THis work does not pretend to be exhaustive. Rather, it is an attempt to bring together and systematize the major body of scholarship, including greater and lesser contributions. It is an annotated, not a critical bibliography, and while no capsular form can do justice to a scholarly work, it is hoped that the reader can decide on the basis of the annotation whether or not the work is of interest or is relevant to their research.
Professor Bishop's book challenges the conventional wisdom that sees Alfred de Musset solely as the writer of intensely personal lyric poetry. By closely studying Musset's major poetic works and his numerous reflections on the art of poetry, Bishop reveals a poet whose work cannot be reduced to a sentimental cri de coeur and whose poetics cannot be reduced to an esthetique du sentiment. Musset is shown to be a poet of many styles and many genres, including a substantial poetry of ideas. The book also offers closely reasoned discussions of subjects rarely discussed in French letters: romantic irony, the greater Romantic lyric, musicality and euphony."
Modeled after George Sand, this work gives us a young man observing Gamiani and a young girl, obligingly named Fanny, engaged in their lesbian bed. Having watched them and provoked by their gay abandonment, he reveals himself, joins them, and they spend the night alternately sharing their intimate histories and their bodies in orgies of almost religious intensity. The stories they tell include the rape of one in a monastery and the nearly fatal debauchment of another in a convent, as well as encounters with a number of animals. Author Edith Wharton had an unpublished work based on this text.
Alfred de Musset - NO TRIFLING WITH LOVE A Comedy in Three Acts Alfred de Musset (1810-1857) was a French dramatist and poet, regarded as one of the first Romantic writers. He was also a prolific novelist of the romantic period and wrote some of the most memorable literary masterpieces of all times. Much influenced by Shakespeare and Schiller, Alfred de Musset wrote the first modern dramas in the French language. His early poems and plays were much appreciated in the French society earning him the reputation of being a dandy. In 1845 he was named a Chevalier of the Legion of Honor. Musset was elected to the French Academy in 1852. Nowadays Musset's popularity is second only to Racine and Moliere. "My glass is not big, but I drink out of my own glass," he once stated self-consciously. Musset had a profound grasp of the psychology of love and his portraits of women were multidimensional.
Covers writers from the ancient Greeks to 20th-century authors. Includes biographical-bibliographical entries on nearly 500 writers and approximately 550 entries focusing on significant works of world literature. Each author entry provides a detailed overview of the writer's life and works. Work entries cover a particular piece of world literature in detail.
The Romantic Art of Confession is about works specifically entitled "confessions" written during the Romantic period in Britain and France. Reading these similarly conceived texts together illuminates uniquely the Romantic art of confession as it illuminates the written craft of self-recollection and definition.
Andrea del Sarto and Lorenzaccio, Alfred de Musset's completed Renaissance historical tragedies, are two of the most remarkable representatives of their dramatic genre and period. Lorenzaccio, in particular, has had a powerful influence on twentieth-century French and European drama. These striking new translations by Musset scholar David Sices make them accessible to contemporary English readers and lovers of theater, as well as directors looking for effective dramatic texts to stage.
This volume analyzes major French plays of the 1830s, focusing on their theatricality, and on the ways in which they expose the workings of the theater rather than conceal them. Through an examination of performance within these plays, the study posits that the stage is a privileged site of demonstration, a literal "proving ground" that lends a physical reality to abstract values announced in the text and shared or questioned by the audience. Negotiating between the literary study of drama and performance theory, this work breaks new ground in nineteenth-century theater scholarship while proposing a fresh direction in the study of text and performance. The Limits of Performance challenges conventional wisdom, offering a novel take on the mal du siècle, that thematic hardy perennial of French Romanticism and the nineteenth century in general, combined with eminently readable and, therefore, compelling analysis of plays - a thought-provoking addition to work in the field (Glyn Hambrook, Modern and Contemporary France, November 2008).
