Pleasure and pain in nineteenth-century French literature by David Evans, Kate Griffiths

By David Evans, Kate Griffiths

From Sade at one finish of the 19th century to Freud on the different, through many French novelists and poets, excitement and soreness develop into ever extra heavily entwined. while the inseparability of those subject matters has hitherto been studied from remoted views, reminiscent of psychoanalysis, sadism and sado-masochism, depression, or post-structuralist textual jouissance, the originality of this collaborative quantity lies in its exploration of the way excitement and soreness functionality throughout a broader variety of contexts. The essays accrued right here exhibit how the complicated courting among excitement and discomfort performs an essential function in structuring nineteenth-century pondering in prose fiction (Balzac, Flaubert, Musset, Maupassant, Zola), verse and the memoir in addition to socio-cultural stories, scientific discourses, aesthetic idea and the visible arts. that includes a world number of participants representing the complete diversity of ways to scholarship in nineteenth-century French reports - ancient, literary, cultural, artwork old, philosophical, and sociopolitical - the amount attests to the energy, coherence and interdisciplinarity of nineteenth-century French reviews and may be of curiosity to a large cross-section of students and scholars of French literature, society and tradition

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Je conclus sur cette question, qui contient sa réponse. Michael Tilby Balzac’s Convivial Narrations: Intoxication and its Discourse in La Comédie humaine Il y a pour Balzac comme pour Baudelaire une sainte ivresse. Michel Butor1 In the third part of Splendeurs et misères des courtisanes, Jacques Collin’s scheme to secure his release from prison is dependent on his being questioned ahead of the young Lucien de Rubempré. 4 As these representative examples remind us, pleasure is a recurrent state in the Comédie humaine, and one that is invariably experienced in physical terms.

Or elle prend cet abandon pour définitif, se laisse envahir par le désespoir, renonce soudainement à son statut mondain, disparaît et va se donner à Dieu dans le secret et le silence absolu d’un lointain couvent. Lorsque Montrivault, après cinq ans de recherches vaines, la retrouve, elle refuse de le suivre. Et lorsqu’il revient, assisté des Treize, pour l’enlever, il n’emporte qu’une morte. La souffrance et la tragédie sont nées ici non d’un hasard et d’une méprise, mais du choc et de l’incompatibilité entre deux pensées et deux vécus du plaisir.

Voir Jérôme Solal, ‘L’heure de la douleur. La Doulou d’Alphonse Daudet’; in Alphonse Daudet pluriel et singulier (Paris: Minard, coll. ‘Ecritures’, 19, 2003), pp. 107-22. 10 Lettre à Louise Colet, 11 août 1846, dans Gustave Flaubert, Correspondance, 5 vols (Paris: Louis Conard, 1926), I: 242. 11 Mais plaisir mobilise près de trois fois plus de colonnes que douleur. La notice sur la douleur n’est traitée que sous le seul angle de la physiologie et de la médecine: causes et mécanismes de la douleur physique, traitement médical de la douleur.

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