubiquity of the solitary seamstress in nineteenth-century French painting appears to reflect women's lives in bourgeois and aristocratic milieux, the notion of feminine submission to a domestic ideal that such art appears to represent is problematized in French literature of the same period. Analyzing literary allusions to various forms of needlework and their tools, this essay demonstrates how even such trivial objects as pins and needles can be fraught with dangerous potential in the male imaginary of the time. The principal texts examined are Flaubert's Madame Bovary (1857), Zola's Nana (1880) and Maupassant's \"Les Epingles\" (1888).

If the ubiquity of the solitary seamstress in nineteenth-century French painting appears to reflect women's lives in bourgeois and aristocratic milieux, the notion of feminine submission to a domestic ideal that such art appears to represent is problematized in French literature of the same period. Analyzing literary allusions to various forms of needlework and their tools, this essay demonstrates how even such trivial objects as pins and needles can be fraught with dangerous potential in the male imaginary of the time. The principal texts examined are Flaubert's Madame Bovary (1857), Zola's Nana (1880) and Maupassant's \"Les Epingles\" (1888). (MD-E)

The position of the blind beggar, a character from Flaubert's \"Madame Bovary,\" in the complex network of relationships connecting the characters is examined. The creation of the blind beggar may be consistent with Flaubert's linguistic project.