Bücher veröffentlicht von Longleaf Services Behalf of Unc - Osps

This work is the first to analyze Marguerite Yourcenar's fictional manuscripts collected by the Houghton Library at Harvard University. Beatrice Ness organizes her study into five main groups of manuscripts spanning from 1924 to 1987, the year of Yourcenar's death. Ness's genetic approach problematizes questions of truthfulness and falsity: Yourcenar directs the reader's interpretation of her work by selecting and arranging diary notes, correspondence, and manuscripts of novels. As a result, the critic must undertake a careful reading of Yourcenar's 'avant-textes' to answer the questions: what does the manuscript reveal and why are these specific documents accessible to the public? Ness shows that Yourcenar tries to assure a posthumous reading that validates the originality of some aspects of her writing process, such as the aesthetic appeal of the drawings in her manuscripts, her mobility while she writes, and graphic transformations of penmanship revealing metempsychosis. Yourcenar's clever practice calls for an inventive reader to transcribe a filtered reality.

This study delineates a theory of epistolary lyric that refutes historical notions of a siecle sans poesie. Julia De Pree argues that monophonic, epistolary texts written during the Ancien Regime both reflect and resist the Classical legacy and at the same time anticipate the nineteenth-century prose poem. De Pree illustrates her theory of epistolary lyric through readings in the historical canon (Montesquieu, Diderot, Rousseau, Laclos) but emphasizes the contributions of the epistoliere: Francoise de Graffigny, Isabelle de Charriere, and Marie-Jeanne Riccoboni. She argues that through their relatively short length, their incorporation of blank space, and their monophonic voice, female-authored letter-texts articulate epistolary lyric at the intersection of narrative, theatrical, and poetic codes. De Pree concludes that as a plural and protean form, epistolary lyric anticipates the so-called poetic revolution(s) that transformed nineteenth-century French lyric.

Gorfkle challenges the assumption that the comic is inferior to the tragic as a vehicle for expressing serious thought and the belief that the comic has only a secondary function in Cervantes's Don Quixote. She systematically surveys the comic mechanisms of the novel from the perspectives of the contemporary literary theories of Bakhtin, Girard, and Derrida.

Kozma examines the use of metaphor and simile in the works of the twentieth-century Italian fiction writer Alberto Moravia, whose novels include Gli indiferenti (1929) and La Romana (1947). She provides a comprehensive description of types of imagery in Moravia's work, organizing this compendium into a series of categories such as images of thought, nature, food, and the human body.