Was Marcel Proust the last of the great classics or the first of the revolutionaries? Proust was thirty in 1901 and he died in 1922, living longer in the nineteenth century than he did in the twentieth. His work, especially the monumental sixteen-volume novel Remembrance of Things Past, draws its aesthetic affinities from the century of Baudelaire, Wagner, and Ruskin but at the same time escapes late nineteenth-century decadent aestheticism to reach toward an early twentieth-century modernist stance.
Was Marcel Proust the last of the great classics or the first of the revolutionaries? Proust was thirty in 1901 and he died in 1922, living longer in ...
A study in obsession, Marcel Proust's A la recherche du temps perdu is seemingly a self-sufficient universe of remarkable internal consistency and yet is full of complex, gargantuan digressions. Richard Goodkin follows the dual spirit of the novel through highly suggestive readings of the work in its interactions with music, psychoanalysis, philosophy, and cinema, and such literary genres as epic, lyric poetry, and tragedy. In exploring this fascinating intertextual network, Goodkin reveals some of Proust's less obvious creative sources and considers his influence on later art...
A study in obsession, Marcel Proust's A la recherche du temps perdu is seemingly a self-sufficient universe of remarkable internal consisten...
Through a study of the evolution of inheritance issues in seventeen tragedies written over the course of half a century the Corneille brothers, Pierre and Thomas, and by Jean Racine, Richard E. Goodkin questions the pervasive assumption that classical tragedy, a form written for the aristocracy, is informed exclusively by an aristocratic ethic.
Instead, a fresh reading of both canonical and noncanonical texts demonstrates that even the most formal body of literature produced by French classical writers expresses a conflict between a declining aristocratic hierarchy based on...
Through a study of the evolution of inheritance issues in seventeen tragedies written over the course of half a century the Corneille brothers, Pie...
The Tragic Middle links the philosophical texts of Aristotle with the tragic dramas of Racine and Euripides to show that tragic heroism results from a conflict between two ways of approaching a problem: a practical, ethical approach based on compromise and middle ground (Aristotle s golden mean ), and a theoretical approach that rejects ambivalence and admits only mutually exclusive solutions (the law of the excluded middle, found in Aristotle s Metaphysics). Richard Goodkin asserts that the tension between Aristotle s two precepts is eminently tragic and is crucial to the theater...
The Tragic Middle links the philosophical texts of Aristotle with the tragic dramas of Racine and Euripides to show that tragic heroism resu...
While scholars have chronicled Czes aw Mi osz s engagement with religious belief, no previous book-length treatment has focused on his struggles with theodicy in both poetry and thought. Mi osz wrestled with the problem of believing in a just God given the powerful evidence to the contrary in the natural world as he observed it and in the horrors of World War II and its aftermath in Poland. Rather than attempt to survey Mi osz s vast oeuvre, ukasz Tischner focuses on several key works "The Land of Ulro," "The World," "The Issa Valley," "A Treatise on Morals," "A Treatise on Poetry," and...
While scholars have chronicled Czes aw Mi osz s engagement with religious belief, no previous book-length treatment has focused on his struggles wi...
The classical period in France presents a particularly lively battleground for the transition between oral-visual culture, on the one hand, and print culture on the other. The former depended on learning from sources of knowledge directly, in their presence, in a manner analogous to theatrical experience. The latter became characterized by the distance and abstraction of reading. How Do I Know Thee? explores the ways in which literature, philosophy, and psychology approach social cognition, or how we come to know others. Richard E. Goodkin describes a central opposition between what...
The classical period in France presents a particularly lively battleground for the transition between oral-visual culture, on the one hand, and pri...
The classical period in France presents a particularly lively battleground for the transition between oral-visual culture, on the one hand, and print culture on the other. The former depended on learning from sources of knowledge directly, in their presence, in a manner analogous to theatrical experience. The latter became characterized by the distance and abstraction of reading. How Do I Know Thee? explores the ways in which literature, philosophy, and psychology approach social cognition, or how we come to know others. Richard E. Goodkin describes a central opposition between what...
The classical period in France presents a particularly lively battleground for the transition between oral-visual culture, on the one hand, and pri...
