Download Baroque Fictions: Revisioning the Classical in Marguerite by Margaret Elizabeth Colvin PDF

By Margaret Elizabeth Colvin

This quantity is the 1st in-depth learn of the French novelist Marguerite Yourcenar?Ђ™s fiction to contend that the author?Ђ™s texts show in unforeseen methods quite a few features of the neobaroque. This subversive, postmodern aesthetic privileges extravagant inventive play, flux, and heterogeneity. In demonstrating the affinity of Yourcenar?Ђ™s texts with the neobaroque, the writer of this research casts doubt on their presumed transparency and balance, features linked to the French neoclassical culture of the prior century, the place the Yourcenarian ?“uvre is typically positioned. Yourcenar?Ђ™s election to the celebrated, tradition-bound French Academy in 1981 as its first woman ?Ђњimmortal?Ђќ cemented her already well-established area of interest within the twentieth-century French literary pantheon. A self-taught classicist, historian, and modern day French moralist, Yourcenar has been praised for her polished, ?Ђњclassical?Ђќ sort and analyzed for her use of delusion and common topics. whereas these components initially appear to justify amply the neoclassical label in which Yourcenar is most generally famous, this study?Ђ™s shut interpreting of 4 of her fictions unearths as a substitute the texts?Ђ™ opacity and subversive resistance to closure, their rejection of good interpretations, and their deconstruction of postmodern Grand Narratives. Theirs is a neobaroque ?Ђњlogic,?Ђќ which stresses the absence of theoretical assurances and the restrictions of cause. The accident of the hot millennium ?Ђ” which in such a lot of methods displays Yourcenar?Ђ™s disquieting imaginative and prescient ?Ђ” and her centenary in 2003 offers now not a lot an excuse to reject the author?Ђ™s neoclassical label, yet really the duty to reconsider it in gentle of latest discourses. This examine may be of curiosity to scholars of twentieth-century French fiction and comparative literature, particularly that of the latter 1/2 the 20th century. desk OF CONTENTS: I. A Frontispiece II. advent Marguerite Yourcenar and the Writing of Fiction: a classy crucial III. bankruptcy 1 Anna,Soror...: Neobaroque Sacralizes the Abject IV. bankruptcy 2 Denier du r??ve : Baroque Discourses,Fascist Practices V. bankruptcy three Neobaroque Humanism: ?ЂњSounding the Abyss ?Ђќ in L ?Ђ™?’uvre au Noir VI. bankruptcy four Neobaroque Confessions: Un homme obscur and the Oppressive Superficiality of phrases VII. end An writer for the hot Millennium VIII. chosen Works brought up and Consulted IX. Index of right Names

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Additional resources for Baroque Fictions: Revisioning the Classical in Marguerite Yourcenar (Faux Titre 271) (Faux Titre)

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There is in my view something vertiginous and spiral-like in the continuous retracing, revisiting, revising, polishing, and expanding undertaken by the author during this last, lengthy phase of her literary career. ,” and so on) that accompany, valorize, and often exonerate each fictional work. It almost seems as though the author could confer on these works any sense of stability of purpose and meaning only retrospectively, once her notoriety was secured and, in a sense, almost beckoned her to do so.

Though no more than an unsettling echo of the “real” fascist dogma espoused by some modernist writers (Ezra Pound being the most notorious), these aesthetic strategies inevitably call to mind modernism’s at times uncomfortably close relationship with fascism. What did neoclassicism mean to those writers of the modern period? ”44 But le naturel of the Golden Age of French classicism can appear quite brittle and Mannerist in a twentieth-century context: an aesthetic conceit rather than a revival of the seventeenth century’s belief in the Ancients’ embodiment of universal truths, authority, clarity, and so on.

47 Introduction 39 the case of Marguerite Yourcenar a coincidence of mind—that is, her baroque worldview as exposed in these statements—must correspond to a coincidence of form in her writings. And in fact, Yourcenar’s fictions artfully adopt her heritage and milieu, but in a manner that ultimately subverts the harmoniously ordered poetic vision frequently associated with classicism. Once we begin to understand the “seriously” playful nature of her classicism, we are freer to take stock of other qualities in her writing.

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