Book Reviews

Mark Twain-Howells Letters: The Correspondence of Samuel L. Clemens and William D. Howells, 1872-1910 (ed. Henry Nash Smith and William M. Gibson) Stephen Crane: Letters (ed. R. W. Stallman and Lillian Gilkes) (Reviewed by Hyatt H. Waggoner, Brown University) From Jane Austen to Joseph Conrad: Essays Collected in Memory of James T. Hillhouse (ed. Robert C. Rathburn and Martin Steinmann, Jr.) (Reviewed by Alex Page, University of Massachusetts) Arthurian Literature in the Middle Ages: A Collaborative History (ed. Roger S. Loomis) (Reviewed by T. C. Rumble, Wayne State University) The Cankered Muse: Satire of tbe English Renaissance (Alvin Kernan) (Reviewed by Walter F. Staton, Jr., Southern Illinois University) The Correspondence of André Gide and Edmund Gosse, 1904-1928. (ed. Linette Fisher Brugmans) (Reviewed by George Ross Ridge, Georgia State College

The role of the correspondences in Gide's search for dialogue

The aims of this thesis are to show that dialogue in Gide's correspondences is of primordial importance in helping Gide to establish and develop his artistic position and to provide adequate proof of the fact that artistic discussion in the correspondences hears fruit in Gide's literary work. Before undertaking this task, certain preliminary steps are taken in my Introduction and in Chapter One. The former contains a definition of dialogue which stresses the fact that, for Gide, it is essentially artistically orientated and most useful when it entails opposition. My choice of Gide's correspondences with Paul Valéry, Francis Jammes, Paul Claudel and Roger Martin du Gard is explained and justified. These correspondences are representative of Gide's development as a "being of dialogue" and cover Gide's literary career chronologically. In Chapter One, Gide's attitude to correspondence is explored in order to prove that the correspondences deserve closer study since they held an important and specific place in Gide's life, being intended for publication. The possible reasons for this are investigated and the conclusion is drawn that Gide wanted his public to participate in the moral and artistic dialogue which takes place in the most important of his correspondences. The purpose of such a study was to show that my decision to deal only with dialogue upon art was not an arbitrary one. Chapters Two, Three and Four concern the course of dialogue in the chosen correspondences. Chapter Two snows now dialogue with Valery helps Gide to build the foundations of his artistic position, Chapter Three now dialogue with Jammes and Claudel encourages Gide to establish and strengthen it, while Chapter Pour is witness to the fact that dialogue with Martin du Gard is Gide's insurance against artistic complacency. Chapter Five studies the relationship between Gide's correspondences and certain of his works ( Le Traité du Narcisse, Le Retour de l'Enfant prodigue and Les Faux- Monnayeurs ). Images and artistic preoccupations which appear in the correspondences studied are given parallel expression in Gide's literature. In addition, the nature of Gide's dialogue with his correspondents is also apparent in the manner in which he presents ideas in his literature. Chapter Five is intended as proof of my conclusion not only that dialogue in Gide's correspondences is, as much as his Journal, a bridge to his work but also that, for a fuller understanding of the artistic reflection which is the fundamental basis of Gide's work, his correspondences are essential reading

Book Reviews

Literature as System: Essays Toward the Theory of Literary History (Claudio Guillén) (Reviewed by Earl Miner, University of California, Los Angeles)Victorian Novelists and Their Illustrators (John R. Harvey) (Reviewed by Michael Steig, Simon Fraser University)Literature and Responsibility: The French Novelist in the Twentieth Century (Rima Drell Reck) (Reviewed by Walter A. Strauss, Case Western Reserve University)Poetry in East Germany: Adjustments, Visions, and Provocations, 1945-1970 (John Flores) (Reviewed by Jerry Glenn, The University of Cincinnati)The Heirs of Donne and Jonson (Joseph H. Summers) (Reviewed by Alexander Sackton, University of Texas at Austin)The Art of Thomas Middleton: A Critical Study (David M. Holmes) (Reviewed by Leonard Tennenhouse, Wayne State University)Blake\u27s Illustrations to the Poems of Gray (Irene Tayler) (Reviewed by Morton D. Paley, University of California, Berkeley

"The Story In It": The Design of Henry James's "New York Edition"

Thesis (Ph.D)--Boston UniversityHenry James regarded as "definitive" the selected edition of his Novels And Tales in twenty-four; volumes which he prepared for publication by Scribners in 1907-1909, not only because of its revisions and its prefaces but equally because he implied, through the order of its fictions, an interpretation of his artistic "case." The edition (involving, James said, "illuminatory classification, collocation, juxtaposition and separation throughout the whole series") builds an architecture; but this architecture is not, as Mr. Leon Edel has suggested, modelled on Balzac's divisions within La Comedie humaine, although James's sequence does have a relation to what for him was "the lesson of Balzac." James orders his series much as he composes his fictions: so that each unit makes a certain "germ" progressively clearer, or better-enforces the same (often intricate) idea. For this exfoliating type of design James often used the term "story." It is important to recognize this characteristic order in the "New York Edition" not for its complexity but because the design enforces James's interpretation of an aesthetic and an extra-aesthetic significance of his own "case." External evidence is limited and is not conclusive on the purpose of the architecture in the edition. This dissertation examines mainly internal evidence: James's preface statements and their sequence, and especially both the structural and the thematic features of each of the included fictions. By identifying an artistic "case," which he thought any critic's main task, James always means relating salient characteristics of the artist's production to the artist's prominent and enduring "conditions" of work. The volume divisions of the "New York Edition" are itsfundamental units, and groups of volumes comprise four major units: Volumes I-IX, X-XII, XIII-XVIII, XIX-XXIV. The arrangement of fictions within single volumes and of volumes within each of the major units unfolds the same meaning that the succession of major units also exfoliates. The order pervasively demonstrates what is James's "case" and that it evinces a "continuity" equally with a "growth." That is, James grew in the sense of intensifying his awareness of the same endeavor, or in the sense of "cultivating" his stable "operative consciousness" of difficulties always arising from the interplay of four of his enduring conditions. These conditions were: (1) his aim to write fiction such as would genuinely "represent" and represent.the human comedy in his time, (2) his command of details from but a limited number of areas of experience and from areas he considered peripheral (especially to the society--America--where lay his deepest roots), (3) his tendency to pursue all the relations between the details he did command, his sense that relations "end nowhere," (4) his necessity, for publication of his fiction, to compress it into briefer space than the ideal of artistic economy indicated, and to address an audience resistant to his understanding of worthwhile "life" or of "free spirit." The design of the edition stresses (a) that James's "case" was a successful one of having converted obstacle into aid through cultivating his awareness that difficulty was his "operative condition," (b) that this "case" shows composition of raw material to be any fiction writer's primary "resource" for representing "the real" and the human comedy, (c) that James's pursuit of thoroughness of composition enabled him to articulate a particular theme of great "civic use"--the theme that "free spirit" is inherently contagious and expansive through exchanges of consciousness in inter-personal relations. Perceiving that the design of the edition unfolds James's view· of his "case11 and of its importance solves many problems: for instance, why he has not placed all of his novels and nouvelles so as to trace his exact course of technical development; has not brought together all the fictions which use the supernatural; nowhere has juxtaposed sub-groups of his international stories; has ignored chronology so greatly and has not grouped by genre in Volumes X-XVIII; has combined a group of fictions including "Daisy Miller" with another group including "The Real Thing" in Volume XVIII; has pointed in the prefaces to classifications he might have employed; and has retained the publication order of The Wings of the Dove and The Ambassadors. [TRUNCATED

コロンビア大学図書館所蔵アーサー・シモンズ夫妻の自筆往復書簡の解読と活字化

埼玉女子短期大

The Darius Milhaud Society Newsletter, Vol. 10, Spring/Summer/Fall 1994

https://engagedscholarship.csuohio.edu/milhaud_newsletters/1014/thumbnail.jp

Dostoevsky’s French reception: from Vogüé, Gide, Shestov and Berdyaev to Marcel, Camus and Sartre (1880-1959)

This history of Dostoevsky’s reception in France draws from critical responses, translation analysis, and the comparative analysis of adaptations as well as intertextual dialogues between fictional, critical and philosophical texts. It begins from the earliest translations and critical accounts of the 1880s and 1890s, such as Eugène-Melchior de Vogüé’s seminal moralist reading. It then traces modernist responses and adaptations from the turn of the century to the twenties. Existential readings and re-translations dating from the arrival of émigré critics and religious philosophers in the wake of the Russian Revolution are examined, assessing the contribution of these émigré readings to emerging existential readings and movements in France. Finally, French existentialist fiction is analysed in terms of its intertextual dialogue with Dostoevsky’s work and with speculative and critical writings of French existentialist thinkers on and around the philosophical reflections expressed in Dostoevsky’s fiction. By following specifically the existential and existentialist branches of Dostoevsky’s French reception, an overlooked aspect of the history of French, Russian and European existentialisms comes to the fore, reframed within a pivotal period in the history of European intercultural exchange, and of transmodal literary and philosophical discourse

Translating the French renaissance into British romanticism : Henry Cary's The Early French Poets and the romantic argument against French classicism in the pages of the London Magazine

This project addresses the circumstances surrounding the publication of Henry Francis Cary's The Early French Poets . It identifies three key elements that influenced the revival of the French Renaissance in Britain in the 1820s: the role of British Romantic periodicals and the London Magazine in fostering a discussion of Romanticism, the British Romantic conflict with French Classicism, and the Romantic appropriation of the past and the foreign. Cary's translations and criticism of the French Renaissance poets are analysed within the context of the London Magazine as part of the British argument against French Classicism

Subjectivity, gesture and language consciousness in the early prose fiction of Jean Genet (1910-1986).

PhDThis thesis interprets the language of the self in both editions of Jean Genet's five works of early prose fiction. Its appendices present the first list of the 65000 words of excisions and variants between the subscribers' (1943-48) and public editions (1949-53). Many critics have interpreted Genet's works in terms of his life, applying to them a reductive notion of the self. Subjectivity in this thesis is a broader concept which addresses the (self-) representation of narrators and characters. I apply close textual analysis to two types of passage (relating to gestures and language consciousness respectively) which represent subjectivity in non-specular language (where one thing does not clearly reflect or refer to another). I use the ubiquitous 'geste' as the guide-word for my analysis of gesture since its usage is similar in each of the texts considered. Gestures are of course mediated by language in Genet's texts but, surprisingly, are only partially represented in visual terms. Consequently, gestures do not serve to consolidate subjectivity and resist attribution to individual characters. It is rather in the interpretation of gestures that narrators and characters who both perform and interpret gestures can negotiate the assigning of meaning and the concomitant firming tip of subjectivity. Language consciousness is a textual speculation on the production and reception of a passage or text and each of Genet's texts demonstrates different interactions between such speculations and the representation of subjectivity. My emphasis on language consciousness helps to elucidate tile structure of the prose text (narrative frames, for example) and its relation to other genres (literary criticism and poetry, for example). I conclude that in Genet's texts innovative language represents (and sometimes fails to represent) plural subjectivity in complex ways. I argue that the interdependence of these three aspects (language, representation and subjectivity) presents a new paradigm for understanding Genet's texts. Furthermore, I outline in my conclusions how it is possible to apply a comparative analysis of these aspects to other works such as Martin Heidegger's Zur Seiqfrage (1955)

The W. B. and George Yeats Library: A Short-Title Catalog

This online catalog accounts for every publication that has been identified as part of the W. B. Yeats Library, which, since the death of Anne Yeats in 2001, has become a distinct part of the National Library of Ireland. In effect, the searchable alphabetical list constitutes a census of items that currently define the Yeats Library as a body, including links to and notes on related matter.https://tigerprints.clemson.edu/cudp_bibliography/1001/thumbnail.jp