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The Belgian Surrealist artist Rene Magritte (1898 1967) is well
known for his thought-provoking and witty images that challenge the
observer s preconditioned perceptions of reality. Magritte and
Literature examines some of the artist's major paintings whose
titles were influenced by and related to works of literature.
Baudelaire's The Flowers of Evil, Goethe's Elective Affinities, and
Poe's The Domain of Arnheim are representative examples of
Magritte's interarts dialogue with literary figures.
Despite these convergences, the titles subvert the images in his
paintings. It is the two images together that express the
aesthetics of Surrealism for example, the juxtaposition of
unrelated objects whose purpose is to spark recognition. Magritte's
challenge to representation compares with metafiction's challenge
to classic realism, Les Chants de Maldoror, for example, and the
intersecting space between art and writing, sometimes referred to
as the iconotext, manifests itself whenever Magritte borrows a
literary title for a painting. His strategy is to paint visible
thought, and this reverse ekphrasis, the opposite of a rhetorical
description, undermines the written text. When he succeeds, the
effect is poetry."
D.H. Lawrence's Final Fictions: A Lacanian Perspective explores how
literature thinks; more specifically, how the reading of fiction
influences behavior. Lawrence writes passionately about our
alienation from ourselves, from other people, and from the cosmos.
He believes that we need to heed the voices of our unconscious, and
he shows us how to meld body and mind so that, psychoanalytically
speaking, Id and Ego can come together. In this endeavor there is a
salient convergence between Lawrence's writings and those of
Jacques Lacan, the French psychoanalyst. In this book, Stoltzfus
examines the poetics of seven major fictions that Lawrence wrote
between 1925 and 1930, five productive years that are referred to
as his fabulation period. In each of the book's seven chapters, in
tandem with Lacan's writings, Stoltzfus analyzes seven major
characters, four of whom move from alienation to the renewal of
self and the cosmos. He argues that Lawrence's fiction is
simultaneously descriptive and prescriptive by showing us how to
circumvent dysfunction. Stoltzfus brings literature and
psychoanalysis together in readings that are both aesthetic and
epistemological. They are recipes for curing the Anthropocene.
A collection of essays tracing seven decades of literary
interaction between Hemingway and notable French authors In a 1946
Atlantic Monthly essay, Jean-Paul Sartre writes: "The greatest
literary development in France between 1929 and 1939 was the
discovery of Faulkner, Dos Passos, Hemingway, Caldwell, and
Steinbeck." When Ernest Hemingway arrived in Paris in 1922, he was
an unknown writer from America. The City of Light was where he
learned his craft and gained legitimacy. Although much has been
written about Hemingway's apprentice years in Paris, little has
been published about his literary convergences with French writers.
In Hemingway and French Writers, Ben Stoltzfus illuminates the
connections between Hemingway and the most important French
intellectuals, such as Gustave Flaubert, Marcel Proust, Andre Gide,
Jacques Lacan, Jean-Paul Sartre, Henry de Montherlant, Andre
Malraux, and Albert Camus. A distinguished scholar of both French
literature and Hemingway studies, Stoltzfus compares Hemingway's
major works in chronological order, from The Sun Also Rises to The
Old Man and the Sea, with novels by French writers. While it is
widely known that France influenced Hemingway's writing, Hemingway
also had an immense impact on French writers. Over the years,
American and French novelists enriched each other's works with new
styles and untried techniques. In this comparative analysis,
Stoltzfus discusses the complexities of Hemingway's craft, the
controlled skill, narrative economy, and stylistic clarity that the
French, drawn to his emphasis on action, labeled "le style
americain."
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