@article{2c3bb44a-8f1d-4870-b761-c1f5a28fe80b,
author = {Eric Lysoe},
title = {Eugène Demolder et les lettres françaises de Belgique},
journal = {Romanica Cracoviensia},
volume = {Tom 16 (2016)},
number = {Tom 16, Numer 1},
year = {2016},
issn = {1732-8705},
pages = {7-23},keywords = {Charles de Coster; Théophile Gautier; Germaine de Staël; La Légende d’Ulenspiegel; David Teniers (Téniers); Charles Baudelaire; Jules Huret; Naturalism; Symbolism; Parnasse; Zola; Mallarmé; Maupassant; Contes d’Yperdamme; Félicien Rops; polarization},
abstract = {Because it celebrates bygone times through the image given of them by “Flemish” painters, Eugene Demolder’s work offers the most complete expression of mythical representations of Belgium. However, itfully enrolls in a literary system which – unlike the onetaking place at that time in Paris – rejects any form of polarization to freely combine naturalist and symbolist inspiration veins. The analysis of the tales collected in Quatuor highlights this phenomenon, and particularly the first of them: La Femme au masque.
	 },
doi = {10.4467/20843917RC.16.001.5694},
url = {https://ejournals.eu/czasopismo/romanica-cracoviensia/artykul/eugene-demolder-et-les-lettres-francaises-de-belgique}
}