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This collection of enchanting tales spotlights the works of 5 outstanding French writers prominent during the 19th century. Included are Trilby, or the Elf of Argyll, by Charles Nodier, Théophile Gautier's The Amorous Dead Woman, as well as works by Prosper Mérimée, Guy de Maupassant, and Villiers de l'Isle-Adam. Informative introduction and notes.
Included are Trilby, or the Elf of Argyll, by Charles Nodier, Théophile Gautier's The Amorous Dead Woman, as well as works by Prosper Mérimée, Guy de Maupassant, and Villiers de l'Isle-Adam.
These six riveting fantasy classics from the golden age of the French short story will keep you glued to your chair. Drawn from the genre's outstanding nineteenth-century writers, they range from the Romantic era to the rise of the Symbolists and Decadents. Presented chronologically by date of publication, they include Charles Nodier's "Trilby; or, The Elf of Argyll," Théophile Gautier's "The Amorous Dead Woman," "The Venus of Ille" by Prosper Mérimée, Villiers de l'Isle-Adam's "Second Sight," and two tales by Guy de Maupassant, "A Divorce Case" and "Who Knows?" This dual-language book features accurate new English translations on pages facing the original French, an informative introduction, and explanatory footnotes. It opens a door for students of French language and literature—well as any other lover of fantasy—to explore the world of the eerie and unknown.
French Tales is a collection of twenty-two translated stories associated with the twenty-two regions of France. The book, which includes both well-known and little-known writers, for example Prosper Mérimée in the nineteenth century and Anne-Marie Garat in the twenty-first, affords readers a panoramic view of French society and culture, reflecting, as it does, its variety and diversity from Brittany to Corsica. Writers include among others Maupassant, Zola, Annie Saumont, Marcel Aymé, Didier Daeninckx and Stephane Émond. The subject-matter ranges from stories about marriage, the First World War and homelessness to house-buying, childhood and honour-killing. Following the model of Paris Tales, also translated by Helen Constantine, each story is illustrated with a striking photograph and there is a map indicating the position of the French regions. There is an introduction and notes to accompany the stories and a selection of Further Reading. The book will appeal to people who love travelling or are armchair travellers, as much as to those who love France and things French.
In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding “truths” by which to define the permanent “meaning” of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
An exploration of fantastic soundworlds in nineteenth-century France, providing a fresh aesthetic and compositional context for Berlioz and others.
The fantastic genre holds a privileged position in literary and feminist studies because of its open exploration of the limits of mimetic creation and its attempts to represent alterity, both feminine and supernatural. This study traces its development as a product of the dramatically changing cultural context of nineteenth-century France. Examining post-revolutionary concerns about questions of gender and identity, this work observes the increasingly disruptive force of the feminine fantastic upon the masculine subject/author as symptomatic of a crisis underlying dominant attitudes toward material progress, which culminated in the death of the representational in the early twentieth century.
Mary Dibbern, Music Director of Education and Family Programs at The Dallas Opera, and adjunct faculty member at the University of North Texas has created a Performance Guide for Offenbach's opera The Tales of Hoffmann. This contribution to the Vox Musicae series presents a word-by-word translation and IPA transcription of the published versions of the French libretto, and her translations of its literary sources trace the libretto's development from E.T.A. Hoffmann's "Tales." The Guide includes an interview with French opera specialist Janine Reiss, and a Foreword by Thomas Grubb. This well-rounded volume is designed for use by singers, vocal coaches, conductors, producers and directors, as well as opera-lovers.