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Towards a global synthesis
Richard H. Grove

See Grove, ‘Conservation and colonial expansion’. 63 Cobban, The Social Interpretation of the French Revolution , pp. 100–1. See also the allusions made to illegal woodgathering in the 1830s by Honoré de Balzac in Les paysans and in his letter to P. S. B. Gavault, quoted in J. Scott, Weapons

in Imperialism and the natural world
Alison Lewis

, when Döblin was admitted into the canon of world literature, taking his place alongside Joyce and Dos Passos, it was not as a realist or naturalist but as a moderniser and modernist.12 Hence in German literary circles Döblin is rarely compared to his French literary forebears Gustave Flaubert, Honoré de Balzac and Émile Zola. This is curious, all the more so since Döblin proclaimed once in 1924 that the modern ‘European-American world’ was on the cusp of a naturalist age.13 Among French literary historians, German naturalism is often regarded as an imitation of

in A history of the case study
Abstract only
Daniel Muñoz Sempere

social critique: the artículos de costumbres The articles presented in this anthology are among the most widely read and studied of Larra’s works, and their common feature is that they belong to the journalistic sub-genre known as artículos de costumbres. These essays or sketches of customs and manners were very common in nineteenth-century Europe. The central idea was to capture scenes, places or human types characteristic of contemporary society, either as isolated sketches of urban characters published in newspapers (the early articles by Honoré de Balzac, Charles

in Artículos de costumbres
Brett Bowles

quintessentially Gallic discourses from nineteenth-century literature and visual art. Following these traditions, he depicts country-dwellers in paradoxical fashion, as both simple-minded brutes and as virtuous, hard-working role models. The former view, exemplified by Honoré de Balzac’s Les Paysans (1845) and Emile Zola’s La Terre (1887), applies particularly to Angèle’s father Clarius, who menaces passers

in Marcel Pagnol
Open Access (free)
Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

, American, and European authors, including Honoré de Balzac, Charlotte Brontë, William Carleton, Cervantes, James Fenimore Cooper, Charles Dickens, Thomas Hardy, Edgar Allan Poe, Walter Scott, and Jonathan Swift. 76 The narratological manifestations of Roche's bibliographic everywhereness The remarkable material circulation of Roche's novels indicates the very real advantages to be gleaned from loyalty to Lane, even if Roche's motives for publishing with Minerva remain unclear. We may not currently know how much

in The gothic novel in Ireland, c. 1760–1829
The gothic potential of technology
Lisa Mullen

. 42 Mitchell, What Do Pictures Want? , p. 157. 43 Freud, The Uncanny , p. 157. 44 Honoré de Balzac, The Wild Ass’s Skin , trans. Herbert J. Hunt (London: Penguin, 1977). 45 Orwell, Nineteen Eighty-Four , p. 173. 46 George Orwell, ‘Just Junk – But Who Could Resist It?’, in Complete Works , ed. Peter Davison (London: Secker & Warburg, 1998), Vol. 18, pp. 17–19. 47 Orwell, ‘Just Junk’, p. 18. 48 Alan Shadwick, ‘Collector’s piece

in Mid-century gothic
Open Access (free)
Reading the omnnibus repertoire
Masha Belenky

Fouinet, ‘ Un voyage en omnibus ’, p. 69. Italics in the original. 21 Lauster, Sketches of the Nineteenth Century , p. 9. 22 Honoré de Balzac, ‘ Histoire et physiologie des Boulevards de Paris. De la Madeleine à la Bastille ’, in Le Diable à Paris , 2 vols (Paris: Hetzel, 1845–46), vol. 2 (1846), p. 92. 23 Paris en omnibus. Guide familier dans le Paris de 1869 (Paris Ancien et Paris Nouveau) par un simple voyageur en omnibus, en chemin de ceinture et en bateau mouche indiquant les rencontres et les correspondances de ces divers modes de locomotion dans

in Engine of modernity
Mechthild Fend

Peinture incarnée: suivi de Le chef-d’œuvre inconnu par Honoré de Balzac (Paris: Les Éditions de Minuit, 1985), pp. 22–3. 6 Kruse, ‘Fleisch werden – Fleisch malen’, p. 322. 7 Ibid., pp. 315–18; on early Christian notions of incarnation, Georges Didi-Huberman, ‘La couleur de la chair ou le paradoxe de Tertullien’, Nouvelle revue de la psychanalyse, 35 (1987), 9–49, Special issue: Le champ visuel. 8 Cennino d’Andrea Cennini, The Craftmen’s Handbook: The Italian ‘Il libro dell’Arte’, trans. Daniel V. Thomspon, Jnr. [1933 Yale University Press] (New York: Dover

in Fleshing out surfaces