Therese Desqueyroux, Francois Mauriac's stark and introspective 1927 novel, appears to be quite a different tale from Madame Bovary, Gustave Flaubert's succes de scandale published exactly seventy years earlier. Yet upon closer scrutiny, the two novels' similarities become undeniable. The preponderance of parallelisms surely cannot be attributed to happenstance, nor can one agree with the contention that Mauriac must have been inspired, unconsciously and unbeknownst to him, by the literary model of Madame Bovary. Textual Hauntings opens with an overview of the strikingly similar plot, characters, and themes in the best-known novel of each of these important modern authors. Subsequent chapters, noting both differences as well as similarities, look specifically at the issues of gender and sexuality, the uses of religion and the role of the clergy, the function of uncertainty (both as a narrative technique in Flaubert and as a thematic element in Mauriac), the role of minor characters and their relationships to the two eponymous heroines, and finally, the use by each novelist of photographs in order to undercut, rather than to underscore, any affection felt for the person whose image has been preserved. While surely borrowing from his nineteenth-century precursor, Mauriac, like Flaubert, created a remarkably powerful novel. Just as each novelist offers the reader a hauntingly memorable heroine, Flaubert's celebrated masterpiece Madame Bovary haunts the pages of Nobel laureate Mauriac's Therese Desqueyroux. Edward Gallagher's examination and reflections on these two novels in tandem lead to a deeper appreciation and a better understanding of each novel."

ThZr_se Desqueyroux, Fran_ois Mauriac's stark and introspective 1927 novel, appears to be quite a different tale from Madame Bovary, Gustave Flaubert's succ_s de scandale published exactly seventy years earlier. Yet upon closer scrutiny, the two novels' similarities become undeniable. The preponderance of parallelisms surely cannot be attributed to happenstance, nor can one agree with the contention that Mauriac must have been inspired, unconsciously and unbeknownst to him, by the literary model of Madame Bovary. Textual Hauntings opens with an overview of the strikingly similar plot, characters, and themes in the best-known novel of each of these important modern authors. Subsequent chapters, noting both differences as well as similarities, look specifically at the issues of gender and sexuality, the uses of religion and the role of the clergy, the function of uncertainty (both as a narrative technique in Flaubert and as a thematic element in Mauriac), the role of minor characters and their relationships to the two eponymous heroines, and finally, the use by each novelist of photographs in order to undercut, rather than to underscore, any affection felt for the person whose image has been preserved. While surely borrowing from his nineteenth-century precursor, Mauriac, like Flaubert, created a remarkably powerful novel. Just as each novelist offers the reader a hauntingly memorable heroine, Flaubert's celebrated masterpiece Madame Bovary haunts the pages of Nobel laureate Mauriac's ThZr_se Desqueyroux. Edward Gallagher's examination and reflections on these two novels in tandem lead to a deeper appreciation and a better understanding of each novel.

This edition includes Edward Gallagher's prose translations of The Lays of Marie de France ; a general introduction; a map; commentaries on the lays; two anonymous Breton lays-- The Lay of Melion and The Lay of Tyolet ; a glossary of proper names; a glossary of specialized terms; and an appendix of selected texts in the Old French, including Marie's Prologue , Guigemar , Bisclavret , and Yonec .

The first complete English translation by a single translator of Bediers classic work, this volume is the only edition that provides ancillary materials to help the reader understand the history of the legend and Bediers method in creating his classic retelling. Edward Gallaghers sparkling translation is accompanied by a lucid and comprehensive introduction, a selected bibliography, a map, a glossary of names and a glossary of specialised terms. The volume also offers a wealth of related materials, including Bediers 1904 article on the legend of Tristan and Iseut; his 1934 lecture, Iseut the Blond; Brissons 1901 review of Bediers Romance; and Bediers unpublished Hall of Images scene.