Essay Review : Denis Hollier (ed.). New History of French Literature. A panorama of literature in its cultural context - music, painting, politics, and monuments public and private. Cambridge, MA. & London: Harvard University Press. Pp.xxi + 1150. ISBN 0-674-61565-4
Identifieur interne : 000B96 ( Istex/Corpus ); précédent : 000B95; suivant : 000B97Essay Review : Denis Hollier (ed.). New History of French Literature. A panorama of literature in its cultural context - music, painting, politics, and monuments public and private. Cambridge, MA. & London: Harvard University Press. Pp.xxi + 1150. ISBN 0-674-61565-4
Auteurs : Philip ThodySource :
- French Cultural Studies [ 0957-1558 ] ; 1990-10.
English descriptors
- Teeft :
- Accidental level, Adolescent aggressiveness, Allan words, American critics, American culture, American novel, American university profession, Annales school, Annus mirabilis, Antoine artaud, Appalling events, Aram vartanian, Basic theses, Best essays, Broadcast sense, Central role, Civic spirit, Coining phrases, Comedie frangaise, Commission racine, Comrade rowbottham, Condition humaine, Cultural context music, Damn thing, Daniel brewer, Denis, Denis hollier, Derrida comprehensible, Deuxieme sexe, Discrete essays, Doranne fenoaltea, Early essay, Early novels, Education trust, Educational system, Eighteenth century, English showalter, Entrepreneurial capitalism, Essay review philip thody denis hollier, Excellent article, Excellent chronology, Excellent illustration, Fashionable concepts, First book, First hearing, First number, Foreign observers, Founding document, Fourth performance, French existentialist fiction, French literature, French revolution, French writers, Friend bertie wooster, General reader, George lurcy, Georges bataille, Good account, Good bibliographies, Good fortune, Good reproduction, Good summary, Good thing, Gould foundation, Great approval, Harvard university press, Hereditary aristocracy, Heroic period, Hollier, Human reason, Ideal desert island book, Illustrative reproduction, Inseparable aspects, Interesting statement, Interesting suggestion, Interesting version, Internal dynamism, Intertextual threads, Intolerable abuses, Intriguing example, Isbn opening, Jansenist tragedy, Latest production, Lengthy tutorial, Link malraux, Literary events, Literary historians, Literary history, Literary modernism, Literary movement, Literary movements, Literary reasons, Little difficulty, Logical consistency, Logical positivism, Louis decision, Lyons edition, Malade imaginaire, Many students study literature, Marianne malade, Metropolitan france today, Minor miracle, Modern mind, Much address, Much novels, Mus6e imaginaire, Mythological tragedies, National reconciliation, Novels antoine bloy6, Nursery school, Opening article, Other cultures, Other european writers, Other horrors, Other words, Overzealous militants, Peut aller, Philip thody, Philosophy professors, Pierre dictionnaire historique, Political strategy, Practice definition, Preferred styles, Present knowledge, Present literature, Productive advance, Proper understanding, Quantum theory, Quel group, Racine weaves, Raymond queneau, Rayonnement frangais, Religious wars, Rene wellek, Revolutionary crimes, Revolutionary spectacle, Rococo manner, Sack park lane, Saint bartholemew massacre, Samuel beckett, Scott greek dictionary, Seventeenth century, Sheer poetry, Silvere account, Single supercession, Sixteenth century, Splendid essay, Striking feature, Susan rubin, Susan sontag, Symphonie pastorale, Systematic persecution, Temps modernes, Textual architecture, Theatre complet, Third republic, Truism works, University students, Useful index, Various positions, Violent terms, Whole article, Word essays, Workers strike.
Url:
DOI: 10.1177/095715589000100306
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ISTEX:9A0394AA23A6A9ED7397E8C49002AB370D5353A4Le document en format XML
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1177/095715589000100306</article-id><article-id pub-id-type="publisher-id">10.1177_095715589000100306</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Essay Review : Denis Hollier (ed.). New History of French Literature. A panorama of literature in its cultural context - music, painting, politics, and monuments public and private. Cambridge, MA. & London: Harvard University Press. Pp.xxi + 1150. ISBN 0-674-61565-4</article-title></title-group>
<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Thody</surname><given-names>Philip</given-names></name></contrib></contrib-group>
<pub-date pub-type="ppub"><month>10</month><year>1990</year></pub-date><volume>1</volume><issue>3</issue><fpage>257</fpage><lpage>261</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value>257 Essay ReviewDenis Hollier (ed.). New History of French Literature. A panorama of literature in its cultural context - music, painting, politics, and monuments public and private. Cambridge, MA. & London: Harvard University Press. Pp.xxi + 1150. ISBN 0-674-61565-4 SAGE Publications, Inc.1990DOI: 10.1177/095715589000100306 Philip Thody Opening this book at random is rather like entering the world of 1'Autodidacte in La Naus6e. He passed, it will be remembered, in strict alphabetical order from a book by Lambert on insects to one by Langlois on quantum theory and then to an account of the life of Tamerlane. In this attractively printed and well illustrated book, it is the accidents of chronology which take you directly from a study of Lucien Febvre's La Religion de Rabelais and its links with the Annales school of historiography to an account of the execution of Brasillach. This is followed by an analysis of the first number of Les Temps Modernes, succeeded in turn by a discussion of Samuel Beckett on the grounds that he published Suite in Sartre's review in July 1946. The reader then comes to a discussion of Le Deuxieme Sexe (1949), thence to an article on Le nouveau roman. We are very far from the concept of literature as organic growth. Similarly, if you decide that you ought to know something about the seventeenth century, and begin on page 309, you will go from Corneille's views on the theatre (1660; publication of his Theatre Complet) to the decision of Louis XIV to 'Govern France Himself' in 1661. This is followed by an account of Jansenist tragedy, including the interesting statement that 'Racine weaves elaborate intertextual threads into his mythological tragedies by connecting them genealogically and situating them in relation to the Trojan war' (something which was news to me). Then there comes the publication of the first book of La Fontaine's Fables, in 1669, followed by the death of Moliere, (after the fourth performance of Le Malade Imaginaire) on February 17, 1673. You learn as you make this transition that in the 1960s 'American critics' overturned the interpretation of Molibre as 'a writer under too much Address for correspondence: Prof. Philip Thody, Department of French, University of Leeds, Leeds LS2 9JT. 90258 pressure to think, to mediate on his art and humanity, a creator whose only concern was to make us laugh' and replaced it by one in which 'his creation regained its coherence and internal dynamism'. You then read about Boileau on the sublime (don't be put off; quite a lot of this essay is about Pascal) and examine Louis XIV's decision in 1677 to commission Racine and Boileau to 'write a history of his reign'. A study of La Princesse de Clbves (1673) is followed by an account of the establishment of the Comedie Frangaise on October 21, 1680. You then find out about the Revocation of the Edict of Nantes (great approval from Boussuet) in 1658. The one hundred and ninety discrete essays in this book tend therefore to leave the impression that literary history is like history itself as defined by H.A.L. Fisher: one damn thing after another. Gone are the days when Lanson could, as Denis Hollier observes in his opening article, use literary history as a 'tool of national reconciliation', or when Rene Wellek could present literature 'changing as literature and for literary reasons.' There is, perhaps fortunately, no guiding philosophy to this volume, and several of the pegs from which the 4-5000 word essays are suspended are historical rather than literary events: August 26-28, 1648 'Barricades are built in the centre of Paris'; 1889, 'The Third Republic celebrates the centenary of the French Revolution'; May, 1968, 'Ten million workers strike in France; students demonstrate worldwide.' This is a very good thing. Far too many students study literature in a total historical vacuum, and one or two of their teachers do the same. This book gives a good account of how literary movements are linked with general historical events, and the maps are very useful. There is an excellent chronology, a useful index and some good bibliographies. You get your money's worth and the weight of the book makes it, like the Liddell and Scott Greek Dictionary or The Jeeves Omnibus, 'invaluable in an inter-study brawl.' But does it fulfil the two traditional uses to which histories of literature are habitually put? Does it, that is to say, enable a student to get a quick fix on Malraux or Montaigne so as to complete an embarrassingly delayed essay? And does it help the 'general reader', for whom we are told it is intended, to find out whether it is going to be worthwhile to take a book by Gide out of the library or buy a ticket for the latest production of Le Mariage de Figaro? On this basis, the general reader is going to do rather better than the undergraduate. Gide has a whole article linking him with changing attitudes to homosexuality and another one entirely on Les Faux-Monnayeurs. But the anxious undergraduate won't find an analysis of what happens in La Symphonie Pastorale or La Porte Étroite, any more than the student wanting to get to grips with La Condition Humaine will find much help in the chapters which link Malraux to the vogue of the American novel. There is a useful nod in the direction of fashionable concepts in the remark that Malraux's later theories about art are 'fundamentally semiotic', and a good summary of the basic theses of Le Mus6e Imaginaire. But the general reader will not be encouraged to link Malraux's early enthusiasm for Communism with that of 91259 the other European writers whose God had failed before Mr Gorbachev went to nursery school. Rather surprisingly, and certainly by accident, the two million or so words in this book also offer some valuable ammunition to foreign observers whose enthusiasm for the French is on this side of idolatry. The French, one feels, have not always managed to put into practice Cocteau's definition of genius as `1'art de savoir jusqu'ou on peut aller trop loin'. Gerard Defaux's lucid account of the rise of Evangelism in the sixteenth century emphasizes how they could have achieved a stable and interesting version of the Reformation had not 'overzealous militants hung up posters denouncing in violent terms "the horrible, great and intolerable abuses of the papal mass"' and the Affaire des Placards of October 1534 inspired a systematic persecution of heretics which eventually led to the Saint Bartholemew massacre and all the other horrors of the religious wars. It is the Marquis de Sade who, in the eighteenth century, works out 'the logic of the worst'; and it is the Revolutionary spectacle, as embodied in the Feast of the Supreme Being, which becomes what Marie- H616ne Huet calls 'a political strategy of erasure' - or, more brutally put, a public wiping out of your opponents. In one of the best essays in the book, Denis Hollier brings together the translation in 1931 of Heidegger's 'Was ist Metaphysik?', the early novels of Raymond Queneau, Paul Nizan's two novels Antoine Bloy6 and Le Cheval de Troie, Sartre's early essay La L6gende de la V6rit6 - published in Bifur by the side of the translation of Heidegger's essay - and shows how essential each of these texts is to a proper understanding of La Naus6e. But he concludes, quite rightly in my view, that the heroes of French existentialist fiction 'explode with adolescent aggressiveness, the teenager's pretentiousness' and aptly describes the works in which these heroes appear as 'not so much novels by philosophy professors as novels by university students.' The tendency of the French to take ideas beyond the point of usefulness or sanity is also brought out by Silvere Lotringer's account of how Antoine Artaud, described by Susan Sontag as 'one of the last great exemplars of the heroic period of literary modernism,' finally used his own suffering in order to 'become in the eyes of the world the spectacle of cruelty he did not succeed in bringing to the stage.' In other words, his own ideas drove him mad. It needs a French intellectual like Georges Bataille to argue, in Allan Stoekl's words, that 'the violence and madness of the decapitation of the king, and of many other revolutionary crimes and wars, was necessary after all for the productive advance of humanity'. It is also hard to imagine anywhere but in France a literary movement such as the Situationists, with their aim being described as trying to show that 'the suppression and the realization of art are inseparable aspects of a single supercession of art.' When you read a sentence like that, it is hard not to recall the aims of Comrade Rowbottham and the sons of the Red Dawn, as summarized by P.G. Wodehouse's Bingo Little for the benefit of his friend Bertie Wooster: 'Wants to massacre the bourgeoisie, sack Park Lane and 92260 disembowel the hereditary aristocracy. Well, can't say fairer than that, can you?' Susan Rubin Suleiman's impeccable charting of the various positions adopted by the Tel Quel group makes the gyrations of the French Communist Party between the 1935 and 1945 seem like a model of logical consistency, while Denis Hollier again justifies his position as editor of this intriguing, ideal desert island book by a splendid essay on the events of 1968 which performs the minor miracle of making Foucault, Deleuze and Derrida comprehensible for the general reader. After his essay, it will no longer be possible for the disciple of logical positivism to echo Max Beerbohm's comment on Bergson and ironically deplore his 'inability to understand these advanced thinkers as they vanish into oblivion'. The French may sometimes take ideas a bit too far. They can nevertheless be forgiven if they thus provide the English-speaking critic with the opportunity to express these ideas, as Mr Hollier does, in a saner but equally challenging form. What would be interesting to see, after reading a book which does honour to the open-minded scholarship of the American university profession, is a study of Anglo-Saxon culture by French-speaking colleagues working in the French higher educational system. For another striking feature of this book is the catholicity of its approach and its readiness to give credit to the central role which French literature, in its broadcast sense, has played in the development of the modern mind. In its attempt to 'present knowledge as a product of human reason and to link the question of knowledge with that of value', writes Daniel Brewer, 'the Encyclopédie remains a founding document and event of modern Western culture'. It is also a tribute, albeit an unconscious one, to the persistence of the image implied in a phrase such as le rayonnement frangais that Tom Conley should be able to begin his excellent article on Appollinaire with the statement, unqualified by reference to what might be happening elsewhere, 'Literary historians have called 1913 the annus mirabilis of the 20th Century.' It is a truism of modern critical discourse to say that you reveal more of yourself when writing about a book than you do about the author you are ostensibly discussing. This is true of cultures as well, and the truism works even on the apparently accidental level of names, a topic to which the peculiarity of my own has made me especially sensitive. In England, the most uncosmopolitan of countries, nobody has either caught my name on first hearing, or pronounced it correctly without a lengthy tutorial in phonetics. In the United States, the home of cosmopolitanism, there is no problem and I am prepared to bet that Jean-Marie Apostolides, author of an account of Louis XIV that makes Stalin seem positively modest, has never had to spell his name out when ordering a taxi. Neither, I suspect, has Ora Avni, whose analysis of Merimee's La V6nus d'Ille and the stories of Villiers de l'Isle-Adam includes the intriguing and challenging claim that as a result of the collapsing of the boundaries separating one genre from another, 'the tenets of the fantastic have ... been generalized and extended to all texts'. 93261 Doranne Fenoaltea, whose study of the 'textual architecture' of Maurice Sceve's D61ie is illustrated by a very good reproduction of the plates for the 1544 Lyons edition, will probably never need to tell anyone in Gainesville, Florida, how to spell the names, or even whether they designate a man or a woman. English Showalter and Aram Vartanian have as little difficulty getting people in America to accept that they are called what they are called as I do in England where I call myself Franklin, or in France when I give my name as Simonet (only one 'n' of course). Showalter gives a lively and learned account of how eighteenth-century writers got around the censor. Vartanian makes an interesting suggestion about the relationship between Candide and one of the preferred styles of the century in which it was written by contrasting its 'rococo manner: light, quippish, playful, amusing, frivolous' with the appalling events that it describes. It is indeed an advantage of this book that every strategy of reading which you adopt reveals new ways of looking at American culture as well as at French literature. You can follow the sheer poetry of the names (Astro, Bezucha, Cerquiglini; Creech, Kaplan, Blumenfeld- Kosinski. Frappier-Mazur, Muscatine, Regalado, Regosin and Reiss; Rosbottom, UNdank, Ungar and Vitzy), marvelling as you do so at the good fortune of their bearers at living in the most open-minded society the world has ever known and the one most willing to take other cultures at their own valuation. You can reflect on the generosity of the Florence J. Gould Foundation, Inc., and the George Lurcy Charitable and Education Trust which made it all possible, meditating the while on the lack of sympathy for entrepreneurial capitalism which probably is the one attitude genuinely shared by the five hundred or so French writers discussed in this book. Or you can first look at the illustrations. These range from the neutral and very useful map of Metropolitan France Today, with all the Departments, to the illustrative reproduction of page 2306 of the 1720 edition of Pierre Bayle's Dictionnaire historique et critique, an excellent illustration of what eighteenth-century books actually looked like. You will also find an intriguing example of how the French tend to think about themselves. It is a picture in the form of a photograph selected from the Salon des Humoristes, Paris 1934. A doctor is looking at an x-ray in the stomach of Marianne Malade and pronouncing his verdict: 'C'est un cancer, Madame.' Whatever proclivity the French have to be nasty about themselves, lamenting their absence of civic spirit and coining phrases such as 'les guerres franco-françaises', it does not prevent their literature from possessing a wealth and variety which make it seem not at all absurd to begin an account of it with La Chanson de Roland and end up with Bernard Pivot.</meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Essay Review : Denis Hollier (ed.). New History of French Literature. A panorama of literature in its cultural context - music, painting, politics, and monuments public and private. Cambridge, MA. & London: Harvard University Press. Pp.xxi + 1150. 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