Richard M Berrong

Biographic Data

ID296361
NAMERichard M Berrong
GIVEN NAMESRichard M
FAMILY NAMEBerrong
SIGNATUREBERRONG R M
AFFILIATIONSKent State University
VERIFIEDNo
TOTAL WORKS14
TOTAL CITATIONS54
WORKS AS AUTHOR14
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1976
LATEST PUBLICATION YEAR2016
H-INDEX2

  • In Love with a Handsome Sailor

    Richard M BerrongBOOKIn Love with a Handsome Sailor2016

  • The Trials of Love and Art for an Impressionist Painter

    Richard M BerrongARTICLENineteenth Century Contexts2013

  • Pierre Loti's Response to Maurice Barrès and France's Growing Nationalist Movement

    Richard M BerrongARTICLEModern & Contemporary France2009

    Maurice Barrès published Les Déracinés, his most famous novel, in the Revue de Paris in 1897 in part to give literary form to the nationalism that he had been developing in newspaper articles for the last several years. The work is one of the early examples in French literature of the ideological novel, in which plot is of secondary importance and the characters function largely to enounce or illustrate the author's political views. In that same …

  • Beyond Same-Sex Desire

    Richard M BerrongARTICLEJournal of Homosexuality2006Cited by: 2References: 6

    Gay male literature has traditionally been defined as writing that somehow depicts male same-sex attraction. Following in the steps of several scholars of lesbian literature, Berrong uses Pierre Loti's novel Iceland Fisherman (1886), which does not depict male same-sex attraction, to propose other ways of reading literature as gay, and hence of understanding gay male subjectivity

  • Changing Attitudes toward Material Wealth in Sidney's Arcadias

    Richard M BerrongARTICLESixteenth Century Journal1991

  • Les Metamorphoses de Montaigne

    Richard M Berrong, Francois RigolotARTICLEModern Language Notes1989

  • Rabelais and Bakhtin. Popular Culture in Gargantua and Pantagruel

    Sue Farquhar, Richard M BerrongARTICLEModern Language Notes1988

  • Finding Antifeminism in Rabelais; Or, a Response to Wayne Booth's Call for an Ethical Criticism

    Richard M BerrongARTICLECritical Inquiry1985

  • Space and Convention in Eugene Fromentin

    Anne-Marie Christin, Richard M BerrongARTICLENew Literary History1984Cited by: 1

    Le recours ultime aux conventions de la memoire et l'esthetique sedentaire de F.: une lecture de Un ete dans le Sahara et Une annee dans le Sahel

  • Le Curieux, le glorieux et la sagesse du monde dans la premiere moitie du XVIe siecle

    Richard M Berrong, Gérard DefauxARTICLEModern Language Notes1983

  • Rabelais grammairien

    Richard M Berrong, Mireille Huchon et al.ARTICLEModern Language Notes1982

  • Literary Creation in Oral Civilizations

    M A M Ngal, Richard M BerrongARTICLENew Literary History1977Cited by: 1

    in Africa,1 I raised the following question: who is the true creator? The people? The artist? Or both at the same time? In the last case, what is the real part of the artist's initiative? Posed in this direct manner, the problem allows us to ask: is the griot,2 the narrator, the teller of tales, who, in the evening, sitting before the approving or disapproving public, declaims, unravels his narrative, simply a puppet maneuvered by this public at …

  • The Origin of Genres

    Tzvetan Todorov, Richard M BerrongARTICLENew Literary History1976Cited by: 50

    TO PERSIST in discussing genres today might seem like an idle if not obviously anachronistic pastime. Everyone knows they existed in the good old days of the classics-ballads, odes, sonnets, tragedies, and comedies-but today? Even the genres of the nineteenth century (though not altogether genres to our way of thinking)-poetry, the novelseem to be disintegrating in our era, at least in the literature that counts. As Maurice Blanchot wrote of one …

  • Images and Words

    Michel Rio, Richard M BerrongARTICLENew Literary History1976

    INTERPRETATIONS OF PAINTINGS are multiple and totally contradictory, just like the phraseologies used to express 1 A. Zemsz is alluding here to contemporary Western painting, which he opposes to the intelligible of certain other peoples; the latter figures differ from the former in that they refer to a system of signification which is unanimously understood in the culture that produced them. We believe that it is this more or less fluctuating, mo…