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Texts about paintings, painters and sculptors are obvious test cases for issues of representation. A significant corpus of artist stories is scattered through Honore de Balzac's Commedie humaine which, from Marx to Lukacs to Roland Barthes's enormously influential S/Z (1970), has been a key literary work for critical debates around French realism. In a series of close readings, Diana Knight explores Barthes's 'model of painting' - the metaphorical code of painting and sculpture that underpins realist discourse - in the context of Balzac's fictional representations of the relation between artists, their models and their works of art. Whereas critics have tended to denounce Balzac's realist aesthetic as complicit with the misogyny of the society he portrays, Balzac and the Model of Painting takes the artist-model relationship, variously gendered in these stories, as the focus of the author's powerful realist critique of the sexual politics of prostitution and marriage in nineteenth-century France.
This is the first study of Balzac's work to examine theatre in La Comédie humaine both as a theme in itself and for its influence on Balzac's techniques and modes of presentation in his novels, and to demonstrate the symbiotic influence of novel and stage on Balzac's work as a playwright and novelist. It will be of interest not only to students of Balzac, but also to students of nineteenth-century theatre and history. The introduction gives an account of Balzac's experience of the theatre; the first three chapters examine the historicity of Balzac's portrayal of the theatre world and how this portrayal serves his wider narrative purpose; the two following chapters demonstrate how and why Balzac relies on the theatre to provide a rich tissue of metaphor and bank of expressive devices with which to communicate his critique of society; finally the work shows how Balzac succeeded in bringing to the stage the same scrutiny of the capitalist ethos which underpins La Comédie humaine. An index of references to playwrights, plays, actors and stage characters in La Comédie humaine is given in an appendix.
Honoré de Balzac's 'The Human Comedy - La Comédie humaine (Complete Edition)' is a monumental work of literature that consists of a vast collection of interconnected novels and stories portraying French society in the early 19th century. Balzac's literary style is characterized by his realistic portrayal of human nature, intricate character development, and keen observations of social dynamics. The Human Comedy delves into various aspects of society including politics, love, money, and ambition, providing a comprehensive and detailed exploration of the human experience. Balzac's storytelling is rich in detail and his characters are complex and deeply nuanced, making the reader feel fully immersed in the world he has created. Honoré de Balzac, a prominent French novelist and playwright, drew inspiration for The Human Comedy from his own life experiences and observations of society. His unparalleled dedication to depicting the complexities of human behavior and social structures sets him apart as a master of realist fiction. Balzac's meticulous attention to detail and his ability to create vivid and lifelike characters make his work both engaging and thought-provoking. I highly recommend 'The Human Comedy - La Comédie humaine (Complete Edition)' to readers who are interested in exploring the intricacies of human nature and society through the lens of a masterful storyteller. Balzac's magnum opus offers a profound and enlightening reading experience that will leave a lasting impact on anyone who delves into its pages.
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The Human Comedy is the title of Honoré de Balzac's multi-volume collection of interlinked novels and stories depicting French society in the period of the Restoration (1815–1830) and the July Monarchy (1830–1848). Balzac organized his works into 3 groups: "Etudes de Moeurs au XIXe siècle" (Studies of Manners in the 19th Century) + "Etudes philosophiques" + "Etudes analytiques". Balzac wrote that the "Etudes de Moeurs" would study the effects of society and touch on all genders, social classes, ages and professions of people. Meanwhile, the "Etudes philosophiques" would study the causes of these effects. Finally, the third "analytical" section would study the principles behind these phenomena. Contents: The Ball at Sceaux The Purse Vendetta A Second Home Domestic Peace Paz Study of a Woman Another Study of Woman The Grand Breteche Albert Savarus Letters of Two Brides A Daughter of Eve A Woman of Thirty The Deserted Woman La Grenadiere The Message Gobseck The Marriage Contract A Start in Life Modeste Mignon Beatrix Honorine Colonel Chabert The Atheist's Mass Pierre Grassou Scenes From Provincial Life Ursule Mirouet Eugenie Grandet The Vicar of Tours The Two Brothers An Old Maid The Collection of Antiquities The Lily of the Valley Two Poets A Distinguished Provincial at Paris Eve and David Scenes From Parisian Life Scenes from a Courtesan's Life A Prince of Bohemia A Man of Business Gaudissart II Unconscious Comedians Ferragus The Duchesse de Langeais The Girl with the Golden Eyes Father Goriot Rise and Fall of Cesar Birotteau The Firm of Nucingen Secrets of the Princesse de Cadignan Bureaucracy Sarrasine Facino Cane Cousin Betty Cousin Pons The Lesser Bourgeoisie Scenes From Political Life An Historical Mystery An Episode Under the Terror The Brotherhood of Consolation Scenes From Military Life A Passion in the Desert Scenes From Country Life Sons of the Soil The Magic Skin Christ in Flanders Melmoth Reconciled The Unknown Masterpiece…
This series of three novellas is unified by an overarching motif: in all three tales, a mysterious secret society known as The Thirteen is at work behind the scenes. The men in the group have pledged eternal loyalty to each other, and if any member ever finds himself in peril, it is the sworn duty of the others to come to his aid. Honore de Balzac uses this premise as a device to explore a wide range of topics, including clashes between different classes of society, doomed romances, and intrigue driven by greed.