More than a book about food alone, French Food uses diet as a window into issues of nationality, literature, and culture in France and abroad. Outstanding contributors from cultural studies, literary criticism, performance studies, and the emerging field of food studies explore a wide range of food matters.
Realist novels are usually seen as verisimilar representations of the world, and even when that verisimilitude is critically examined (as it has been by Marxist and feminist critics), the criticism has referred to extra-literary matters, such as bourgeois ideology or defects in the portrayal of women. This book takes as its thesis that the point defining realism is the point at which the processes of representation break down, a sort of black hole of textuality, a rent in the tissue. The author argues that our notions of continuity, of readability, of representability, or our ideas about unity and ideological shift—or even our notions of what is hidden, occulted, or absent—all come from the nineteenth-century realist model itself. Instead of assuming representability, the author argues that we should look at places where the texts do not continue the representationalist model, where there is a sudden falling off, an abyss. Instead of seeing that point as a shortcoming, the author argues that it is equal to the mimetic successes of representation. After an initial chapter dealing with the limits and ruptures of textuality, the book considers the work of Stendhal, from its early state as a precursor to the later realism to La Chartreuse de Parme, which shows how the act of communication for Stendhal is always made of silences, gaps, and interruptions. The author then reads several works of Balzac, showing how he, while setting up the praxes of continuity on which his oeuvre depends, ruptures the works at various strategic points. In a chapter entitled "Romantic Interruptions," works of Nerval and the younger Dumas, seemingly unrelated to the realist project, are shown to be marked by the ideological, representational, and semiotic assumptions that produced Balzac. The book concludes with Flaubert, looking both at how Flaubert incessantly makes things "unfit" and how critics, even the most perspicacious postmodern ones, often try to smooth over the permanent crisis of rupture that is the sign of Flaubert's writing.
This book focuses on the extension of realist writing toward alterity, toward otherness, in its ongoing efforts to enable individuals to speak and be heard correctly. Through a series of close readings of six authors from Balzac to Proust, the author shows the ways realist narrative engages the problem of bringing the other into the realm of the discursively representable. The acts of representation involved in that development were not necessarily coterminous with either the representation of the exotic and its attendant stereotypes or with the representation of individuals themselves. The representation of the other was the extension of discourse to what was previously unrepresentable. The author argues that the unrepresentable is often perceived as oppositional because of the structuring of discourse by hierarchies and metaphysics, whereby any bivalent pair is made into an oppositional pair.
Drawn from insights of the past twenty years, the essays reflect the renewed approach of gender and sexuality as they relate to homosexuality and its representation, and they rely on models that differentiate between sexuality and gender and between natural inclinations and social constructs. Despite the wide variety of subjects, critical positions, and authors' backgrounds, what these essays have in common is the willingness of the contributors to go beyond a set of rhetorics, a set of limitations that were a defining moment in the struggle of gay liberation, and its reflection in both creative and critical writing.
Realist novels are usually seen as verisimilar representations of the world, and even when that verisimilitude is critically examined (as it has been by Marxist and feminist critics), the criticism has referred to extra-literary matters, such as bourgeois ideology or defects in the portrayal of women. This book takes as its thesis that the point defining realism is the point at which the processes of representation break down, a sort of black hole of textuality, a rent in the tissue. The author argues that our notions of continuity, of readability, of representability, or our ideas about unity and ideological shift—or even our notions of what is hidden, occulted, or absent—all come from the nineteenth-century realist model itself. Instead of assuming representability, the author argues that we should look at places where the texts do not continue the representationalist model, where there is a sudden falling off, an abyss. Instead of seeing that point as a shortcoming, the author argues that it is equal to the mimetic successes of representation. After an initial chapter dealing with the limits and ruptures of textuality, the book considers the work of Stendhal, from its early state as a precursor to the later realism to La Chartreuse de Parme, which shows how the act of communication for Stendhal is always made of silences, gaps, and interruptions. The author then reads several works of Balzac, showing how he, while setting up the praxes of continuity on which his oeuvre depends, ruptures the works at various strategic points. In a chapter entitled "Romantic Interruptions," works of Nerval and the younger Dumas, seemingly unrelated to the realist project, are shown to be marked by the ideological, representational, and semiotic assumptions that produced Balzac. The book concludes with Flaubert, looking both at how Flaubert incessantly makes things "unfit" and how critics, even the most perspicacious postmodern ones, often try to smooth over the permanent crisis of rupture that is the sign of Flaubert's writing.
As traditional notions of masculinity have been put into question, there have been representational reactions to and articulations of changing masculinities in post-modern culture. Certain contemporary cultural productions in France are illustrative of these changing masculinities and this book offers an examination of these manifestations. It uses analysis of AIDS narratives, mainstream films, popular novels, more mainstream novels, a graphic novel, and rightist polemics to explore the changing meaning of masculinity in French society.
This eBook features the unabridged text of ‘Phoenix: the Posthumous Papers of D. H. Lawrence’ from the bestselling edition of ‘The Complete Works of D. H. Lawrence’. Having established their name as the leading publisher of classic literature and art, Delphi Classics produce publications that are individually crafted with superior formatting, while introducing many rare texts for the first time in digital print. The Delphi Classics edition of Lawrence includes original annotations and illustrations relating to the life and works of the author, as well as individual tables of contents, allowing you to navigate eBooks quickly and easily. eBook features: * The complete unabridged text of ‘Phoenix: the Posthumous Papers of D. H. Lawrence’ * Beautifully illustrated with images related to Lawrence’s works * Individual contents table, allowing easy navigation around the eBook * Excellent formatting of the textPlease visit www.delphiclassics.com to learn more about our wide range of titles
This book focuses on the extension of realist writing toward alterity, toward otherness, in its ongoing efforts to enable individuals to speak and be heard correctly. Through a series of close readings of six authors from Balzac to Proust, the author shows the ways realist narrative engages the problem of bringing the other into the realm of the discursively representable. The acts of representation involved in that development were not necessarily coterminous with either the representation of the exotic and its attendant stereotypes or with the representation of individuals themselves. The representation of the other was the extension of discourse to what was previously unrepresentable. The author argues that the unrepresentable is often perceived as oppositional because of the structuring of discourse by hierarchies and metaphysics, whereby any bivalent pair is made into an oppositional pair.
This volume contains almost all of the letters D. H. Lawrence wrote in the last fifteen months of his life: 763 letters, the majority previously unpublished. Despite his failing strength, Lawrence was in constant communication with publishers and agents. He continued to write frequently to his sisters and friends. There is no new fiction for Lawrence to discuss, but there are paintings, poems, the major essays Pornography and Obscenity and A Propos of 'Lady Chatterley's Lover', articles, and his last work Apocalypse. The most dramatic episodes of these months were the seizure of the Pansies manuscript, and the police raid on an exhibition of Lawrence's paintings and the subsequent trial. The subject of his illness becomes ominously more prominent, and Lawrence apologises for letters which lack his customary vitality. The volume includes an introduction, maps, illustrations, chronology and index; full notes identify persons and explain Lawrence's allusions.
Volume V covers the three years from March 1924 to March 1927. It comprises over 890 letters, of which about 350 are previously unpublished, and the others are printed in full for the first time. As in earlier volumes of this model edition of Lawrence's correspondence, texts have been established from the originals and are fully annotated to identify persons and illuminate allusions. Also included are a biographical introduction, two maps of Oaxaca (Mexico), illustrations, chronology and an index. In 1924 Lawrence is in the United States to check on the failing business of his American publisher and to rewrite his Mexican novel The Plumed Serpent. While in Mexico, the author falls dangerously ill and recovers at Kiowa. In the Autumn of 1925, he and Frieda visit family in England and Germany. They finally settle in Italy where, except for his final visit to the Midlands, they will remain.
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