LEADER 04100nam 2200625 a 450 001 9910963751803321 005 20200520144314.0 010 $a9780804780162 010 $a0804780161 024 7 $a10.1515/9780804780162 035 $a(CKB)1000000000006799 035 $a(OCoLC)50119844 035 $a(CaPaEBR)ebrary2001222 035 $a(SSID)ssj0000283605 035 $a(PQKBManifestationID)11213361 035 $a(PQKBTitleCode)TC0000283605 035 $a(PQKBWorkID)10247581 035 $a(PQKB)10578647 035 $a(MiAaPQ)EBC3037366 035 $a(Au-PeEL)EBL3037366 035 $a(CaPaEBR)ebr2001222 035 $a(OCoLC)923699422 035 $a(DE-B1597)581480 035 $a(DE-B1597)9780804780162 035 $a(Perlego)4213137 035 $a(EXLCZ)991000000000006799 100 $a19960809d1997 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aRendering French realism /$fLawrence R. Schehr 205 $a1st ed. 210 $aStanford, Calif. $cStanford University Press$d1997 215 $a1 online resource (280 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a9780804727877 311 0 $a0804727872 320 $aIncludes bibliographical references (p. [255]-263) and index. 327 $tFront matter --$tAcknowledgments --$tContents --$tI. Introduction: De te textus --$t2. Stendhal's Inventions --$t3. Balzac's Improprieties --$t4. Romantic Interruptions --$t5. At Home with --$tNotes --$tBibliography --$tIndex 330 $aRealist novels are usually seen as verisimilar representations of the world, and even when that verisimilitude is critically examined (as it has been by Marxist and feminist critics), the criticism has referred to extra-literary matters, such as bourgeois ideology or defects in the portrayal of women. This book takes as its thesis that the point defining realism is the point at which the processes of representation break down, a sort of black hole of textuality, a rent in the tissue. The author argues that our notions of continuity, of readability, of representability, or our ideas about unity and ideological shift?or even our notions of what is hidden, occulted, or absent?all come from the nineteenth-century realist model itself. Instead of assuming representability, the author argues that we should look at places where the texts do not continue the representationalist model, where there is a sudden falling off, an abyss. Instead of seeing that point as a shortcoming, the author argues that it is equal to the mimetic successes of representation. After an initial chapter dealing with the limits and ruptures of textuality, the book considers the work of Stendhal, from its early state as a precursor to the later realism to La Chartreuse de Parme, which shows how the act of communication for Stendhal is always made of silences, gaps, and interruptions. The author then reads several works of Balzac, showing how he, while setting up the praxes of continuity on which his oeuvre depends, ruptures the works at various strategic points. In a chapter entitled "Romantic Interruptions," works of Nerval and the younger Dumas, seemingly unrelated to the realist project, are shown to be marked by the ideological, representational, and semiotic assumptions that produced Balzac. The book concludes with Flaubert, looking both at how Flaubert incessantly makes things "unfit" and how critics, even the most perspicacious postmodern ones, often try to smooth over the permanent crisis of rupture that is the sign of Flaubert's writing. 606 $aFrench fiction$y19th century$xHistory and criticism 606 $aRealism in literature 615 0$aFrench fiction$xHistory and criticism. 615 0$aRealism in literature. 676 $a843/.70912 700 $aSchehr$b Lawrence R$01809220 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910963751803321 996 $aRendering French realism$94359900 997 $aUNINA