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Optiques - The Science of the Eye and the Birth of Modern French Fiction (Hardcover)
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Optiques - The Science of the Eye and the Birth of Modern French Fiction (Hardcover)
Series: Critical Authors and Issues
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Optiques The Science of the Eye and the Birth of Modern French
Fiction Andrea Goulet "Clever, learned, original, and energizing,
this study pioneers an enticing new method of reading the modern
novel. . . . Essential."--"Choice" Andrea Goulet takes the study of
the novel into the realm of the visual by situating it in the
context of nineteenth-century scientific and philosophical
discourse about the nature of sight. She argues that French
realism, detective fiction, science fiction, and literature of the
fantastic from 1830 to 1910 reflected competition between two
modern visual modes: a not-yet-outdated idealism and an empiricism
that located truth in the body. More specifically, the book argues
that key narrative forms of the nineteenth century were shaped by a
set of scientific debates: between idealism and materialism in
Honore Balzac's "Comedie humaine," between deduction and induction
in early French detective fiction, and between objective vision and
subjective vision in the "optogram" fictions of Jules Verne and
others. Goulet aims to revise critical views on the modern novel in
a number of ways. For instance, although many literary studies
focus on the impact of cinema, photography, and painting,
"Optiques" asserts the materialist bases of realism by establishing
a genealogy of popular fictional genres as fundamentally optical,
that is, as articulated according to bodily notions of sight. With
its chronological and interdisciplinary scope, "Optiques" stands to
contribute an important chapter to the study of literary modernity
in its scientific context. Andrea Goulet teaches French at the
University of Illinois, Urbana-Champaign. Critical Authors &
Issues 2006 280 pages 6 x 9 ISBN 978-0-8122-3931-7 Cloth $59.95s
39.00 ISBN 978-0-8122-0205-2 Ebook $59.95s 39.00 World Rights
Literature Short copy: Goulet argues that modern narrative forms
are crucially structured by scientific and philosophical debates
about the nature of vision.
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