By Margaret Elizabeth Colvin
This quantity is the 1st in-depth research of the French novelist Marguerite Yourcenar?Ђ™s fiction to contend that the author?Ђ™s texts express in unforeseen methods a number of features of the neobaroque. This subversive, postmodern aesthetic privileges extravagant creative 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, traits linked to the French neoclassical culture of the previous century, the place the Yourcenarian ?“uvre is regularly put. Yourcenar?Ђ™s election to the celebrated, tradition-bound French Academy in 1981 as its first girl ?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 variety and analyzed for her use of fantasy and common issues. whereas these elements at the start 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 an alternative the texts?Ђ™ opacity and subversive resistance to closure, their rejection of strong 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 twist of fate of the recent millennium ?Ђ” which in such a lot of methods displays Yourcenar?Ђ™s disquieting imaginative and prescient ?Ђ” and her centenary in 2003 gives no longer quite a bit an excuse to reject the author?Ђ™s neoclassical label, yet quite the duty to re-examine it in mild of latest discourses. This examine could be of curiosity to scholars of twentieth-century French fiction and comparative literature, particularly that of the latter half the 20th century. desk OF CONTENTS: I. A Frontispiece II. advent Marguerite Yourcenar and the Writing of Fiction: a cultured relevant 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 recent Millennium VIII. chosen Works mentioned and Consulted IX. Index of right Names
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Extra info for Baroque Fictions: Revisioning the Classical in Marguerite Yourcenar (Faux Titre 271) (Faux Titre)
We may also want to ask ourselves what Yourcenar stood to gain from the classical mantle. Classicism’s power and authority certainly offered her glory and literary immunity, as her eventual election to the Académie française illustrates: there is no greater safe haven and guarantee of unassailability for a French author than that canonical institution, even though Yourcenar professed to be indifferent to her election. Marguerite Yourcenar the classicist embraces classical culture, history, and themes: these are after all the objects of her vast erudition with which she feels secure, comfortable, and in control.
Arriver au grand style par deni, refus d’admettre et ignorance” (“pretend . . to achieve greatness of style by means of denial, refusal to include, and ignorance”). , 285. Gide’s preference for seventeenth-century classicism seems also to be symptomatic precisely of the mutation of classicism in the nineteenth and twentieth centuries for ideological purposes. Nevertheless, he inspired many authors, including Marguerite Yourcenar, to imitate the genre and style he had created: the French neoclassical récit.
L’esprit baroque . . ne sait pas ce qu’il veut” (“Wherever we find several contradictory intentions reunited in one single act, the stylistic result belongs to the category of the Baroque. The baroque mind . . 57 The tension inherent in Marguerite Yourcenar’s paradoxical discourses as well as __________________ 54 Calabrese, Neobaroque. A Sign of the Times, 12. ” 56 Renaissance and Baroque, trans. Kathrin Simon (Ithaca: Cornell Univesity Press, 1964). 57 D’Ors, Du Baroque, 29. Emphasis is the author’s.
Baroque Fictions: Revisioning the Classical in Marguerite Yourcenar (Faux Titre 271) (Faux Titre) by Margaret Elizabeth Colvin