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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.
Since the latter half of the 20th century, committed art has been associated with conceptual, critical and activist practices. Painting, by contrast, is all too often defined as an outmoded, reactionary, market-led venture; an ineffectual medium from the perspective of social and political engagement. How can paintings change the world today? The question of painting, in particular, fuelled the investigations of a major 20th-century philosopher: the French phenomenologist, Maurice Merleau-Ponty (1907-61). Merleau-Ponty was at the forefront of attempts to place philosophy on a new footing by contravening the authority of Cartesian dualism and objectivist thought-an authority that continues to limit present-day intellectual, imaginative, and ethical possibilities. A central aim of The Question of Painting is to provide a closely focused, chronological account of his unfolding project and its relationship with art, clarifying how painting, as a paradigmatically embodied and situated mode of investigation, helped him to access the fundamentally “intercorporeal” basis of reality as he saw it, and articulate its lived implications. With an exclusive and extended conversation about the contemporary virtues of painting with New York based artist Leah Durner, for whom the work of Merleau-Ponty is an important source of inspiration, The Question of Painting brings today's much debated concerns about the criticality of painting into contact with the question of painting in philosophy.
The Charterhouse of Parma (1839) is a compelling novel of passion and daring. Set at the beginning of the 19th-century in northern Italy, it traces the joyous but ill-starred amorous exploits of a handsome young aristocrat called Fabrice del Dongo. The novel's great achievement is to conjure up the excitement and romance of youth while never losing sight of the harsh realities which beset the pursuit of happiness. This new translation captures Stendhal's narrative verse, while the Introduction explores the novel's reception and the reasons for its enduring popularity and power.
In this fast-moving novel of post-Napoleonic France, Julien Sorel's plans to reach the higher echelons of society through the priesthood are deflected by his realization that the attainment of happiness is of greater consequence than the pursuit of ambition.
Paratexts are those liminal devices and conventions, both within and outside the book, that form part of the complex mediation between book, author, publisher and reader: titles, forewords, epigraphs and publishers' jacket copy are part of a book's private and public history. In this first English translation of Paratexts, Gérard Genette shows how the special pragmatic status of paratextual declaration requires a carefully calibrated analysis of their illocutionary force. With clarity, precision and an extraordinary range of reference, Paratexts constitutes an encyclopedic survey of the customs and institutions as revealed in the borderlands of the text. Genette presents a global view of these liminal mediations and the logic of their relation to the reading public by studying each element as a literary function. Richard Macksey's foreword describes how the poetics of paratexts interact with more general questions of literature as a cultural institution, and situates Gennet's work in contemporary literary theory.
The course of human life, punctuated by unexpected and transformative moments, is never uniform. What are the characteristics of such life-defining moments, what responses do they evoke, and how do they transform the lives of those who experience them? In Vivo explores foundational questions and pivotal moments of the human experience – engagement with a foreign culture, the decision to break free from unfortunate experiences, a generous action undertaken in the context of an otherwise regular day – in terms of their life-altering potential. Through illustrative examples, both real and fictional, Csepregi reveals the primacy of personal feelings in shaping human life and demonstrates the formative power of spontaneity outside the traditional context of formal education. These moments, and particularly the way they disrupt ordinary temporal order, Csepregi argues, are the lived experiences of our vitality. In an age marked by increasing anxiety about the homogenizing tendencies of contemporary life, In Vivo is timely and revelatory. Informed by a range of philosophical thinking and examples from art, music, and literature, it illustrates opportunities for meaningful reflection that are available to everyone, and urges the reader to engage with them.
A survey of 25 major European novelists from Cervantes to Kundera, highlighting their contributions to the genre.