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How even a desired and socially brilliant marriage can lead a young girl to misfortune. How a young mother resists an adulterous passion, but sinks into grief. How a young woman in all the splendour of her maturity rediscovers the taste for love and then finds herself punished in the tragic fate of her own children. That's the plot of the novel.
This book examines the theoretical affiliations between the most notable proponent of literary realism, Honoré de Balzac, and two understated but key representatives of the French New Wave, Éric Rohmer and Jacques Rivette. It argues that their film criticism, which gradually led to the establishment of a common aesthetic vision of cinema (the “politique des auteurs”), owes more to Balzac and the nineteenth-century novel than to any intellectual trend of the immediate post-war period. By considering the films of Rohmer and Rivette as an extension of their writings (essays, film reviews, scriptwriting, novels and interviews), this volume analyses the changing and sometimes opposed ways in which they applied Balzacian principles and themes to their cinematic practice. Essentially, it understands the exchange between art forms, past traditions and contemporaneous currents as the overlooked yet common thread that links these three authors, through their own re-appropriations of classical and romantic aesthetics in their explorations of modern French society. In doing so, this study provides further nuance to the “conservative” versus “progressist” rupture that is generally assumed between the two directors, and offers an innovative reading of The Human Comedy in the light of post-war ideas on authorship, film adaptation, classicism and modernism.
The focus of this study in comparative criticism is close analysis of Dostoevsky’s first literary publication—his 1844 translation of the first edition of Balzac’s Eugе́nie Grandet (1834)—and the stylistic choices that he made as a young writer while working on Balzac’s novel. Through the prism of close reading, the author analyzes Dostoevsky’s literary debut in the context of his future mature aesthetic style and poetics. Comparing the original and the translation side by side, this book focuses on the omissions, additions and substitutions that Dostoevsky brought into the text. It demonstrates how young Dostoevsky’s free translation of Eugénie Grandet predicts the creation of his own literary characters, themes, and other aspects of his literary output that are now recognized as Dostoevsky’s signature style. It investigates the changes that Dostoevsky made while working on Balzac’s text and analyzes the complex transplantation of Balzac’s imagery, motifs, and character portraiture from Eugénie Grandet into Dostoevsky’s own writing later on.
'What holds sway over this country without morals, beliefs, or feelings? Gold and pleasure.' Sexual attraction, artistic insight, and the often ironic relationship between them is the dominant theme in the three short works collected in this volume. In Sarrasine an impetuous young sculptor falls in love with a diva of the Roman stage, but rapture turns to rage when he discovers the reality behind the seductiveness of the singer's voice. The ageing artist in The Unknown Masterpiece, obsessed with his creation of the perfect image of an ideal woman, tries to hide it from the jealous young student who is desperate for a glimpse of it. And in The Girl with the Golden Eyes, the hero is a dandy whose attractiveness for the mysterious Paquita has an unexpected origin. These enigmatic and disturbing forays into the margins of madness, sexuality, and creativity show Balzac spinning fantastic tales as profound as any of his longer fictions. His mastery of the seductions of storytelling places these novellas among the nineteenth-century's richest explorations of art and desire. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
An enchanting literary debut—already an international best-seller. At the height of Mao’s infamous Cultural Revolution, two boys are among hundreds of thousands exiled to the countryside for “re-education.” The narrator and his best friend, Luo, guilty of being the sons of doctors, find themselves in a remote village where, among the peasants of Phoenix mountain, they are made to cart buckets of excrement up and down precipitous winding paths. Their meager distractions include a violin—as well as, before long, the beautiful daughter of the local tailor. But it is when the two discover a hidden stash of Western classics in Chinese translation that their re-education takes its most surprising turn. While ingeniously concealing their forbidden treasure, the boys find transit to worlds they had thought lost forever. And after listening to their dangerously seductive retellings of Balzac, even the Little Seamstress will be forever transformed. From within the hopelessness and terror of one of the darkest passages in human history, Dai Sijie has fashioned a beguiling and unexpected story about the resilience of the human spirit, the wonder of romantic awakening and the magical power of storytelling.
In this lucid and fascinating book, Peter Brooks argues that melodrama is a crucial mode of expression in modern literature. After studying stage melodrama as a dominant popular form in the nineteenth century, he moves on to Balzac and Henry James to show how these "realist" novelists created fiction using the rhetoric and excess of melodrama - in particular its secularized conflicts of good and evil, salvation and damnation. The Melodramatic Imagination has become a classic work for understanding theater, fiction, and film.