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Irish literary history through Balzac, Sheridan Le Farm, Yeats and Bowen

It is a central thesis that nineteenth-century Ireland went through a series of traumatic processes of modernization, which have been denied and repressed in their aftermath. The mediated presence of Sheridan Le Fanu and Honore de Balzac in the work of W.B. Yeats brings to a head political questions of the utmost gravity, the most notable being Yeats's engagement with fascism. Le Fanu has been persistently aligned with a so-called Irish gothic tradition. The objective in this book is to observe the historical forces inscribed in Le Fanu's distinctive non-affiliation to this doubtful tradition. The book presents a French response to Charles Maturin's gothic work, Melmoth the Wanderer, which is followed by discussion of a triangular pattern linking Balzac, Le Fanu and Yeats. This is followed by an attempt to pay concentrate attention within the texts of Le Fanu's novels and tales, with only a due regard for the historical setting of Le Fanu's The House by the Churchyard. An admirer of Le Fanu's fiction, Elizabeth Bowen adopted some of the stock-in-trade of the ghost story to investigate altered experiences of reality under the blitz. A detailed examination of her The Heat of the Day serves to reopen questions of fixity of character, national identity and historical reflexivity. In this work, the empty seat maintained for the long dead Guy might be decoded as a suitably feeble attempt to repatriate Le Fanu's Guy Deverell from an English to an Irish 1950s setting.

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Room for more: the future for Maturin research

including, among others, Honoré de Balzac (1799–1850) and Charles Baudelaire (1821–67). For the former, Maturin’s influence is apparent throughout his career, from early works such as Le centenaire (1822), with its focus on, in Patricia Coughlan’s terms, ‘a ghastly three-hundred-year-old geriatric who needs to ravish fresh young corpses regularly to sustain his life’, 16 to later works like

in Charles Robert Maturin and the haunting of Irish Romantic fiction

. 5 See W. J. Mc Cormack Ascendancy and Tradition in Anglo-Irish Literary History from 1789 to 1939 Oxford: Clarendon Press, 1985 pp. 364-6. 6 Honoré de Balzac Séraphita [and other tales] (trans. Clara Bell) Sawtry, Cambs.: Dedalus, 1989 p. 151

in Dissolute characters

12 Transactions (1880–1) p. 248. 13 Honore de Balzac Séraphita Paris: Librairie Gründ, (n.d.) p. 21. 14 Balzac Séraphita [and other tales] (trans. Clara Bell

in Dissolute characters

reason sought to replace God with Rousseau, the engineer-mystic Swedenborg provided a comprehensive system according to which nature in all its proliferating and newly classified detail could be read as symbolic of spiritual values. In each case, a compact between an infinite and unchanging realm and the tangible here-and-now was attempted. Honoré de Balzac (1799–1850) is

in Dissolute characters

Friedrich Hegel, Aesthetics: Lectures on Fine Art [1835], trans. Malcom Knox, vol. 1 (Oxford: Clarendon Press, 1975), p. 146; see on Hegel and flesh tones Annik Pietsch, ‘Der “glanzlose Seelenduft der Fleischfarbe”: Schlesingers HegelPorträt’, in Daniela Bohde and Mechthild Fend (eds), Weder Haut noch Fleisch: das Inkarnat in der Kunstgeschichte (Berlin: Gebr. Mann, 2007), pp. 133–58; Georges Didi-Huberman, La peinture incarnée: suivi de Le chef-d’œuvre inconnu par Honoré de Balzac (Paris: Les Éditions de Minuit, 1985), pp. 27–8. 18 Blanc, Grammaire, p.  61. See on

in Fleshing out surfaces
The origins, characteristics and theoretical foundation of the nineteenth-century French realist, and naturalist tradition

emerged in the novels of Honoré de Balzac as a proselytising exploration of the problems arising from the replacement of the traditional culture of the ancien régime with one based on bourgeois capitalist values; 22 and, within this, both as a portrayal of the adverse impact of capitalism on a professional petit bourgeois society effectively disenfranchised by the haut bourgeois institutional power structures of Orleanism; 23

in Realist film theory and cinema
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introduction to the 1990 translation of Eugénie Grandet (1833) by Honoré de Balzac, Christopher Prendergast, describes the text as a ‘quiet novel of provincial life’.22 Similarly, Hans Geppert describes Der Stechlin (1898), the final novel by German novelist Theordor Fontane, as a quiet novel ‘full of conversation on the “old” and “new”’.23 Indeed, the plot of Der Stechlin shares similarities with Robinson’s Gilead and Harding’s Tinkers; Fontane details the life of a widowed, elderly protagonist who lives modestly and in seclusion. Tellingly, of course, very little happens

in The quiet contemporary American novel

reference to fiction is made when Miralles reveals that his literary tastes lie with the nineteenth-century novel, particularly the work of Honoré de Balzac. Balzac’s work was the basis for the development of a strand of realist aesthetics in the latter part of the nineteenth century and, although Balzac stood on the right politically, he was praised highly by Marx and Engels. Marx had planned to write a study of Balzac’s works (Marx and Engels, 1984 : 439) and Engels stated that he had learned more from Balzac than ‘from all the professed historians, economists and

in The war that won't die
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Epstein at the crossroads

de tours de manivelle pour chaque surimpression, l’objectif, le diaphragme, mais improvisait au tournage’ [‘Jean did all of Le Tonnerre’s découpages, specifying the number of crankturns per superimpression, and the kind of lens and diaphragm, but he improvised during the shooting’] (Douek and Krauss, 1998). Wall-Romana_Epstein.indd 7 11/02/2013 17:10 8  jean epstein such as L’Auberge rouge (1923) after Honoré de Balzac, Mauprat (1926) after George Sand, La Glace à trois faces (1927) after Paul Morand and La Chute de la maison Usher (1928) after Edgar Allan Poe

in Jean Epstein