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Madame Bovary : Notes Cliffs Notes On--; Title: Rev
Madame Bovary : Notes Cliffs Notes On--; title: Rev. Ed. author: Roberts, James Lamar. publisher: John Wiley & Sons, Inc. (US) isbn10 | asin: print isbn13: 9780822007807 ebook isbn13: 9780822071259 language: English Flaubert, Gustave,--1821-1880.--Madame subject Bovary. publication date: 1964 lcc: ddc: 840.9 Flaubert, Gustave,--1821-1880.--Madame subject: Bovary. Page i Page 1 Madame Bovary Notes by James L. Roberts, Ph.D. Department of English University of Nebraska including Introduction to the Novel Brief Synopsis of the Novel List of Characters Chapter Summaries and Commentaries Character Analyses Flaubert's Life and Works Questions for Review INCORPORATED LINCOLN. NEBRASKA 68501 Page 2 Editor Gary Carey, M.A. University of Colorado Consulting Editor James L. Roberts, Ph.D. Department of English University of Nebraska ISBN 0-8220-0780-0 © Copyright 1964 by Cliffs Notes, Inc. All Rights Reserved Printed in U.S.A. 1999 Printing The Cliffs Notes logo, the names ''Cliffs" and "Cliffs Notes," and the black and yellow diagonal-stripe cover design are all registered trademarks belonging to Cliffs Notes, Inc., and may not be used in whole or in part without written permission. Cliffs Notes, Inc. Lincoln, Nebraska Page 3 Contents Introduction 5 A Brief Synopsis 5 List of Characters 6 Critical Commentaries Part I 11 Part II 25 Part III 46 Character Analyses 62 Critical Problems 67 Flaubert's Life and Works 72 Suggestions for Further Reading 74 Sample Examination Questions 75 Page 5 Introduction Gustave Flaubert's masterpiece, Madame Bovary, was published in 1857. The book shocked many of its readers and caused a scandalized chain reaction that spread through all France and ultimately resulted in the author's prosecution for immorality. -
Editing Flaubert: from Paper to Screen
1 Communication inédite prononcée lors du séminaire de Bergen (Norvège), 26-27 mai 2005 (Université de Bergen / AKSIS – Université Lumière Lyon 2-CNRS / LIRE) : « Publication et lecture numériques. Défis et processus engagés par l’édition critique et les activités de lecture sur supports numériques ». Editing Flaubert: From Paper to Screen. Among Texts and Avant-textes. Stéphanie Dord-Crouslé (CNRS – UMR 5611 LIRE) In order to deal with the editorial problems raised by the work of Gustave Flaubert, I would like here to focus on the point of intersection of two developments, both of them historical, although in different senses. The first one is related to a changing technological situation, thanks to the fast and widespread movement towards using digital supports for the publication of large-scale corpora. The networks for publishing research in France, nonetheless, remain strongly tied to the printed medium. The second problem, less historical than biographical, is rather in connection with my scientific career. I would like to explain how my work on Flaubert’s avant-textes and their publication have transformed my vision of what the final edited version of a text should be, whether it be on paper or in digital form. I will thus especially try to emphasize the interferences at the crossroads (between history and my story), while describing various projects in progress. The corpus of Flaubert’s « complete works » is well defined and of approachable size; it has nothing in common with Balzac's Human Comedy or Proust's Remembrance of Things Past . It contains a collection of « short stories », entitled Three Tales , four novels: Madame Bovary , Salammbô , A Sentimental Education and Bouvard and Pécuchet , and a text of a problematic genre : The Temptation of Saint Anthony , a hybrid between novella and play. -
Disjecta Membra a Poetic Interplay of Fragments
disjecta membra disjecta membra A poetic interplay of fragments Lyna Ayr master of art & design 2012 contents page. attestation of authorship [011] intellectual property rights [013] acknowledgements [015] abstract [017] synopsis [019] introduction [021] chapter 1: positioning of the researcher [023] Illustrating poetics [024] Childhood and the fragment [035] Culture and fracture [036] John the Baptist [037] chapter 2: review of contextual knowledge [039] Disjecta Membra as a poetic concept [040] Constructions of the death of John the Baptist [041] Poetry-film as a media form [043] chapter 3: methodology [047] Heuristics [049] Design of the research [050] Reviewing and pattern finding [051] Breaking [052] Making and order [061] Reassembly and refinement [071] chapter 4: critical commentary [077] This exegesis is submitted to the Auckland University of Technology Poetry-film [078] for the Masters of Art & Design. Disjecta membra and textual fragments [080] Lyna Ayr B. Art & Design Honours, AUT University: Auckland. 2011 Lyna Ayr, B. Graphic Design, AUT University: Auckland. 2009 Iconography [082] Printed July 2013 Structure [088] © Lyna Ayr 2014 All rights reserved. conclusion This publication, may not be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, The work and its journey [090] mechanical, photocopying, recording or otherwise without the Post examination reflective statement [092] prior permission of the owner. Printed and bound by Printsprint, Wellesley, Auckland. 5 table of images chapter 1 [positioning of researcher] reference list [095] Creative texts relating to the beheading of John the Baptist [100] Figure 1:1 Ayr, L. (2009) Mother the Eternal [Photography, 376 mm x 1200mm]. -
Style As a "[M]Anner of Seeing": the Poetics of Gustave Flaubert
i Style as a “[M]anner of Seeing”: The Poetics of Gustave Flaubert A Thesis Submitted to The Faculty of the School of Communication In Candidacy for the Degree of Master of Arts in English By Nicole L. Brownfield 5 May 2010 ii Liberty University School of Communication Master of Arts in English Dr. Karen Swallow Prior _______________________________________________________________ Thesis Chair Date Dr. Emily Walker Heady ________________________________________________________________ First Reader Date Dr. William Gribbin _____________________________________________________________________ Second Reader Date iii Acknowledgements I would like to thank several individuals for helping both to encourage and to coach me throughout this process: to my fellow graduate students and my professors at Liberty, for believing in me, encouraging me, and praying for me, and especially to Kyra Marken and Anne Ryan, for their lasting friendship and support; to Dr. William Gribbin, for helping me to gain confidence in my work and ability; to Dr. Emily Walker Heady, for pushing me out of my comfort zone in my writing throughout my time in graduate school and for providing insight which only enhanced the value of this project; to Dr. Karen Swallow Prior, for helping me to become a stronger writer and for teaching me the value of the revision process. As a result of her consistent feedback and encouragement, I have learned that a coherent, well-written final product is worth fighting for; to my parents, Gary and Jackie Confalone, and my in-laws, Gary and Pam Brownfield, for providing accountability throughout the process and for showing me unconditional love, especially during times of discouragement; most of all, to Joel, whose unending faithfulness serves as a picture of God’s love and grace in my life daily, and whose listening ear and words of wisdom consistently inspired me to endure and to enjoy this project. -
Kazimiera Zawistowska’S Poetry, Young Poland, and Female Decadence
INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 2, Issue 1 Spring 2019 Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence Heide Liedke ISSN: 2515-0073 Date of Acceptance: 30 May 2019 Date of Publication: 21 June 2019 Citation: Heide Liedke, ‘Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence’,Volupté: Interdisciplinary Journal of Decadence Studies, 2.1 (2019), 39-56. volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Herodias’ Story, Herstory – Kazimiera Zawistowska’s Poetry, Young Poland, and Female Decadence Heidi Liedke Queen Mary, University of London The contradictory currents that shaped Europe at the turn of the century were reflected in the literary production of the time. The Polish literature of the fin de siècle is an especially interesting case in point: Poland, which had disappeared from the map of Europe completely for 123 years (from 1795 to 1918), was partitioned at that time and its own literary past was blended with cultural influences from Habsburg Austria, the Kingdom of Prussia, and the Russian Empire. As a consequence, a distinctly new Polish literature emerged, one that captured the essence of cosmopolitanism.1 Maria Podraza-Kwiatkowska refers to the literature produced between 1890- 1918 as ‘Młoda Polska’ [Young Poland] and chooses this term because of its neutrality that nevertheless captures the divergent tendencies within it, spanning Symbolism and Expressionism. In contrast to other scholars, Podraza-Kwiatkowska dismisses the terms ‘Decadence’ and ‘Modernism’ because they encompass broader phenomena than literature.2 These dynamics of blending were in tension with the lived realities of all Poles. -
The Eighth Veil: the Poetics and Aesthetics of Ambiguity in Oscar Wilde’S Salomé
The Eighth Veil: The Poetics and Aesthetics of Ambiguity in Oscar Wilde’s Salomé Gerrard Carter Supervisors: Dr Bertrand Bourgeois and Associate Professor Jacqueline Dutton Submitted in total fulfilment of the requirements of the degree Doctor of Philosophy March 2017 School of Languages and Linguistics, French Studies Program The University of Melbourne ABSTRACT Oscar Wilde’s 1891 radical tragedy Salomé is infused with symbolism, decadence and erotic transgression. Ambiguity is also a key characteristic that enhances and extends the aesthetic and textual analysis of Wilde’s rare French symbolist work, and yet it is often overlooked. Through a semiotic and transtextual analysis of the poetics and aesthetics in Salomé, this thesis examines the function of ambiguity in the play and how this notion creates an open work to be actively interpreted by readers. From the perspective of the present study, the decisive role of semiotics in relation to Wilde’s Salomé is that it promotes an interactive process between text and reader. Through the interpretation of signs, Salomé, as an ambiguous text, cries out for elaboration as it enticingly beckons the addressee to become its co-author. The dominant function of Wilde’s treatment of the Salomé myth is that of experimentation. It is the result of the author’s original and creative experimentation that presents the reader with a high degree of ambiguity. The innate ambiguity of the text engenders a literary response, as the reader engages in an intertextual pas de deux. This metaphorical dance enables the reader to unlock the text’s meaning while also permitting freedom for creative adaptions. -
Season 2020 Opera
SEASON 2020 OPERA. It’s a word grounded in tradition and heritage. When most people hear the term they imagine melodrama, grand theatres, and celebrated composers. And then quite often they think of a time gone by, a museum-piece art form. But not for us. When we think about opera, our gaze is fixed to the future. When it comes to opera, we believe the best days lie ahead. Because for a world that’s staring at screens, we prescribe the stage. The night out. The live moment. And the unique magic of a community who are together as music soars. We believe in the unlimited potential of this art form to move people, all people. To spark conversation, to help us understand one another, and to remind us of what it means to be alive and to live in a vibrant cultural city. WELCOME Victorian Opera’s Season 2020 offers As part of our proud long-term portals into fantastic worlds of myth commitment to new Australian work, and legend that only the unique union we tell stories for our own time by of music and poetry, a union which celebrating contemporary composers gives life to the art form of opera, can and writers in Three Tales and Margaret fully explore. Fulton: The Musical. Salome, Cinderella, and Three Tales We will share the magic of our work are very old stories indeed. Yet the at the theatre, but also online via energy of opera renews them, opening our pioneering education program, labyrinths of experience, complex, Access All Areas: Livestream Program. -
The Hermit of Croisset: Flaubert's Fiercely Enduring Perfectionism
University of New Orleans ScholarWorks@UNO English Faculty Publications Department of English and Foreign Languages 9-2009 The Hermit of Croisset: Flaubert's Fiercely Enduring Perfectionism Richard Goodman University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/engl_facpubs Part of the Nonfiction Commons Recommended Citation Goodman, Richard, "The Hermit of Croisset: Flaubert's Fiercely Enduring Perfectionism" (2009). English Faculty Publications. Paper 86. https://scholarworks.uno.edu/engl_facpubs/86 This Essay is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. 1 The Hermit of Croisset: Flaubert's Fiercely Enduring Perfectionism Richard Goodman The Writer’s Chronicle September, 2009 It could be said that the modern novel, or at least the sensibility of the modern novelist, was born when Gustave Flaubert went to live with his mother. Big biographies—including a massive five-volume tome by Jean Paul Sartre1 and a recent 620- page book by Frederick Brown2—have been written about a man who, save for a few interludes, lived his entire life in the same house in the same small village in Normandy. For years, Gustave Flaubert (1821-1880) lived with his mother, and, when she died in 1872, he stayed on alone in this village of Croisset. He made his study in a room on the second floor of this three-story house. There he wrote Madame Bovary, the book that, in his lifetime, would make him infamous and, after his death, immortal. -
SALOME and SELECT EARLY TWENTIETH-CENTURY INTERPRETATIONS Michael F. Vincent a Thesis Submitted To
SHIFTING SANDS OF IDENTITY: SALOME AND SELECT EARLY TWENTIETH-CENTURY INTERPRETATIONS Michael F. Vincent A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2011 Committee: Eftychia Papanikolaou, Advisor Mary Natvig © 2011 Michael F. Vincent All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Richard Strauss’s Salome constitutes an operatic adaptation of Oscar Wilde’s 1891 play. The popularity of this biblical account spans several hundred years with portrayals in mediums including folk tales, poetry and musical adaptations. The identities of the characters evolved over time, with emphasis on different personalities and relationships with each variation. Beginning with Gustave Flaubert’s short story Hérodias (1877), retellings dramatized the exoticism of the characters by virtue of their ethnicities and geographical location. By the end of the nineteenth century, Salome had developed into the Oriental femme fatale of Wilde’s and Strauss’s renderings. Early twentieth-century audiences became familiar with Salome’s story through a multitude of interpretations including Strauss’s opera. In this thesis, I examine the identities of the main characters of the tale. The characteristics of previous realizations betray the origins and meanings of these identities. Although the characters differed in each interpretation, audiences always saw them as part of a faraway time and place. The Orientalist underpinnings of early twentieth-century interpretations demanded that the characters be constructed to conform to exotic stereotypes. Chapter 1 reveals the development of the story, with an emphasis on Salome’s identity and her relationships with John the Baptist and Herod. -
Ensemble Forms in the Operas of Jules Massenet
RECONSTRUCTING CONVEN TION: ENSEMBLE FORMS IN THE OPERAS OF JULES MASSENET Gregory Straughn, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2004 APPROVED: Lester Brothers, Major Professor Frank Heidlberger, Minor Professor Margaret Notley, Committee Member James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Straughn, Gregory, Reconstructing Convention: Ensemble Forms in the Operas of Jules Massenet. Doctor of Philosophy (Musicology), December 2004, 265 pp., 41 musical examples, 9 figures, 24 tables, references, 177 titles. Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet’s reception as a “composer for the people,” a title ill fitting and ripe for reconsideration. This dissertation will examine duet forms in Massenet’s oeuvre and will focus on the gradual change in style manifest in his twenty-five operas. Massenet’s output can be divided into three distinct periods delineated by his approach to form. Representative works from each period will show how he inherited, interpreted, thwarted, and ultimately rewrote the standard formal conventions of his time and in doing so, created a dramaturgical approach to opera that unified the formerly separate number-based elements. -
A THEMATIC STUDY of the SENTIMENTAL EDUCATION and MADAME BOVARY by GUSTAVE FLAUBERT Ankita Gupta
VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.3 Issue 2 An International Peer Reviewed Journal 2016 http://www.joell.in RESEARCH ARTICLE A THEMATIC STUDY OF THE SENTIMENTAL EDUCATION AND MADAME BOVARY BY GUSTAVE FLAUBERT Ankita Gupta (Holy Cross Womens College Ambikapur, Sirguja district.) ABSTRACT Gustave Flaubert was one of the eminent French writers. Each of his novels deals with the reality of today’s life. In present scenario people are very passionate and ambitious towards their dreams, wants and life. This passion people, the urge of fulfillment of their dreams and desires sometimes destroy their entire life. In Madame Bovary, in order to fulfill the unlimited desires and wishes Emma destroys her life. In the same way in Sentimental Education, Frederic wants to become a millionaire and for that he could do anything. The main theme of the novel is the frustration of middle – class life. Thus in all the writings of Flaubert we can see the grim reality of day to day life. Keywords: Passionate, Ambitious, Desires, Scenario, Millionaire, Reality. Citation: APA Gupta,A (2016) A thematic study of the Sentimental Education and Madame Bovary by GustaveFlaubert Veda’s Journal of English Language and Literature-JOELL, 3(2), 28-30. MLA Gupta,Ankita “A thematic study of the Sentimental Education and Madame Bovary by Gustave Flaubert” Veda’s Journal of English Language and Literature-JOELL 3.2(2016):28-30. © Copyright VEDA Publication INTRODUCTION Le Croisset and devoted himself to the writings. Gustave Flaubert was one of the most Flaubert died in 1880. influential writers of the modern fiction. -
Comparison with the Gospel Stories
Caroline Vander Stichele: Murderous Mother, Ditto Daughter? lectio.difficilior 2/2001 Caroline Vander Stichele Murderous Mother, Ditto Daughter? Herodias and Salome at the Opera Die Geschichte vom Tod Johannes des Täufers (Markus 6:14-20; Matthäus 14:1-12) war ein beliebtes Thema der Kunst, vor allem am Ende des 19. Jahrhunderts. Der folgende Beitrag konzentriert sich auf ihre Rezeption in den Opern von Massenet (Herodiade, 1881) und Strauss (Salome, 1905). Er unternimmt eine vergleichende Lektüre der beiden Opern, wobei das Hauptinteresse den Rollen der Herodias und ihrer Tochter gilt. Darüber hinaus werden im Artikel die zugrunde liegenden Evangelientexte sowie Flauberts Erzählung Herodias analysiert, die Massenets Oper im besonderen als Quelle dienten. Die entsprechenden Erzählungen werden jeweils zunächst zusammenfassend skizziert. Es folgt eine Auswertung der Repräsentation der weiblichen Figuren und ihrer (angeblichen) Verantwortung für den Tod des Täufers. When women started to scrutinize the Bible in search of strong women they could identify with, they did not immediately consider Herodias and her daughter. The story about the death of John the Baptist (Mark 6:14-20; Matthew 14:1-12), in which these apparently wicked women operate, was largely ignored. Only in more recent years have feminist researchers started to devote more attention to it.1 The story itself, however, is well-known. Through the 1 See for instance: F. van Dijk-Hemmes, ‘Bezwijk niet voor de schoonheid van een vrouw... Over Marcus 6:17- 29’ (1983), in: J. Bekkenkamp and F. Dröes (eds.), De dubbele stem van haar verlangen (Zoetermeer: Meinema, 1995), pp. 51-61; E. Schüssler-Fiorenza, But She Said.