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An enlightening study of three writers, Flaubert, Joyce and Beckett: The Stoic Comedians begins with an explanation of the effect of the printing press on books. The "book as book" has been removed from the oral tradition by such features as prefaces, footnotes, and indexes. Books have become voiceless in some sense--they are to be read silently, not recited aloud. How this mechanical change affected the possibilities of fiction is Kenner's subject. Each of the three featured authors approached this situation in a unique, yet connected way: Flaubert as the "Comedian of the Enlightenment," categorizing man's intellectual follies; Joyce as the "Comedian of the Inventory," with his meticulously constructed lists; and Beckett as the "Comedian of the Impasse," eliminating facts and writing novels about a man alone writing.

?National Book Critics Circle Award Finalist for BiographyA New York Times Notable BookPublishers Weekly Best Book of the YearIn this riveting landmark biography, Frederick Brown illuminates the life and career of the author of Madame Bovary. He describes Flaubert's fraught relationship with his longtime mistress Louise Colet, his liaisons with many other women, and his friendships with luminaries such as Turgenev and Zola. Here too is Brown's description of Flaubert's meticulous compositional habits, his painstaking search for the sentence that is deeply, rhythmically right.Brown brings his subject remarkably and fully to life, illuminating not only the novelist but also his milieu--the Paris and Normandy of the revolution of 1848 and of the Second Empire--with arresting clarity and a deepening sense of Flaubert's time and place. Flaubert is a sophisticated, thorough, and utterly absorbing re-creation of the life and times of the man who is arguably the architect of the modern novel.

An Everyman's Library hardcover omnibus edition of two of the Booker Prize-winning author's earliest and most admired novels, neither of which has been available in hardcover for more than two decades. With full-cloth binding, a silk ribbon marker, a chronology, and a new introduction.Flaubert's Parrot, Julian Barnes's breakthrough book—shortlisted for the Booker Prize in 1984—is the story of Geoffrey Braithwaite, a retired doctor who is obsessed with the French author and with tracking down a stuffed parrot that once inspired him. Barnes playfully combines a literary detective story with a character study of its detective, embedded in a brilliant riff on literary genius. A History of the World in 10 1/2 Chapters is a mix of fictional and historical narratives of voyage and discovery—ranging from a woodworm's perspective on Noah's ark to a survivor from the sinking of the Titanic—that question our ideas of history. One of his most inventive works, it was praised by Salman Rushdie as "frequently brilliant, funny, thoughtful, iconoclastic, and a delight to read."

The original CliffsNotes study guides offer expert commentary on major themes, plots, characters, literary devices, and historical background.With CliffsNotes on Madame Flaubert, you'll gain insight into Gustave Flaubert's novel that was so scandalous, he was brought to trial for immorality. Written in 1857, Madame Bovary is a pointed telling of the protagonist's immoral behavior as she ignores her duties as wife and mother to pursue her superficial romantic ideals. However, many now claim the novel as an integral part of modern European and American fiction and the forerunner and model of the realistic novel.Show your classmates – and your grade-granting teacher – that you're in the know with literature. You can't miss with chapter summaries, plot explorations, and author insights. Other features that help you study includeA brief synopsis of the novelInsightful chapter commentariesCritical essays on major themes, symbolism, style, and moreIn-depth character analysesAn interactive quiz to test your knowledgeEssay topics and review questionsClassic literature or modern modern-day treasure – you'll understand it all with expert information and insight from CliffsNotes study guides.

Although their styles appear remarkably different, Flaubert and Kafka share a common identification with the writing process itself. “I am a human pen,” wrote Flaubert; “I am nothing but literature,” declared Kafka. This stimulating book is the first to explore the link between these writers.Introducing his conception of psychopoetics, Charles Bernheimer brings new clarity to many controversial issues in psychoanalysis, rhetoric, and critical theory. In chapters on Flaubert and Kafka he probes the desires and fears motivating each writer’s search for a fully satisfying literary style. His interpretation of the strategies the authors adopt to harness the negativity of writing reveals the creative function of such psychological phenomena as narcissism, fetishism, and sadomasochism. The major works, Bernheimer argues, dramatize the conflict between the structures of Eros and Thanatos, metonymy and metaphor, through which they are constituted. From this illuminating perspective he traces the genesis of each writer’s mature style, analyzes two early works, La Tentation de saint Antoine and “The Judgment,” and examines two late masterpieces, Bouvard et Pécuchet and The Castle, applying to the latter Walter Benjamin’s description of the allegorical mode.This highly original work of theoretical criticism will interest not only readers of Flaubert and Kafka but all students of literary theory and the creative process.

Provides a twenty-year record of views on the novel, art, and contemporary issues and on personal events and problems

A leading art critic and historian offers a new and revolutionary analysis of Flaubert’s literary style Gustave Flaubert, one of the key figures in literary modernism, is famous for his determined pursuit of stylistic perfection. This notably involved the attempt to eliminate from his prose all sorts of assonances, consonances, and repetitions, in large measure by reading his sentences in a loud voice—the test of what he called the gueuloir (from gueuler, to yell). And yet when one examines closely the prose in his first novel, Madame Bovary, one becomes aware of a host of repetitions that appear to go directly against his stylistic ideal, revealing a level of “resistance” to that ideal at the very heart of his writing process.In this book Michael Fried presents two long essays: the first on Madame Bovary, in which the problem of critical understanding posed by this discovery is explored in depth; and the second on Flaubert’s remarkable second novel, Salammbô, in which the conflict between the drive for perfection and certain automatistic tendencies in Madame Bovary is replaced by a determination to extend the rule of authorial will throughout every aspect and level of the text. Furthermore, drawing on his wide knowledge of nineteenth-century French painting and criticism, Fried suggests that there exist strong analogies between what goes on in Flaubert's writing and what can be seen to take place in the art of Courbet, Manet, and Legros.

An enlightening study of three writers, Flaubert, Joyce and Beckett: The Stoic Comedians begins with an explanation of the effect of the printing press on books. The "book as book" has been removed from the oral tradition by such features as prefaces, footnotes, and indexes. Books have become voiceless in some sense--they are to be read silently, not recited aloud. How this mechanical change affected the possibilities of fiction is Kenner's subject. Each of the three featured authors approached this situation in a unique, yet connected way: Flaubert as the "Comedian of the Enlightenment," categorizing man's intellectual follies; Joyce as the "Comedian of the Inventory," with his meticulously constructed lists; and Beckett as the "Comedian of the Impasse," eliminating facts and writing novels about a man alone writing.

An enlightening study of three writers, Flaubert, Joyce and Beckett: The Stoic Comedians begins with an explanation of the effect of the printing press on books. The "book as book" has been removed from the oral tradition by such features as prefaces, footnotes, and indexes. Books have become voiceless in some sense--they are to be read silently, not recited aloud. How this mechanical change affected the possibilities of fiction is Kenner's subject. Each of the three featured authors approached this situation in a unique, yet connected way: Flaubert as the "Comedian of the Enlightenment," categorizing man's intellectual follies; Joyce as the "Comedian of the Inventory," with his meticulously constructed lists; and Beckett as the "Comedian of the Impasse," eliminating facts and writing novels about a man alone writing.

From a distinguished literary historian, a look at Gustave Flaubert and his correspondence with George Sand during France's "terrible year"--summer 1870 through spring 1871From the summer of 1870 through the spring of 1871, France suffered a humiliating defeat in its war against Prussia and witnessed bloody class warfare that culminated in the crushing of the Paris Commune. In Flaubert in the Ruins of Paris, Peter Brooks examines why Flaubert thought his recently published novel, Sentimental Education, was prophetic of the upheavals in France during this "terrible year," and how Flaubert's life and that of his compatriots were changed forever.Brooks uses letters between Flaubert and his novelist friend and confidante George Sand to tell the story of Flaubert and his work, exploring his political commitments and his understanding of war, occupation, insurrection, and bloody political repression. Interweaving history, art history, and literary criticism-from Flaubert's magnificent novel of historical despair, to the building of the reactionary monument the Sacré-Coeur on Paris's highest summit, to the emergence of photography as historical witness-Brooks sheds new light on the pivotal moment when France redefined herself for the modern world.

Interwoven with the story of obsessive amateur Flaubert scholar Charles Braithwaite are speculations on life and art and on the difficulty of knowing another person and above--and throughout--all is the brooding presence of Flaubert

The complete correspondence between the two giants of nineteenth-century literature provide a twenty-year record of their views on the novel, art, and contemporary issues and on personal events and problems

A collection of letters between literary greats with two very different lifestyles reveals their shared passion for art, their common qualities of goodness, their candor, and their humor.

From the highly acclaimed author of Zola: A Life comes the definitive biography of Gustave Flaubert, author of Madame Bovary.Gustave Flaubert (1821-1880), whose Madame Bovary outraged the right-thinking bourgeoisie, is now brought to life as the singular person and artist he was. As Frederick Brown reveals, Flaubert was fraught with contradiction--a sedentary man who took epic voyages through Egypt and the Middle East; a man of genius who could be flamboyantly uncouth, but was fanatically devoted to beautifully cadenced prose. While making much of his camaraderie with male friends, Flaubert depended upon the emotional nurture of maternal women, notably George Sand, with whom he engaged in a justly celebrated correspondence. His assorted mistresses--French, Egyptian, and English--fed both his richly erotic imagination and his fictional characters, and his letters provide a record of them.Flaubert's time and place literally put him on trial for portraying lewd behavior in Madame Bovary. His milieu also made him a celebrity and, indirectly, brought about his financial ruin. Flaubert died suddenly at the age of fifty-nine, and soon afterward, his beloved retreat near Rouen was torn down and converted into a distillery to cover his niece's debts. He privately dreamed of popular success, which he in fact achieved with Madame Bovary, but never sacrificed to it his ideal of artistic integrity. Frederick Brown's magisterial biography honors his subject's life, times, and legacy.

«Le Flaubert qui s'exténua à produire une uvre rare et précieuse est, exactement, le Flaubert de la légende et (si les quatre volumes de sa correspondance ne nous trompent pas) celui de l'histoire aussi. Et ce Flaubert est plus important que l'importante littérature qu'il prémédita et réalisa - Flaubert, premier Adam d'une espèce nouvelle : celle de l'homme de lettres comme prêtre, comme ascète et comme martyr.»«Don Quichotte et Sancho sont plus réels que le soldat espagnol qui les inventa, mais aucune créature de Flaubert n'est aussi réelle que Flaubert. Ceux qui prétendent que son uvre capitale est sa Correspondance peuvent arguer que dans ces volumes virils se trouve le visage de son destin. Ce destin s'est reproduit, mystérieusement magnifié et varié, en celui de Mallarmé, de Henry James et en celui de l'Irlandais enchevêtré et presque infini qui trama Ulysse.»Jorge Luis Borges, Discussion.

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This book tells the story of how Flaubert’s admiration for Cervantes’ Don Quijote unfolded, and how profoundly it shaped and influenced Flaubert’s ambition and his approach to all his major works, beginning with his breakthrough novel Madame Bovary. It thus fills a major gap in the history of the novel and explores, for the first time, just what Flaubert meant when he said, while writing Bovary: “Je retrouve toutes mes origins dans le livre que je savais par coeur avant de savoir lire, Don Quichotte”(I can trace all my origins back to the book I knew by heart). Several cultural and personal factors converged to establish the prominent place of Don Quijote in Flaubert’s imagination, and these are dealt with in depth in the book. But it is the profound parallels between the two novels that clearly illustrate how Don Quijote permeates Madame Bovary in both subject and approach. One such parallel is Alonso Quijano and Emma Bovary’s desire to imitate fiction, which reflects a kind of literary madness in which the attempt to impose the narrative conventions of romances on life only leads hero and heroine, respectively, to destruction, disappointment, and ultimately death. The borrowings and the transpositions are substantial and endless; and indeed the influence did not stop at Bovary, for Flaubert’s later grands romans, including the rewritten Education Sentimentale and Bouvard et Pécuchet, also display the quixotic hallmark.  This study situates each author in his respective historical and aesthetic context, and provides key examples from Don Quijote and Madame Bovary, Flaubert’s Correspondence, as well as his earlier novels. Flaubert’s letters and novels show how the French author penetrated deeply into Cervantes’novelistic approach and how his relationship to Don Quijote directly shaped his success at the crux of his career.

The life and times of the great French novelist A blond giant of a man with green eyes and a resonant actor's voice, Gustave Flaubert, perhaps the finest French writer of the nineteenth century, lived quietly in the provinces with his widowed mother, composing his incomparable novels at a rate of five words an hour. He detested his respectable neighbors, and they, in turn, helped to ensure his infamy as a writer of immoral books. Geoffrey Wall's remarkable new biography weaves together the inner dramas of Flaubert's provincial life with the social intrigues of his regular escapes to Paris, where he became a friend to Turgenev and was praised by the emperor, and the flamboyant excitements of his travels throughout the Mediterranean, on which he kept company with courtesans, acrobats, gypsies, and simpletons. Flaubert's contradictory experiences nurtured his peerless novels and stories, and Wall's dynamic interpretation of them gives us a new understanding of his sometimes pitiable, always unforgettable characters: an Egyptian hermit tormented by voluptuous visions, a melancholy doctor's wife eating arsenic to escape debt and despair, an old country woman who worships a stuffed parrot. Wall's is the first full-fledged modern biography of this immeasurably talented and influential artist. Flaubert brilliantly re-creates the life and times of a writer who wrote to within an inch of his life and whose importance will never diminish.

This book tells the story of how Flaubert’s admiration for Cervantes’ Don Quijote unfolded, and how profoundly it shaped and influenced Flaubert’s ambition and his approach to all his major works, beginning with his breakthrough novel Madame Bovary. It thus fills a major gap in the history of the novel and explores, for the first time, just what Flaubert meant when he said, while writing Bovary: “Je retrouve toutes mes origins dans le livre que je savais par coeur avant de savoir lire, Don Quichotte”(I can trace all my origins back to the book I knew by heart). Several cultural and personal factors converged to establish the prominent place of Don Quijote in Flaubert’s imagination, and these are dealt with in depth in the book. But it is the profound parallels between the two novels that clearly illustrate how Don Quijote permeates Madame Bovary in both subject and approach. One such parallel is Alonso Quijano and Emma Bovary’s desire to imitate fiction, which reflects a kind of literary madness in which the attempt to impose the narrative conventions of romances on life only leads hero and heroine, respectively, to destruction, disappointment, and ultimately death. The borrowings and the transpositions are substantial and endless; and indeed the influence did not stop at Bovary, for Flaubert’s later grands romans, including the rewritten Education Sentimentale and Bouvard et Pécuchet, also display the quixotic hallmark.  This study situates each author in his respective historical and aesthetic context, and provides key examples from Don Quijote and Madame Bovary, Flaubert’s Correspondence, as well as his earlier novels. Flaubert’s letters and novels show how the French author penetrated deeply into Cervantes’novelistic approach and how his relationship to Don Quijote directly shaped his success at the crux of his career.

in-8, broché, 534 pp., quelques illustrations en couleurs, index. Envoi de l'auteur à Nicolas Ungemuth. Excellent état.