Authors and Their CenturiesRodopi, 1973 - 203 pages |
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Page iv
... course , will ultimately determine how suc- cessful the Conference and Series will be , but already we have taken steps to enhance our future by deciding to expand the publication aspect of the Conference . We want to include ...
... course , will ultimately determine how suc- cessful the Conference and Series will be , but already we have taken steps to enhance our future by deciding to expand the publication aspect of the Conference . We want to include ...
Page 6
... course , and Adam as well as any other , still exercising no influence upon the vagaries of human drama , may find himself in due time rising again to the pinnacle of his lost happiness . This spells assurance that he can return to ...
... course , and Adam as well as any other , still exercising no influence upon the vagaries of human drama , may find himself in due time rising again to the pinnacle of his lost happiness . This spells assurance that he can return to ...
Page 10
... course , most critics would readily agree that the material elucidates the poem and not the poet , and would point out the extent to which Villon's world provides grist for the mill of his ironic imagination . But , in practice ...
... course , most critics would readily agree that the material elucidates the poem and not the poet , and would point out the extent to which Villon's world provides grist for the mill of his ironic imagination . But , in practice ...
Page 12
... course , most critics would readily agree that the material elucidates the poem and not the poet , and would point out the extent to which Villon's world provides grist for the mill of his ironic imagination . But , in practice ...
... course , most critics would readily agree that the material elucidates the poem and not the poet , and would point out the extent to which Villon's world provides grist for the mill of his ironic imagination . But , in practice ...
Page 13
... course , but also in characterization , point - of - view , and fictional procedures . And here our attention turns from Villon the student , poet , and housebreaker to Villon the narrator and fictional character . In Villon's case ...
... course , but also in characterization , point - of - view , and fictional procedures . And here our attention turns from Villon the student , poet , and housebreaker to Villon the narrator and fictional character . In Villon's case ...
Table des matières
11 | |
Baroque Perspectives on Molière | 41 |
La Bruyères Changing Perspective on | 65 |
Summing | 87 |
PigaultLebrun | 117 |
Some French Novelists and the Problems of Realism | 143 |
The Emergence of Jean Cocteau as Poet in the 1920s | 167 |
World War II and the French Novel | 191 |
Autres éditions - Tout afficher
Expressions et termes fréquents
Agnès André Gide artistic attitude baroque becomes bien Bruyère c'est Caractères character choses classical Claude Simon Cocteau colonial coloniale concept Crébillon's criticism d'Alembert d'une death destiny Diderot Drieu école coloniale edition eighteenth century Encyclopédie essay être evolution example expression fact fait faut femme fiction Flaubert français France French Literature génie Goncourt Goncourt brothers goût hommes human impressionist impressionist literature j'ai jamais Jean Starobinski king l'Allemagne l'esprit l'homme l'on La Bruyère light literary littérature livre Louis XIV Maglore Mme de Staël Molière Molière's Montaigne Montaigne's moral n'est narrator nature novel novelist Paris period personnage peuples philosophes Pigault-Lebrun play poem poet poète poetic poetry political Proust qu'elle qu'il qu'on Raynal reader reality reflection rococo role roman Rousset sensations sense siècle social society Stendhal style Tartuffe temps Testament theme thought tion tout University veux Villon vision voir Voltaire writers yeux
Fréquemment cités
Page 155 - All art, therefore, appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its high desire is to reach the secret spring of responsive emotions.
Page 156 - My task which I am trying to achieve is, by the power of the written word to make you hear, to make you feel — it is, before all, to make you see.
Page 36 - Je fay coustumierement entier ce que je fay et marche tout d'une piece ; je n'ay guere de mouvement qui se cache et desrobe à ma raison, et qui ne se conduise à peu près par le consentement de toutes mes parties, sans division, sans...
Page 10 - For technique is the means by which the writer's experience, which is his subject matter, compels him to attend to it; technique is the only means he has of discovering, exploring, developing his subject, of conveying its meaning, and, finally, of evaluating it.
Page 73 - ... l'aurore le trouve déjà en pleine campagne, d'où il ne se retire qu'avec le soleil: quels soins! quelle vigilance! quelle servitude! Quelle condition vous paraît la plus délicieuse et la plus libre, ou du berger ou des brebis? le troupeau est-il fait pour le berger, ou le berger pour le troupeau?
Page 33 - Mon livre est tousjours un. Sauf qu'à mesure qu'on se met à le renouveller afin que l'acheteur ne s'en aille les mains du tout vuides, je me donne loy d'y attacher (comme ce n'est qu'une marqueterie mal jointe), quelque emblème supernuméraire. Ce ne sont que surpoids, qui ne condamnent point la première forme, mais donnent quelque pris particulier à chacune des suivantes par une petite subtilité ambitieuse.
Page 73 - ... le berger, soigneux et attentif, est debout auprès de ses brebis; il ne les perd pas de vue, il les suit...
Page 29 - Le monde n'est qu'une branloire perenne. Toutes choses y branlent sans cesse: la terre, les rochers du Caucase, les pyramides d'AEgypte, et du branle public et du leur. La constance mesme n'est autre chose qu'un branle plus languissant.
Page 106 - Je sais seulement que la vérité est dans les choses et non pas dans mon esprit qui les juge, et que moins je mets du mien dans les jugements que j'en porte, plus je suis sûr d'approcher de la vérité : ainsi ma règle de me livrer au sentiment plus qu'à la raison est confirmée par la raison même.