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Author: Gretchen R. Besser
Publisher: Librairie Droz
ISBN: 9782600034975
Category :
Languages : fr
Pages : 292
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Book Description
Author: Gretchen R. Besser
Publisher: Librairie Droz
ISBN: 9782600034975
Category :
Languages : fr
Pages : 292
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Book Description
Author: Anka Muhlstein
Publisher: Other Press, LLC
ISBN: 1590514742
Category : Biography & Autobiography
Languages : en
Pages : 197
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Book Description
“Tell me where you eat, what you eat, and at what time you eat, and I will tell you who you are. ”This is the motto of Anka Muhlstein’s erudite and witty book about the ways food and the art of the table feature in Honoré de Balzac’s The Human Comedy. Balzac uses them as a connecting thread in his novels, showing how food can evoke character, atmosphere, class, and social climbing more suggestively than money, appearances, and other more conventional trappings. Full of surprises and insights, Balzac’s Omelet invites you to taste anew Balzac’s genius as a writer and his deep understanding of the human condition, its ambitions, its flaws, and its cravings.
Author: Michael Tilby
Publisher: Routledge
ISBN: 1315505274
Category : Literary Criticism
Languages : en
Pages : 331
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Book Description
This canon of French literature, Honore de Balzac (1799-1850) is also a major European figure in the development of realism. His work is dominated by an inter-related sequence of novels and short stories, La Comedie Humanine, which charts the idiosyncrasies of French society from the beginning of the nineteenth century to the 1840's. Among the most famous of these are Le Pierre Goriot and La Cousine Bette. Iin this study, Dr Tilby concentrates on the main approaches in practice and discusses some of the earliest responses to Balzac's work. His introduction and headnotes set Balzac's work in context. This book will be of interest to students of French language and literature and also to those studying French in combined studies or humanities courses.
Author: Caroline Bates Singleton
Publisher:
ISBN:
Category :
Languages : en
Pages : 114
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Book Description
Author: Simon Leys
Publisher: New York Review of Books
ISBN: 1590176200
Category : Literary Collections
Languages : en
Pages : 577
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Book Description
An NYRB Classics Original Simon Leys is a Renaissance man for the era of globalization. A distinguished scholar of classical Chinese art and literature and one of the first Westerners to recognize the appalling toll of Mao’s Cultural Revolution, Leys also writes with unfailing intelligence, seriousness, and bite about European art, literature, history, and politics and is an unflinching observer of the way we live now. The Hall of Uselessness is the most extensive collection of Leys’s essays to be published to date. In it, he addresses subjects ranging from the Chinese attitude to the past to the mysteries of Belgium and Belgitude; offers portraits of André Gide and Zhou Enlai; takes on Roland Barthes and Christopher Hitchens; broods on the Cambodian genocide; reflects on the spell of the sea; and writes with keen appreciation about writers as different as Victor Hugo, Evelyn Waugh, and Georges Simenon. Throughout, The Hall of Uselessness is marked with the deep knowledge, skeptical intelligence, and passionate conviction that have made Simon Leys one of the most powerful essayists of our time.
Author: Helen Osterman Borowitz
Publisher: University of Delaware Press
ISBN: 9780874132496
Category : Art
Languages : en
Pages : 260
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Book Description
This book traces a direct line of tradition that unites the French precieux novel, Romantic and Symbolist literature, and Proust's novel cycle.
Author: Keri Yousif
Publisher: Routledge
ISBN: 1317176359
Category : Literary Criticism
Languages : en
Pages : 213
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Book Description
Examining how the rise of book illustration affected the historic hegemony of the word, Keri Yousif explores the complex literary and artistic relationship between the novelist Honoré de Balzac and the illustrator J. J. Grandville during the French July Monarchy (1830-1848). Both collaborators and rivals, these towering figures struggled for dominance in the Parisian book trade at the height of the Romantic revolution and its immediate aftermath. Both men were social portraitists who collaborated on the influential encyclopedic portrayal of nineteenth-century society, Les Français peints par eux-mêmes. However, their collaboration soon turned competitive with Grandville's publication of Scènes de la vie privée et publique des animaux, a visual parody of Balzac's Scènes de la vie privée. Yousif investigates Balzac's and Grandville's individual and joint artistic productions in terms of the larger economic and aesthetic struggles within the nineteenth-century arena of cultural production, showing how writers were forced to position themselves both in terms of the established literary hierarchy and in relation to the rapidly advancing image. As Yousif shows, the industrialization of the illustrated book spawned a triadic relationship between publisher, writer, and illustrator that transformed the book from a product of individual genius to a cooperative and commercial affair. Her study represents a significant contribution to our understanding of literature, art, and their interactions in a new marketplace for publication during the fraught transition from Romanticism to Realism.
Author: Honore de Balzac
Publisher: Library of Alexandria
ISBN: 1465527745
Category : Fiction
Languages : en
Pages : 19641
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Book Description
Half-way down the Rue Saint-Denis, almost at the corner of the Rue du Petit-Lion, there stood formerly one of those delightful houses which enable historians to reconstruct old Paris by analogy. The threatening walls of this tumbledown abode seemed to have been decorated with hieroglyphics. For what other name could the passer-by give to the Xs and Vs which the horizontal or diagonal timbers traced on the front, outlined by little parallel cracks in the plaster? It was evident that every beam quivered in its mortices at the passing of the lightest vehicle. This venerable structure was crowned by a triangular roof of which no example will, ere long, be seen in Paris. This covering, warped by the extremes of the Paris climate, projected three feet over the roadway, as much to protect the threshold from the rainfall as to shelter the wall of a loft and its sill-less dormer-window. This upper story was built of planks, overlapping each other like slates, in order, no doubt, not to overweight the frail house. One rainy morning in the month of March, a young man, carefully wrapped in his cloak, stood under the awning of a shop opposite this old house, which he was studying with the enthusiasm of an antiquary. In point of fact, this relic of the civic life of the sixteenth century offered more than one problem to the consideration of an observer. Each story presented some singularity; on the first floor four tall, narrow windows, close together, were filled as to the lower panes with boards, so as to produce the doubtful light by which a clever salesman can ascribe to his goods the color his customers inquire for. The young man seemed very scornful of this part of the house; his eyes had not yet rested on it. The windows of the second floor, where the Venetian blinds were drawn up, revealing little dingy muslin curtains behind the large Bohemian glass panes, did not interest him either. His attention was attracted to the third floor, to the modest sash-frames of wood, so clumsily wrought that they might have found a place in the Museum of Arts and Crafts to illustrate the early efforts of French carpentry. These windows were glazed with small squares of glass so green that, but for his good eyes, the young man could not have seen the blue-checked cotton curtains which screened the mysteries of the room from profane eyes. Now and then the watcher, weary of his fruitless contemplation, or of the silence in which the house was buried, like the whole neighborhood, dropped his eyes towards the lower regions. An involuntary smile parted his lips each time he looked at the shop, where, in fact, there were some laughable details. A formidable wooden beam, resting on four pillars, which appeared to have bent under the weight of the decrepit house, had been encrusted with as many coats of different paint as there are of rouge on an old duchess' cheek. In the middle of this broad and fantastically carved joist there was an old painting representing a cat playing rackets. This picture was what moved the young man to mirth. But it must be said that the wittiest of modern painters could not invent so comical a caricature. The animal held in one of its forepaws a racket as big as itself, and stood on its hind legs to aim at hitting an enormous ball, returned by a man in a fine embroidered coat. Drawing, color, and accessories, all were treated in such a way as to suggest that the artist had meant to make game of the shop-owner and of the passing observer. Time, while impairing this artless painting, had made it yet more grotesque by introducing some uncertain features which must have puzzled the conscientious idler. For instance, the cat's tail had been eaten into in such a way that it might now have been taken for the figure of a spectator—so long, and thick, and furry were the tails of our forefathers' cats. To the right of the picture, on an azure field which ill-disguised the decay of the wood, might be read the name "Guillaume," and to the left, "Successor to Master Chevrel." Sun and rain had worn away most of the gilding parsimoniously applied to the letters of this superscription, in which the Us and Vs had changed places in obedience to the laws of old-world orthography. To quench the pride of those who believe that the world is growing cleverer day by day, and that modern humbug surpasses everything, it may be observed that these signs, of which the origin seems so whimsical to many Paris merchants, are the dead pictures of once living pictures by which our roguish ancestors contrived to tempt customers into their houses. Thus the Spinning Sow, the Green Monkey, and others, were animals in cages whose skills astonished the passer-by, and whose accomplishments prove the patience of the fifteenth-century artisan. Such curiosities did more to enrich their fortunate owners than the signs of "Providence," "Good-faith," "Grace of God," and "Decapitation of John the Baptist," which may still be seen in the Rue Saint-Denis.
Author: Patricia Mathews
Publisher: University of Chicago Press
ISBN: 9780226510187
Category : Art
Languages : en
Pages : 348
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Book Description
"Art historian Patricia Mathews examines the artistic, social, and scientific discourses of fin-de-siecle France. Along the way, she illuminates the Symbolist construction of a feminized aesthetic that nonetheless excluded female artists from its realm. She analyzes contemporary cultural assumptions as well as theories such as social Darwinism, biological determinism, and degeneracy."--BOOK JACKET.
Author: Keri Yousif
Publisher: Routledge
ISBN: 1317176340
Category : Literary Criticism
Languages : en
Pages : 340
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Book Description
Examining how the rise of book illustration affected the historic hegemony of the word, Keri Yousif explores the complex literary and artistic relationship between the novelist Honoré de Balzac and the illustrator J. J. Grandville during the French July Monarchy (1830-1848). Both collaborators and rivals, these towering figures struggled for dominance in the Parisian book trade at the height of the Romantic revolution and its immediate aftermath. Both men were social portraitists who collaborated on the influential encyclopedic portrayal of nineteenth-century society, Les Français peints par eux-mêmes. However, their collaboration soon turned competitive with Grandville's publication of Scènes de la vie privée et publique des animaux, a visual parody of Balzac's Scènes de la vie privée. Yousif investigates Balzac's and Grandville's individual and joint artistic productions in terms of the larger economic and aesthetic struggles within the nineteenth-century arena of cultural production, showing how writers were forced to position themselves both in terms of the established literary hierarchy and in relation to the rapidly advancing image. As Yousif shows, the industrialization of the illustrated book spawned a triadic relationship between publisher, writer, and illustrator that transformed the book from a product of individual genius to a cooperative and commercial affair. Her study represents a significant contribution to our understanding of literature, art, and their interactions in a new marketplace for publication during the fraught transition from Romanticism to Realism.
