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"Esther Happy" is one of the four parts of the serial novel, "The Splendors and Miseries of Courtesans (also known as, "A Harlot High and Low,") a novel by French novelist Honoré de Balzac. Lucien de Rubempré and Carlos Herrera (Vautrin) have made a pact, in which Lucien will arrive at success in Paris if he agrees to follow Vautrin's instructions blindly. Esther van Gobseck throws a wrench into Vautrin's best-laid plans, however, because Lucien falls in love with her and she with him. One night, however, the incredibly rich banker Baron de Nucingen spots Esther and falls deeply in love with her. When Vautrin realizes that Nucingen's obsession is with Esther, he decides to use her power as a tool to help advance Lucien by extrapolating the maximum amount of money from the Baron as possible. Something that will result in a series of tragic results...
Jacques' waking reveries and daydreams are balanced by a succession of dreams and nightmares that explore the seemingly irrational, often grotesque, world of unconscious desire, producing a series of images that challenges anything to be found in the fantasies of 'Against Nature', or the Satanic obsessions of 'La-Bas'."
"Unequivocally a modern, Francois Boucher (1703-70) defined the French artistic avant-garde throughout his career. Yet the triumph of modernist aesthetics - with its focus on the self-critical, the autonomous, and the intellectually challenging - has long discouraged art historians and other viewers from taking Boucher's playful and alluring works seriously. Rethinking Boucher revisits the cultural meanings and reception of his diverse oeuvre, inviting us to revise the interpretive cliches by which we have sought to tame this artist and his epoch."--BOOK JACKET.
"The Vatard Sisters brought Huysmans to the notice of the public and revealed him as a man who could paint word-pictures which put earlier practitioners like Gautier and Edmond de Goncourt in the shade...The novel is a story of two working-class sisters, but the main protagonist is Paris, suburban Paris, the Paris of railway stations, cheap restaurants and caf (c)-concerts...and the passages that describe the music-halls and crowds of the Avenue de Maine and the Boulevard Saint Michel, or the railway yard seen from the back window of the sisters' bedroom, have a visual immediacy...a kind of energy, a force of personality, which are utterly unusual in Huysmans' work..." ]Anita Brookner in The Genius of the Future
Architectural Space in Eighteenth-Century Europe: Constructing Identities and Interiors explores how a diverse, pan-European group of eighteenth-century patrons - among them bankers, bishops, bluestockings, and courtesans - used architectural space and décor to shape and express identity. Eighteenth-century European architects understood the client's instrumental role in giving form and meaning to architectural space. In a treatise published in 1745, the French architect Germain Boffrand determined that a visitor could "judge the character of the master for whom the house was built by the way in which it is planned, decorated and distributed." This interdisciplinary volume addresses two key interests of contemporary historians working in a range of disciplines: one, the broad question of identity formation, most notably as it relates to ideas of gender, class, and ethnicity; and two, the role played by different spatial environments in the production - not merely the reflection - of identity at defining historical and cultural moments. By combining contemporary critical analysis with a historically specific approach, the book's contributors situate ideas of space and the self within the visual and material remains of interiors in eighteenth-century Europe. In doing so, they offer compelling new insight not only into this historical period, but also into our own.
Publisher description
In this original and provocative book, Timothy Bewes descends into the modern cynical consciousness with a critical assessment of the preoccupations of contemporary society.