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Madame Bovary ranks among the world’s most famous and widely read novels, and has inspired numerous critical theories. First published in 1987, this study draws on both twentieth-century and traditional critical views to provide both students and scholars with a fresh analysis of the novel: its narrative techniques, social background, and underlying structures. By setting the novel in an historical context, and exploring the ways in which it offers a hinge between romanticism and realism, the book establishes a framework through which the reader can assess questions of narrative strategy, of symbolic patterning and most importantly, parody and pastiche. Throughout Madame Bovary, Rosemary Lloyd argues, a series of intertwining voices challenge assumptions about the nature of narrative and the relationship between reader and writer. This reissue will provoke and stimulate debate among students and lecturers in French and English literature, for whom Madame Bovary is a key text in the development of the novel.
Irony in Film is the first book about ironic expression in this medium. We often feel the need to call films or aspects of them ironic; but what exactly does this mean? How do films create irony? Might certain features of the medium help or hinder its ironic potential? How can we know we are justified in dubbing any film or moment ironic? This book attempts to answer such questions, investigating in the process crucial and under-examined issues that irony raises for our understanding of narrative filmmaking. A much-debated subject in other disciplines, in film scholarship irony is habitually referred to but too seldom explored. Combining in-depth theorising with detailed close analysis, this pioneering study asks what ironic capacities films might possess, how film style may be used ironically, and what role intention should play in film interpretation. The proposed answers have significance for our understanding of not only ironic filmmaking, but the nature of expression in this medium.
First published in 1972 Five for Freedom is a candid study of five European fictional heroines as anticipatory of contemporary feminism: Madame de Merteuil of Choderlos de Laclos’ Les Liaisons dangereuses, Jane Eyre, Emma Bovary, Tess of the D’Urbervilles, and Tony Buddenbrook. Professor Wagner clearly believes that, in the first place, the role of women in the development of fiction has been underestimated, while the claims to originality of many recent female liberationists have been equally overestimated. This is a far-ranging, lightly-handled book with insights into both mode of fiction, as it developed and answered women’s demands, and into the role of some of its leading heroines; for Professor Wagner’s studies do not limit themselves strictly to the ‘five for freedom’ but foray into Balzac’s Cousine Bette, Catherine Earnshaw of Wuthering Heights, Anna Karenina, and Eca de Queiroz’s Portuguese Bovary in Cousin Bazilio. This brilliant little study is topical, readable, yet learned. It will be useful for scholars and researchers of literature, Women’s studies, and Gender studies.
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This book is an unprecedented exploration of the tragic heroine from a feminist perspective. It offers a panoramic view of heroines from various historical periods and geographical areas and redefines the tragic in terms of values and predicaments specific to female characters as well as to women outside the area of representation. -- Amazon.com.