Balzac's reputation is as a novelist. But short stories make up over half La Comédie humaine, besides scores of other tales and articles. Short forms appear early in Balzac's output, and shape his work throughout his career. Balzac's Shorter Fictions looks at the whole of this corpus, at the nature of short fiction, and at how Balzac's novels developed from his stories - at the links between literary genesis and genre. It explores the roles of short fiction in Balzac's creation, its part in producing effects of virtuality and perspective, and reflects ultimately on the relationship between brevity and length in La Comédie humaine. This, the first complete English-language study of Balzac's work for over forty years, synthesizes recent research on Balzac's practice within the context of modern thought on the author. It is an indispensable book for students and scholars of Balzac, and for all those interested in prose fiction.

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lgrsnf/D:\!genesis\library.nu\18\_47740.18c1c060f7292f12f593427be29c935c.pdf

nexusstc/Balzac's Shorter Fictions/18c1c060f7292f12f593427be29c935c.pdf

zlib/Poetry/American Poetry/Tim Farrant/Balzac's Shorter Fictions: Genesis and Genre_994624.pdf

Balzacs_shorter_fictions_a01

Farrant, Tim

IRL Press at Oxford University Press

Oxford Institute for Energy Studies

German Historical Institute London

Ebsco Publishing

OUP Oxford

United Kingdom and Ireland, United Kingdom

United States, United States of America

Oxford, New York, England, 2002

1, 2002

до 2011-01

lg570333

producers:
Acrobat Distiller 5.00 for Macintosh

{"isbns":["0198151977","0585486352","9780198151975","9780585486352"],"last_page":370,"publisher":"Oxford University Press"}

Includes bibliographic references and index.

Oxford University Press, USA
0198151977 1
CONTENTS 8
NOTE ON TEXTS 12
INTRODUCTION 14
1. PHILOSOPHIES OF COMPOSITION: From Corsino to the Code des gens honnêtes, 1818–1825 32
(i) Narrative as Illustration: the Discours sur l'immortalité de l'âme and Corsino 32
(ii) Mimesis: ‘deux histoires’ 39
(iii) The Code des gens honnêtes and the Limits of Prescription 42
(iv) The Limits of Prescription 45
2. FROM CODE TO PHYSIOLOGIE, 1826–1829 47
(i) Doxa and Dialogue: Anecdotes, Codes, and the Physiologie 47
(ii) Prescription and Description in the Physiologie 50
(iii) A Physiology of Literary Illusion 53
(iv) Types of Reading in the 1829 Physiologie 56
3. THE FIRST SCÈNES DE LA VIE PRIVÉE, 1829–1830 60
(i) The Physiologie du mariage and the Scènes de la vie privée 60
(ii) The Scènes de la vie privée and the conte moral 61
(iii) Scènes, Tableaux, and Le Dernier Chouan 66
(iv) The Composition of the Scènes de la vie privée 70
4. NARRATIVES AND NEWSPAPERS, 1829–1830 79
(i) El Verdugo, Les Deux Rêves, Un épisode sous la Terreur, Adieu 79
(ii) Articles, observation de moeurs, and Pen-portraits 87
(iii) Caricature, Satire, and the Fantastic 89
(iv) From Newspaper to Narrative 92
5. BALZAC AND THE LITERARY REVIEWS, October 1830–August 1831 96
(i) October 1830–August 1831: A New Form, the Literary Review 96
(ii) Balzac's Stories for the Reviews: L'Élixir de longue vie, L'Enfant maudit, Une passion dans le désert, Le Réquisitionnaire 99
(iii) Portrait and Enigma: Sarrasine 105
(iv) Contes historiques and contes artistes: Les Proscrits and Le Chef-d’œuvre inconnu 110
(v) The Fantastic, the Real, and the Frame Story 115
6. FROM LA PEAU DE CHAGRIN TO THE CONTES DROLATIQUES, 1831–1832 121
(i) La Peau de chagrin 121
(ii) The Romans et contes philosophiques 157
(iii) Renaissance Models and Contemporary Reality in Balzac’s Work, 1831–1832 132
(iv) The First dixain of Contes drolatiques (1832) 137
7. BALZAC, ‘ROI DE LA NOUVELLE’: From the Contes bruns to Le Curé de Tours, 1832 142
(i) Art or Income? The Commercial Background, 1831–1832 142
(ii) Contes bruns: Une conversation entre onze heures et minuit and Le Grand d’Espagne; La Grande Bretèche 144
(iii) Fiction and Truth: Le Message and Madame Firmiani 149
(iv) From La Transaction to Le Colonel Chabert 152
(v) La Bourse and La Femme de trente ans [ I ] 157
(vi) Les Célibataires (F: Le Curé de Tours) 159
8. ANOTHER DESTINY? From Louis Lambert to Le Père Goriot, September 1832–March 1835 165
(i) Louis Lambert and Le Médecin de Campagne 166
(ii) Two Types of Tale: La Grenadière and La Femme abandonnée 170
(iii) Les Marana and the Break with the Revue 172
(iv) Form and Fragmentation: From Ferragus to the Second Contes drolatiques 173
(v) Contes drolatiques: secund dixain 175
(vi) L’Illustre Gaudissart and Un drame au bord de la mer 178
(vii) Eugénie Grandet 182
(viii) Le Père Goriot 185
9. BUILDING THE CATHEDRAL, 1835–1838 189
(i) Études de mœurs and Études philosophiques, Introductions 190
(ii) Melmoth réconcilié and La Fille aux yeux d’or 192
(iii) Balzac’s Stories for the Chronique de Paris (La Messe de l’athée, L’Interdiction, Facino Cane, La Confidence des Ruggieri) 196
(iv) Gambara 204
(v) End of an Era: The Third dixain of Contes drolatiques 208
10. RELATIVE VALUES, 1838–1839 216
(i) A Philosophy of Composition? From César Birotteau to Une fille d’Eve 217
(ii) César Birotteau and La Maison Nucingen 218
(iii) La Maison Nucingen 220
(iv) Conversation and Contingency: La Torpille 224
(v) Une fille d’Eve 229
11. ‘ROI DES ROMANCIERS?’ Scenes, Satires, and Serials, 1839–1840 237
(i) The Preface to Une fille d’Eve 238
(ii) Les Secrets de la princesse de Cadignan 239
(iii) The Potential of Impotence: Massimilla Doni 242
(iv) The Limits of Satire: Pierre Grassou 246
(v) Les Français peints par eux-mêmes and Petites misères de la vie conjugale 250
12. TOWARDS THE COMÉDIE, 1840–1841 255
(i) The Revue parisienne 255
(ii) Z. Marcas 256
(iii) Les Fantaisies de Claudine (F: Un Prince de la Bohème) 259
(iv) La Fausse Maîtresse: Form and Fragmentation 263
13. ‘LA GRRRRRRANDE COMÉDIE’, 1842–1845 270
(i) Comédie humaine, Avant-propos 271
(ii) Autre étude de femme 274
(iii) Honorine 277
(iv) The End of the Story? Un homme d’affaires, Gaudissart II, and Les Comédiens sans le savoir 283
(v) Gaudissart II and Les Comédiens sans le savoir 287
14. CONSTELLATIONS AND SUPERNOVELLAS: Nouvelle and Novel, 1841–1844 292
(i) Constellations 292
(ii) La Muse du département 297
(iii) Supernovellas: Le Curé de village, Pierrette, and L’Envers de l’histoire contemporaine 301
(iv) Moral Novels? Albert Savarus, Un début dans la vie, and Modeste Mignon 303
CONCLUSION: BALZAC’S SHORTER FICTIONS 315
SELECT BIBLIOGRAPHY 323
GENERAL INDEX 352
A 352
B 352
C 353
D 354
E 354
F 354
G 355
H 355
I 355
J 355
K 356
L 356
M 356
N 357
O 357
P 357
Q 358
R 358
S 359
T 359
U 360
V 360
W 360
Y 360
Z 360
INDEX OF WORKS 362
A 362
B 362
C 362
D 363
E 364
F 365
G 365
H 365
I 366
J 366
L 366
M 366
N 367
O 367
P 367
Q 368
R 368
S 368
T 369
U 369
V 369
W 369
Z 369
ISBN-13:,9780198151975

<br>
Balzac's reputation is as a novelist. But short stories make up over half <em>La Comédie humaine,</em> besides scores of other tales and articles. <em>Balzac's Shorter Fictions</em> looks at the whole of this corpus, at the nature of short fiction, and at how Balzac's novels developed from his stories--at the links between literary genesis and genre.

Balzac's reputation is as a novelist. But short stories make up over half La Comédie humaine. Balzac's Shorter Fictions explores this corpus, the nature of short fiction, and how Balzac's novels developed from his stories. It is an indispensable book for students and scholars of Balzac, and for all those interested in prose fiction.

Balzac's reputation is as a novelist. But short stories make up over half La Comedie humaine. Balzac's Shorter Fictions explores this corpus, the nature of short fiction, and how Balzac's novels developed from his stories. It is an indispensable book for students and scholars of Balzac, and for all those interested in prose fiction.

Suitable for students and scholars of Balzac, and for all those interested in prose fiction, this text explores the nature of short fiction and how Balzac's novels developed from his stories

2011-06-04