The Girl with the Golden Eyes and Other Stories

Author(s):  
Honoré de Balzac ◽  
Patrick Coleman

‘What holds sway over this country without morals, beliefs, or feelings? Gold and pleasure.’ Sexual attraction, artistic insight, and the often ironic relationship between them is the dominant theme in the three short works collected in this volume. In Sarrasine an impetuous young sculptor falls in love with a diva of the Roman stage, but rapture turns to rage when he discovers the reality behind the seductiveness of the singer's voice. The ageing artist in The Unknown Masterpiece, obsessed with his creation of the perfect image of an ideal woman, tries to hide it from the jealous young student who is desperate for a glimpse of it. And in The Girl with the Golden Eyes, the hero is a dandy whose attractiveness for the mysterious Paquita has an unexpected origin. These enigmatic and disturbing forays into the margins of madness, sexuality, and creativity show Balzac spinning fantastic tales as profound as any of his longer fictions. His mastery of the seductions of storytelling places these novellas among the nineteenth-century's richest explorations of art and desire. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

PsycCRITIQUES ◽  
2016 ◽  
Vol 61 (24) ◽  
Author(s):  
Richard D. McAnulty
Keyword(s):  

Author(s):  
Krystal L. Jacob ◽  
Jane Tram ◽  
Adrienne Wolmark

2011 ◽  
Author(s):  
Lori E. Ross ◽  
Nancy Tang ◽  
Margaret Robinson ◽  
Cheryl Dobinson ◽  
Scott Anderson

2015 ◽  
Vol 17 (2) ◽  
pp. 24-46 ◽  
Author(s):  
M.O. Klar

The thesis of a single pillar or axis around which the longer Medinan suras are structured has been highly influential in the field of sura unity, and scholarship on the structure and coherence of Sūrat al-Baqara has tended to work towards charting the progress of a dominant theme throughout the textual blocks that make up the sura. In order to achieve this, scholars have divided the sura into discrete blocks; many have posited a chain of lexical and thematic links from one block to the next; some have concentrated solely on the hinges and borders between these suggested textual blocks. The present article argues that such methods, while often in themselves illuminating, are by their very nature reductive. As such they can result in the oversight of important elements of the sura. From a starting point of the Adam pericope provided in Q. 2:30–9, this study will focus on the recurrence of a number of its lexical items throughout Sūrat al-Baqara. By methodically tracing the passage of repeated, loosely Fall-related, vocabulary, it will attempt to widen the contextual lens through which the sura's textual blocks are viewed, and establish a broader perspective on its coherence. Via a discussion of the themes of ‘gardens’, ‘parable’, ‘prostration’, ‘covenant’, ‘wrongdoing’ and finally ‘blindness’, this article will posit ‘garments’, not as a structural pillar, but as a pivot around which many of the repeated lexical items of the sura rotate.


Moreana ◽  
2005 ◽  
Vol 42 (Number 163) (3) ◽  
pp. 105-118
Author(s):  
Clare M. Murphy

Since the dominant theme of the play is that of “The King’s Great Matter” (his divorce of Katherine and marriage to Anne) it would be difficult for a viewer or reader not to think of Thomas More as the play unfolds, so much was he involved in this event. But Sir Thomas More—which also had Shakespeare among its authors—was not approved by the Master of the Revels, and the playwrights no doubt wished to avoid a similar rejection. A solution for them was to suggest More in the subtext, particularly since his cult was by then well established. This article studies the relationship of the absent More to several of the characters present on stage.


2011 ◽  
pp. 32-38
Author(s):  
Agata Sadkowska-Fidala

Sixtine by Remy de Gourmont marks the refusal of nature and tangible reality and the choice of imagination to the detriment of reality. Its principal character, Hubert d’Entragues is a faithful disciple of idealism of symbolism. Since he chooses to think rather that to live, it is not surprising that the plot of the novel is almost nonexistent. The plot develops around of d’Entragues’ desire to win the beautiful Sixtine, which is in itself condemned to failure since he is doing nothing to reach her and refuses to take any effort. The woman, who could have served as the principal impulse of the plot, is practically inexistent in this story (though it is a passionate story) and is replaced by the ideal woman: the story is doubled by the second story, e.g. a novel written by the character which is a transposition of his “cerebral” relation with Sixtine and a realisation of presence of the latter. Art replaces life and life does not exist in itself. It is shaped by thought. But the chosen absence of any facts of life is fruitful: it gives birth to a novel. It is a story of a prisoner in love with the statute of the Virgin which he sees while taking a daily walk. In this novel the carnal accomplishment is not necessary in order for a true and sincere passion to develop and the satisfaction of desire may destroy the dream and the ideal.


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