En primera persona (del plural): Carrère, Flaubert y la escritura sagrada

Con L’Adversaire, Emmanuel Carrère da un giro radical a su obra; al tiempo que abandona el género novelesco, renuncia al estilo impersonal flaubertiano. Mediante ficciones controladas y valiéndose de un «yo de método», logra llevar en Le Royaume la literatura inquisitiva a su máxima expresión. Esta indagación sobre los orígenes del cristianismo es también un retrato ficticio pero plausible de Lucas el evangelista como escritor y en consecuencia un estudio narrativo. Carrère se interroga acerca del extraño «nosotros» de los Hechos de los Apóstoles vinculado indirectamente con el famoso «nosotros» de Madame Bovary. Del análisis de estas tres obras se desprende que la impronta de Gustave Flaubert ha seguido siendo profunda y que Carrère comparte con él una concepción de la literatura donde se mezclan lo sacro y lo profano.

A palavra muda de Rancière através de um diálogo entre Flaubert e Ibsen | Rancière's mute speech through a dialogue between Flaubert and Ibsen

A palavra muda é um conceito importante na compreensão da literatura estética por propor modos específicos de trato com a letra e com as contradições decorrentes da quebra com os pressupostos representativos. Por isso, este trabalho tem como objetivo investigar a reflexão que Rancière propõe sobrea obra de Gustave Flaubert em diálogo com o teatro. Visto que a palavra muda enlaça formas de expressão que encontram, na arte, um lugar (mesmo que impermanente), esta abordagempode ajudar a vislumbrar caminhos para o pensamento de outros modos do fazer artístico e o trânsito entre eles. Por fim, buscou-seconectar o teatro de Henrik Ibsene o gesto estético de Flaubert mediante a relação entre Bouvard e Pécuchet e O pato selvagem.Palavras-chave: Palavra muda. Rancière. Flaubert. Ibsen. AbstractMute speech is a key-concept on the reflection about the aesthetic literature by proposing specific ways of writing practices andtheir consequent contradictions, resulting from the rupture with the representative presuppositions.Therefore, this work aims to investigate Rancière's reflection on Gustave Flaubert's work in dialogue with theatre. Since the mute speechentwines forms of expression that find, in the art of writing, an important place (albeit an impermanent one), this approach can help to find out paths for thinking about other ways of artistic making, as well as moving between them. Finally, an attempt was made to connect Henrik Ibsen's theater and Flaubert's aesthetic gesture through the relationship between Bouvard and Pécuchet and The Wild Duck.Keywords: Mute speech. Rancière. Flaubert. Ibsen. ORCIDhttp://orcid.org/0000-0002-1149-3707

A forma é o real: Flaubert lido por Baudelaire e Maupassant

O romance Madame Bovary, de Gustave Flaubert, quanto à sua influência, extrapola os limites de gêneros, épocas e movimentos literários e chega à contemporaneidade na posição de obra paradigmática tanto da inconversibilidade do real pela literatura quanto da irredutibilidade do literário a realidades pré-existentes. O objetivo deste artigo é mostrar que os escritores Charles Baudelaire e Guy de Maupassant ressaltam, em textos críticos sobre Madame Bovary, o formalismo e a impessoalidade da narrativa como recursos que instauram a imanência da obra e problematizam a pertença do autor à escola realista. O retorno a essas críticas pode lançar luz sobre experimentações estéticas posteriores em que a representação interroga o estatuto do documento e da referencialidade externa.

SARTRE, BOURDIEU, AND GUSTAVE FLAUBERT: FROM INDIVIDUAL FREEDOM AND SOCIAL DETERMINISM IN THE FIELD OF LITERARY CREATION

Drawing from the analysis of Sartre’s monumental biography of the French writer Gustave Flaubert and Bourdieu’s critical response to it, this article explores anew the dialectics of agency and coercion through the lenses of sartrian philosophy and bourdieusian sociology. From his birth to his childhood and his death in 1880, the biographical elements of the life of Madame Bovary’s author and the contents of his literary works were depicted by Sartre and Bourdieu in a dialogue questioning the writer’s individual goals, strategies, limits and fate. Put in a historical perspective, this socio-philosophical confrontation between the theoretical aims and methods of existentialist psychoanalysis and structuralist socio-analysis reopens the oldest of debates between actor-centered philosophy of action and socio-centered logic of practice, between the transcendence of ego and the transcendence of social, or freedom and determinism. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0875/a.php" alt="Hit counter" /></p>

Narrative Discourse, Literary History

Scene and summary: these are the two primary units whose development and transformation guide the course of this study. This chapter examines their value as registers of pace, and it argues that they are truly valuable insofar as they are examined diachronically across literary history. Jane Austen, Gustave Flaubert, and Henry James at first appear in the foreground as guides for a history of pacing, but the goal of this study is to avoid any strict teleology and to instead imagine elliptical constructions of literary history that emerge in between distant focal points. The chapter ends by considering the large ellipsis within which this study takes place—“modernity”—and critiquing the methods by which one may relate pace to modernity while offering a way to examine history in pace as it creates themes.

El absurdo quijotesco en Madame Bovary y El proceso.

When Cervantes was writing the Quijote perhaps he did not expect the scope that the adventures of the knight errant would have. In this article is pretended to track the Cervantine influence trough the structure and the characters in two of the most important works in the nineteenth and twentieth centuries: Madame Bovary by Gustave Flaubert and The Trial by Franz Kafka. It is possible to establish a link between these authors with Cervantes thanks to Flaubert and Kafka show or confessed they read Don Quixote.

Die Republik vom 8. Mai 1980: "Gustave Flaubert: 12. Dezember 1821 - 8. Mai 1880"

Der Beitrag von Georg Stanitzek stellt die Zeitschrift »Die Republik« von Petra und Uwe Nettelbeck vor - und insbesondere den Gustave Flaubert gewidmeten Beitrag vom 8. Mai 1980.