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Introduction | 1 | |
1 | Philosophies of Composition: From Corsino to the Code des gens honnetes, 1818-1825 | 19 |
i | Narrative as Illustration: the Discours sur l'immortalite de l'ame and Corsino | 19 |
ii | Mimesis: 'deux histoires' | 26 |
iii | The Code des gens honnetes and the Limits of Prescription | 29 |
iv | The Limits of Prescription | 32 |
2 | From Code to Physiologie, 1826-1829 | 34 |
i | Doxa and Dialogue: Anecdotes, Codes, and the Physiologie | 34 |
ii | Prescription and Description in the Physiologie | 37 |
iii | A Physiology of Literary Illusion | 40 |
iv | Types of Reading in the 1829 Physiologie | 43 |
3 | The First Scenes de la Vie Privee, 1829-1830 | 47 |
i | The Physiologie du mariage and the Scenes de la vie privee | 47 |
ii | The Scenes de la vie privee and the conte moral | 48 |
iii | Scenes, Tableaux, and Le Dernier Chouan | 53 |
iv | The Composition of the Scenes de la vie privee | 57 |
4 | Narratives and Newspapers, 1829-1830 | |
i | El Verdugo, Les Deux Reves, Un episode sous la Terreur, Adieu | 66 |
ii | Articles, observation de moeurs, and Pen-portraits | 74 |
iii | Caricature, Satire, and the Fantastic | 76 |
iv | From Newspaper to Narrative | 79 |
5 | Balzac and the Literary Reviews, October 1830-August 1831 | 83 |
i | October 1830-August 1831: A New Form, the Literary Review | 83 |
ii | Balzac's Stories for the Reviews: L'Elixir de longue vie, L'Enfant maudit, Une passion dans le desert, Le Requisitionnaire | 86 |
iii | Portrait and Enigma: Sarrasine | 92 |
iv | Contes historiques and contes artistes: Les Proscrits and Le Chef-d'oeuvre inconnu | 97 |
v | The Fantastic, the Real, and the Frame Story | 102 |
6 | From La Peau de Chagrin to the Contes Drolatiques, 1831-1832 | 108 |
i | La Peau de chagrin | 108 |
ii | The Romans et contes philosophiques | 114 |
iii | Renaissance Models and Contemporary Reality in Balzac's Work, 1831-1832 | 119 |
iv | The First dixain of Contes drolatiques (1832) | 124 |
7 | Balzac, 'Roi de La Nouvelle': From the Contes bruns to Le Cure de Tours, 1832 | 129 |
i | Art or Income? The Commercial Background, 1831-1832 | 129 |
ii | Contes bruns: Une conversation entre onze heures et minuit and Le Grand d'Espagne; La Grande Breteche | 131 |
iii | Fiction and Truth: La Message and Madame Firmiani | 136 |
iv | From La Transaction to Le Colonel Chabert | 139 |
v | La Bourse and La Femme de trente ans [I] | 144 |
vi | Les Celibataires (F: Le Cure de Tours) | 146 |
8 | Another Destiny? From Louis Lambert to Le Pere Goriot, September 1832-March 1835 | 152 |
i | Louis Lambert and Le Medecin de Campagne | 153 |
ii | Two Types of Tale: La Grenadiere and La Femme abandonnee | 157 |
iii | Les Marana and the Break with the Revue | 159 |
iv | Form and Fragmentation: From Ferragus to the Second Contes drolatiques | 160 |
v | Contes drolatiques: secund dixain | 162 |
vi | L'Illustre Gaudissart and Un drame au bord de la mer | 165 |
vii | Eugenie Grandet | 169 |
viii | Le Pere Goriot | 172 |
9 | Building the Cathedral, 1835-1838 | 176 |
i | Etudes de moeurs and Etudes philosophiques, Introductions | 177 |
ii | Melmoth reconcilie and La Fille aux yeux d'or | 179 |
iii | Balzac's Stories for the Chronique de Paris (La Messe de l'athee, L'Interdiction, Facino Cane, La Confidence des Ruggieri) | 183 |
iv | Gambara | 191 |
v | End of an Era: The Third dixain of Contes drolatiques | 195 |
10 | Relative Values, 1838-1839 | 203 |
i | A Philosophy of Composition? From Cesar Birotteau to Une fille d'Eve | 204 |
ii | Cesar Birotteau and La Maison Nucingen | 205 |
iii | La Maison Nucingen | 207 |
iv | Conversation and Contingency: La Torpille | 211 |
v | Une fille d'Eve | 216 |
11 | 'Roi Des Romanciers?' Scenes, Satires, and Serials, 1839-1840 | 224 |
i | The Preface to Une fille d'Eve | 225 |
ii | Les Secrets de la princesse de Cadignan | 226 |
iii | The Potential of Impotence: Massimilla Doni | 229 |
iv | The Limits of Satire: Pierre Grassou | 233 |
v | Les Francais peints par eux-memes and Petites miseres de la vie conjugale | 237 |
12 | Towards the Comedie, 1840-1841 | 242 |
i | The Revue parisienne | 242 |
ii | Z. Marcas | 243 |
iii | Les Fantaisies de Claudine (F: Un Prince de la Boheme) | 246 |
iv | La Fausse Maitresse: Form and Fragmentation | 250 |
13 | 'La Grrrrrrande Comedie', 1842-1845 | 257 |
i | Comedie humaine, Avant-propos | 258 |
ii | Autre etude de femme | 261 |
iii | Honorine | 264 |
iv | The End of the Story? Un homme d'affaires, Gaudissart II, and Les Comediens sans le savoir | 270 |
v | Gaudissart II and Les Comediens sans le savoir | 274 |
14 | Constellations and Supernovellas: Nouvelle and Novel, 1841-1844 | 279 |
i | Constellations | 279 |
ii | La Muse du departement | 284 |
iii | Supernovellas: Le Cure de village, Pierrette, and L'Envers de l'histoire contemporaine | 288 |
iv | Moral Novels? Albert Savarus, Un debut dans la vie, and Modeste Mignon | 290 |
Conclusion: Balzac's Shorter Fictions | 302 | |
Select Bibliography | 310 | |
General Index | 339 | |
Index of Works | 349 |
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Add Balzac's Shorter Fictions: Genesis and Genre, Balzac's reputation is as a novelist. But short stories make up over half La Comédie humaine, besides scores of other tales and articles. Balzac's Shorter Fictions looks at the whole of this corpus, at the nature of short fiction, a, Balzac's Shorter Fictions: Genesis and Genre to the inventory that you are selling on WonderClubX
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Add Balzac's Shorter Fictions: Genesis and Genre, Balzac's reputation is as a novelist. But short stories make up over half La Comédie humaine, besides scores of other tales and articles. Balzac's Shorter Fictions looks at the whole of this corpus, at the nature of short fiction, a, Balzac's Shorter Fictions: Genesis and Genre to your collection on WonderClub |