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Download PDF by Tim Farrant: An introduction to nineteenth-century French literature

By Tim Farrant

ISBN-10: 0715629077

ISBN-13: 9780715629079

ISBN-10: 1472537637

ISBN-13: 9781472537638

ISBN-10: 1472537645

ISBN-13: 9781472537645

Everyone is familiar with whatever of nineteenth-century France - or do they? "Les Miserables", "The woman of the Camelias" and "The 3 Musketeers", "Balzac" and "Jules Verne" stay within the well known recognition as enduring human records and cultural icons. but, the French 19th century was once much more dynamic than the stereotype indicates. This interesting new creation takes the literature of the interval either as a window on earlier and current mindsets and as an item of fascination in its personal correct. starting with historical past, the century's largest challenge and strength, it appears at narrative responses to ancient, political and social event, prior to devoting imperative chapters to poetry, drama and novels - all genres the century notably reinvented. It then explores a variety of modernities, methods nineteenth-century writing and mentalities wait for our personal, ahead of turning to marginalities - topics and voices the canon commonly forgot. No style was once left unchanged via the 19th century. This publication can help to find them anew.

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Extra resources for An introduction to nineteenth-century French literature

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If ‘Je et moi’ would be ‘comme M. ] like M. de Chateaubriand, that king of egotists’), then writing in the third person raises the problem of how to account for ‘les mouvements intérieurs de l’âme’ (‘the soul’s inner movements’) (ch. 1). And writing, with its inevitable activities of selfcriticism and self-correction, is inherently disingenuous: how many precautions, asks Stendhal, does it take not to lie? Stendhal’s awareness of the unavoidable artifices of self-writing leads him to be upfront about them, to exploit the ambiguities of a genre which, in the guise of self-recording, is also self-creation, inevitably containing (like Stendhal’s response to life) an element of self-fictionalisation.

2. Vision: Hugo and Baudelaire The visionary is the power of perceiving vivid mental images, of seeing, often prophesying, an absolute mystical truth. In the nineteenth century, poetry was an ideological battleground where poets were major campaigners. The Classical view that poetry could not simply sing, but must say something universally significant, issue a public declaration of belief, made visionary poetry, with its epic treatment of mythic or cosmic subjects, a major form. Vigny’s Poèmes antiques et modernes (1826) and Les Destinées (1863), Lamartine’s Jocelyn (1836), Hugo’s Les Contemplations (1856) or La Légende des siècles (1850; 77, 83), all wrestle with the problem of man’s place in the world, with quavering faith (Lamartine), providential fatalism (Vigny), unfailing wonder (Hugo), or hermetic pantheism (Nerval, ‘Vers dorés’, Les Chimères, 1854).

The various frames and narrators problematise perspective not just spatially, as it were, in terms of their relationship to each other in the present, but also in terms of their relationship to the past, in terms of wider social history, as in Musset’s Confession, or of their supposed textual status as a discovered manuscript, as in Adolphe; presenting the narrative as a manuscript literally turns it into an object for analysis. Such devices encourage us to try and establish what made their heroes act as they did.

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An introduction to nineteenth-century French literature by Tim Farrant

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