By Nigel Harkness, Lisa Downing, Sonya Stephens
This quantity attracts participants from world wide who signify the complete diversity of methods to scholarship in nineteenth-century French reports: historic, literary, cultural, paintings ancient, philosophical, and comparative. The subject matter of the quantity - beginning and loss of life - is one with specific resonance for nineteenth-century French reports, because the 19th century is usually perceived as an age of recent existence and upkeep. it's the epoch that witnessed an efflorescence of business and inventive growth, the beginning of the person and the start of the unconventional, and the construction of an city inhabitants within the significant demographic shift from the agricultural provinces to Paris. whilst, in spite of the fact that, it's the century of Decadence and degeneration thought, marked through a well-known 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 during which mirrored image on procedures of creative construction starts 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 hot and leading edge and a paranoid experience of its personal encroaching decay, the dual issues of beginning and demise open onto quite a few concerns - literary, social, old, inventive - that are explored, interrogated and reassessed within the essays contained during this quantity
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Additional info for Birth and death in nineteenth-century french culture
Le lat. traductio). […] 2. (fin xviii) Expression, transposition. Traduire. (1480; lat. traducere, proprem. ‘faire passer’) I: citer, déférer. 1 (1520). Faire que ce qui etait énoncé dans une langue le soit dans une autre, en tendant à l’équivalence sémantique et expressive des deux énoncés. […] 2. Exprimer, 50 Larry Duffy tion, on the part of text, internal narratives, narrators and characters, an essential mechanism in pinning down the essence of various Others: Andalusians, Basques, Gypsies, women, Spanish people in general, particularly in terms of their proximity to North Africa – basically, in expressing a version of anyone not French, bourgeois, classically educated and male.
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.
The fact that Flaubert here, like Apuleius, uses a statue to recall the myth only sharpens the similarity. 14 13 Note how Flaubert demonstrates his familiarity with the concept that Diana possessed in myth many different attributes beyond her best-known associations with chastity and hunting. 14 It is worth noting that the discovery by Bouvard and Pécuchet of an echo in 42 Stephen Goddard We have seen, then, that Flaubert’s early readings of Ovid and Apuleius seem to have left their mark on texts throughout his literary career.