Mapping Memory in Nineteenth-Century French Literature and Culture (Faux Titre)

Mapping Memory in Nineteenth-Century French Literature and Culture (Faux Titre)

Language: English

Pages: 332

ISBN: 9042034580

Format: PDF / Kindle (mobi) / ePub

Memory and memory studies have shaped a major site of humanities research over the last twenty years. Examined by ethnographers, archaeologists, social scientists, historians, economists, archivists, art historians, and literary scholars, the theme of memory - individual memory and memoir, collective memory, official memory and oral memory, cultural memory and popular memory - has informed academic discourse and formed institutional structures. Yet, the matter of memory is, paradoxically, under-explored in studies of the 'long nineteenth century' in France. Mapping Memory in Nineteenth-Century French Literature and Culture focuses critical attention on that neglected century when France was struggling to negotiate the serially renewed memory of revolutionary turmoil and socio-cultural redefinition. This volume explores the spaces that the memory process claims and shapes, and it works to identify the crosscurrents that connect those spaces. It asks how memory resists - or cedes to - colonisations by authority, by official discourse, by history, and by aesthetics. It asks how memory-work coincides with or morphs into the processes of the imagination. Eschewing diachronic approaches, the contributors to this volume explore sites around which memory is concentrated or which it shapes and informs: Memory on the Street; Sites of National Memory; Metamorphoses: Memory and Literary Practice; and Memory's Imaginary Spaces.

Les Trois Mousquetaires

Haptic Experience in the Writings of Georges Bataille, Maurice Blanchot and Michel Serres (Modern French Identities)

Barbara Wright: Translation as Art

The Elementary Particles

















Professor Lannoy, involved in the theatrical productions, went even further, praising their choice of topic as a critique of the Dreyfus Affair: ‘la jeunesse des écoles, notre jeunesse parisienne a voulu, pour quelques instants, détourner nos regards de ces spectacles de haine de et violence [sic], les détourner aussi des vilenies sociales dont la plaie s’étend autour de nous; elle s’est souvenue fort à propos que les heures de gaieté franche, unanime, sont courtes et rares [...] par les mauvais

rapprochement entre la beauté des livres et l’amour des femmes. On en vient à se dire que ces personnages assez insignifiants ressemblent d’assez près à l’idée que Flaubert se faisait de ses ‘jeunes premiers’.13 Mais cette médiocrité échappe visiblement à l’auteur qui s’imagine livrer ici une touchante histoire d’amour ; on en vient à se dire que L’Arrière-petite-fille de Madame Bovary s’apparente aux romans qu’Emma lit, ou à ceux qu’elle se fait, à ces histoires de passion étale, sans nuages ni

Victor Hugo: a Biography (New York: McKay, 1971), p. 284. 16 Diana Holmes, Rachilde: Decadence, Gender and the Woman Writer (Oxford and New York: Berg, 2001), p. 31. 15 Catulle Mendès and Poetry as Record 187 enough knowledge of the Symbolists, ‘esprits vagues et hauts’ (p. 164 – the ‘hauts’, at least, is praise in Mendès’s vocabulary), but he is almost totally dismissive of formal experiment. In general, he expresses respect for the principles of Symbolism, but is critical of its practices.

politique est d’être homme avec le Roi, sachez, monsieur, qu’ici la vôtre est de rester enfant’ (pp. 1112-13). In thus being both in step, and yet also out of step, with history, Félix now materializes yet another form of ‘mal d’archive’: he embodies two, different, ‘Restorations’ – the post-restoration monar17 Nathalie Basset, ‘Le Type de l’émigré dans La Comédie humaine: un type sans histoire?’, L’Année balzacienne 1990, pp. 99-109 (p. 109). 18 There is, moreover, the suggestion that Mortsauf’s

Sainte-Beuve, Vigny, and Chateaubriand, and appeared in thirty-nine new editions before 1900. It was in the immediate aftermath of the July Revolution, however, that interest in Alcofribas reached its apogee. Eschewing a superficial admiration for his stylistic verve, Balzac and Nodier redefined Rabelais’ importance to French cultural memory by calling for a deeper engagement with the political and linguistic dynamics of his texts. At the forefront of this drive were Balzac’s own Contes

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