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Tolstoy and Zola: Trains and Missed Connections
Tolstoy and Zola: Trains and Missed Connections Nina Lee Bond Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Nina Lee Bond All rights reserved ABSTRACT Tolstoy and Zola: Trains and Missed Connections Nina Lee Bond ŖTolstoy and Zolaŗ juxtaposes the two writers to examine the evolution of the novel during the late nineteenth century. The juxtaposition is justified by the literary critical debates that were taking place in Russian and French journals during the 1870s and 1880s, concerning Tolstoy and Zola. In both France and Russia, heated arguments arose over the future of realism, and opposing factions held up either Tolstoyřs brand of realism or Zolařs naturalism as more promising. This dissertation uses the differences between Tolstoy and Zola to make more prominent a commonality in their respective novels Anna Karenina (1877) and La Bête humaine (1890): the railways. But rather than interpret the railways in these two novels as a symbol of modernity or as an engine for narrative, I concentrate on one particular aspect of the railway experience, known as motion parallax, which is a depth cue that enables a person to detect depth while in motion. Stationary objects close to a travelling train appear to be moving faster than objects in the distance, such as a mountain range, and moreover they appear to be moving backward. By examining motion parallax in both novels, as well as in some of Tolstoyřs other works, The Kreutzer Sonata (1889) and The Death of Ivan Il'ich (1886), this dissertation attempts to address an intriguing question: what, if any, is the relationship between the advent of trains and the evolution of the novel during the late nineteenth century? Motion parallax triggers in a traveler the sensation of going backward even though one is travelling forward. -
J'accuse Como Fato Literário
J’ACCUSE COMO FATO LITERÁRIO: UMA LEITURA DA CARTA ABERTA DE ÉMILE ZOLA Milene SUZANO1 RESUMO : A partir da metodologia de análise de Leo Spitzer, o presente texto busca colocar em movimento os elementos literários da carta J’accuse, escri- ta por Émile Zola, em janeiro de 1898. A enorme repercussão da carta na época tem sido constantemente associada à influência da imprensa de massa e aos re- cursos retóricos tão habilmente utilizados por Zola. Mas, além dos elementos per- suasivos e do fator imprensa, a personificação das figuras reais e a adjetivação po- larizante dos personagens reais são, em grande medida, frutos de construções literárias. A partir destes dois elementos (adjetivação e personificação), o objetivo do texto é propor uma análise de trechos da carta, dos textos de polêmica de Zola e de seus romances nos quais se manifesta semelhante procedimento. PALAVRAS-CHAVE: estilística, J’accuse, imprensa, Émile Zola, carta aberta. 1 Doutora em Letras pela Universidade de São Paulo – mail : [email protected] nº 12 71 J’ACCUSE COMME UN FAIT LITTÉRAIRE: UNE LECTURE DE LA LETTRE OUVERTE D’ÉMILE ZOLA RÉSUMÉ : Basé sur la métodologie de Leo Spitzer, cet article cherche à mettre en movement la construction littéraire de J’accuse, lettre ouverte d’Émile Zola, publiée en janvier 1898. Son importante réception à l’époque a été souvent asso- ciée à l’influence de la grande presse et aux recours réthoriques bien utilisés par Zola. Mais au delà de ces elements de persuasion, la personnification des person- nages réels et la construction d’un monde dual sont, en grande partie, les consé- quences d’une composition littéraire bien élaborée. -
Michelet and Natural History: the Alibi of Nature1
Michelet and Natural History: The Alibi of Nature1 LIONEL GOSSMAN Professor of Romance Languages and Literatures Princeton University In Honor of Per Nykrog The hard-working molluscs make up an interesting, modest people of poor, little workers, whose laborious way of life constitutes the seri- ous charm and the morality of the sea. Here all is friendly. These little creatures do not speak to the world, but they work for it. They leave it to their sublime father, the Ocean, to speak for them. He speaks in their place and they have their say through his great voice. (Michelet, La Mer 1.iii)2 I had come to look on the whole of natural history as a branch of the political. All the living species, each in its humble right, came knock- ing at the door and claiming admittance to the bosom of Democracy. Why should their more advanced brothers refuse the protection of law to those to whom the universal Father has given a place in the harmony of the law of the universe? Such was the source of my renewal, the belated vita nuova which led me little by little to the nat- ural sciences. (Michelet, L’Oiseau, Introduction)3 1 This text replaces that which was published in 1999 by Editions Rodopi, B.V., Amsterdam (Netherlands) in a volume entitled The World and its Rival: Essays on Literary Imagination in Honor of Per Nykrog. 2 “Peuple intéressant, modeste, des mollusques travailleurs, pauvres petits ouvriers dont la vie laborieuse fait le charme sérieux, la moralité de la mer. -
The Historian As Novelist
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Emeritus Papers Collections, Digitized Books 2001 The iH storian as Novelist John Salmon Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/emeritus Recommended Citation Salmon, John, "The iH storian as Novelist" (2001). Emeritus Papers. 7. http://repository.brynmawr.edu/emeritus/7 This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/emeritus/7 For more information, please contact [email protected]. The Historian as Novelist John Salmon Delivered March 1, 2001 To start with, let me say that the title of the novel that is the subject of this talk is misleading. It reads: "The Muskets of Gascony: The Revolt of Bernard d'Audijos by Armand Daudeyos, translated by J. H. M. Salmon." This is false. When you write a historical novel things do seem to become falsified at times. I am the actual author, and Armand Daudeyos, the supposed descendant of the hero (Daudeyos is the Gascon form of d'Audijos) is a faction. I adopted this device for several reasons. First, it adds an air of mystery to pretend that one has discovered the manuscript of a historical novel based on real events in the seventeenth century and written in the Romantic vogue of the nineteenth century. Second, it allows me to insert a "translator's preface" explaining how close the book is to what actually happened. And third, it protects me from the reproaches of my colleagues for betraying my profession. -
Du Conte Au Roman : L'image Du Sang Dans Le Programme Littéraire Et
Du conte au roman : l’image du sang dans le programme littéraire et politique de Zola Halia Koo Memorial University Le sang, dans sa dimension physiologique et métaphorique, occupe une place importante dans l’œuvre d’Émile Zola. Ses descriptions souvent sanglantes des réalités associées à la vie comme à la mort témoignent de l’intérêt quasi médical qu’il porte au corps, à son fonctionnement et à ses manifestations pathologiques. Afin d’examiner l’un des aspects du traitement que subit l’image du sang dans Les Rougon-Macquart, nous commencerons par nous pencher sur un conte de Zola écrit dans sa jeunesse et intitulé « Le Sang » : il s’agit d’un récit HALIA KOO, « L’image du sang dans le programme littéraire et politique de Zola » allégorique abordant des thèmes qui deviendront le sujet des préoccupations littéraires et idéologiques de cet écrivain politiquement engagé. Un récit précurseur : « Le Sang » Zola en est à ses débuts littéraires lorsqu’il publie en 1864 son tout premier livre, Contes à Ninon, un recueil de huit nouvelles, dont un récit intitulé « Le Sang ». Divisé en cinq parties (quatre sections distinctes suivies d’un épilogue), ce conte relate l’histoire de quatre soldats qui, au soir d’une victoire militaire, campent dans le coin désert d’un champ de bataille jonché de cadavres. Endurcis par leur métier, ces hommes ne sont guère émus par l’horreur du paysage qui les entoure : ils achèvent tranquillement leur souper, lorsqu’un cri terrible retentit dans la nuit. Trois soldats nommés Elbert, Clérian et Flem partent chacun à leur tour sonder les ténèbres et découvrir la cause de cette plainte déchirante sortie de l’ombre. -
Germinal by Emile Zola 1885 Translated and Introduced By
1 Germinal by Emile Zola 1885 Translated and Introduced by Havelock Ellis Introduction By Havelock Ellis 'GERMINAL' was published in 1885, after occupying Zola during the previous year. In accordance with his usual custom--but to a greater extent than with any other of his books except La Débâcle--he accumulated material beforehand. For six months he travelled about the coal-mining district in northern France and Belgium, especially the Borinage around 2 Mons, note-book in hand. 'He was inquisitive, was that gentleman', miner told Sherard who visited the neighbourhood at a later period and found that the miners in every village knew Germinal. That was a tribute of admiration the book deserved, but it was never one of Zola's most popular novels; it was neither amusing enough nor outrageous enough to attract the multitude. Yet Germinal occupies a place among Zola's works which is constantly becoming more assured, so that to some critics it even begins to seem the only book of his that in the end may survive. In his own time, as we know, the accredited critics of the day could find no condemnation severe enough for Zola. Brunetière attacked him perpetually with a fury that seemed inexhaustible; Schérer could not even bear to hear his name mentioned; Anatole France, though he lived to relent, thought it would have been better if he had never been born. Even at that time, however, there were critics who inclined to view Germinal more favourably. Thus Faguet, who was the recognized academic critic of the end of the last century, while he held that posterity would be unable to understand how Zola could ever have been popular, yet recognized him as in Germinal the heroic representative of democracy, incomparable in his power of describing crowds, and he realized how marvellous is the conclusion of this book. -
A the Determinist Case
A The Determinist Case As indicated in Chapter I, most nineteenth-century determinists understood 'heredity' and 'environment' as including everything that made a man what he was. Conception was generally recognised as the dividing line between the respective dominions of these two groups of factors, although meticulous demarcation experts still tussled over borderland issues such as congenital syphilis and the other hazards that the unsuspecting foetus could encounter during gestation. Nineteenth-century determinism was largely based on the assumption that matter could neither be created nor destroyed: an assumption that was implicit, if not always stated. No phenomenon, be it a person, a thought or an event, could have an autonomous existence that owed nothing to its antecedents and surroundings. Everything was the outcome of the interaction of pre-existing factors, which were themselves the product of earlier factors: each object or occurrence was a link in a mesh of causal chains, stretching back to 'the beginning of things' (in a world still joyously uncomplicated by Einstein). The word 'chance' had no place in this scheme of existence, except to designate something that was unexpected by the participants or observers of a particular situation. Philosophical text-books were rich in illustrative examples of why 'chance' should be banished from academic speech: the many written by Scottish professors showing an understandable predilection for unhappy incidents involving falling roof slates-the influence of environment being nowhere -
Mines, Miners and Mining:Programme Notes.Qxd
Germinal France | 1993 | 160 minutes Credits In Brief Director Claude Berri Adapted from the novel by Emile Zola, Germinal depicts a miner’s strike and Screenplay Claude Berri, Arlette Langmann repression by the authorities in mid-19th century France. Gerard Depardieu and Miou Miou star. Music (novel by Émile Zola ) Photography Cast Maheude Miou-Miou Étienne Lantier Renaud Chaval Jean-Roger Milo Toussaint Maheu Gérard Depardieu 'Germinal' a Vision of Hope for Workers Claude Berri's soaring, magnificent film of Emile Zola's "Germinal" (at the Royal) cuts right to the movies' unique, paradoxical power of rendering human misery at its most unrelenting with images of surpassing grandeur and meaning. Pictures don't get much bleaker than this 158-minute epic saga of the grinding existence of 19th-Century French coal miners--but they don't get much more beautiful either. Berri and his formidable yet understated cinematographer, Yves Angelo, aided by Jean-Louis Roque's subtle yet stirring score, bring a unifying, majestic lyricism to their contrasting views of the few ultra-rich and the many desperately poor. "Germinal," France's official entry in the Oscars, glows with the humanism and passion for authenticity that were Zola's hallmarks, and is a worthy successor to Berri's similarly powerful "Jean de Florette" and "Manon of the Springs." The story is set roughly a century ago, but it's actually unfolding, with varying degrees of severity, around the world right now. As a leader in the international Naturalist literary movement, Zola believed that the destinies of most people, especially the poor, were dictated--and usually harshly--by environment. -
French Historians in the Nineteenth Century
French Historians in the Nineteenth Century French Historians in the Nineteenth Century: Providence and History By F.L. van Holthoon French Historians in the Nineteenth Century: Providence and History By F.L. van Holthoon This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by F.L. van Holthoon All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3409-X ISBN (13): 978-1-5275-3409-4 To: Francisca van Holthoon-Richards TABLE OF CONTENTS Acknowledgments ...................................................................................... ix Chapter One ................................................................................................. 1 Introduction Part 1 Chapter Two .............................................................................................. 10 Under the Wings of Doctrinaire Liberalism Chapter Three ............................................................................................ 12 Germaine de Staël on Napoleon Chapter Four .............................................................................................. 23 Le Moment Guizot, François Guizot Chapter Five ............................................................................................. -
The Question of Objectivity in Zola's Thérse Raquin
Copyright is owned by the Author of the thesis. Pennission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the pennission of the Author. The Question of Objectivity in Zola's Therese Raquin. A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in French at Massey University. Kathryn Noreen Kearins, 1990. ii Abstract. The first chapter examines the fascination the concept of objectivity held for certain French Realists including Emile Zola, acknowledged leader of the Naturalists who believed in the application of the scientific method to novel-writing. These writers sought to produce works of mimetic value and attached themselves to the tenets of objectivity in an attempt to achieve this. However it was recognized that their efforts at producing 'objective' novels were threatened by a requirement for artistry in published fiction. More recent thinking acknowledges that objectivity is not achievable, at least not in absolute terms. The problems inherent in various definitions of objectivity in fiction are examined and reveal general agreement that this kind of objectivity requires at least the appearance of detachment and neutrality by the author. In order to examine the question of the author's detachment, Chapter 2 makes a case for the distinctions of author, implied author and narrator to be blurred in Zola's Therese Raquin. Four distinct aspects of the narrating voice are examined. Examples are given of the various forms of commentary in the narrative which reveal the presence of the author-narrator. -
JULES MICHELET and ROMANTIC HISTORIOGRAPHY by Lionel
1 JULES MICHELET AND ROMANTIC HISTORIOGRAPHY By Lionel Gossman ... a fine book I would like to write: An Appeal to My Contemporaries. The idea would be to show the ultras that there is something worthwhile in the ideas of the liberals, and vice versa. ... If it were written ... in a spirit of charity toward both sides and were widely distributed, such a book might well do some good. ... If I had the talent I would like to write inexpensive books for the people. (Michelet, Journal, June 1820, P. Viallanex and C. Digeon, eds.) In this Chair of Ethics and History ... I had taken up the issue of the times: social and moral unity; pacifying to the best of my ability the class war that eats at us with dull persistence, removing the barriers, more apparent than real, that divide and make enemies of each other classes whose interests are not fundamentally opposed. (Letter to Jean Letronne, Director of the Collège de France, January 1848) This house is old; it knows a lot, touched up and whitewashed to look new as it may be. Centuries have lived in it and each one has left something of itself. Whether you perceive them or not, the traces are there, never doubt it for a moment. Just as in a human heart! Humans and houses, we all bear the imprint of ages past. As young men, we carry within us innumerable ancient notions and feelings of whose presence we are unaware. These traces of ancient times are mixed up inside us, indistinct, often inopportune. -
Jules Michelet: National History, Biography, Autobiography1
JULES MICHELET: NATIONAL HISTORY, BIOGRAPHY, AUTOBIOGRAPHY1 By Lionel Gossman Echoes of lived experience are to be found in the work of many historians. Writing about the past is usually also, indirectly, a way of writing about the present. The past is read through the present and the present through a vision of the past. It has often been noted, for instance, that the author’s reaction to the world around him is reflected in the work of Jacob Burckhardt, the great nineteenth-century Swiss historian, who was born into one of the leading patrician families of the old free city of Basel at a moment when these merchant families, rulers of the little city-state since the Renaissance, were coming under increasingly uncomfortable pressure from the political movements of the time. As examples of such reflections of personal experience one could cite Burckhardt’s often severe criticism, in the Griechische Kulturgeschichte, of the ancient Greek polis and in particular of ancient democracy, and his portraits of talented and distinguished citizens who either fled their city after the coming of democratic rule or, like Diogenes and Epicurus, took the path of inner exile. In Burckhardt’s writing, however, the personal experience is not intentional or programmatic. With Michelet, in contrast – whose work, as it happens, Burckhardt knew and admired – history is explicitly presented, in the historian’s reflection on his craft, not only as a form of bio-graphy, of writing about a living being (France), but of auto-bio-graphy, of writing about a living being that is identified as oneself.