摘要:

The reformed picaro's narrative situation – an older moral or religious convert recounting the roguish adventuresof his earlier life– presents a problem which only the most skilled and conscientious of these picaresque narrators can begin to handle successfully. The moral reform or religious conversion undergone by the picaro is in most cases a spontaneous occurrence sparked by misfortune, despair, punishment, or the threat of death. Hence, no organic development, such as found in e.g. David Copperfield's narrative, links the narrated and narrating “I's” of the picaresque autobiography, creating a cleft which most of these little‐educated but verbally adroit narrators are unable to bridge successfully. For nine and one‐half books, Lucius Apuleius provides pure entertainment ranging from the lyrical to the bawdy, then tags on a fervent conversion in the final book in an apparent effort to avoid charges of total frivolity in his work. Lazarillo de Tormes' morality rings strident and hollow as he tries to defend his obviously disreputable status of lowly town‐crier and cuckold. Moll Flanders'various attempts at reform fall quick victim to “necessity” and natural weakness until she gains a large measure of prosperity in the Nc:w World; morality thus appears much too closely linked with material well‐being to be fully genuine. Guzman de Alfarache's similarly materialistic concerns, plus his past instances of hypocritical piety, make his promised reform (the incomplete work ends with this promise at the conclusion ofPart Two) less than totally convincing. Simplicius Simplicissimus comes the closest to presenting a convincing mixture of rowdy fun and sincere morality; but even his conversion, since it involves withdrawal from a sinful world rather than actual conquest of natural weakness and sin‐fulness, reveals for the modem reader the heart of the former picaro still beating in the new convert and compromising at least slightly the moral value of t

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1975.tb00694.x

出版商:Blackwell Publishing Ltd    

年代:1975

数据来源: WILEY

摘要:

Shorter fictional genres were by no means well distinguished in post‐Renaissance preceptive writings. TheCuento de cuentos(1626) of Quevedo, reduced to its elements of plot, can never‐theless be adequately marked off from thefacetia, the literary anecdote and the novella. Experimentally one might examine this story as a foreshadowing of the largely nineteenth‐century genre of the Humoresque, with its avoidance of the didactic and the satirical, and with its directionless layout.This may not even be the only text which allows of this tenta‐tive classification. Perhaps Cervantes'sRinconete y Cortadilloand episodes of Quevedo's ownVida del buscón(also issued in 1626), about which discussion is so acrimonious at this moment, might find their places here. It would be gratifying to pursue the thought that Quevedo's little work contains the germ of a fictionally vital genre in years

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1975.tb00695.x

出版商:Blackwell Publishing Ltd    

年代:1975

数据来源: WILEY

摘要:

The following note deals with an aspect of the growing French awareness of England as a culturaI factor at the beginning of the 18th century.It is virtually impossible (and perhaps not very important) to establish exact dates for the beginnings of cross‐cultural relations and influences. It is possible, however, to trace an 18th‐century French interest in English literature back to a particular article of some sixty pages published by theJournal litttéirein 1717.It is argued that the article is remarkable in that it manages despite its status as a first attempt in this field to lay down the main outlines of a characteristic and widespread French attitude to English literature in the 18th century.It is further argued that an even more interesting aspect of the article is its status as an example of Neoclassicalaesthetic doctrines in action. It is finally argued that although the article in question can certainly be clas‐sified asa forerunner of parts of Voltaire'sLettres philosophiques, it would be a mistake to consider it only in this persp

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1975.tb00696.x

出版商:Blackwell Publishing Ltd    

年代:1975

数据来源: WILEY

摘要:

Hermann Hesse was strongly influenced by Dostoevsky's artistic method, especially by his treatment of the fragmentation of the human personality and his portrayal of the decaying West. Their novels depict the tragedy of intellect ‐ man's problematic exist‐ence taking place amidst the silent loneliness and disharmony characteristic of a diseased city, of modern culture, civilization, philosophy, and industrialization. Both writers believed that a “new man” would replace that educated individual whose reason cannot free itself from the problems and dilemmas it creates. This “new man” would unite Europe and Russia into one organic whole by revealing the nature of true, “active” love. Dostoevsky and Hesse insisted that salvation could be attained only through inner struggle and profound suffering. In their respective works, ey portrayed a progression from a state of internal chaos to the realization of the many polarities existing in man, culminating in a spiritual metamorphosis through man's acceptance of his chaotic nature. The belief in an ultimate unity and harmony underlies the philosophies of both Dostoevsky and Hesse. It is toward this harmonious totality of all things and beings that man must always strive. Dostoevsky and Hesse considered it their responsibility to point to this ideal realm as the only way out of the spiritual and emotional impasse characteristic of their times, when traditional concepts and old beliefs and values were rejected. Both writers ardently advocated the advent of the Third Kingdom of the Spirit, in which all nations would form one family, perfect harmony would be established, and all concepts of good and evil would dis‐ appear of

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1975.tb00697.x

出版商:Blackwell Publishing Ltd    

年代:1975

数据来源: WILEY

摘要:

The “ébradement” which Camus claims to have experienced when reading the work of Dostoevsky has frequently attracted the atten‐tion of scholars. The present article endeavours to assess the precise impact of Dostoevsky's hero Kirilovon the development and crystallisation of Camus' early thought. Kirilov, the philosopher‐engineer ofLes Posseédésseems to have been the Dostoevskian character who most interested the Camus of the thirties and early forties and it can be argued that he provided Camus with not only a valuable point of reference inLe Mythe de Sisyphebut with a number of ideas and attitudes which may have played an important role in the elaboration of his thought from L' Envers et L' Endroit to the essay on the Absurd. There are quite striking parallels between Camus' attitudes to death, courage, lucidity, authenticity and suicide, and those embodied in Dostoevsky's hero. Moreover, the moments of ecstatic happiness which lead Kirilov to utter the words “Tout est bien” (and which for Dostoevsky represent moments of religious mysticism emanating from Kirilov's epilepsy), seem to possess a most interesting affinity withthe experiences of union, harmony and timelessness which Camus describes in Noces and which inform his thinking at the time of L' Etranger andLe My

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1975.tb00698.x

出版商:Blackwell Publishing Ltd    

年代:1975

数据来源: WILEY

摘要:

Der Aufsatz sucht den Stellenwert zu ermitteln, der der Beschrei‐bung grauenhafter Szenen und Details im Rahmen von Döblins Romanen zukommt. Die Analyse spezifischer Beispiele aus den verschiedenen Stadien der Döblinschen Produktion geht öber in eine abstrakte Diskussion öber das Verhältnis von Schock und ästhetischer Ordnung. Der Essay kommt zu dem Schluß, daß wohl zwar die diskursive Analyse und möglicherweise auch die Repösentation von Grauen zu verantworten sei, nicht aber dessen rekreativ suggestive Wiederbelebung. Er versteht sich als ein fragmentarischer Beitrag zur Theorie der künstleri

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1975.tb00699.x

出版商:Blackwell Publishing Ltd    

年代:1975

数据来源: WILEY

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1975.tb00700.x

出版商:Blackwell Publishing Ltd    

年代:1975

数据来源: WILEY