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Inscriptive Masculinity in Balzac's Comédie Humaine
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, Student Research: Modern Languages and Literatures, Department Modern Languages and Literatures of 4-20-2009 Inscriptive Masculinity in Balzac’s Comédie Humaine Alana K. Eldrige University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/modlangdiss Part of the Modern Languages Commons Eldrige, Alana K., "Inscriptive Masculinity in Balzac’s Comédie Humaine" (2009). Theses, Dissertations, Student Research: Modern Languages and Literatures. 6. https://digitalcommons.unl.edu/modlangdiss/6 This Article is brought to you for free and open access by the Modern Languages and Literatures, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, Student Research: Modern Languages and Literatures by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. INSCRIPTIVE MASCULINITY IN BALZAC’S COMÉDIE HUMAINE by Alana K. Eldrige A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor in Philosophy Major: Modern Languages and Literature (French) Under the Supervision of Professor Marshall C. Olds Lincoln, Nebraska May, 2009 INSCRIPTIVE MASCULINITY IN BALZAC’S COMÉDIE HUMAINE Alana K. Eldrige, Ph.D. University of Nebraska, 2009. Adviser: Marshall C. Olds This reading of La Comédie humaine traces the narrative paradigm of the young hero within Balzac’s literary universe. A dynamic literary signifier in nineteenth-century literature, the young hero epitomizes the problematic existence encountered by the individual in post-revolutionary France. At the same time, he serves as a mouth-piece for an entire youthful generation burdened by historical memory. -
Illusions Perdues CIE À TIRE-D’AILE
DOSSIER PÉDAGOGIQUE PAULINE BAYLE Illusions Perdues CIE À TIRE-D’AILE THÉÂTRE Durée estimée : 2h30 Dès 12 ans PAULINE BAYLE ILLUSIONS PERDUES Compagnie À Tire-d’aile France Spectacle proposé en séances scolaires Jeudi 13 février . 14:00 Vendredi 14 février . 14:00 Spectacle proposé en audiodescription Mercredi 12 février . 19:00 en partenariat avec Accès Culture et avec le soutien d’Iris Optic SOMMAIRE LA DISTRIBUTION 4 LE PROPOS 5 NOTES D’INTENTION 6 ADAPTER UN « VOLUME MONSTRE » 7 METTRE EN SCENE UN MONDE 9 PAULINE BAYLE 10 LA COMPAGNIE À TIRE-D’AILE 11 POUR ALLER PLUS LOIN 12 LE CONTEXTE POLITIQUE 12 CONFRERIE DE JOURNALISTES ET BOYS CLUB 14 LE MILIEU DU JOURNALISME DANS ILLUSIONS PERDUES 16 LES PISTES PEDAGOGIQUES 18 AVANT LE SPECTACLE 18 APRES LE SPECTACLE 27 LES LIENS UTILES 28 4 . La distribution LA DISTRIBUTION Adaptation Pauline Bayle D’après Honoré de Balzac Mise en scène Pauline Bayle Assistante à la mise en scène Isabelle Antoine Scénographie Pauline Bayle Avec Hélène Chevallier, Florent Dorin, Alex Fondja, Charlotte Van Bervesselès (distribution en cours) Création lumières Pascal Noël Costumes Bernadette Villard Production Compagnie À Tire-d’aile Coproduction Scène Nationale d'Albi, la MC2: Grenoble, le Théâtre de la Bastille à Paris, l'Espace 1789 - Scène conventionnée de Saint- Ouen, le TANDEM Scène nationale d'Arras-Douai, la Scène Nationale de Châteauvallon, la Passerelle - Scène nationale de Gap, le Théâtre de Chartres, le Domaine d’O de Montpellier, la Coursive - Scène nationale de La Rochelle. Soutien CENTQUATRE-PARIS Aides à la création Ministère de la Culture et de la Communication, DRAC Île-de-France Le propos . -
Deux Bruyants Objets De La Comédie Humaine D'honoré De Balzac Jean
Convergences francophones 6.2 (2020): 37-43 http://mrujs.mtroyal.ca/index.php/cf/index La robe et l’éperon : deux bruyants objets de La Comédie humaine d’Honoré de Balzac Jean-François Richer, Université de Calgary Quelle formidable sonothèque du 19e siècle que La Comédie humaine d’Honoré de Balzac ! S’il faut la lire, il faut également l’entendre. Si on empruntait nos métaphores aux technologies d’aujourd’hui, l’on dirait que le roman balzacien est un « studio d’enregistrement » dans lequel s’est déposé une trame sonore à plusieurs « pistes » : piste 1) les objets, les choses, les outils, les ustensiles et les vêtements de la vie, du plaisir et du travail ; piste 2) les armes, les épées, les canons, les éperons, dans la suite desquels je mets l’argent, les écus et le bruit de l’or ; piste 3) horloges, clochers, sonnettes et cadrans : toutes les déclinaisons de la cloche, de la grande campanile qui résonne au petit grelot qui tinte en passant par la bruyante sonnette pendue sous les portes cochères ; piste 4) le bruit des moyens de transport, carrosses, omnibus et berlines, et les chevaux, et aussi ; chiens, poules, corbeaux et rossignols, soit ce bruyant bestiaire qui meugle, aboie et hennit aux quatre coins de La Comédie humaine ; piste 5) appelons-là « topo-phonie » : maisons, planchers, salles, voûtes, arcades, portes, fenêtres et escaliers ; soit : toutes les vibrations du construit habitable que Balzac ne cesse de détailler, de relever, de noter et de narrer ; pistes 6) les bruits de la nature, de ses sifflements, grondements, tonnerres -
Géraldine Crahay a Thesis Submitted in Fulfilments of the Requirements For
‘ON AURAIT PENSÉ QUE LA NATURE S’ÉTAIT TROMPÉE EN LEUR DONNANT LEURS SEXES’: MASCULINE MALAISE, GENDER INDETERMINACY AND SEXUAL AMBIGUITY IN JULY MONARCHY NARRATIVES Géraldine Crahay A thesis submitted in fulfilments of the requirements for the degree of Doctor in Philosophy in French Studies Bangor University, School of Modern Languages and Cultures June 2015 i TABLE OF CONTENTS Abstract .................................................................................................................................... vii Acknowledgements ................................................................................................................... ix Declaration and Consent ........................................................................................................... xi Introduction: Masculine Ambiguities during the July Monarchy (1830‒48) ............................ 1 Introduction ..................................................................................................................................... 1 Theoretical Framework: Masculinities Studies and the ‘Crisis’ of Masculinity ............................. 4 Literature Overview: Masculinity in the Nineteenth Century ......................................................... 9 Differences between Masculinité and Virilité ............................................................................... 13 Masculinity during the July Monarchy ......................................................................................... 16 A Model of Masculinity: -
Le Retour Des Personnages Dans La Comédie Humaine De Balzac
Le retour des personnages dans la Comédie humaine de Balzac Bonifačić, Lucija Master's thesis / Diplomski rad 2016 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:135242 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-25 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za francuske i iberoromanske studije - Odsjek za francuski jezik i književnost Diplomski sveučilišni studij francuskog jezika i književnosti; smjer: nastavnički (dvopredmetni) Lucija Bonifačić Le retour des personnages dans la Comédie humaine de Balzac Diplomski rad Zadar, 2016 Sveučilište u Zadru Odjel za francuske i iberoromanske studije - Odsjek za francuski jezik i književnost Diplomski sveučilišni studij francuskog jezika i književnosti; smjer: nastavnički (dvopredmetni) Le retour des personnages dans la Comédie humaine de Balzac Diplomski rad Student/ica: Mentor/ica: Lucija Bonifačić doc.dr.sc. Patrick Levačić Zadar, 2016. Izjava o akademskoj čestitosti Ja,Lucija Bonifačić, ovime izjavljujem da je moj diplomski rad pod naslovom Le retour des personnages dans la Comédie humaine de Balzac rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. -
La Representation De La Femme Aristocrate En Periode Post-Revolutionnaire: Balzac Moraliste Chretien Et Apologiste De La Passion
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 5-8-1996 La Representation de la Femme Aristocrate en Periode Post-revolutionnaire: Balzac Moraliste Chretien et Apologiste de la Passion Isabelle Marie Renard Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the French and Francophone Language and Literature Commons Let us know how access to this document benefits ou.y Recommended Citation Renard, Isabelle Marie, "La Representation de la Femme Aristocrate en Periode Post-revolutionnaire: Balzac Moraliste Chretien et Apologiste de la Passion" (1996). Dissertations and Theses. Paper 5144. https://doi.org/10.15760/etd.7020 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THESIS APPROVAL The abstract and thesis of Isabelle Marie Renard for the Master of Arts in French were presented May 8, 1996, and accepted by the thesis committee and the department. COMMITTEE APPROVALS: -- Representative of the Office of Graduate Studies DEPARTMENT APPROVAL: Louis Elteto, Chair Department of Foreign Languages and Literatures ******************************************************************* ACCEPTED FOR PORTLAND ST ATE UNIVERSITY BY THE LIBRARY on /?' 44.;ru /9f& 7 ABSTRACT An abstract of the thesis of Isabelle Marie Renard for the Master of Arts in French presented May 8, 1996. Title: La Representation de la femme aristocrate en periode post-revolutionnaire: Balzac moraliste chretien et apologiste de la passion. Honore de Balzac appartient a cette generation de geants du romantisme flamboyant: politiquement et socialement, il est honorable bourgeois, se souvient des deceptions de l'epoque dechue et prone par consequent le culte du souvenir imperial, ainsi que celui de la passion. -
Cousin Bette
HONORÉ DE BALZAC TRANSLATED BY KATHARINE PRESCOTT WORMELEY COUSIN BETTE ROBERTS BROTHERS 3 SOMERSET STREET BOSTON 1888 COPYRIGHT, 1888, BY ROBERTS BROTHERS. University Press JOHN WILSON AND SON, CAMBRIDGE. COUSIN BETTE. CHAPTER I. WHERE DOES NOT PASSION LURK? ABOUT the middle of July, 1838, one of those hackney carriages lately put into circulation along the streets of Paris and called milords was making its way through the rue de l’Université, carrying a fat man of medium height, dressed in the uniform of a captain of the National Guard. Among Parisians, who are thought to be so witty and wise, we may find some who fancy they are infinitely more attractive in uniform than in their ordinary clothes, and who attribute so depraved a taste to the fair sex that they imagine women are favorably impressed by a bear-skin cap and a military equipment. The countenance of this captain, who belonged to the second legion, wore an air of satisfaction with himself which heightened the brilliancy of his ruddy complexion and his somewhat puffy cheeks. A halo of contentment, such as wealth acquired in business is apt to place around the head of a retired shopkeeper, made it easy to guess that he was one of the elect of Paris, an assis- tant-mayor of his arrondissement at the very least. As may be supposed, therefore, the ribbon of the Legion of honor was not absent from his portly breast, which protruded with all the swagger of a Prussian officer. Sitting proudly erect in a corner of the milord, this decorated being let his eyes rove among the pedestrians on the sidewalk, who, in fact, often come in for smiles which are really intended for beautiful absent faces. -
The Designs of Faulkner's 'Yoknapatawpha Saga' and Balzac's Human Comedy
The Designs of Faulkner’s ’Yoknapatawpha Saga’ and Balzac’s Human Comedy Jacques Pothier To cite this version: Jacques Pothier. The Designs of Faulkner’s ’Yoknapatawpha Saga’ and Balzac’s Human Comedy. Faulkner Journal, 1998, 13 (1-2), pp.109-130. halshs-00769829 HAL Id: halshs-00769829 https://halshs.archives-ouvertes.fr/halshs-00769829 Submitted on 13 Mar 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 The Designs of Faulkner's "Yoknapatawpha saga" and Balzac's Human Comedy* Jacques Pothier All the biographers of Faulkner have agreed on his extensive reading of Balzac. It will of course remain impossible to point out just how much of Balzac Faulkner read and remembered. According to J. Blotner an 1897-99 set of La Comédie humaine in translation was in the library at Rowan Oak (Library 90-2). Susan Snell, after Joseph Blotner, asserts that both Stone and Balzac read "all" Balzac, and much of it aloud together (75). At the time, in his book-reviews for the New Orleans Times-Picayune such as "American Drama: Eugene O'Neill," Faulkner referred to Balzac's standard-setting work as a yard-stick of achievement (NOS 86-89). -
Le Romantisme Et Le R~Alisme De Balzac
LE ROMANTISME ET LE R~ALISMEDE BALZAC peu de chronologie : Lamartine est ni en 1790; U”Vigny en 1797; Balzac en 1799; Victor Hugo en 1802; Dumas pire en 1803; George Sand en 1804. C’est la grande giniration romantique, les vrais “enfants du si2cle”, dont Musset, ni en 1810,et Thiophile Gautier, ni en I 8 I I, sont les Benjamins. Quelques dates encore: le premier roman de Balzac qu’il ait signi, Les Chouans, parut en I 829 ; les derniers qu’il ait terminis Iui-mEme sont de 1847. Ses deux dicades sont celles de l’apogde romantique, de Henri III et sa Cour, Antony, Hernani, Ruy Blas, Chatterton, les Harmonies, les Nuits. Enfin, derniere sirie de faits: la piriode rialiste dans la littirature frangaise, commence avec le Second Empire, ou, si vous prifdrez, avec la Dame aux Came‘tias, en I 852. Tous ceux qui devaient l’illustrer, Taine et Renan dans la philoso- phie et l’histoire, Leconte de Lisle en poisie, Flaubert et les Goncourt dans le roman, Dumas fils et Augier au thditre, ne se sont fait connaitre qu’apris la mort de Balzac. I1 est donc bien aviri que la carriire de Balzac est con- temporaine du romantisme, non du rialisme. Elle n’est mcme pas h cheval sur les deux. Nous ne pouvons classer Balzac parmi les rialistes qu’en le siparant violemment de ses pairs et compagnons, des amis et des tmules aux- quels il a didii tant des Scines de sa Comkdie Humaine; 58 Le Romantisme et le Realisme de Balzac 59 et en l’associant i un groupe d’hommes qu’il n’a point connus. -
Old Goriot Honoré De Balzac
Old Goriot Honoré de Balzac The Harvard Classics Shelf of Fiction, Vol. XIII, Part 1. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents The Novel in France Biographical Note Criticisms and Interpretations I. By Arthur Symons II. By G.L. Stratchey III. By Leslie Stephen Paras. 1–99 Paras. 100–199 Paras. 200–299 Paras. 300–399 Paras. 400–499 Paras. 500–599 Paras. 600–699 Paras. 700–799 Paras. 800–899 Paras. 900–999 Paras. 1000–1099 Paras. 1100–1199 Paras. 1200–1299 Paras. 1300–1399 Paras. 1400–1499 Paras. 1500–1599 Paras. 1600–1699 Paras. 1700–1816 The Novel in France THE FRENCH, not without reason, pride themselves on the skillful technique of their works of fiction. During the whole period of modern French literature, the authors, whether of five and ten volume romances like Mlle. de Scudéry, or of short tales like Alphonse Daudet and Guy de Maupassant, have been conscious literary artists. Moreover, except during the romantic outburst of our first half of the nineteenth century, which produced the exuberant fantasies of persons like Alexandre Dumas the elder, they have usually sought psychological analysis and the presentation of character. This aim has, on the whole, been consistently pursued in both divisions of French fiction, the idealistic and the realistic novels. Works of these two types appear, judging from their names, to move in different planes. But the connection of both kinds with life has been fairly close, and, in the seventeenth century, discussion of popular romances was so much the preoccupation of social circles such as the Hôtel de Rambouillet, that not only did the novelist try to portray characters he saw, but the leisure classes often sought to model their life after the pattern of the fiction they read. -
La Corruption Dans Les Romans De Balzac: Une Étude Des Personnages, Des Institutions Et Des Mœurs
La Corruption dans les romans de Balzac: une étude des personnages, des institutions et des mœurs by Stacey Carolyn Latimer, B.A. A Thesis In FRENCH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Dr. Christopher Bains Chair of Committee Dr. Carole Edwards Dr. Joseph Price Dominick Casadonte Interim Dean of the Graduate School May, 2013 Copyrighted 2013, Stacey Latimer Texas Tech University, Stacey Latimer, May 2013 ACKNOWLEDGMENTS Above all, I would like to express my utmost gratitude to my Heavenly Father who has so often blessed me with the strength I have needed to complete this work. Without His sovereign grace in blessing me with the ability to learn a second language, this work would not have been possible. To Him be the glory. I wish to thank Dr. Christopher Bains for first inspiring me with the idea to do research involving the works of Balzac and for his willingness to share his expertise in this area. He has offered encouragement and support throughout my entire academic career in French at Texas Tech. I appreciate his patience and tireless efforts to go through this work critically and offer knowledgeable advice in order to improve both my literary analysis and my use of French. Additionally, I would like to express my gratitude to Dr. Carole Edwards for her confidence in me and her contribution to my development as a student in French both during this work as well as in my studies at both the undergraduate and graduate levels. -
Honoré De Balzac Et La Musique
REGARDS SUR BALZAC ET LA MUSIQUE par Pierre Albert Castanet 1 À Thierry de la Croix, en témoignage de ma fidèle amitié. « Roule, musique, enveloppe-nous de tes plis redoublés, roule et séduis !» Balzac, Gambara. « Le sublime est toujours semblable à lui-même… « L’amour, vois-tu, sera toujours l’amour, il est partout semblable à lui-même » Balzac, Massimilla Doni. « C’était plus qu’une femme, c’était un chef-d’œuvre !» Balzac, Sarrasine. Les romans du XIX e siècle épousent le cours de la vie et racon - tent souvent les malheurs du monde. Parmi la gent littéraire et poétique, dans la multiplicité des espèces romanesques (pastora - le, didactique, satirique, épistolaire…), certains auteurs aiment narrer savamment quelques traits d’histoire ou désirent peindre 7 avec grandiloquence quelques drames fantastiques, d’autres se rapportent humblement aux faits et gestes de la société ou aiment bien se parer noblement de l’auréole des Arts pour développer quelques concepts ayant trait à la philosophie générale… Dans cette dernière catégorie, quelques ouvrages d’Honoré de Balzac, Ernst Theodor Amadeus Hoffmann, Gustave Flaubert, George Sand, Gérard de Nerval, Alexandre Dumas, Marcel Proust, Romain Rolland, Thomas Mann et bien d’autres encore ont mon - tré, chacun à leur manière et dans des styles fort différents, une certaine prise de conscience des vertus orphiques de la musique comme de l’ambition prométhéenne de l’art sonore. « Vous voulez faire de l’actuel ; faîtes donc au moins des romans musicaux. Laissez pour longtemps votre littérature mari - time et autre, (…) parlez-nous un peu d’orgues, de théâtres, d’épinettes, de la Chapelle Sixtine, d’Allegri, de Palestrina, de Pergolèse, de Jean Mouton, de Léo, de Sébastien Bach… » P.