Birth and death in nineteenth-century french culture by Nigel Harkness, Lisa Downing, Sonya Stephens

By Nigel Harkness, Lisa Downing, Sonya Stephens

This quantity attracts members from world wide who symbolize the complete variety of ways to scholarship in nineteenth-century French stories: old, literary, cultural, artwork ancient, philosophical, and comparative. The subject of the amount - start and loss of life - is one with specific resonance for nineteenth-century French stories, because the 19th century is usually perceived as an age of latest lifestyles and maintenance. it's the epoch that witnessed an efflorescence of commercial and inventive growth, the beginning of the person and the start of the unconventional, and the production of an city inhabitants within the significant demographic shift from the agricultural provinces to Paris. even as, even if, it's the century of Decadence and degeneration conception, marked by means of a favorite morbid aesthetic within the creative sphere and a fascination with illegal activity, ethical decay and the pathologization of racial and sexual minorities within the medical discourses. it's also the century within which mirrored image on techniques of creative construction starts off to problematize techniques of mimetic illustration, the functionality of the writer and the prestige of the textual content. within the context of the dialectical caliber of nineteenth-century French tradition, stuck among an obsession with the recent and cutting edge and a paranoid feel of its personal encroaching decay, the dual topics of beginning and demise open onto various matters - literary, social, ancient, inventive - that are explored, interrogated and reassessed within the essays contained during this quantity

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16 Pécuchet’s unfortunate fructus belli, visited upon him by a godlike Flaubert, recalls Diana’s curse upon Acteon, and the Fates’ punishment of Lucius. However, the tenor of Flaubert’s description perhaps suggests how we should read it: it is a half-serious modern retelling of what was already a burlesque tale; it is a burlesque of a burlesque. 16 Œuvres complètes de Gustave Flaubert, including the Correspondance, 16 vols (Paris: Club de l’Honnête Homme, 1971-75), XVI, 109. Flaubert, Apuleius and Ovid: The Genesis of a Recurring Theme 47 We have seen how Flaubert seems to find the tale of Acteon, as told by Ovid and as suggestively alluded to by Apuleius, a rich source for his work.

Lors de son procès, 32 28 Lélia, texte de 1833 (Paris: Garnier, 1960), pp. 311-26, et Lélia, texte de 1839, 2 vols (Meylan: Éditions de l’Aurore, 1987), II, 154-60. 29 Par exemple dans Lélia (texte de 1833): ‘La dernière journée approche de son terme’ (p. 311); ‘L’ange de la mort a fait une croix cette nuit sur la porte’ (p. 312); ‘une ombre sortie du sépulcre pour hurler dans les ténèbres’; ‘la digne fiancée d’un cadavre’; ‘le phare sinistre’ (p. ’ (p. ’ (p. 323). 30 En avril et juillet 1839, quelques mois avant la parution de la seconde Lélia, paraissent, dans la Revue des deux mondes, Les Sept Cordes de la lyre et Gabriel, deux romans dialogués où George Sand expérimente les frontières entre les genres, rapprochant le roman du théâtre.

242-43). More telling, however, than the generic similarity in the description of the hounds’ killing of the stag, and Julien’s voyeuristic enjoyment which echoes that of Acteon’s companions, is the slight ambiguity – possibly accidental, but certainly not grammatically unavoidable – of the phrase ‘qui le dévoraient’: the pronoun designates the animal, but could equally apply to Julien. In the main hunting scene itself, when Julien attacks the family of deer, the fawn is tacheté; Acteon as a stag in Ovid is also dappled, ‘maculoso vellere’ (l.

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