DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations ANDRE MAUROIS ET L'APPRENTISSAGE DE IA BIOGRAPHIE: LES BIOGRAPHIES ANGLAISES (1923-1930) Claude Monnet Thèse présentée à l'Ecole des études supérieures de l'Université d'Ottawa en vue de l'obtention du Doctorat en littérature française. * \<ZZ^rt\ «* LIBRARIES jf v- Ottawa, Canada, 1978 Monnet, Ottawa, Canada, 1978 UMI Number: DC53751 INFORMATION TO USERS The quality of this reproduction is dépendent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complète manuscript and there are missing pages, thèse will be noted. AIso, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform DC53751 Copyright 2011 by ProQuest LLC AN rights reserved. This microform édition is protected against unauthorized copying underTitle 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 AnnArbor, Ml 48106-1346 CURRICULUM VITAE Claude Monnet est né à Colombes le 7 décembre 1940. Il a obtenu la licence es lettres d'enseignement de l'Université de Caen en 1963 et le Diplôme d'Etudes Supérieures de cette même université en 1964. Cette thèse a été dirigée par Jybnsieur Réjean Robidoux, profes­ seur titulaire à la Faculté des Arts de l'Université d'Ottawa. Nous tenons à lui exprimer notre profonde reconnaissance pour ses conseils et ses encouragements, qui nous ont été d'un précieux secours. A Jean Ménard TABLE DES MATIERES Page INTRODUCTION V CHAPITRE I: La formation du biographe, sa philosophie 1 L'influence de son milieu familial, la religion juive, les premières études, p. 1; les traits de caractère: conformisme, curiosité, besoin de comprendre et d'expli­ quer, p. 4; la rencontre avec Alain, p. 6; l'expérience de l'action, p. 10; l'influence de Kipling, p. 11; la rencontre des Anglais, p. 14; les décades de Pontigny et Charles Du Bos, p. 18; le tempérament romantique de Maurois, sa rencontre avec Janine de Szymkievickz, p. 19; le mariage avec Simone de Cavaillet et son influence sur la carrière de Maurois, p. 21; la philosophie de la vie: impossibilité de connaître l'homme et l'univers, relati­ visme, le seul absolu est celui de l'illusion, conflit du rêve et de la réalité, exaltation de l'action, puis­ sance de la volonté, importance des règles sociales et des conventions, conservatisme, p. 22; conclusion, p. 36. CHAPITRE II: L'esthétique de la biographie 39 Aspects de la biographie et l'esthétique du genre biogra­ phique, p. 39; la biographie moderne et ses caractéristi­ ques: insistance sur la forme, souci de la vérité, sens de la complexité de l'être humain, conciliation de la véri­ té historique et de la forme artistique, p. 39; les élé­ ments servant à connaître la vérité sur un homme: documents originaux, journaux, lettres, oeuvres, p. 43; problêmes du rapport entre la personnalité de l'artiste et son oeuvre, p. 48; utilisation de l'autobiographie, p. 51; la biographie comme moyen d'expression, p. 54; l'action morale de la bio­ graphie, p. 58; le récit biographique: choix du sujet, im­ portance de la sélection, multiplication des détails vivants, p. 60; biographie et roman, p. 64; les principes régissant la construction d'un récit biographique: le point de vue, le décor, les idées, le milieu, le traitement du temps, les thèmes, p. 70; la biographie et l'art de la mise en scène, p. 77; le style de la biographie: clarté, simplicité, emploi d'images, du dialogue, du monologue intérieur, parallèles et personnages contrastés, titres donnés aux biographies, têtes et fins du chapitre, humour, ironie, réflexions, maximes, p. 80; conclusion, p. 85. rvb Page CHAPITRE III: Ariel ou La Vie de Shelley 87 La vie de Shelley occasion pour Maurois de se confesser par personne interposée, similitudes entre Maurois et Shelley, p. 87; l'utilisation des documents: allégement, condensation et manipulation des faits, libertés avec les sources, omissions, p. 90; le traitement des faits: im­ pression de "découverte progressive, de croissance natu­ relle" , unité dramatique de la vie de Shelley, emploi de thèmes, p. 96; les techniques romanesques: chapitres très courts, titres ingénieux, ordre chronologique, dramatisa­ tion, caricatures, ironie, opposition de personnages, dia­ logues, monologues intérieurs, p. 101; le style de Maurois, p. 106; le portrait de Shelley: Shelley à Eton, Ariel le sylphe shakespearien, la vie amoureuse du poète, p. 109; critique de la biographie de Maurois: la charité, l'huma­ nité, l'amour de la vie de Shelley ne sont pas assez accen­ tués, parti-pris défavorable au poète dans la relation de certains épisodes (expédition en Irlande), Shelley en tant que poète est négligé, p. 114; conclusion, p. 125. CHAPITRE IV: La Vie de Disraeli 128 Raisons du choix de Disraeli comme héros d'une biographie: lien personnel entre Maurois et Disraeli, attitude face à la religion commune, philosophie semblable, p. 128; les sources et leur utilisation: présentation des événements et des faits du point de vue disraëlien, appel aux éléments autobiographiques de l'oeuvre disraëlienne, p. 132; la tech­ nique du portrait: caractère dramatique de l'existence de Disraeli, emploi des thèmes, description des endroits que Disraeli a fréquentés, titres des chapitres, portraits con­ trastés, images, utilisation du monologue intérieur et du dialogue, humour, recherche du romanesque, insistance sur les moeurs et les coutumes anglaises, maximes et réflexions générales, p. 136; le portrait de Disraeli: charme physique, le dandy, allure exotique, passage du temps sur la physiono­ mie de Disraeli, le mystère disraëlien, le problême de la sincérité et de l'ambition disraëlienne, le complexe racial, le rôle de la création littéraire, Disraeli romantique de l'action, son cynisme, Disraeli et l'amitié, Disraeli et les femmes, p. 158; critiques: portrait idéalisé, tendance à insister davantage sur les qualités que sur les faiblesses, p. 171; conclusion, p. 172. CHAPITRE V: Don Juan ou La Vie dé Byron Attaques lancées contre André Maurois: manque d'honnêteté intellectuelle, "biographie romancée", p. 177; raisons qui ont poussé Maurois à écrire une biographie de Byron: Byron type du romantique dont la vie est facile à ressusciter, entretiens avec Charles Du Bos, p. 179; le travail de pré­ paration: visite des lieux hantés par Byron, recherche de la documentation, p. 181; l'utilisation de l'oeuvre de Byron, p. 183; la technique du biographe: solidité de la documenta­ tion, références, chronologie plus détaillée, construction dramatique, thèmes, recherche de l'effet à produire, humour, anecdotes, juxtapositions et interrogations successives, parallèles, notations psychologiques, sens du détail, des­ cription du milieu politique et social, interprétation des faits, considérations sur la vie et les moeurs, p. 200; conclusion partielle: plus de rigueur, moins de création romanesque, cependant, accentuation des aspects romanesques de la vie de Byron, scènes effacées, trop d'espace consacré à l'enfance et à la jeunesse, p. 218; le portrait de Byron: le portrait physique, l'attitude byronienne^ le passage des ans, la frugalité de Byron, son infirmité, son éducation, son puritanisme, son sens du péché, son calvinisme latent, les couches successives qui limitent son caractère et in­ fluencent sa vision du monde, son ennui, son orgueil, son attachement aux conventions, "Hamlet et Don Quichotte", p. 220; la vie sentimentale de Byron: Mary Chaworth, Lady Caroline Lamb, Lady Oxford, l'épisode de l'inceste, Lady Frances Webster, le mariage avec Annabella Milbanke, Claire Clairmont, Marianna Segati, Margarita Cogni, la comtesse Guiccioli, p. 237; Byron, Don Juan malgré lui, p. 252; les amitiés particulières, p. 254; conclusion, p. 257. CONCLUSION BIBLIOGRAPHIE INTRODUCTION André Maurois a donné à la biographie une audience qu'elle n'avait jamais connue en France. Il est vrai que ce genre avait été assez dé­ daigné auparavant. Certes on pourrait citer le Charles XEI de Voltaire, la vie de Rancé de Chateaubriand, les vies écrites par Stendhal, les por­ traits de Sainte-Beuve, les vies héroïques de Romain Rolland. Il n'en demeure pas moins que depuis Ariel ou la vie de Shelley en 1923 jusqu'à Praméthée ou la vie de Balzac en 1965, André Maurois a contribué plus que nul autre à la renaissance du genre biographique en France et son nom est associé à une certaine manière d'écrire des biographies. Ce sont ses premières biographies écrites entre 1923 et 1930, Ariel ou la vie de Shelley, Disraeli et Byron qui ont lancé et établi sa réputa­ tion. Elles correspondent à la mise au point, au rodage d'une formule qu'il allait utiliser par la suite et elles fournissent l'occasion de dé­ gager les règles pratiques qui président au travail du biographe. Avec Maurois nous avons la chance d'être en présence non seulement du praticien mais aussi du théoricien de la biographie. Dans Aspects de la biographie, recueil de conférences prononcées à l'Université de Cam­ bridge en 1928, il a réfléchi sur la nature du genre biographique et sur la condition du biographe. Ce qu'il nous a dit de ses objectifs et ce qu'il a fait peut encore être étudié avec profit. Nous allons examiner à la fois sa solution théorique telle qu'exprimée dans Aspects de la bio­ graphie et son application pratique dans les trois biographies anglaises écrites entre 1923 et 1930. Nous nous poserons les questions suivantes: VI Aspects de la biographie fait-il le tour de la théorie de Maurois? Est-ce l'achèvement de la méthode? Peut-on déceler une évolution à par­ tir d'Ariel ou la vie de Shelley jusqu'à Byron? Les trois premières biographies d'André Maurois portent sur des su­ jets anglais.
Load more

Recommended publications
  • National Council on the Humanities Minutes, No. 11-15
    Office of th8 General Counsel N ational Foundation on the Aria and the Humanities MINUTES OF THE ELEVENTH MEETING OF THE NATIONAL COUNCIL ON THE HUMANITIES Held Monday and Tuesday, February 17-18, 1969 U. S. Department of State Washington, D. C. Members present; Barnaby C. Keeney, Chairman Henry Haskell Jacob Avshalomov Mathilde Krim Edmund F. Ball Henry Allen Moe Robert T. Bower James Wm. Morgan *Germaine Br&e Ieoh Ming Pei Gerald F. Else Emmette W. Redford Emily Genauer Robert Ward Allan A. Glatthorn Alfred Wilhelmi Members absent: Kenneth B. Clark Charles E. Odegaard John M. Ehle Walter J. Ong Paul G. Horgan Eugene B. Power Albert William Levi John P. Roche Soia Mentschikoff Stephen J. Wright James Cuff O'Brien *Present Monday only - 2 - Guests present: *Mr. Harold Arberg, director, Arts and Humanities Program, U. S. Office of Education Dr. William Emerson, assistant to the president, Hollins College, Virginia Staff members present; Dr. James H. Blessing, director, Division of Fellowships and Stipends, and acting director, Division of Research and Publication, National Endowment for the Humanities Dr. S. Sydney Bradford, program officer, Division of Research and Publication, NEH Miss Kathleen Brady, director, Office of Grants, NEH Mr. C. Jack Conyers, director, Office of Planning and Analysis, NEH Mr. Wallace B. Edgerton, deputy chairman, NEH Mr. Gerald George, special assistant to the chairman, NEH Dr. Richard Hedrich, Director of Public Programs, NEH Dr. Herbert McArthur, Director of Education Programs, NEH Miss Nancy McCall, research assistant, Office of Planning and Analysis, NEH Mr. Richard McCarthy, assistant to the director, Office of Planning and Analysis, NEH Miss Laura Olson, Public Information Officer, NEH Dr.
    [Show full text]
  • Don Juan Study Guide
    Don Juan Study Guide © 2017 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary Don Juan is a unique approach to the already popular legend of the philandering womanizer immortalized in literary and operatic works. Byron’s Don Juan, the name comically anglicized to rhyme with “new one” and “true one,” is a passive character, in many ways a victim of predatory women, and more of a picaresque hero in his unwitting roguishness. Not only is he not the seductive, ruthless Don Juan of legend, he is also not a Byronic hero. That role falls more to the narrator of the comic epic, the two characters being more clearly distinguished than in Byron’s Childe Harold’s Pilgrimage. In Beppo: A Venetian Story, Byron discovered the appropriateness of ottava rima to his own particular style and literary needs. This Italian stanzaic form had been exploited in the burlesque tales of Luigi Pulci, Francesco Berni, and Giovanni Battista Casti, but it was John Hookham Frere’s (1817-1818) that revealed to Byron the seriocomic potential for this flexible form in the satirical piece he was planning. The colloquial, conversational style of ottava rima worked well with both the narrative line of Byron’s mock epic and the serious digressions in which Byron rails against tyranny, hypocrisy, cant, sexual repression, and literary mercenaries.
    [Show full text]
  • Reinventing Katherine Mansfield Author[S]: Gerri Kimber Source: Moveabletype, Vol.3, ‘From Memory to Event (2007) DOI: 10.14324/111.1755-4527.025
    From Flagrant to Fragrant: Reinventing Katherine Mansfield Author[s]: Gerri Kimber Source: MoveableType, Vol.3, ‘From Memory to Event (2007) DOI: 10.14324/111.1755-4527.025 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2007 Gerri Kimber. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. From Flagrant to Fragrant Reinventing Katherine Mansfield by Gerri Kimber The Priory. Here is the pine tree. Here the beech, The flowerbed, the roof, the sad water of the pond … Oh Mansfield, was it really there that you went to die? Was it there that you closed your eyelids for the last time? Alas, how many regrets haunt the doorways of stone!1 n this article I aim to show how a reputation and a personality can Ibe adapted and altered with little effort through the falsification of documentary evidence, in order to create an almost entirely new persona—which is precisely what happened to Katherine Mansfield in France. Mansfield’s popularity in England remained controversial for many years due to her husband John Middleton Murry’s early overexposure and severe editing of his wife’s literary texts. Following her death, Murry collected together all her papers, diaries, letters, and unpublished stories, and gradually, over a number of years, created many volumes from these loose papers and notebooks—the detritus of a writer’s life.
    [Show full text]
  • Introduction to Ernst Bertram, Nietzsche: Attempt at a Mythology1 by Pierre Hadot Translated by Paul Bishop Translator’S Preface 1
    Introduction to Ernst Bertram, Nietzsche: Attempt at a Mythology1 by Pierre Hadot translated by Paul Bishop Translator’s Preface 1 rnst Bertram was born in Elberfeld in 1884, and he held the post of professor of EGerman literature from 1922 to 1946. A prolific scholar, he is best remembered today, if at all, for his study of Nietzsche, first published in 1929, which became an immediate bestseller. More recently, his significance as a commentator on Nietzsche has become overlooked, but in 1990, the French publishing house Éditions du Félin reprinted the French translation of his study by Robert Pitrou, first published in 1932. And in 2009 the University of Illinois Press published the first English translation, prepared by Robert E. Norton. The 1990 French edition included a preface by the renowned French scholar, Pierre Hadot. In it, he placed Bertram’s Nietzsche in its intellectual and historico- cultural context, and in particular Bertram’s friendship with another German admirer of Nietzsche, Thomas Mann. Hadot’s preface explains why Bertram’s image of Nietzsche remains so significant, and provides an excellent introduction to Bertram’s work; it has been translated here to bring it to a wider audience, and with a view to promoting further interest in Bertram’s study. 1 [ Pierre Hadot’s preface is included in the 1990 reprint of Robert Pitrou’s translation (1932) of the seventh edition (1929) of Ernst Bertram’s study of Nietzsche, available as Ernst Bertram, Nietzsche: Essai de Mythologie (Paris: Éditions du Félin, 1990, repr. 2007). For the original German edition, see Ernst Bertram, Nietzsche: Versuch einer Mythologie (Berlin: Bon- di, 1918); tenth edition (Bonn: Bouvier, 1989).
    [Show full text]
  • Miranda, 4 | 2011, « Samuel Beckett : Drama As Philosophical Endgame ? » [En Ligne], Mis En Ligne Le 01 Juin 2011, Consulté Le 16 Février 2021
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 4 | 2011 Samuel Beckett : Drama as philosophical endgame ? L'épreuve du théâtre dans l'œuvre de Samuel Beckett : fin de partie philosophique ? Édition électronique URL : http://journals.openedition.org/miranda/324 DOI : 10.4000/miranda.324 ISSN : 2108-6559 Éditeur Université Toulouse - Jean Jaurès Référence électronique Miranda, 4 | 2011, « Samuel Beckett : Drama as philosophical endgame ? » [En ligne], mis en ligne le 01 juin 2011, consulté le 16 février 2021. URL : http://journals.openedition.org/miranda/324 ; DOI : https:// doi.org/10.4000/miranda.324 Ce document a été généré automatiquement le 16 février 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 1 SOMMAIRE Samuel Beckett : Drama as philosophical endgame? Foreword Philippe Birgy Performance and subjective perception Confining, Incapacitating, and Partitioning the Body: Carcerality and Surveillance in Samuel Beckett’s Endgame, Happy Days, and Play Victoria Swanson “From Inner to Outer Shadow”: Reading the Obscure Object of Anxiety in the “Dramaticules” of Samuel Beckett Arka Chattopadhyay Hostaged to the Voice of the Other: Beckett's Play and Not I. Tram Nguyen “Close your eyes and listen to it”: schizophonia and ventriloquism in Beckett’s plays Lea Sinoimeri Ideas & Forms : philosophical palimpsests “R.C.”: Rosicrucianism and Cartesianism in Joyce and Beckett Steven Bond La coïncidence
    [Show full text]
  • The Tolnay–Panofsky Affair Or, Loyalty to the Youth: Max Dvořák, the Vienna School, and the Sunday Circle1
    The Tolnay–Panofsky affair or, loyalty to the youth: Max Dvořák, the Vienna School, and the Sunday Circle1 For the 80th birthday of Prof. Ernő Marosi, doyen of Hungarian art histor(iograph)y Csilla Markója and Kata Balázs Young Tolnay’s relation to the Vienna School of Art History and the Lukács-Circle in Budapest Charles de Tolnay, who was to earn international renown chiefly as a Michelangelo researcher later, began his studies in October 1918 at Vienna University, under the wing of Max Dvořák. The Hungarian contacts of the Vienna School have been explored in detail by Professor Ernő Marosi,2 but the processing of the Wilde estate – in which the letters of young Tolnay have been found, only began a few years ago. At the end of his life, Tolnay recalled that it was Dvořák himself who had invited him among his students. Already as a grammar-school pupil he had the privilege to visit the graphic department of the Budapest Museum of Fine Arts where a serious professional workshop was coalescing at that time around Simon Meller, which is 1 The first half of the second chapter of the text appeared in Hungarian in 2011 with support from the Bolyai János Research Grant of the Hungarian Academy of Sciences, in Hungarian, after peer-review by Árpád Tímár and István Bardoly – Enigma, 17, 65, 2011, 111–125. The present publication is a revised version massively extended with new research findings of a paper written for the publication accompanying the international conference held in Prague in 2019 with the title The Influence of the Vienna School of Art History.
    [Show full text]
  • English Or German, There Are Far Fewer
    Autographs of Fate and the Fate of Autographs Books often forever remain where they were born. Or, on the contrary, as if driven by some force, move along the face of the earth, from continent to continent, from one civilization to another. This movement usually proceeds calmly; it has long been a traditional form of the mutual enrichment of cultures. But in this natural flow, extraordinary events may interfere. Like birds to which rings have been attached, sent out to unknown destinations by raging elements, a book sometimes tells us about the trials it has experienced. And about the trials of those who somehow or other have been connected to it. Such thoughts, together with a feeling of vague anxiety, arise in me every time when in Minsk, most often in the National Library of Belarus, a book in French with an inscription by the author falls into my hands. Why are there so many specifically French autographs? In other languages, English or German, there are far fewer. Why for the most part do they belong to the interwar decades, i.e. the 20’s-30’s of the twentieth century? Why are these autographs mostly intended for recipients whose names are clearly not Romance language ones? Why in some cases do the names of the authors and recipients belong to people whose lives were brutally cut short during the Nazi occupation? What was the fate of those who were spared by events and time? These questions demand answers no matter whether the signature belongs to a person who did not leave a visible trace in the memory of future generations or we are talking about names that, like the names of Léon Blum and Marcel Proust, marked a whole period of the political and cultural history of France.
    [Show full text]
  • Gabriel Marcel: Mystery in an Age of Problems for Many Years, Both
    Gabriel Marcel: Mystery in an Age of Problems For many years, both before and after the Second World War, the French philosopher and playwright Gabriel Marcel hosted Friday night salons in his Paris apartment.1 Miklos Vetö recalls visiting them as a student in 1959: “Each Friday, from 5 to 7pm a large and very heterogeneous group of people, students, philosophy teachers, society women, freaks, monks, Christian or Buddhist, turned up to talk about a wide selection of philosophico-social themes.”2 Many prominent philosophers and literary figures attended at one time or another: Jean Wahl, Nikolai Berdyaev, Simone de Beauvoir, Charles Du Bos, Jacques and Raïssa Maritain. Emmanuel Levinas met Jean-Paul Sartre for the first time at one of Marcel’s Friday gatherings.3 Paul Ricoeur, who visited Marcel’s gatherings as a student, later hosted similar gatherings of his own.4 Unsurprisingly, given this place in the Parisian milieu, Marcel shaped some of the major movements of these tumultuous decades. His account of relational humanity influenced the Catholic personalism of the early 1930s. 5 Likewise, his rejection of abstract systems and his attention to concrete, first-person experience helped launch French existentialism.6 Yet Marcel 1 Those new to Marcel are well served by A Gabriel Marcel Reader, ed. Brendan Sweetman (South Bend, IN: St. Augustine’s Press, 2011). Kenneth T. Gallagher’s The Philosophy of Gabriel Marcel (New York: Fordham UP, 1974) offers a concise, clear overview of Marcel’s major concepts and concerns. 2 Miklos Vetö, “Personal Memories of Gabriel Marcel,” Marcel Studies, 3.1 (2018): 51.
    [Show full text]
  • The Age of a Mistaken Nationalism: <Italic>Histoire Croisée</Italic
    ‘The Age of a Mistaken Nationalism’: Histoire Croisée , Cross-National Exchange, and an Anglo- French Network of Periodicals Author(s): Birgit Van Puymbroeck Reviewed work(s): Source: The Modern Language Review, Vol. 107, No. 3 (July 2012), pp. 681-698 Published by: Modern Humanities Research Association Stable URL: http://www.jstor.org/stable/10.5699/modelangrevi.107.3.0681 . Accessed: 21/02/2013 09:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Modern Humanities Research Association is collaborating with JSTOR to digitize, preserve and extend access to The Modern Language Review. http://www.jstor.org This content downloaded on Thu, 21 Feb 2013 09:13:45 AM All use subject to JSTOR Terms and Conditions JULY V. P ‘THE AGE OF A MISTAKEN NATIONALISM’: HISTOIRE CROISÉE, CROSS-NATIONAL EXCHANGE, AND AN ANGLO-FRENCH NETWORK OF PERIODICALS In an open letter to Ford Madox Ford’s Transatlantic Review, T. S. Eliot argued that ‘e more the contact, the more free exchange, there can be between the small number of intelligent people of every race and nation, the more likelihood of general contribution to what we call Literature.’ Both Ford and Eliot aimed to create a cross-national literary space in their respective magazines: the Transatlantic Review, published in Paris, London, and New York from January to December , and the Criterion, published in London from October to January .
    [Show full text]
  • Abbreviated Titles
    Abbreviated Titles JOURNALS AND PERIODICALS ELH A Journal of English Literary History FMLS Forumfor Modern Language Studies JEGP Journal of English and Germanic Philology K-SJ Keats-Shelley Journal KSMB Keats Shelley Memorial Bulletin MLN Modern Language Notes MLR Modern Language Review MP Modern Philology N&Q Notes and Queries PMLA Publications of the Modern Language Association PQ Philological Quarterly SEL Studies in English Literature TLS Times Literary Supplement UTSE University of Texas Studies in English SHORT TITLES AP G. B. Casti, Animali Parlanti: Poema Epico in Ven­ tisei Canti Amsterdam, 1804 Byron: Poetical Works Byron: Poetical Works, ed., Frederick Page, revised and corrected by John Jump (Oxford Univer­ sity Press, 1970) Hobhouse Recollections John Cam Hobhouse, Recollections of a Long Life, ed., Lady Dorchester (London, 1911) Marchand BLJ Leslie A. Marchand (ed.), Byron's Letters and Jour­ nals, vols 1-7 (London: John Murray, 1973-77) Medwin's Conversations Medwin's 'Conversations of Lord Byron', ed., Ernest J. Lovell Jr. (Princeton University Press, 1969) Moore's Life Thomas Moore, Letters and Journals of Lord Byron, with Notices of his Life, 2 vols (London: John Murray, 1830) Moore Works oj Byron Thomas Moore, The Works oj Lord Byron with his Letters and Journals and his Life, 17 vols (London, 1835) PT G. B. Casti, Il Poema Tartaro, ed., with notes by Lodovico Corio (Milan, 1887) 166 Abbreviated Titles 167 Prothero L &J The Works rif Lord Byron: Letters and Journals, ed., R. E. Prothero, 6 vols (London, 1898-1901) Shelley Letters The Letters rif Percy Bysshe Shelley ed., F. L.
    [Show full text]
  • Archives De Charles Du Bos (CDB1-167)
    Service d'archives de l'Université Paris 13 Archives de Charles Du Bos (CDB1-167) Répertoire numérique Par Vincent CREFF Sous la direction de Timothée BONNET Responsable du service d'archives DU BOS Charles, Journal 1926-1929, Paris : Buche-Chastel, 2003 Villetaneuse Service d'archives de l'Université Paris 13 2017 1 Introduction CDB1-167 Fonds Charles Du Bos Référence : France, Bibliothèque Jacques Seebacher, CDB1 à 167 Intitulé/Analyse : Charles Du Bos (fonds) Dates extrêmes : 1904-2016 Niveau de description : dossier Importance matérielle et support de l'unité de description : 2 m.l. Nom du producteur : Du Bos, Charles (1882-1939) ; Mouton, Madge (189-, 1987) ; Leleu, Michèle (1920-1975) ; Didier, Béatrice (1935-) Notice biographique : Charles Du Bos Charles Du Bos est né à Paris le 27 octobre 1882, d'une famille de la haute bourgeoisie parisienne. Sa mère étant anglaise, Charles Du Bos apprend l'anglais en tant que deuxième langue et séjourne régulièrement en Angleterre avec sa famille. Il fait ses études à l'école catholique Gerson puis au Lycée Janson de Sailly. 1899 est une année fondamentale pour Charles Du Bos, celle qu'il décrit comme l'année d'une deuxième naissance. C'est en effet en octobre 1899 que Charles Du Bos rencontre Jospeh Baruzi1 qui l'initie à l'œuvre d'Henri Bergson. Cette rencontre avec ces deux esprits constitue dès lors une source d'exaltation pour Charles Du Bos. À partir de ce moment, des années d'apprentissage et de pèlerinage commencent pour Charles Du Bos. Entre 1900 et 1901, il passe une année à l'Université d'Oxford pour s'initier à la littérature et la poésie anglaise.
    [Show full text]
  • A Portrait of Gilson1
    Studia Gilsoniana 9, no. 4 (October–December 2020): 665–669 ISSN 2300–0066 (print) ISSN 2577–0314 (online) DOI: 10.26385/SG.090428 Richard J. Fafara* A Portrait of Gilson1 6 mai 1935. Conversation 6 May 1935. Conversation with Du Bos. Du Bos.2 Il admire en Gilson ce sim- Du Bos admires Gilson’s simple ple bon sens qui n’a pas besoin common or good sense which needs de se simplifier. Ce n’est pas la no further elaboration. These are formule exacte, mais c’est à peu not his exact words, but they are *Richard J. Fafara — Adler-Aquinas Institute, Manitou Springs, CO, USA e-mail: [email protected] ▪ ORCID: no data 1 Mme. Marie-Louise Gouhier suggested the title for this excerpt from Henri Gouhier’s (1898–1994) personal journal which she graciously allowed me to publish. An earlier translation of this excerpt was published in: The Malebranche Moment. Selections from the Letters of Étienne Gilson & Henri Gouhier (1920–1936), trans. & ed. Richard J. Fa- fara (Milwaukee: Marquette University Press, 2007), 133–135. 2 Charles Du Bos (1882–1939) was a writer and French literary critic whom Gilson and Gouhier came to know and admire. They first met in 1930 when they were all in Jac- ques Maritain’s circle of friends. After losing his Catholic faith at Oxford (1900–1901) and subsequent years of agnosticism, Du Bos returned to the Catholic Church in 1927. He worked as a newspaper correspondent and at French publishing firms (1919–1927); lectured at universities in Germany, Italy, and Switzerland (1925–1932); and became the editor of a short-lived review, Vigile (1930–1933) to which Gilson contributed two important articles (“La tradition française et la chrétienté” and “Examen de conscien- ce”).
    [Show full text]