Author: William BeauchampPublisher: Walter de Gruyter GmbH & Co KG
ISBN: 3111343847
Category : Language Arts & Disciplines
Languages : en
Pages : 108
Book Description
No detailed description available for "The style of Nerval's "Aurélia"".
The style of Nerval’s “Aurélia”
Author: William BeauchampPublisher: Walter de Gruyter GmbH & Co KG
ISBN: 3111343847
Category : Language Arts & Disciplines
Languages : en
Pages : 108
Book Description
No detailed description available for "The style of Nerval's "Aurélia"".
Aurélia
Author: Gérard de NervalOn Psychological and Visionary Art
Author: C. G. JungPublisher: Princeton University Press
ISBN: 0691162476
Category : Literary Criticism
Languages : en
Pages : 234
Book Description
"Published with the support of the Philemon Foundation. This book is part of the Philemon Series of the Philemon Foundation."--Title page.
The Facts on File Companion to the French Novel
Author: Karen L. TaylorPublisher: Infobase Publishing
ISBN: 0816074992
Category : Electronic books
Languages : en
Pages : 497
Book Description
French novels such as "Madame Bovary" and "The Stranger" are staples of high school and college literature courses. This work provides coverage of the French novel since its origins in the 16th century, with an emphasis on novels most commonly studied in high school and college courses in world literature and in French culture and civilization.
Aurelia, Aurélia
Author: Kathryn DavisPublisher: Graywolf Press
ISBN: 1644451689
Category : Biography & Autobiography
Languages : en
Pages : 90
Book Description
An eerily dreamlike memoir, and the first work of nonfiction by one of our most inventive novelists. Aurelia, Aurélia begins on a boat. The author, sixteen years old, is traveling to Europe at an age when one can “try on personae like dresses.” She has the confidence of a teenager cultivating her earliest obsessions—Woolf, Durrell, Bergman—sure of her maturity, sure of the life that awaits her. Soon she finds herself in a Greece far drearier than the Greece of fantasy, “climbing up and down the steep paths every morning with the real old women, looking for kindling.” Kathryn Davis’s hypnotic new book is a meditation on the way imagination shapes life, and how life, as it moves forward, shapes imagination. At its center is the death of her husband, Eric. The book unfolds as a study of their marriage, its deep joys and stinging frustrations; it is also a book about time, the inexorable events that determine beginnings and endings. The preoccupations that mark Davis’s fiction are recognizable here—fateful voyages, an intense sense of place, the unexpected union of the magical and the real—but the vehicle itself is utterly new. Aurelia, Aurélia explodes the conventional bounds of memoir. It is an astonishing accomplishment.
The Style of Nerval's "Aurélia"
Author: William BeauchampPublisher: Hague : Mouton
ISBN:
Category : Language Arts & Disciplines
Languages : en
Pages : 120
Book Description
No detailed description available for "The style of Nerval's "Aurélia"".
Rendering French Realism
Author: Lawrence R. SchehrPublisher: Stanford University Press
ISBN: 0804780161
Category : Literary Criticism
Languages : en
Pages : 356
Book Description
Realist novels are usually seen as verisimilar representations of the world, and even when that verisimilitude is critically examined (as it has been by Marxist and feminist critics), the criticism has referred to extra-literary matters, such as bourgeois ideology or defects in the portrayal of women. This book takes as its thesis that the point defining realism is the point at which the processes of representation break down, a sort of black hole of textuality, a rent in the tissue. The author argues that our notions of continuity, of readability, of representability, or our ideas about unity and ideological shift—or even our notions of what is hidden, occulted, or absent—all come from the nineteenth-century realist model itself. Instead of assuming representability, the author argues that we should look at places where the texts do not continue the representationalist model, where there is a sudden falling off, an abyss. Instead of seeing that point as a shortcoming, the author argues that it is equal to the mimetic successes of representation. After an initial chapter dealing with the limits and ruptures of textuality, the book considers the work of Stendhal, from its early state as a precursor to the later realism to La Chartreuse de Parme, which shows how the act of communication for Stendhal is always made of silences, gaps, and interruptions. The author then reads several works of Balzac, showing how he, while setting up the praxes of continuity on which his oeuvre depends, ruptures the works at various strategic points. In a chapter entitled "Romantic Interruptions," works of Nerval and the younger Dumas, seemingly unrelated to the realist project, are shown to be marked by the ideological, representational, and semiotic assumptions that produced Balzac. The book concludes with Flaubert, looking both at how Flaubert incessantly makes things "unfit" and how critics, even the most perspicacious postmodern ones, often try to smooth over the permanent crisis of rupture that is the sign of Flaubert's writing.
Catalog of Copyright Entries. Third Series
Author: Library of Congress. Copyright OfficePublisher: Copyright Office, Library of Congress
ISBN:
Category : Copyright
Languages : en
Pages : 1938
Book Description
Novalis, Nerval, and the Quest for Language
Author: Donald Paul HaaseSubjects of Terror
Author: Publisher: Stanford University Press
ISBN: 0804765219
Category : Literary Criticism
Languages : en
Pages : 394
Book Description
Subjects of Terror uses a reading of the French Romantic poet Gérard de Nerval to elucidate and critique a death-based ideology of subjectivity that has remained in force from Kant to Lacan. This model, despite variations, is distinguished by three principal characteristics: that the subject is the self-sameness of individual experience, that as such it functions like language (or, more specifically, like writing), and that this self-sameness is the annihilation of all individual experiences. Theorized by Hegel, Heidegger, Kojève, and Lacan, this abstract and ultimately impersonal notion of the self was not merely theoretical, however. It was, for example, long instantiated and enforced by the guillotine. Even in its more intimate and less spectacular forms, it provoked strong affective responses, as is evidenced by writers of the Romantic period, from Hugo to Mallarmé, Zola, and Nietzsche. As part of this affective reaction, Nerval's writings exemplify not only how this negative self-construction determines self-understanding but also how it determines self-experience, or, in other words, the way it feels to be a self in this cultural and historical context. That feeling is, fundamentally, terror, and the context is still in many ways our own. The book demonstrates that Nerval's works constitute an aesthetic resistance to that ideology of terror and as such helped open the way for the ethical models of subjectivity that will appear in Kristeva, Aulagnier, and Levinas. Although for two centuries, social, theoretical, and aesthetic forces have coerced individuals into experiencing the world through the morbid filter of their own absolute destruction, the author argues through Nerval for the possibility of an alternate, open-ended model of experience based on the libidinization of language itself.