By Lawrence R. Schehr
Subversions of Verisimilitude makes a speciality of the ways that a few French literary narratives written within the realist culture express a dynamic stability among the need of the author/narrator to offer a verisimilar global and the necessity for cultured stability. whereas the works studied-narratives through Balzac, Flaubert, Zola, Colette, Proust, and Sartre-range over the process a century, from 1835 to 1938, they percentage a standpoint at the kin among and the necessity to interact questions of realist verisimilitude and narrative curiosity and aesthetics. The booklet discusses many of the subversive paths taken in realism and, in particular, in canonical narratives solidly anchored within the culture. The objective this is to investigate those realist texts, whatever the narrative mode selected, with the intention to see the deviations and detours from realism, generally for cultured ends.The e-book contributes to our realizing of 19th- and twentieth-century narrative and furthers our wisdom of the ways that severe conception illuminates such canonical works.
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Extra resources for Subversions of Verisimilitude: Reading Narrative from Balzac to Sartre
Sample text
The possibility cannot be excluded. Brought together with the other examples born of this teratological discourse, this perversion of marriage seems no stranger than any of the others and totally consonant with them. One final image of marriage in de Marsay’s discourse leaves us little hope for a marriage that resembles either the idealized image of marriage or the standard definition of marriage in daily discourse: ‘‘You who wants to get married and who will marry: have you ever thought about civil law?
The use of the word ‘‘nous’’ gives a performativity to the contractual persona of Natalie, one that neither ‘‘elle’’ nor ‘‘je’’ would be able to effectuate; this is thus the legitimate and ‘‘grammatical’’ use of the figure of the enallage, as rhetoric is marshaled to a legal end. At the same time, it is necessary to understand quite literally what Solonet says, for in saying what he is saying, he is changing sexes, multiplying himself, and substituting himself for Natalie or aligning himself with her.
Balzac: Enallages and Twists 17 move from a third-person narrative to the bare innocence or naivete´ of an epistolary novel. Now I have outlined the basic societal mechanisms at work in the novel and indicated that, given the way in which Balzac positions his protagonist, both socially and psychologically, the desirable conclusion that Paul might wish for himself is not going to happen. In so doing, I am not suggesting that the path followed by the plot of a novel should in fact be predictable; far from it.