By Daniel R. Schwarz
• deals a detailed analyzing of person texts with awareness to their cultural and canonical context
• Examines the heritage and evolution of the radical to 1900 and defines each one author’s aesthetic, cultural, political, and ancient significance
• Covers crucial and regularly taught masterworks as much as 1900, together with Cervantes’ Don Quixote; Tolstoy’s War and Peace and Anna Karenina; Dostoevsky’s Notes from Underground, Crime and Punishment, and The Brothers Karamazov; Stendhal’s The pink and the Black and The Charterhouse of Parma; Flaubert’s Madame Bovary and Sentimental Education; Balzac’s Pere Goriot; and Zola’s Germinal
• Written with scholars and lecturers in brain, this ebook presents available and fascinating discussions of every novel, besides very important pedagogical instruments
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Extra info for Reading the European Novel to 1900
With his puns, neologisms, portmanteau words, and stream of consciousness that jumps from one thought and sensation to another, Joyce’s writing is most difficult to translate, especially Ulysses and Finnegans Wake. But the authors I discuss here also require deft and subtle translation. In recent years, Edith Grossman’s wonderful translation of Don Quixote and Richard Pevear and Larissa Volokhonsky’s translations of Dostoevsky and Tolstoy have taught us that a great translation, reflecting the translators’ understanding of the words and the context in which they were written, can bring us a richer and more authentic reading experience than prior translations.
Is Part Two more fun because of its references to and resonances of the published text of Part One? Does not Sans´on as Knight of the Mirrors subtly call attention to the doubling and mirroring of Part One with Part Two?
Wasn’t Cervantes a pioneer in introducing multiple perspectives in fiction? Didn’t that relate to his skepticism of monolithic truth articulated by the King and Church and his awareness of the infinite variety of human life in the face of efforts to control it? Part of the novel’s fun derives from the differences in perspectives among the narrator, Sancho Panza, and Don Quixote, to say nothing of the various figures in the interpolated stories. The prologue is written not by Cervantes’ invented Hamete but by Cervantes himself, or at least his narrative surrogate, who addresses us “idle reader[s]”; that surrogate is the fictional Spanish narrator – who is also the fictional editor.