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Author: OCTAVE MIRBEAU
Publisher: BEYOND BOOKS HUB
ISBN:
Category : Literary Collections
Languages : en
Pages : 174
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Book Description
Extrait : "Avant de raconter un des plus effroyables épisodes de mon voyage en Extrême-Orient, il est peut-être intéressant que j'explique brièvement dans quelles conditions je fus amené à l'entreprendre. C'est de l'histoire contemporaine." Descriptif : Le jardin des supplices, invention littéraire de Mirbeau, réunit dans une configuration obsédante ces deux clichés : celui de la cruauté des Chinois qui lui sert de paravent exotique pour exposer une réflexion anthropologique portant sur la cruauté humaine en général. Il ne contient pas seulement des descriptions horrifiantes de supplices. Il contient aussi des considérations sur la cruauté humaine et sur la pulsion scopique et sur le voyeurisme. Le roman d’Octave Mirbeau a eu à l’époque un grand succès. Extrait : Si tu es près de moi… quand je mourrai… cher petit cœur… écoute bien !… Tu mettras… c’est cela… tu mettras un joli coussin de soie jaune entre mes pauvres petits pieds et le bois du cercueil… Et puis… tu tueras mon beau chien du Laos… et tu l’allongeras, tout sanglant, contre moi… comme il a coutume de s’allonger lui-même, tu sais, avec une patte sur ma cuisse et une autre patte sur mon sein… Et puis… longtemps… longtemps… tu m’embrasseras, cher amour, sur les dents… et dans les cheveux… Et tu me diras des choses… des choses si jolies… et qui bercent et qui brûlent… des choses comme quand tu m’aimes… Pas, tu veux, mon chéri ?… Tu me promets ?… Voyons, ne fais pas cette figure d’enterrement… Ce n’est pas de mourir, qui est triste… c’est de vivre quand on n’est pas heureux… Jure ! jure que tu me promets !… Le Jardin des supplices n'est pas seulement le catalogue de toutes les perversions dans lesquelles s'est complu l'imaginaire de 1900. L'ouvrage exprime aussi l'ambiguïté de l'attitude d'un Européen libéral, mais Européen avant tout, devant le colonialisme et ce qu'on n'appelait pas encore le Tiers Monde. Pour Mirbeau, la Chine est le lieu des plaisirs mortels et, par leur système pénal et l'invraisemblable raffinement de leur cruauté, les Chinois ne peuvent être à ses yeux que des barbares : Emmanuelle sur fond de guerre du Viêt-nam, comme l'écrit Michel Delon. Mais les Chinois vivent dans une société plus solidaire et matériellement moins asservie que la nôtre. Et surtout ils sont d'admirables artistes. Tel est le paradoxe de la Chine : un jardin de supplices mais aussi les plus belles porcelaines, les plus beaux bronzes que l'on ait jamais faits. «Voici donc les Barbares à peau jaune dont les civilisés d'Europe à peau blanche violent le sol. Nous sommes toujours les mêmes sauvages, les mêmes ennemis de la Beauté.»
Author: OCTAVE MIRBEAU
Publisher: BEYOND BOOKS HUB
ISBN:
Category : Literary Collections
Languages : en
Pages : 174
Get Book Here
Book Description
Extrait : "Avant de raconter un des plus effroyables épisodes de mon voyage en Extrême-Orient, il est peut-être intéressant que j'explique brièvement dans quelles conditions je fus amené à l'entreprendre. C'est de l'histoire contemporaine." Descriptif : Le jardin des supplices, invention littéraire de Mirbeau, réunit dans une configuration obsédante ces deux clichés : celui de la cruauté des Chinois qui lui sert de paravent exotique pour exposer une réflexion anthropologique portant sur la cruauté humaine en général. Il ne contient pas seulement des descriptions horrifiantes de supplices. Il contient aussi des considérations sur la cruauté humaine et sur la pulsion scopique et sur le voyeurisme. Le roman d’Octave Mirbeau a eu à l’époque un grand succès. Extrait : Si tu es près de moi… quand je mourrai… cher petit cœur… écoute bien !… Tu mettras… c’est cela… tu mettras un joli coussin de soie jaune entre mes pauvres petits pieds et le bois du cercueil… Et puis… tu tueras mon beau chien du Laos… et tu l’allongeras, tout sanglant, contre moi… comme il a coutume de s’allonger lui-même, tu sais, avec une patte sur ma cuisse et une autre patte sur mon sein… Et puis… longtemps… longtemps… tu m’embrasseras, cher amour, sur les dents… et dans les cheveux… Et tu me diras des choses… des choses si jolies… et qui bercent et qui brûlent… des choses comme quand tu m’aimes… Pas, tu veux, mon chéri ?… Tu me promets ?… Voyons, ne fais pas cette figure d’enterrement… Ce n’est pas de mourir, qui est triste… c’est de vivre quand on n’est pas heureux… Jure ! jure que tu me promets !… Le Jardin des supplices n'est pas seulement le catalogue de toutes les perversions dans lesquelles s'est complu l'imaginaire de 1900. L'ouvrage exprime aussi l'ambiguïté de l'attitude d'un Européen libéral, mais Européen avant tout, devant le colonialisme et ce qu'on n'appelait pas encore le Tiers Monde. Pour Mirbeau, la Chine est le lieu des plaisirs mortels et, par leur système pénal et l'invraisemblable raffinement de leur cruauté, les Chinois ne peuvent être à ses yeux que des barbares : Emmanuelle sur fond de guerre du Viêt-nam, comme l'écrit Michel Delon. Mais les Chinois vivent dans une société plus solidaire et matériellement moins asservie que la nôtre. Et surtout ils sont d'admirables artistes. Tel est le paradoxe de la Chine : un jardin de supplices mais aussi les plus belles porcelaines, les plus beaux bronzes que l'on ait jamais faits. «Voici donc les Barbares à peau jaune dont les civilisés d'Europe à peau blanche violent le sol. Nous sommes toujours les mêmes sauvages, les mêmes ennemis de la Beauté.»
Author: Octave Mirbeau
Publisher: Library of Alexandria
ISBN: 1465606947
Category : Fiction
Languages : en
Pages : 219
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Book Description
One evening some friends were gathered at the home of one of our most celebrated writers. Having dined sumptuously, they were discussing murder—apropos of what, I no longer remember probably apropos of nothing. Only men were present: moralists, poets, philosophers and doctors—thus everyone could speak freely, according to his whim, his hobby or his idiosyncrasies, without fear of suddenly seeing that expression of horror and fear which the least startling idea traces upon the horrified face of a notary. I—say notary, much as I might have said lawyer or porter, not disdainfully, of course, but in order to define the average French mind. With a calmness of spirit as perfect as though he were expressing an opinion upon the merits of the cigar he was smoking, a member of the Academy of Moral and Political Sciences said: “Really—I honestly believe that murder is the greatest human preoccupation, and that all our acts stem from it... “ We awaited the pronouncement of an involved theory, but he remained silent. “Absolutely!” said a Darwinian scientist, “and, my friend, you are voicing one of those eternal truths such as the legendary Monsieur de La Palisse discovered every day: since murder is the very bedrock of our social institutions, and consequently the most imperious necessity of civilized life. If it no longer existed, there would be no governments of any kind, by virtue of the admirable fact that crime in general and murder in particular are not only their excuse, but their only reason for being. We should then live in complete anarchy, which is inconceivable. So, instead of seeking to eliminate murder, it is imperative that it be cultivated with intelligence and perseverance. I know no better culture medium than law.” Someone protested. “Here, here!” asked the savant, “aren't we alone, and speaking frankly?” “Please!” said the host, “let us profit thoroughly by the only occasion when we are free to express our personal ideas, for both I, in my books, and you in your turn, may present only lies to the public.” The scientist settled himself once more among the cushions of his armchair, stretched his legs, which were numb from being crossed too long and, his head thrown back, his arms hanging and his stomach soothed by good digestion, puffed smoke−rings at the ceiling: “Besides,” he continued, “murder is largely self−propagating. Actually, it is not the result of this or that passion, nor is it a pathological form of degeneracy. It is a vital instinct which is in us all—which is in all organized beings and dominates them, just as the genetic instinct. And most of the time it is especially true that these two instincts fuse so well, and are so totally interchangeable, that in some way or other they form a single and identical instinct, so that we no longer may tell which of the two urges us to give life, and which to take it—which is murder, and which love. I have been the confidant of an honorable assassin who killed women, not to rob them, but to ravish them. His trick was to manage things so that his sexual climax coincided exactly with the death−spasm of the woman: 'At those moments,' he told me, 'I imagined I was a God, creating a world!”
Author: Julia Hartley
Publisher: Liverpool University Press
ISBN: 1802071091
Category : Literary Criticism
Languages : en
Pages : 304
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Book Description
Decadence is seldom looked at in the context of colonialism, and yet its heyday in the 1880s and 1890s is directly contemporary with the expansion of France’s modern colonial empire. Ever a slippery signifier, Decadence figures alternately as pro-colonial, anticolonial and apolitical. This edited volume gives a sense of the sheer range and diversity of intersections between colonialism and Decadence, from anticolonial anarchist writers to colonial discourse, from nineteenth-century women writers to our contemporary, Michel Houellebecq. Different chapters explore these intersections in the cultural imagination of dance, the novel, travel writing, historiographical theory, and literary networks. Decadence is often seen as an essentially metropolitan, urban movement, but this study identifies key spaces elsewhere, from fin-de-siècle Saigon to India in the heyday of French colonialism, from Byzantium to ancient Persia. Although the colonies were held up by some as an antidote to the threat of French decline, other writings reveal anxiety that the antidote might itself be a form of poison. Colonial contact might exacerbate degeneration, whether through cultural mixing or through the violence of colonial aggression itself. A profound anxiety about French identity and France’s so-called mission civilisatrice is played out through the imagery, the style and the pose of Decadence.
Author: Sonya Stephens
Publisher: Indiana University Press
ISBN: 0253026547
Category : Literary Criticism
Languages : en
Pages : 287
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Book Description
Translation and the Arts in Modern France sits at the intersection of transposition, translation, and ekphrasis, finding resonances in these areas across periods, places, and forms. Within these contributions, questions of colonization, subjugation, migration, and exile connect Benin to Brittany, and political philosophy to the sentimental novel and to film. Focusing on cultural production from 1830 to the present and privileging French culture, the contributors explore interactions with other cultures, countries, and continents, often explicitly equating intercultural permeability with representational exchange. In doing so, the book exposes the extent to which moving between media and codes—the very process of translation and transposition—is a defining aspect of creativity across time, space, and disciplines.
Author: Octave Octave Mirbeau
Publisher:
ISBN:
Category :
Languages : en
Pages : 157
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Book Description
Le jardin des supplices by Octave Mirbeau
Author: Reg Carr
Publisher: Manchester University Press
ISBN: 9780719006685
Category : Political Science
Languages : en
Pages : 216
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Book Description
Author: Marcel Proust
Publisher: W. W. Norton & Company
ISBN: 0393614816
Category : Fiction
Languages : en
Pages : 276
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Book Description
In its centennial year, Marcel Proust’s masterpiece of literary imagination is available in a Norton Critical Edition. Marcel Proust’s seven-volume masterpiece, In Search of Lost Time (A la recherche du temps perdu), has inspired many superlatives, among them “the greatest novel ever written” and “the greatest novel of the first half of the twentieth century.” Swann’s Way, the first volume of the Recherche and the most widely read and taught of all the volumes, is the ideal introduction to Proust’s inventive genius. This Norton Critical Edition is based on C. K. Scott Moncrieff’s translation, which introduced the English-speaking world to Proust and was published during the author’s lifetime. It is accompanied by Susanna Lee’s introduction, note on the text, and explanatory annotations. Marcel Proust was forty-two years old when Swann’s Way was published, but its foundational ideas and general shape had been evolving for decades. “Contexts” includes a 1912 reader’s report of the manuscript that exemplifies publishers’ complicated reactions to Proust’s new form of writing. Also included are three important post-publication reviews of the novel, by Elie-Joseph Bois, Lucien Daudet, and Paul Souday, as well as André Arnyvelde’s 1913 interview with Proust. The fourteen critical essays and interpretations of Swann’s Way in this volume speak to the novel’s many facets—from the musical to the artistic to its representations of Judaism and homosexuality. Contributors include Gérard Genette, whose “Metonymy in Proust” appears here in English translation for the first time, along with Gilles Deleuze, Roger Shattuck, Claudia Brodsky, Julia Kristeva, Margaret E. Gray, and Alain de Botton, among others. The edition also includes a Chronology of Proust’s Life and Work, a Selected Chronology of French Literature from 1870 to 1929, and a Selected Bibliography.
Author: Katja Krebs
Publisher: Routledge
ISBN: 1134114176
Category : Performing Arts
Languages : en
Pages : 254
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Book Description
This book provides a pioneering and provocative exploration of the rich synergies between adaptation studies and translation studies and is the first genuine attempt to discuss the rather loose usage of the concepts of translation and adaptation in terms of theatre and film. At the heart of this collection is the proposition that translation studies and adaptation studies have much to offer each other in practical and theoretical terms and can no longer exist independently from one another. As a result, it generates productive ideas within the contact zone between these two fields of study, both through new theoretical paradigms and detailed case studies. Such closely intertwined areas as translation and adaptation need to encounter each other’s methodologies and perspectives in order to develop ever more rigorous approaches to the study of adaptation and translation phenomena, challenging current assumptions and prejudices in terms of both. The book includes contributions as diverse yet interrelated as Bakhtin’s notion of translation and adaptation, Bollywood adaptations of Shakespeare’s Othello, and an analysis of performance practice, itself arguably an adaptive practice, which uses a variety of languages from English and Greek to British and International Sign-Language. As translation and adaptation practices are an integral part of global cultural and political activities and agendas, it is ever more important to study such occurrences of rewriting and reshaping. By exploring and investigating interdisciplinary and cross-cultural perspectives and approaches, this volume investigates the impact such occurrences of rewriting have on the constructions and experiences of cultures while at the same time developing a rigorous methodological framework which will form the basis of future scholarship on performance and film, translation and adaptation.
Author: Jennifer Forrest
Publisher: Routledge
ISBN: 1000682463
Category : Literary Criticism
Languages : en
Pages : 208
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Book Description
In his discussion of clowns in nineteenth-century French painting from Jean-Léon Gérôme’s 1857 La Sortie du bal masqué to Georges Rouault, art historian Francis Haskell wondered why they are so sad. The myth of the sad clown as an allegory for the unappreciated artist found echoes in the work of literary counterparts like Charles Baudelaire and his "Vieux saltimbanque" who seeks in vain a responsive public. For some, the attraction of the acrobatic clown for the creative imagination may have been his ability to embody the plight of the artist: these artistes generally led an ambulatory and uncertain existence. Other artists and writers, however, particularly the Decadents, perceived in the circus acrobat – including the acrobatic clown – a conceptual and performative tool for liberating their points of view from the prison-house of aesthetic convention. If authors’ protagonists were themselves sometimes failures, their aesthetic innovations often produced exhilarating artistic triumphs. Among the works examined in this study are the circus posters of Jules Chéret, Thomas Couture’s Pierrot and Harlequin paintings, Honoré Daumier’s saltimbanque paintings, Edgar Degas’s Miss Lala au Cirque Fernando, Édouard Manet’s Un bar au Folies-Bergère, the pantomimes of the Hanlon-Lees troupe, and novels, short stories, and poems by Théodore de Banville, Edmond de Goncourt, J. K. Huysmans, Gustave Kahn, Jules Laforgue, Catulle Mendès, Octave Mirbeau, Jean Richepin, Edouard Rod, and Marcel Schwob.
Author: Emily Apter
Publisher: Cornell University Press
ISBN: 1501722700
Category : Literary Criticism
Languages : en
Pages : 316
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Book Description
Shoes, gloves, umbrellas, cigars that are not just objects—the topic of fetishism seems both bizarre and inevitable. In this venturesome and provocative book, Emily Apter offers a fresh account of the complex relationship between representation and sexual obsession in turn-of-the-century French culture. Analyzing works by authors in the naturalist and realist traditions as well as making use of documents from a contemporary medical archive, she considers fetishism as a cultural artifact and as a subgenre of realist fiction. Apter traces the web of connections among fin-de-siècle representations of perversion, the fiction of pathology, and the literary case history. She explores in particular the theme of "female fetishism" in the context of the feminine culture of mourning, collecting, and dressing.
