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(Grant & Cutler 2003)
This book poses the question: what happens when reading enters the realist process? and answers it by way of a critical study of Stendhal's writing. Ann Jefferson argues that a recognition of the role of reading in representation is particularly crucial to an understanding of Stendhal's realism, and her account includes substantial discussions of De l'Amour, Le Rouge et le Noir, the Vie de Henry Brulard and La Chartreuse de Parme. Her study also draws a number of illuminating parallels between Stendhal and aspects of modern critical theory, and uses them in order to reveal the high degree of sophistication and self-consciousness in Stendhal's writing, qualities which are attributed here to the intensity of his preoccupation with his readers. By focusing on the issue of reading in Stendhal this book not only proposes a reassessment of Stendhal's own work, but also opens up lines of enquiry on the critical problem that is realism.
Both critic and writer, Stendhal has now become established as one of realism's founding fathers. Dr Pearson's book maps out, for the first time, the critical reception of Stendhal's two most widely read novels, The Red and the Black and The Charterhouse of Parma since their publication in 1830 and 1839 respectively. In part one he provides generous samples of the most important nineteenth-century responses to the novels, almost all of them translated into English for the first time. Part two presents a full range of the most authoritative and influential readings since 1945, which illustrate a wide variety of critical approaches.
The 'Lives of Haydn, Mozart and Metastasio'- Stendhal's first published work – owes its inspiration to the audacious pragmatism of its author. After the collapse of the Napoleonic empire, Henri Beyle was jobless, soon destined to become a refugee and in desperate need of money. His most abiding passion in life was music, so why not write about it? Unfortunately, however, he knew next to nothing about it. So, calmly and without the slightest pang of conscience, he resolved to plunder the works of other writers – in particular those of the musicologist Giuseppe Carpani, who was annoyed and said so vociferously. The result of Stendhal's unscrupulous plagiarism is one of the most fascinating literary enigmas of all time. How is it that what started as a blatant act of piracy evolved into a work of enduring genius? Despite its unpropitious beginnings, this work represents the wrong-headedness of a genius – and the singular Louis-Alexandre-Cesar Bomet who signed the 'Lives' was already, in everything that mattered, the man who was to be Stendhal, one of the most enduring literary figures of the nineteenth century.
Victor Brombert is a lion in the study of French literature, and in this classic of literary criticism, he turns his clear and perspicacious gaze on the works of one of its greatest authors—Stendhal. Best remembered for his novels The Red and the Black and The Charterhouse of Parma, Stendhal is a writer of extraordinary insight into psychology and the many shades of individual and political liberty. Brombert has spent a lifetime reading and teaching Stendhal and here, by focusing on the seemingly contradictory themes of inner freedom and outer constraint within Stendhal’s writings, he offers a revealing analysis of both his work and his life. For Brombert, Stendhal’s work is deeply personal; elsewhere, he has written about the myriad connections between Stendhal’s ironic inquiries into identity and his own boyhood in France on the brink of World War II. Proceeding via careful and nuanced readings of passages from Stendhal’s fiction and autobiography, Brombert pays particular attention to style, tone, and meaning. Paradoxically, Stendhal’s heroes often feel most free when in prison, and in a statement of stunning relevance for our contemporary world, Brombert contends that Stendhal is far clearer than any writer before him on the “crisis and contradictions of modern humanism that . . . render political freedom illusory.” Featuring a new introduction in which Brombert explores his earliest encounters with Stendhal—the beginnings of his “affair” during a year spent as a Fulbright scholar in Rome—Stendhal remains a spirited, elegant, and resonant account.
Stendhal lets his readers experience in the act of reading what his protagonists experience in the act of living, argues this original, well-written study about the relationship between novelist and reader. Novels discussed include Armance, Le Rouge et le Noir, Lucien Leuwen, and La Chartreuse de Parme.
"The Red and the Black" is a reflective novel about the rise of poor, intellectually gifted people to High Society. Set in 19th century France it portrays the era after the exile of Napoleon to St. Helena. the influential, sharp epigrams in striking prose, leave reader almost as intrigued by the author's talent as the surprising twists that occur in the arduous love life.