漢清講堂227 《喬治‧ 桑與福樓拜 》 2018-0509。140 《情感教育》 梁永安、張華等人 2017-02-18。《福樓拜文學書簡》:Hôtel de Ville looked like a Roman ruin.Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year
從《福樓拜文學書簡》(非喬治桑部分)，還是可以找到談《情感教育》的。
Occasionally McCullough pauses to pit one national treasure against another. So Harriet Beecher Stowe spends a spellbound hour before “The Raft of the Medusa”: “She was sure,” he writes, “no more powerful piece had ever been painted. It was as though this one picture had been worth the whole trip to France.” The New York sculptor Augustus Saint-Gaudens plays a leading role in “The Greater Journey.” He began as a cameo-cutter, an apprenticeship to which McCullough devotes several pages. And like every dual national, his narrative maintains a foot in two places. McCullough’s is as much the splendid story of a nation growing up as it is that of a city coming into its own. In the course of these pages, Paris acquires bateaux-mouches , the grands magasins , the Folies Bergère and Haussman’s avenues.
The two histories combine most powerfully in his account of the Franco-Prussian War and Elihu Washburne, America’s minister to France between 1869 and 1877. A reliable topic of conversation in Paris, food was the principal one during the German siege, when cat meat revealed itself be a delicacy and Paris solved its rat problem. By the time German troops marched down the Champs-Élysées, on March 1, l871, more than 65,000 Parisians had died. The only prominent diplomat to do so, Washburne valiantly refused to budge even through the months of the Commune, one of the bloodiest chapters in French history. His was no paradisiacal Paris; as the atrocities mounted, the distraught Washburne noted that the city was “a hell upon this earth.” At one point the Seine ran red with blood. A team of 60,000 masons would be required to put Paris back together again. On Mary Cassatt’s arrival shortly afterward, the Hôtel de Ville looked like a Roman ruin.
Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year
Brooks (Enigmas of Identity) has written an intricate examination of Gustave Flaubert’s novel Sentimental Education against the backdrop of what is known in France as “the terrible year”—summer 1870 through spring 1871—when the country suffered defeat by Prussia, followed by bloody internal strife. This multi-layered book is the perfect companion piece while reading Flaubert’s novel. Through intimate correspondence between Flaubert and author George Sands, Brooks explores how their personal struggles during a tragic time gives perspective on “what history will do to your life.”
One intriguing detail here about Sentimental Education—published in 1869—is that Flaubert believed its plot anticipated the terrible year, remarking that, had the book been better received and understood, it might have helped avert France’s upheaval. In the midst of recounting momentous historical events, Brooks includes small but meaningful details of Flaubert and Sands’s relationship and Flaubert’s efforts to “reorganize his life at age 50.” Students of Flaubert—or of history—will enjoy exploring this book’s insights into one of the 19th century’s greatest writers. (Apr.)
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~Flaubert in the Ruins of Paris. The Story of a Friendship, a Novel, and a Terrible Year. By Peter Brooks. p.103
梁兄、繆女士有難得的機緣翻譯Flaubert的作品。我們有機會一窺堂奧。
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送給梁、張、繆等等討論《情感教育》的朋友：Flaubert in the Ruins of Paris. The Story of a Friendship, a Novel, and a Terrible Year. By Peter Brooks 的尾聲：
In the midst of recounting momentous historical events, Brooks includes small but meaningful details of Flaubert and Sands’s relationship and Flaubert’s efforts to “reorganize his life at age 50.” Students of Flaubert—or of history—will enjoy exploring this book’s insights into one of the 19th century’s greatest writers. (Apr.)
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140 《情感教育》 梁永安、張華 2017-02-18
《情感教育》(長篇小說),法國福樓拜著，譯者梁永安; 大陸譯本(1948李建吾譯)(1980，上海譯文…
Hanching Chung https://www.youtube.com/watch?v=xdUyKDF71qo&t=9s 管理
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227 《喬治‧ 桑與福樓拜 》 2018-0509 漢清講堂
| 作者： | [法] 福樓拜著，丁世中，劉方譯 |
| 出版社： | 人民文學出版社 |
| 叢編項： | 外國文藝理論叢書 |
致路易·科姆南
致阿爾弗雷·勒普瓦特萬
致路易絲·科萊
致路易·布耶
致馬克西姆·迪康
致維克多·雨果
致埃奈斯特·費多
致勒洛阿耶·德·尚特比小姐
致愛麗莎·施萊辛格
致兄長阿希爾
致莫里斯·施萊辛格
致埃德蒙·帕尼埃爾
致弗雷德里克·博德雷
致儒爾·杜勃朗
致夏爾·波德萊爾
致泰奧菲爾·戈蒂耶
致埃德瑪·德·熱奈特
致昂日·佩梅嘉
致儒爾·米甚萊
致龔古爾兄弟
致儒勒·德·龔古爾
致龔古爾兄弟
致愛德蒙·德·龔古爾
致聖伯夫
致伊万·屠格涅夫
致喬治·桑
致阿梅麗·波斯凱
致伊波利特·丹納
致萊奧妮·博雷娜
致瑪蒂爾德公主
致考爾努夫人
致居斯塔夫·莫泊桑夫人
致莫泊桑
致愛彌爾·左拉
致卡米葉·勒莫尼埃
致阿那托爾·法朗士
致於斯曼
致外甥女卡羅琳
致瑪格麗特·夏龐蒂埃
致洛爾·莫泊桑
情與性
致魯伊絲‧高萊
致魯伊絲‧高萊
致魯伊絲‧高萊
致魯伊絲‧高萊
致魯伊絲‧高萊
致維克多‧雨果
致魯伊絲‧高萊
致魯伊絲‧高萊
致魯伊絲‧高萊
致勒魯瓦葉‧德‧尚特皮小姐
致勒魯瓦葉‧德‧尚特皮小姐
致喬治‧桑
致喬治‧桑
致馬克西姆‧杜剛
致萊奧妮‧薄蕾娜
致瑪蒂爾德公主
致愛德瑪‧德‧熱奈特
致萊奧妮‧薄蕾娜
致萊奧妮‧薄蕾娜
致甥女卡羅琳
致瑪格麗特‧夏邦蒂埃
個性化與非個性化
致路易‧布耶
致馬克西姆‧杜剛
致魯伊絲‧高萊
致魯伊絲‧高萊
致魯伊絲‧高萊
致魯伊絲‧高萊
致魯伊絲‧高萊
致魯伊絲‧高萊
致儒勒‧杜勃朗
致伊萬‧屠格涅夫
致卡米葉‧勒莫尼埃
藝術至上
致魯伊絲‧高萊
致馬克西姆‧杜剛
致夏爾‧波德萊爾
致龔古爾兄弟
致龔古爾兄弟
致希波里特‧泰納
致喬治‧桑
致居伊‧德‧莫泊桑
致伊萬‧屠格涅夫
致居伊‧德‧莫泊桑
致居伊‧德‧莫泊桑
內心的使命
致魯伊絲‧高萊
致恩斯特‧費多
致戴奧菲爾‧戈蒂埃
致恩斯特‧費多l
致愛德瑪‧德‧熱奈特
致聖伯甫
致儒勒‧杜勃朗
致馬克西姆‧杜剛
致伊萬‧屠格涅夫
致勒魯瓦葉‧德‧尚特皮小姐
致艾米爾‧左拉
致伊萬‧屠格涅夫
時代下的思考
致希波里特‧泰納
致喬治‧桑
致喬治‧桑
致喬治‧桑
致考爾努夫人
致喬治‧桑
致萊奧妮‧薄蕾娜
致居伊‧德‧莫泊桑
致瑪蒂爾德公主
致伊萬‧屠格涅夫
致愛德瑪‧德‧熱奈特
致于斯曼
致艾米爾‧左拉
致甥女卡羅琳
一切取決于構思
致魯伊絲‧高萊
致魯伊絲‧高萊
致儒勒‧德‧龔古爾
致愛德瑪‧德‧熱奈特
致聖伯甫
致儒勒‧米什萊
致居伊‧德‧莫泊桑
致居伊‧德‧莫泊桑
致愛德瑪‧德‧熱奈特
致愛德瑪‧德‧熱奈特
致愛德瑪‧德‧熱奈特
附錄
譯者後記
傳統與創新
出版時間： 2020-10-01
定價： 58.00
責編：張玉琴、韓亞平
