Academic literature on the topic 'Honoré de Balzac'
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Journal articles on the topic "Honoré de Balzac"
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Heathcote, O. "Honore de Balzac." French Studies 64, no. 4 (September 29, 2010): 463–70. http://dx.doi.org/10.1093/fs/knq107.
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Durand, Alain-Philippe. "Honore de Balzac (review)." Nineteenth Century French Studies 30, no. 3 (2002): 395–97. http://dx.doi.org/10.1353/ncf.2002.0013.
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Sabourin, Lise. "Honore de Balzac, La Peau de chagrin." Studi Francesi, no. 146 (XLIX | II) (November 1, 2005): 430. http://dx.doi.org/10.4000/studifrancesi.34857.
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Heathcote, Owen, and Stephane Vachon. "Honore de Balzac: Memoire de la critique." Modern Language Review 96, no. 1 (January 2001): 194. http://dx.doi.org/10.2307/3735768.
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Gainutdinova, Dar'ya Aleksandrovna. "Landscape in the novel by Honore de Balzac "Letters of two brides": motifs of heaven and hell." Филология: научные исследования, no. 7 (July 2024): 66–73. http://dx.doi.org/10.7256/2454-0749.2024.7.71317.
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This article research subject are features of landscape descriptions in the novel by Honore de Balzac «Letters of Two Brides». The novel was written in 1841 and is included in «Scenes of private life», which the writer dedicates it to Georges Sand. The author of the article bases the analysis of Balzac’s book on the landscape descriptions given by L. N. Dmitriyevskaya. She defines the landscape as an artistic image of nature, a «portrait» of the soul and person’s worldview and an image of the world. The landscapes in the novel are multifaceted and include a love motive related to the development of one of the main themes of «Scenes from private life» - topics of women’s happiness. It is manifested in two variations: amour spiritualis (spiritual love) and amour infernalis (love to oneself, love-passion). In the course of work we use historical-literary method, cultural-historical method and method of motive analysis. The relevance and novelty of research is related to the significance of the creativity of Honoré de Balzac in the history of world literature, the constant interest of foreign and domestic scientists to problems of writer’s style and attention to modern literacy study to the ethics of descriptions as an important element of the artistic world and low knowledge of the characteristics of the Balzac’s narrative technique. Landscape descriptions in the novel by Honore de Balzac «Letters of Two Brides» are considered as an important compositional element in the narrative structure. They serve as an exposure to each new stage of heroines’ life. Nature descriptions become «portraits of soul», reflecting the difference in the natures of girls. And yet the landscape becomes one of the main image system components, forming the symbolic space of heaven or hell.
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Heathcote, Owen. "Honore de Balzac. Ecrits sur le roman. Anthologie." Modern Language Review 96, no. 2 (April 2001): 510. http://dx.doi.org/10.2307/3737405.
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Fedyk, Tamara. "ARTISTIC MODELS OF ADDICTIVE BEHAVIOR IN O. MYKOLAYCHUK AND NEDA NEZHDANA'S PLAY "HONORE, AND WHERE IS BALZAC?"." LITERARY PROCESS: methodology, names, trends, no. 19 (2022): 77–84. http://dx.doi.org/10.28925/2412-2475.2022.19.10.
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The article is devoted to the analysis of poetics of artistic models of protagonists' addictive behavior in the play by O. Mykolaychuk and Neda Nezhdana "Honore, and where is Balzac?". The relevance of the study is due to the notable increase in the number of interdisciplinary investigations. It contributes to a significant expansion of the range of aspects of research in the literature, especially the researches devoted to the analysis of works of art through the prism of psychology. This study was conducted using modeling, psychological and poetological analysis. The content of the concepts of "addiction" and "addictive behavior" was clarified; the potential signs of addiction that can be realized in the play were singled out, taking into account the specifics of the characterization of the characters in the play, and as a result, the models of addictive behavior were determined. Knote, Honore de Balzac and Evelina Hanska are carriers of addictive behavior and form a system of images-addicts in the play by O. Mykolaychuk and Neda Nezhdana "Honore, where is Balzac?". The interpersonal addiction of the characters is distinguished by three striking features: compulsive behavior, the reaction of the individual to the mention of his addiction or object of addiction, and manipulation of other people to achieve their own goals related to the object of addiction. Playwrights use a number of tools to create images of actors – representatives of addictive behavior, including lexical (the presence of specific tokens and their repetitions), morphological (a significant number of adjectives and verbs with negative connotations) and syntactic (incomplete sentences and exclamatory sentences, rhetorical questions, remarks-phrases, which are aimed at describing the actions and disclosing the internal state of the actors). Given the results, we see the prospect in further analysis of the poetics of artistic models of addictive behavior on the basis of other plays of modern Ukrainian drama, thus expanding the object of study.
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مبروک, نهى عبد العزیز رزق. "es temps verbaux du recit romanesque. Chez Honore de Balzac." مجلة کلیة الآداب بقنا 22, no. 42 (December 1, 2013): 1–38. http://dx.doi.org/10.21608/qarts.2013.118583.
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LETHBRIDGE, R. D. "Review. Cousin Bette. Translated by Sylvia Raphael. Balzac, Honore de." French Studies 47, no. 4 (October 1, 1993): 471. http://dx.doi.org/10.1093/fs/47.4.471-a.
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Yıldız, Sibel. "Narcissism In The Work Of Honore De Balzac Called “Droll Stories”." Pamukkale University Journal of Social Sciences Institute 2017, no. 50 (2017): 169–74. http://dx.doi.org/10.5505/pausbed.2017.32659.
Full textDissertations / Theses on the topic "Honoré de Balzac"
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Roraback, Erik Sherman. "Money and power in Henry James." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359988.
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Smirnoff, Renée de. "Le temps dans l'oeuvre romanesque d'honore de balzac." Toulouse 2, 1986. http://www.theses.fr/1986TOU20043.
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Cette these, comme l'indique son titre, explore la notion de temps dans "la comedie humaine", en se fondant sur des references precises puisees dans l'ensemble du texte. Apres avoir defini la double perspective selon laquelle se presente le temps -implique a la fois dans la narratologie et dans une conception de l'homme et du monde - l'introduction expose la facon dont s'est progressivement constituee la notion balzacienne du temps. Consacree au temps dans la narratologie, la premiere partie etudie successivement les problemes lies a l'agencement du temps dans l'ecri- ture : l'ordre, la duree, l'epaisseur; puis le rythme de la narration; et enfin les effets - dramatiques et stylistiques - auxquels donne lieu l'expression du temps. Clarte, logique demonstrative, expressi- vite, sont a ce niveau les exigences essentielles de l'auteur. La seconde partie a pour objet l'analyse du temps vecu. Les con- ceptions philosophiques et historiques de balzac inscrivent fortement l'etre dans une duree, un devenir. Mais si le temps est courant por- teur, il est aussi facteur de destruction : d'ou le mythe fondamental de la peau de chagrin, exprimant l'antagonisme entre usure et duree vitale. Puis est etudie l'enorme poids du temps dans la psychologie, ainsi que l'espace librement franchissable qu'il offre a l'esprit. L'aptitude a vivre le temps, a en maitriser ou non les effets, deter- mine en derniere analyse une division de l'humanite balzacienne en maitres et victimes du temps. La conclusion rappelle l'importance du temps dans la plupart des definitions balzaciennes, son role comme instrument d'explication, l'amenagement conscient auquel il est soumis; elle confirme la rea- lite du temps comme flux continu et milieu vivant, mais aussi force cachee, source a la fois de dynamisme et de tragiqueThis work, as its title shows, explores the notion of time in "la comedie humaine", basing itself on precise references drawn from the whole text. After defining the double perspective according to which time is presented - implicated both in the narrative and in a conception of man and of the world - the introduction sets out the way in which the balzacian notion of time has gradually built up itself. The first part, devoted to the use of time in the narrative, analyses successively the problems linked to the organization of time in the writing : order, duration, density; then the rhythm in the narrative and, at last, the dramatic and stylistic effects generated by the expression of time. Clarity, demonstrative logic and expres- siveness, are at this level the essential demands of the author. The second part deals with the analysis of real-life time. Bal- zac's philosophical and historical conceptions strongly insert the human being into duration and evolution. But if time is a carrier wa- ve, it is also a factor of destruction: hence the basic myth of "la peau de chagrin" which underlines the antagonism between wearing out and vital duration. Then is studied the considerable weight of time in psychology as well as the free space it opens up to the mind. The ability to master or not time's effects determines, in a final analysis, a division of balzacian humanity into masters and victims of time. The conclusion reminds of the importance of time in most of the balzacian definitions, the part it plays as a tool for explanation, the conscious rearrangements to which it is subdued. It confirms the reality of time as a continuous flux, a living medium, but also as a hidden force, both a source of dynamism and tragic
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Brown, Lorca Paola. "El derecho y la abogacía en la literatura de Honoré de Balzac." Tesis, Universidad de Chile, 2000. http://www.repositorio.uchile.cl/handle/2250/114111.
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Memoria (licenciado en ciencias jurídicas y sociales)No autorizada por el autor para ser publicada a texto completo
El título de esta memoria es "El Derecho y la Abogacía en la Literatura de Honoré de Balzac". Es una memoria dedicada netamente a la interpretación literaria y a el análisis del derecho en la literatura. La elección de Balzac fue acertada, porque el año pasado se celebraron en todo el mundo, especialmente en Francia, los doscientos años de su nacimiento, y sobre todo porque es un autor muy importante en la literatura universal. Al leer las cinco obras escogidas logré apreciar y admirar su estilo, particularmente aquel que está relacionado con mi profesión, aquellas historias de contenido jurídico, donde encontramos una demanda de interdicción, un juez probo, policías corruptos, el falso secuestro de un senador impulsado por el ánimo de inculpar a cinco inocentes, los delitos de falsificación y estafas, asesinatos, robos, etc. Todo esto acompañado por un cúmulo de valores morales y religiosos que Balzac acostumbra dar a sus obras. Hay que destacar que muchas veces sus criminales no tienen un castigo humano, pero la vida se encarga de hacer justicia.
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Ribeiro, Rosária Cristina Costa [UNESP]. "A espacialidade no romance histórico francês no século XIX: Balzac, Hugo e Elémir." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/115584.
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000810261.pdf: 1159233 bytes, checksum: 462ce96f368af0f7f0d31fea734a98c1 (MD5)Dans un premier temps, ce travail fait la distinction parmi les plusieurs dénominations de ce que l’on appelle roman historique pour choisir seulement un type parmi eux. Selon divers critiques contemporains, le roman historique traditionnel est né avec l’oeuvre de Walter Scott, dans le Romantisme Anglais. Cependant, c’est la France du XIXe siècle qui a connu la plus grande expression de cet espèce de roman, avec la parution de Les chouans (1829) et Notre-Dame de Paris (1831). Il faut aussi distinguer le roman historique traditionnel des autres types de romans historiques, três célèbres et répandus dans la même époque, que tantôt utilisaient l’histoire comme toile de fond, tantôt romançaient cette même histoire (et là on peut citer, par exemple, La Reine Margot, paru en 1845). En effet, le parcous théorique part de théoriciens comme Louis Maigron (1866-1954), passe par Georg Lukàcs (1885-1971), allant jusqu’à Jean Molino (1945) et Claudie Bernard (sans date de naissance connue), dans la deuxième partie du XXe siècle. Donc, le travail de recherche consiste en la lecture, le réperage et l’analyse des extraits, nottament ceux liés à la description de l’espace, l’établissement de parallèles entre eux, et la compréhension du rapport espace-roman historique du XIXe siècle. Pour composer le corpus, un ‘microgenre’ a été établi (microgenre peut désigner, d’après Molino (1975), un groupe « d’oeuvres proches par le temps et par le lieu, qui appartiennent à un même ensemble culturel et entre lesquelles existent de nombreux liens de filiation, influence, ressemblance, etc. »). Ainsi, les romans choisis, Les Chouans (1829) de Honoré de Balzac, Quatrevingt-treize (1874) de Victor Hugo et Sous la hache (1883) de Élémir Bourges, appartiennent à la France du XIXe siècle. Il faut dire encore que le roman historique traditionnel français du XIXe siècle a été l’expression authentique...
Inicialmente o trabalho distingue as várias denominações desse tipo de romance para fazer a escolha de uma delas. De acordo com diversos críticos contemporâneos, o romance histórico tradicional nasceu pelas mãos de Sir Walter Scott, no Romantismo inglês. Entretanto, foi na França oitocentista que este tipo de romance alcançou sua maior expressão com obras como Les chouans (1829) e Notre-Dame de Paris (1831). É preciso distinguir também o romance histórico tradicional daqueles outros tipos muito célebres e comuns que, naquela época, utilizavam a história como pano de fundo, ou romanceavam essa mesma história (e aqui podemos citar, por exemplo, La Reine Margot, de 1845). Assim, o percurso teórico parte de teóricos como Louis Maigron (1866-1954) passa por Georg Lukàcs (1885-1971) até Gérard Gengembre (1949), Jean Molino (1945) e Claudie Bernard1, já na segunda metade do século XX. O trabalhou centrou-se em um embate direto com os textos literários, objetivando caracterizar a construção da espacialidade nos romances do corpus escolhido. A escolha dos romances partiu do conceito de micro-gênero (Molino, 1975), que estabelece a determinação de características em comum entre as obras a serem analisadas, como, por exemplo, o tema ou a data de publicação. Dessa forma, baseando-se na data e local de publicação (França do século XIX), foram escolhidos os seguintes romances: Les Chouans (1829) de Honoré de Balzac, Quatrevingt-treize (1874) de Victor Hugo e Sous la hache (1883) de Élémir Bourges. A partir da leitura e análise da realização de algumas reflexões a respeito dessas obras, pôde-se comprovar que, apesar da distância temporal entre a publicação delas, todas seguem o mesmo padrão de definição da espacialidade e fazem parte da mesma escola literária, o Romantismo. Resta dizer que o romance histórico tradicional francês do século XIX foi a expressão autêntica de um povo castigado pelas...
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Bui, Véronique. "La femme, la faute et l'ecrivain. La mort feminine dans l'oeuvre de balzac." Paris 7, 1998. http://www.theses.fr/1998PA070086.
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L'univers romanesque de balzac comporte plus de deux mille personnages, cependant, en depit de l'abondance des figures feminines, il n'y a pas, dans cette oeuvre, d'heroine dont la mort exerce une fascination durable sur les lecteurs determinant son acces a un statut mythique. Aussi, a partir de ce constat et a l'appui d'un corpus de cinq textes appartenant a la comedie humaine, mais egalement aux contes drolatiques, nous sommes-nous proposes d'etudier le traitement de la mort des femmes dans le recit balzacien. De cette recherche, il est apparu que la mort de l'heroine n'est pas sous le signe de l'edification mais de la revelation. La mort, loin d'etre un chatiment qui vient condamner la faute de la femme coupable, constitue pour le personnage feminin, a l'agonie, un lieu de prise de parole et de devoilement de ses desirs demeures tus, de ses secrets et de son drame. La mort des femmes revele non seulement leur face cachee mais aussi la position de balzac qui ne se campe pas en moraliste mais en romancier. Un romancier qui fait de la femme ni une image idealisee de la mere ni une image inquietante et dangereuse pour l'homme de l'alterite. Au contraire, il met en lumiere son statut de victime des codes sociaux et familiaux, voire de l'ecriture elle-meme et des mythes qui l'alienent a force d'idealisations. En decrivant les symptomes annonciateurs de la mort, l'ecrivain la montre comme un etre de chair dont le corps, a l'instar de celui l'homme, connait la maladie, la degradation physique et la mortelle condition humaine, dans un monde ou la violence aussi bien masculine que feminine tue les hommes comme les femmesThe fictional universe of balzac contains more than two thousands characters, however, in spite of the great number of feminine characters, there is no heroine whose death leaves a lasting fascination on readers leading to a mythical status. Thus, from this fact and supported from a corpus of five texts belonging to la comedie humaine and also to les contes drolatiques, we intend to study the way women die in balzac's work. This study permits to show that the death of the heroine is not used to teach moral lessons but to deliver an unexpected and genuine feature of the character. Death, far from being a punishment, which condamns the fault of the woman, is more for the dying heroine the ultimate opportunity to express herself and to reveal her untold wishes, her secrets, her sufferings. Women's death not only reveals their ultimate self but also the point of view of balzac who isn't a moralist but, first of all, a novelist. A novelist who neither turns the women into an idealised mother nor a dangerous and threatening person for the man. On the contrary, he enhances the fact that she is a victim of social and family rules and even of literature and myths which alienate her because of too much idealisation. By descriving the symptoms of the approaching death, the writer shows the woman as a being of flesh and bones whose body, just like men's body, has to face illness, gradual loss of physical abilities and the human and mortal condition in a world in which violence, masculine as feminine, kills male characters as well as female characters
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Wu, Youyou. "Saveurs comparées : philosophie, sociologie et esthétique du plaisir gustatif dans les romans de Cao et Balzac (1784 -1847)." Electronic Thesis or Diss., Perpignan, 2021. http://www.theses.fr/2021PERP0038.
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L’objectif de cette thèse est de comparer le rapport que deux cultures (Chine /France) entretiennent avec le plaisir gustatif, à travers l’histoire de leurs pratiques alimentaires, la philosophie qui les supporte et les représentations qui en sont données dans la littérature. Cette confrontation culturelle s’appuiera particulièrement sur les scènes de table présentes dans un roman chinois de la fin du XVIIIe siècle (Cao Xuequin) et plusieurs romans français du début du XIXe siècle (Balzac). L’approche comparatiste nous permet d’envisager notre objet à travers un cadre conceptuel commun (« le vide et le plein ») et de voir comment il construit des pratiques et des représentations sociales, un imaginaire personnel à l’auteur, des pratiques d’écriture et finalement l’esprit d’une époque. Le plaisir de la table nous conduit des mets aux mots, et de la satisfaction gustative aux valeurs esthétiques de deux civilisations et deux cultures dont nous marquerons les divergences et dont nous soulignerons les harmoniesThe objective of this thesis is to compare the relationship that two cultures (China / France) have with pleasure of taste, through the history of their eating practices, the philosophy that supports them and the representations that are given in the literature. This cultural confrontation will be particularly based on the table scenes present in a Chinese novel from the end of the 18th century (Cao Xuequin) and several French novels from the beginning of the 19th century (Balzac). The comparative approach allows us to consider our object through a common conceptual framework (“deficiency and excess”) and to see how it constructs social practices and representations, a personal imagination for the author, practices of writing and finally the spirit of an era. The pleasure of the table leads us from the dishes to the words, and from the gustatory satisfaction to the aesthetic values of two civilizations and two cultures whose divergences we will mark and whose harmonies we will underline
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Dickson, Polly Letitia. "The stakes of mimesis : tracing narrative lines in the works of E.T.A. Hoffmann and Honoré de Balzac." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269768.
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My project offers a set of comparative close readings of texts by E.T.A. Hoffmann and Honoré de Balzac. Balzac’s early fiction, I contend, grapples with questions relating to the representational practice of mimesis through an explicit engagement with Hoffmann’s work. Hoffmann’s fiction, in turn, proves itself repeatedly to contain the traces of a proto-realist tendency, through its playful interventions into the staging of narrative creation. The contribution of my project to scholarship is twofold. First, it offers comparative readings of texts that have not yet been drawn together, hoping to re-adjust the common ascriptions of ‘Romanticism’ and ‘Realism’ to Hoffmann and Balzac respectively, and to identify a new complication in the relationship of those generic categories. Second, it articulates a new account of mimesis. By drawing on the work of twentieth-century theorists such as Erich Auerbach, Walter Benjamin and Merleau-Ponty, it shows that ‘mimesis’ refers not merely to the imitation of an object, but rather to the reproduction of a particular sensory experience of that object. This perspective on mimesis allows me to unfold new readings of the two authors. How is life compromised in the name of fiction, of the artwork? This question recurs compulsively in Hoffmann’s tales, figured in repeated and near-repeated scenarios in which the everyday is pitted against an ideal or delusional alternative. When Balzac imitates or repeats this mimetic question in the works I consider, it is invariably figured in the image of Hoffmann, called upon as a fictional co-author or authorial double, or as a para-textual element, often in highly visual terms. The thesis thus addresses what I have come to term the ‘stakes of mimesis’. If a particular compromise, or particular stakes, are involved in the creation of fictions, for Balzac those stakes are drawn in distinctly Hoffmannesque terms. The thesis is structured according to the conviction that the relationship between the two writers is not simply a linear one of filiation or influence, but one led by a more complicated sense of imitation. To this end, I take to task the conventional figure of the narrative ‘line’ and follow it through various Romantic and modernist complications. My first chapter, ‘Chiasm’, works as a conceptual introduction to the readings, tracing a particular account of literary mimesis from Plato to Maurice Merleau-Ponty. The four subsequent chapters each read a pair of texts by Hoffmann and Balzac alongside one another. Chapter Two, ‘Line’, focuses on the arabesque lines of Der goldne Topf and La Peau de chagrin. Chapter Three, under the emblem ‘Trope’, examines the paper identities of characters in Die Abenteuer der Sylvester-Nacht and Le Colonel Chabert. Chapter Four, ‘Figure’, considers the delusional artist figures and ekphrastic narrative frameworks of Der Artushof and Le Chef-d’œuvre inconnu. Finally, Chapter Five, ‘Cross’, examines questions of inheritance between Die Elixiere des Teufels and L’Élixir de longue vie. In unfolding these emblematic figures as models of reading, I seek new ways of thinking about the relationship between these two authors, and about the act of comparative reading.
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Santos, Marli Cardoso dos [UNESP]. "Balzac e os mitos da modernidade: Fausto e Don Juan em La peau de chagrin et L'elixir de longue vie." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127948.
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Résumé: L'approche sur les mythes modernes fait partie d'une tématique assez large dans les Études Littéraires. Faust, Don Juan et Don Quixotte ne sont que certains exemples de personnages qui sont devenus des présentations de l'individualité moderne dans la Littérature. À travers les siècles, des innombrables variations de ces mythes ont illustré les ouvrages de plusieurs écrivains, l'une des raisons qui a permis la propagation de ces figures littéraires. Donc, on a trouvé dans la Littérature Française, de manière plus spécifique sur l'ouvrage de l'écrivain Honoré de Balzac, des questions qui ne sont pas rapportés seulement au milieu social, mais aussi au niveau individuel, à la nature humaine. Dans ce sens, le personnage Don Juan Belvidéro, du récit « L'élixir de longue vie », devient une des variations les plus sataniques du mythe de Don Juan, puisque les attitudes egoïstes et ambicieuses du personnage permettent même sa propre chute. Raphaël de Valentin, protagoniste de La peau de chagrin, peut être la présentation de Faust, celui qui a fait le pacte avec Mephistópheles pour réussir le pouvoir. Toutefois, Raphaël n'est qu'un individu qui n'a rien atteint dans la vie et a eu la chance de posséder tout ce qu'il a toujours souhaité, par moyen d'un talisman magique, avec le seul désavantage de donner en retour ses journées de vie. Donc, on travaillera sur ces deux récits pour la vérification de ces personnages qui ont été construits sur les mythes de Faust et Don Juan et, pour cela, il faut rechercher certaines variations de ces figures dans l'histoire de la Littérature, pour introduire le travail. Travailler sur des thèmes modernes dans l'ouvrage de Balzac est aussi important, ainsi, à partir de travaux critiques dévéloppés par Ernest Curtius, Pierre Brunel et d'autres chercheurs de l'ouvrage littéraire de Balzac, on va approfondir le travail et dévélopper les...
A abordagem sobre os mitos da modernidade constitui uma temática muito abrangente nos Estudos Literários. Fausto, Don Juan e Dom Quixote são apenas alguns exemplos de personagens que se tornaram representações da individualidade moderna na Literatura. No decorrer dos séculos, inúmeras variações desses mitos ilustraram as obras de escritores diversos, um dos motivos que possibilitou a propagação dessas figuras. Assim, encontramos na Literatura Francesa, mais especificamente na obra do escritor Honoré de Balzac, questões relacionadas não apenas ao social, mas também ao individual, à natureza do homem. Nesse sentido, a personagem Don Juan Belvidéro, do conto L'elixir de longue vie, torna-se uma das variações mais satânicas do mito de Don Juan, uma vez que as atitudes egoístas e ambiciosas da personagem possibilitam até mesmo sua própria queda. Raphaël de Valentin, protagonista de La peau de chagrin, pode ser, então, a representação de Fausto, aquele que compactou com Mefistófeles em troca de poder. Todavia, Raphaël é apenas um indivíduo que não alcançou nada em vida e recebe a chance de possuir tudo o que sempre desejou, usando um talismã mágico, com a única desvantagem de dar em troca seus dias de vida. Logo, analisaremos essas duas narrativas para verificarmos a construção dessas personagens, que foram alicerçadas nos mitos de Fausto e Don Juan e, para isso, torna-se necessário resgatar algumas variações dessas figuras na história da literatura, para introduzir o trabalho. Discorrer a respeito desses temas modernos na obra de Balzac também é relevante, por esse motivo, a partir da fortuna crítica desenvolvida por Ernest Curtius, Pierre Brunel e outros pesquisadores da obra de Balzac, aprofundaremos nosso trabalho e desenvolveremos as temáticas relacionadas à religião, à modernidade e às relações de poder. Posteriormente, torna-se necessário analisar as narrativas pelas suas...
The approach to the myths of modernity is a very comprehensive theme in Literary Studies. Fausto, Don Juan and Don Quixote are just a few examples of characters who become literature's representations of modern individuality. Over the centuries, a lot of variations of these myths illustrated the works of several writers, one of the reasons that enabled the spread of these figures. So we find in French literature, specifically the work of Honoré de Balzac, issues related not only to social but also to the individual, the man's nature. This way, the character Don Juan Belvidero, the story L'Elixir de longue vie, becomes one of the most satanic variations of the myth of Don Juan, since the selfish and ambitious caracter's behavior motivate his fall . Valentin Raphaël, protagonist of La peau de chagrin, can be then the representation of Fausto, who allied with Mephistopheles in exchange for power. However, Raphael is just a guy who haven't anything in life and gets the chance to own everything he ever desired, using a magic talisman, and the only disadvantage is to give his life in exchanged. We will analyze these two narratives to verify the construction of these characters, both founded in the myth of Fausto and Don Juan and for this it's necessary to rescue some variations of these figures in literary history to this work. Discoursing about these modern themes in Balzac's work is important from the critical fortune developed by Ernest Curtius, Pierre Brunel and other researchers of the Balzac's liteture, to go deep in our work and to develop the themes related to religion, modernity and power relations. Later, wil be necessary to analyze the narratives by their spatial and narratological features, with the help of Michel Foucault and Gérard Genette, so we can also understand if the magical objects appereance in narratives are related to the introduction of modern myths. The Theoretical Ian Watt, Jean Rousset, Pierre Brunel and...
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Vanbremeersch, Marie-Caroline. "Sociologie des paysans dans la litterature francaise (18eme-19eme siecle)." Amiens, 1994. http://www.theses.fr/1994AMIE0008.
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Les paysans occupent une place a part dans la structure sociale francaise, marquee par la condamnation. Leur representation traditionnelle oscille entre l'image du "sauvage de l'interieur" et celle d'une idylle champetre dont la pastorale constitue le paradigme litteraire. Le 18eme siecle. Ebranle dans ses structures et ses hierarchies, va faire eclater cette symbolique trop simplifiee en faisant emerger dans le roman un "paysan problematique". Anticipant la sociologie des paysans, le roman exerce une fonction de connaissance qui fait apparaitre les nouvelles problematiques du lien paysan-societe. A la fois document et ensemble de propositions qui s'offrent en modele a l'imaginaire social contemporain, le roman apparait comme un outil para-sociologique revelateur de l'evolution des representations sociales francaises concernant les paysans. La periode 1734-1884 sera particulierement feconde a cet egard. Jalonnee par les "romans paysans" de marivaux. Retif de la bretonne et balzac, elle explore l'ambivalence et les tensions des relations entre les paysans et les societes urbaines. Au coeur des problematiques nouvelles, l'idee de nation et celle d'embourgeoisement. Les romans de parvenus construisent une reference nationale en soulignant les capillarites multiples entre ville et campagnes. Les romans de balzac reprennent et amplifient le theme en faisant du developpement rural un enjeu de la nation. La campagne de balzac est peuplee de paysans car sa modernisation passe par la modernisation des paysans, c'est a dire aussi leur assimilation par les referents urbainsPeasants take up a place apart, doomed, in the french social structure. Their traditional representation oscillates between the image of the "savage inside the country" and the one of a rustic idyll of which the pastoral constitutes the literary paradigm. Shaken in its structures and hierarchies, the 18th century will make this over-simplified symbolic blow up, bringing to light a "problematic peasant" in the novel. Anticipating the sociology of peasants, the novel has a function of knowledge which reveals the new problematics of the peasant-society relation. Both a document and a range of propositions available as a pattern to the social contemporary imaginary, the novel appears as a parasociologie tool revealing the evolution of the french social representations of peasants. The 1734-1844 period will be especially fertile in it. Marked out by the "peasants novels" of marivaux, retif de la bretonne and balzac, it explores the ambivalence and the tensions of the relations between peasants and the urban societies. In the centre of new problematics, lay the ideas of nation and access to middleclass. Parvenus'novels make up a national reference by highlighting the multiple capillarities between town and country. Balzac's country is peopled with peasants, for its modernization depends on the peasant's, i. E on their assimilation by urban references too
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Leblanc, Lorraine M. "Les deux Honoré, Balzac et Daumier." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/29027.
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Le XIXe siècle, en France, a donné le jour à la Modernité dans les Arts. Ce qui a débuté comme un courant esthétique, s'est doté d'une sensibilité au présent et au changement. Il fallait "être de son temps" et les deux Honoré ont repondu à l'appel. Le but de cette thèse est d'établir des rapprochements entre Balzac l'écrivain et Daumier l'artiste qui indépendamment l'un de l'autre, ont sû utiliser cette maxime dans la création d'une "comédie humaine".
Tout en reconnaissant qu'à certains moments, la littérature où la peinture à influence l'autre ou parfois s'est faite la complice de sa rivale, nous nous sommes néanmoins soumise à des procédés d'équivalence nécessaires au rapprochement d'arts interdisciplinaires. Nous avons également assemblé certains critères qui, pour nous, définissent une "caricature", qu'elle soit picturale ou scripturale. Les deux Honoré ont été tous deux, de grands caricaturistes.
Nous pourrions apporter plusieurs théories pour expliquer le rapprochement entre les descriptions que chacun des Honoré donne de ses personnages dont la physionomie ou la démarche révèle ce qui se cache dans leur for intérieur. Notre étude nous a révèle qu'à l'arrière plan des images de Balzac et de Daumier, se dessine l'ombre de ces sciences à la mode, la Phrénologie et la Physiognomonie. Les deux Honoré en ont observé les codes pour esquisser leurs personnages.
Nous avons monté un catalogue contenant des reproductions de lithographies de gravures et de peintures de Daumier qui ont servi au rapprochement des deux artistes. Ce volume accompagne notre thèse. Les illustrations viennent démontrer que la plupart des ressemblances entre les deux oeuvres se trouvent dans les types ou stéréotypes de la contemporanéité que les deux artistes ont réussi a étoffer pour en faire des représentants vraisemblables des tendances, des modes, des thèmes et des vices de leur siècle.
Books on the topic "Honoré de Balzac"
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Harold, Bloom, ed. Honoré de Balzac. Philadelphia: Chelsea House Publishers, 2003.
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Martin, Kanes, ed. Critical essays on Honore de Balzac. Boston, Mass: G.K. Hall, 1990.
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Bellos, David. Honoré de Balzac, Old Goriot. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.
Find full textBook chapters on the topic "Honoré de Balzac"
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Wild, Gerhard. "Balzac, Honoré de." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2538-1.
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Wild, Gerhard. "Honoré de Balzac." In Kindler Kompakt Französische Literatur 19. Jahrhundert, 63–78. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05516-3_6.
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Wild, Gerhard. "Balzac, Honoré de: Gobseck." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2542-1.
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Wehinger, Brunhilde. "Balzac, Honoré de: Sarrasine." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2546-1.
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Mellein, Richard. "Balzac, Honoré de: Séraphîta." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2565-1.
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Peter, Ingrid, and KLL. "Balzac, Honoré de: Gambara." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2570-1.
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Mellein, Richard. "Balzac, Honoré de: Pierrette." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2576-1.
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Eilert, Heide. "Balzac, Honoré de: La vendetta." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2543-1.
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Mellein, Richard. "Balzac, Honoré de: Les proscrits." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2549-1.
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Peter, Ingrid, and Brunhilde Wehinger. "Balzac, Honoré de: L'auberge rouge." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2550-1.
Full textConference papers on the topic "Honoré de Balzac"
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BACIU, Ana-Maria, and Angela BODEA. "Realism and naturalism in romanian literature." In Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p236-250.
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Realism and Naturalism are two of the main literary movements in the XIX-th century European Literature. In fact, Naturalism is a form of radical Realism, which appears towards the end of Realism.The most important realis is Honore de Balzac, as Realism appeared in France at the end of the XVIII-teen century due to many political and social events, such as:The French Revolution from 1789, The Revolution between 1830-1831, the impact of Restauration, The Revolution from 1848 and the Industrial Revolution in England. The main goal of realism is to reflect reality as in a mirror. On the other hand, Naturalism is a literary movement developped from Realism as a more brutal reflection of reality, the impact of society and genetic pathologies upon human being.
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Rodrigues, Beatriz. "Ficções impressas: jornalismo e literatura no romance ilusões perdidas de Honoré de Balzac." In IV Congresso Internacional de História. Programa de Pós-Graduação em História e Departamento de História - Universidade Estadual de Maringá - UEM, 2009. http://dx.doi.org/10.4025/4cih.pphuem.353.
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Taļerko, Valentina. "The Book “Die Kavaliere von Illuxt”. The New Discovery for XXI Century Reader." In 79th International Scientific Conference of University of Latvia. University of Latvia, 2021. http://dx.doi.org/10.22364/htqe.2021.70.
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The article examines the historical and literary significance of the memoirs of a Baltic German about Latgale. The space between Ilukste and Daugavpils has been little studied. The data about individual estates and their owners is fragmentary. The study is a separate part of a large regional and literary study dedicated to the Baltic Germans living in the territory of Latgale and in Daugavpils region. The aims of the study are to establish a connection between the text of the book and geographical and personal realities, as well as to reveal the relationship of the Baltic Germans with the population of Latgale from a perspective of self-reflection. Understanding “myself” in the eyes of others and “others” in one’s personal perception is getting more relevant as studying these interactions on the basis of literary texts opens for understanding of the current processes in modern society. The specific tasks are to promote a national issue on the material of the given text as well as to determine a link between the memoir text and the jokes of the Baltic Germans (Pratchen), the features of which have been defined in the authorized studies. The text is understood as an object of scientific cognition in which there are no random linguistic or substantive units. The methodology of research is based on the interpretation of a literary text as well as the synthesis of statistical analysis, immanent critique and content analysis. In the course of the study, it was possible to establish a structural and substantive link between individual episodes of the book with the Baltics jokes (Pratchen). For the peoples who inhabited Latgale (southeastern part of Latvia) in the 18th and 19th centuries, the national issue was not decisive, especially among rural people. Difference in perception of oneself and “myself” in the eyes of others was determined by different social status: Germans are the landowners, the rest are servants and badgers. The mental character of the Baltic Germans was shaped, first and foremost, by the family upbringing and education level, commonly university. The key values were love for their native land, pride for their ancestors, honor and service to the state, and faithfulness to the word. On the basis of the life realia described in the book, it is possible to reconstruct the way of life of the people who disappeared from the map of modern Latgale. The research is funded by the Latvian Council of Science, project “The Baltic Germans of Latgale in the context of socio-ethnic relations from the 17th till the beginning of the 20th century” project No. lzp-2020/2-0136.