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The Art of the July Monarchy: France, 1830 to 1848
“In this watercolor Gavarni portrays an individual whose father was an industrialist and whose older brother was a distinguished professor. From the looks of him, Hippolyte Beauvisage Thomire had a keen eye for fashion in casual clothing, however.
He represents the new generation of bourgeois consumers that emerged during the July Monarchy. He is the modern young man off the newly invented fashion plates and out of the cast of Balzac’s Human Comedy.
Charles Baudelaire, the great cultural critic of Louis Philippe’s reign in latter years, called the artist Gavarni “the poet of official dandysme." Dandysme, Baudelaire said (in his famous essay “De l’heroisme de la vie moderne” [The heroism of modern life], which appeared in his review of the Salon of 1846), was “a modern thing.” By this he meant that it was a way for bourgeois men to use their clothing as a costume in order to stand out from the respectable, black-coated crowd in an age when aristocratic codes were crumbling and democratic values had not yet fully replaced them.
The dandy was not Baudelaire’s “modern hero,” however. “The black suit and the frock coat not only have their political beauty as an expression of general equality,” he wrote, “but also their poetic beauty as an expression of the public mentality.” That is why Baudelaire worshiped ambitious rebels, men who disguised themselves by dressing like everyone else. “For the heroes of the Iliad cannot hold a candle to you, Vautrin, Rastignac, Birotteau [all three were major characters in Balzac’s novels] . . . who did not dare to confess to the public what you went through under the macabre dress coat that all of us wear, or to you Honore de Balzac, the strangest, most romantic, and most poetic among all the characters created by your imagination,” Baudelaire declared.”
Baudelaire
Balzac
Dandyism
Modern Bir Rahibin İtirafları
“Yaratıcılık analitik düşünmekle çok ilgili. Bunun tek yolu bol bol kitap okumaktan geçiyor… “Bilgi” kitaplarını kastetmiyorum. Bahsettiğim Mark Twain, Tolstoy, Steinbeck, Balzac, Aziz Nesin kitapları.
Çünkü ancak ve sadece roman-hikaye okuyarak geliştirilebilecek bir yetenektir “yaratıcılık”.
Ancak okuyarak, olgular arasında ilişkiler kurup; benzer ve zıt kavramları süratle çarpıştırabilirsiniz.
Sadece “okumuş” insanlar istenileni anlayabilir ve isteğini anlatabilir.”
Okumak
Yaratıcılık
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The main thing is not to be deceived, that is, to lie and and simulate better than the others. All Stendhal's great novels revolve around the problem of hypocrisy, around the secret of how to deal with men and how to rule the world; they are all in the nature of text-book of political realism and courses of instruction in political amoralism. In his critique of Stendhal, Balzac already remarks that Chartreuse de Parme is a new Principe, which Machiavelli himself, if he had lived as an emigre in the Italy of nineteenth century, would not have been able to write any differently. Julien Sorel's Machiavellian motto, "Qui veut les fins veut les moyens," here acquires its classical formulation, as used repeatedly by Balzac himself, namely that one must accept the rules of the world's game, if one wants to count in the world and to take part in the play.”
Stendhal
Balzac
Machiavellianism
Nineteenth Century
Julien Sorel
Political Realism
Chronicles: Volume One
“Balzac was pretty funny. His philosophy is plain and simple, says basically that pure materialism is a recipe for madness. The only true knowledge for Balzac seems to be in superstition. Everything is subject to analysis. Horde your energy. That’s the secret of life. You can learn a lot from Mr. B. It’s funny to have him as a companion. He wears a monk’s robe and drinks endless cups of coffee. Too much sleep clogs up his mind. One of his teeth falls out, and he says, “What does this mean?” He questions everything. His clothes catch fire on a candle. He wonders if fire is a good sign. Balzac is hilarious.”
Writers
Eccentricity
Novelists
Balzac
French Writers
The Daring Young Man on the Flying Trapeze and Other Stories
“Ben bir öykücüyüm ve tek bir hikâyem var: insan. Bu basit hikâyeyi, güzel yazma kurallarını, kompozisyon numaralarını bir kenara bırakarak kendimce anlatmak istiyorum. Söyleyecek sözüm var ve Balzac gibi konuşmak arzusunda değilim. Ben sanatçı değilim; medeniyete de gerçekten inanmıyorum. İlerlemeye zerre kadar hevesli değilim. Büyük bir köprü yapıldığında sevinmiyorum, uçaklar Atlantik’i geçince, “Aman ne müthiş!” diye düşünmüyorum. Ulusların kaderiyle ilgilenmiyorum ve tarih beni sıkıyor. Tarihi yazanlar ve onlara inananlar, tarih derken neyi kastediyorlar? Nasıl olmuş da insan denen o mütevazı ve sevimli yaratık tiksindirici belgelerin maksatları doğrultusunda istismar edilmiş? Nasıl olmuş da insanın mahremiyeti yok edilmiş, dindarlık hisleri iğrenç bir cinayet ve yıkım kargaşasıyla birleştirilmiş? Ben ticarete de inanmıyorum. Bütün makineleri hurda yığını olarak görüyorum, hesap makinesini, otomobili, lokomotifi, uçağı ve evet bisikleti de. Yolculuğa, insanın bedenini alıp bir yerlere gitmesine inanmıyorum, şu ana kadar acaba kimse bir yere gitmiş mi merak ediyorum. Siz hiç kendinizi terk ettiniz mi? Zihnin bir insan ömrü boyunca yaptığı yolculuktan daha muazzam ve ilginç bir yolculuk var mı? Sonu ölüm kadar güzel başka bir yolculuk var mı?”
Myself Upon The Earth
“Semiotiek 211 was een specialistisch vak dat werd gedoceerd door een voormalige rebel van het instituut Engelse taal- en letterkunde. Michael Zipperstein was tweeëndertig jaar geleden als aanhanger van het New Criticism naar Brown gekomen. Hij had drie generaties studenten de gewoonte bijgebracht teksten zorgvuldig te lezen, te analyseren en te interpreteren zonder aandacht voor de biografie van de auteur, totdat hij in 1975 tijdens een sabbatical in Parijs een levensveranderende openbaring kreeg: tijdens een diner maakte hij kennis met Roland Barthes en bij de cassoulet werd hij tot het nieuwe geloof bekeerd. [...] Hij bedolf zijn studenten onder de leeslijsten: naast de grote semiotische kanonnen - Derrida, Eco, Barthes - moesten ze zich voor Semiotiek 211 door hele stapels achtergrondteksten heen worstelen, van Sarrasine van Balzac tot bundels van Semiotext(e) tot gefotokopieerde capita selecta van E.M. Cioran, Robert Walser, Claude Lévi-Strauss, Peter Handke en Carl van Vechten. [...] Door dat esoterische onderzoek, en door Zippersteins kale goeroehoofd en witte baard, kregen zijn studenten het gevoel dat ze geestelijk waren doorgelicht en nu - althans twee uur lang op dinsdagmiddag - deel uitmaakten van een literaire elite.”
Semiotics
Elite
New Criticism
Balzac, Dickens, Dostoevsky: Master Builders of the Spirit
“Edebiyatta sınırları aşan önemli kişiler arasında, günümüzün en büyüğü Dostoyevski'dir, ruh alanında kimse ondan daha fazla yeni ülke keşfetmemiştir; bu müthiş, bu ölçüye sığmaz adamın kendi ifadesiyle "ölçülemezlik ve sonsuzluk, yeryüzünün kendisi kadar elzemdi". Dostoyevski hiçbir yerde duraklamamıştır, "Her yerde sınırı aştım," diye yazar bir mektubunda gururla ve kendinden yakınarak, "her yerde".”
Dostoyevski
Zweig
A Passion for Paris: Romanticism and Romance in the City of Light
“Depending on which flavor of academic scholarship you prefer, that age had its roots in the Renaissance or Mannerist periods in Germany, England, and Italy. It first bloomed in France in the garden of Jean-Jacques Rousseau in the 1780s. Others point to François-René de Chateaubriand’s château circa 1800 or Victor Hugo’s Paris apartments in the 1820s and ’30s. The time frame depends on who you ask. All agree Romanticism reached its apogee in Paris in the 1820s to 1840s before fading, according to some circa 1850 to make way for the anti-Romantic Napoléon III and the Second Empire, according to others in the 1880s when the late Romantic Decadents took over. Yet others say the period stretched until 1914—conveniently enduring through the debauched Belle Époque before expiring in time for World War I and the arrival of that other perennial of the pigeonhole specialists, modernism.
There are those, however, who look beyond dates and tags and believe the Romantic spirit never died, that it overflowed, spread, fractured, came back together again like the Seine around its islands, morphed into other isms, changed its name and address dozens of times as Nadar and Balzac did and, like a phantom or vampire or other supernatural invention of the Romantic Age, it thrives today in billions of brains and hearts. The mother ship, the source, the living shrine of Romanticism remains the city of Paris.”
Romanticism
Paris
Romantic Age
Vertigo
“There is something about my face in the mirrors that catch it. Even at a distance it will never be right again, not even to a casual glance. Beauty: it's the upkeep that costs, that's what Balzac said, not the initial investment.”
Beauty
Self Image
Body Image
Aging
Fears
Dysmorphia
The Southern Woman: New and Selected Fiction
“It never registered to them that I had time to read all of Balzac, Dickens, and Stendhal while Papa was dying, not to mention everything in the city library after Mother's operation. It would have been exactly the same to them if I had read through all twenty-six volumes of Elsie Dinsmore. (The White Azalea)”
Reading
Mississippi Authors
“Bernard of Clairvaux shared with Goethe and Balzac the art of charging narratives with his own charisma (and this is probably the only context in which those three names can be mentioned in one breath). On the surface self-representation was not the purpose of such narratives; they presented themselves as fiction or as commentaries on scripture. Let me suggest the word 'autography' to describe the process. 'Autography' is writing yourself into your own composition, not by describing yourself, but by infusing your own presence into it. The reader feels your presence, but sees someone or something else.”
Writing
Authors
Charisma
Autography
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Snowmobile
Ralphs Motorsports
Travels in Hyperreality
“Monks were rich in interior life and very dirty, because the body, protected by a habit that, ennobling it, released it, was free to think, and to forget about itself. The idea was not only ecclesiastic; you have to think only of the beautiful mandes Erasmus wore. And when even the intellectual must dress in lay armor (wigs, waistcoats, knee breeches) we see that when he retires to think, he swaggers in rich dressing-gowns, or in Balzac’s loose, drôlatique blouses. Thought abhors tights.”
Philosophy
Fashion
The Idiot
“I read Ivan's messages over and over, thinking about what they meant. I felt ashamed, but why? Why was it more honorable to reread and interpret a novel like Lost Illusions than to reread and interpret some email from Ivan? Was it because Ivan wasn't as good a writer as Balzac? (But I thought Ivan was a good writer.) Was it because Balzac's novels had been read and analyzed by hundreds of professors, so that reading and interpreting Balzac was like participating in a conversation with all these professors, and was therefore a higher and more meaningful activity than reading an email only I could see? But the fact that the email had been written specifically to me, in response to things I had said, made it literally a conversation, in the way that Balzac's novels—written for a general audience, ultimately in order to turn a profit for the printing industry—were not; and so wasn't what I was doing in a way more authentic, and more human?”
Literature
Interpretation
Email
Great Adaptations: Screenwriting and Global Storytelling
“When asked if he had a special feeling for books, critic-turned-filmmaker Francois Truffaut answered, "No. I love them and films equally, but how I love them!" As an example, Truffaut gave the example that his feeling of love for "Citizen Kane" (USA, 1941) "is expressed in that scene in 'The 400 Blows' where Antoine lights a candle before the picture of Balzac.' My book lights candles for m any of the great authors of this world: Chinua Achebe (Nigeria), Angela Carter (UK), Saratchandra Chattopadhyay (India), Janet Frame (New Zealand), Yu Hua (China), Stieg Larsson (Sweden), Clarice Lispector (Brazil), Mario Vargas Llosa (Peru), Naguib Mifouz (Egypt), Murasaki Shikibu (Japan), and Alice Walker (USA) - to name but a few. Furthermore, graphic novels, manga, musicals, television, webisodes and even amusement park rides like 'Pirates of the Caribbean' can inspire work in adaptation. Let's be open to learning from them all. ("Great Adaptations: Screenwriting and Global Storytelling," 2)”
Screenwriting
Deceit, Desire and the Novel: Self and Other in Literary Structure
“The revolutionaries thought they would be destroying vanity when they destroyed the privileges of the noble. But vanity is like a virulent cancer that spreads in a more serious form throughout the body just when one thinks it has been removed. Who is there left to imitate after the "tyrant"? Henceforth men shall copy each other; idolatry of one person is replaced by hatred of a hundred thousand rivals. In Balzac's opinion, too, there is no other god but envy for the modern crowd whose greed is no longer stemmed and held within acceptable limits by the monarch. Men will become gods for each other.”
Revolution
Violence
Chaos
Revolutionary
Deceit, Desire and the Novel: Self and Other in Literary Structure
“The revolutionaries thought they would be destroying vanity when they destroyed the privileges of the noble. But vanity is like a virulent cancer that spreads in a more serious form throughout the body just when one things it has been removed. Who is there left to imitate after the tyrant has been removed. Henceforth men shall copy each other; idolatry of one person is replaced by hatred of a hundred thousand rivals. In Balzac's opinion, too, there is no other god but envy for the modern crowd whose greed is no longer stemmed and held within acceptable limits by the monarch. Men will become gods for each other.”
Violence
Revolutionary
Mimetic Rivalry
Contingency, Irony, and Solidarity
“Vladimir Nabokov and George Orwell had quite different gifts, and their self-images were quite different. But, I shall argue, their accomplishment was pretty much the same. Both of them warn the liberal ironist intellectual against temptations to be cruel. Both of them dramatise the tension between private irony and liberal hope.
In the following passage, Nabokov helped blur the distinctions which I want to draw:
...'Lolita' has no moral in tow. For me a work of fiction exists only in so far as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books. All the rest is either topical trash or what some call the Literature of Ideas, which very often is topical trash coming in huge blocks of plaster that are carefully transmitted from age to age until somebody comes along with a hammer and takes a good crack at Balzac, at Gorki, at Mann.
Orwell blurred the same distinctions when, in one of his rare descents into rant, "The Frontiers of Art and Propaganda," he wrote exactly the sort of thing Nabokov loathed:
You cannot take a purely aesthetic interest in a disease you are dying from; you cannot feel dispassionately about a man who is about to cut your throat. In a world in which Fascism and Socialism were fighting one another, any thinking person had to take sides... This period of ten years or so in which literature, even poetry was mixed up with pamphleteering, did a great service to literary criticism, because it destroyed the illusion of pure aestheticism... It debunked art for art's sake.”
Nabokov
Orwell
To the Lighthouse
“The whole of life did not consist in going to bed with a woman, he thought, returning to Scott and Balzac, to the English novel and the French novel.”
Books Reading
“Behind every great fortune lies a great crime. —HONORÉ DE BALZAC”
Rich People
Wealthy
Balzac
Die Maßgaben der Kunst
“Gerade Künstler mit zwanghaftem Arbeitstrieb wie Mozart oder Balzac bedurften der gewaltsamen Losreißung vom Werk. Mozart erholte sich vom Klavierspiel beim Glücksspiel, Balzac erholte sich in der eleganten Welt von der Welt, beide starben dann an ihren Erholungen.”
Mozart
Balzac
Hacks
Connections
“I tell Ceri, this is most likely when I developed an utter love of literature.
The Adventures of Tom Sayer.
David Copperfield.
The Little Prince.
Then Cervantes.
Balzac.
Nabokov.
Capote.
Some of Miller – but my folks found out and said I was too young for that.
I tell Ceri, most likely this is when I developed my inner fears.
But that would be an oversimplification.
Some-times he used to come around when my mum wasn't there, and Dad was always tired and angry cause he couldn't find a job.
And when they had done drinking and Dad was resting, sometimes he would come to my room and we'd read together.
He would pull me out of my bed, put me on his knees and hold me tight and read Verne or Rimbaud or Carroll.
In candlelight, we would read Dickens and Doyle.
Salinger as well.
I tell Ceri, this is most likely when my brain started to repress memories and wounds.
Then one day they had an argument, Mum was crying a lot that day and at one point came to my room and hugged me till night.
We moved out of there shortly after, we moved to a smaller house and I never saw him again.
The first time I meet her, I tell Ceri this is just another story now.
No need to worry about anything, really.
I tell her, I don't even read Rimbaud or Cervantes anymore, you know.”
Childhood Trauma
The Blameless Dead
“The old man walked over to his sandalwood bookshelves. He couldn’t decide whether to read Balzac or Voltaire. Clotilde de Lusignan or Micromégas. His forefinger hovered over both the hardback books before he plumped instead for the eroticism of Goethe’s Roman Elegies. The old man had amassed a lifetime of learning. The killings aside, he led an oddly monastic life.”
Historical Mystery
Crime Thriller
Balzac and the Little Chinese Seamstress
“When she laughed I noticed an untamed quality about her eyes, which reminded me of the wild girls on our side of the mountain. Her eyes had the gleam of uncut gems, of unpolished metal, which was heightened by the long lashes and the delicate slant of the lids.”
Eyes
Gems
“Literature has chosen the domain of small scale personal relationships, and no longer deals with great metaphysical themes. We no longer have writers like Balzac and Zola, geniuses of human comedy who could explore every domain. Proust also created an inexhaustible world, and Joyce’s Ulysses is still very close to Homer . . . Joyce is the bridge between the two great worlds of classicism and chaos. In the past, philosophy could also claim to be universal. The entire world was open to the thought of a philosopher like Spinoza. Today an immense part of the universe is closed to us.”
Philosophy
Literature
Universalism
State Of The Art
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