Example sentences of "of [art] nouveau [no cls] " in BNC.

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1 John Fowles , a student of French literature while at university , talks in The French Lieutenant 's Woman of ‘ the lessons of existentialist philosophy ’ ( Fowles 1969 and 1977 : 63 ) and of working in ‘ the age of Alain Robbe-Grillet and Roland Barthes … the theoreticians of the nouveau roman ’ ( p. 188 ) .
2 Christine Brooke-Rose , a bilingual teacher of English at the University of Paris , in some of her early novels — Out ( 1964 ) and Such ( 1966 ) , for example — — to transfer into English writing some of the characteristics of the nouveau roman .
3 This ‘ self-periodization ’ has been a constant feature of the nouveau roman since the 1950s : literary-historical arguments are frequently deployed by these novelists as a means of both affirming their radical modernist credentials and validating and valorizing their transgressive devices .
4 The development of the nouveau roman is often claimed to illustrate the evolution from modernism to postmodernism — a transition which has been perceived and articulated by several of the nouveaux romanciers themselves .
5 Sartre in particular was especially reprehensible as a consequence of his advocacy of ‘ la littérature engagée ’ — such a delineation of a social and political function for the writer was at direct variance with the formalist prerequisites of the nouveau roman .
6 Significantly , it is the metaphysical dimension of Samuel Beckett 's writing which places him , strictly speaking , outside the confines of the nouveau roman , despite the similarities in formal experimentation .
7 All of the nouveaux romanciers have paid tribute most notably to Flaubert : Robbe-Grillet has explicitly credited Flaubert with the departure from realism in favour of a more self-consciously modernist writing ; the title of Nathalie Sarraute 's essay ‘ Flaubert le précurseur ’ itself underlines the indebtedness of the nouveau roman towards Flaubert 's work .
8 The attack on the norms of Classic realism was of course aided and abetted by the emerging school of structuralist critics , most notably Roland Barthes , who , in Le degré zéro de l'écriture ( 1953 ) and in Essais Critiques ( 1964 ) , espoused the efforts of the nouveau roman ( or , more exactly , of Robbe-Grillet ) in overturning the Balzacian bourgeois novel and its attendant retrograde ideology .
9 The retrievability , or recuperability ( as it came to be known ) , of the nouveau roman depended to some degree on the reader being convinced of the necessity for modernity .
10 Barthes 's caveats against recuperation have been most convincingly demonstrated by Stephen Heath ( 1972 ) who is critical of the tendency towards naturalization : the radical experience of the nouveau roman is undermined when the novels are subjected to reductive readings of the psychologizing variety enacted by Morrissette , however much these may be encouraged by the novelists themselves .
11 In support of the proposition that the development of the nouveau roman corresponds to the transition from modernism to postmodernism , it can certainly be shown that the early productions of the nouveaux romanciers are susceptible to readings which to some extent meet the criteria of psychological realism so important in modernist aesthetics .
12 Coming from the Tel Quel camp , which , under Philippe Sollers 's leadership , was pushing experimentation even further , Ricardou sought to contest the referentiality of the nouveau roman .
13 The use of mise en abyme and the presence of an element of word-play would seem to align them with the apparently more transgressive works initiated — if the literary history of the nouveau roman is correct — by Dans le labyrinthe .
14 The modernity or postmodernity of the nouveau roman resides not only in the degree to which the novels in question are transgressive in narrative terms , but also in the extent to which they call into question the legitimacy of the practices they install .
15 It would be difficult to find a better description of precisely those textual practices in the later manifestations of the nouveau roman .
16 An examination of the development of the nouveau roman displays exactly those difficulties with periodization which have beset postmodernist poetics , calling into question the legitimacy of literary history as a critical practice itself .
17 In reality , according to Wright Mills , Veblen did not write as he imagined a theory of general application , but one directed to criticism of the nouveau riche of North America during the closing decades of the nineteenth century .
18 In this respect , the emergence of a nouveau nouveau roman was said to have evolved which was deemed to be characterized by this emphasis on textual productivity , instead of on reference and representation .
19 In The last Country Houses , a book which documents the death of the old tradition of hospitality , Clive Aslett records the response of a nouveau riche lady when told that some pleasant people lived near the rural seat her husband had just acquired .
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