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Read e-book online An introduction to nineteenth-century French literature PDF

By Tim Farrant

ISBN-10: 0715629077

ISBN-13: 9780715629079

ISBN-10: 1472537637

ISBN-13: 9781472537638

ISBN-10: 1472537645

ISBN-13: 9781472537645

Everyone is familiar with anything of nineteenth-century France - or do they? "Les Miserables", "The girl of the Camelias" and "The 3 Musketeers", "Balzac" and "Jules Verne" dwell within the renowned awareness as enduring human files and cultural icons. but, the French 19th century used to be much more dynamic than the stereotype indicates. This fascinating new creation takes the literature of the interval either as a window on earlier and current mindsets and as an item of fascination in its personal correct. starting with heritage, the century's largest challenge and power, it seems at narrative responses to ancient, political and social event, sooner than devoting primary chapters to poetry, drama and novels - all genres the century considerably reinvented. It then explores a variety of modernities, methods nineteenth-century writing and mentalities look ahead to our personal, ahead of turning to marginalities - topics and voices the canon generally forgot. No style was once left unchanged by means of the 19th century. This e-book can help to find them anew.

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Extra info for An introduction to nineteenth-century French literature

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Sandy Petrey, Realism and Revolution. Balzac, Stendhal, Zola and the Performances of History (Ithaca, NY: Cornell, 1988). Challenging essays on literature as product and producer of history. 1. Confessional narratives There are no more individual treatments of history than confessional narratives or autobiographies. We will begin by looking at these two genres, before exploring short stories as peculiarly immediate responses to the real. Confessional narratives (first-person fictions recounting the protagonist’s emotional experience, often a displacement of the real-life author’s) present the most extreme example of the polarising of the individual and society, History writ large, versus ‘histoire’, his or her personal story.

Autobiography is less self-recording than self-creation, for the reader has no access to any reality other than that of the words on the page. Stendhal’s Vie de Henry Brulard (1835), the summit of his autobiographical work, explores this idea to the full. Its beginning reflects the end of Chateaubriand’s Mémoires, but with a full, not a rising, sun. And where Chateaubriand has a quest, Stendhal has questions (‘Qu’ai-je été, que suis-je, en vérité, je serais bien embarrassé de le dire’, ‘What I have been, what I am, in truth, I would be very hard put to say’), and no firm answers.

Le Figaro, 8 August 1894). Here too, unlike male counterparts, she engages in anything but gratuitous innovation: ‘Souvenir’ has unusual, seven-syllable lines, but we notice their restless effect, not the number of syllables. Expression matches feeling in her natural but magical touch; content and form converge in perfect integrity. 2. Vision: Hugo and Baudelaire The visionary is the power of perceiving vivid mental images, of seeing, often prophesying, an absolute mystical truth. In the nineteenth century, poetry was an ideological battleground where poets were major campaigners.

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An introduction to nineteenth-century French literature by Tim Farrant


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