Le visage des horizons lointains (FICTION) (French Edition)

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dans l’immobilité de l’après-midi…

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Wilbur Working Translations. Contact Donate. And it is through his eyes too that we perceive one of the great tableaux de Paris of this novel, that of the Passage des Panoramas, a symbolic place of the demi-monde and its promiscuity. Muffat has come too early, full of suspicion, for Nana does not act in the new play, and yet she has gone to the theatre, as Muffat has been told by the concierge:.

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Through this distracted gaze of an impatient man afraid of being seen and having to pass his time in waiting, we have the experience of a whole phenomenology of kitsch. We see "a display of papers, of glass bowls with landscapes and flowers in them". It is a gaze without consciousness which presents to us the ordinary objects of a world, which the count despises as much as he is fascinated by its very vulgarity:. II, sq. Twice the Passage des Panoramas reappears in different lights.

When finally the Count has found Nana, who wanted to avoid him, because that night she already had another arrangement, it is once again in the Passage des Panoramas that she stops Muffat in order to look at the display of a jeweller. The world of the passage is the world of Nana:. Elle adorait le passage des Panoramas. Left alone by Nana, after a despairing march through the nocturnal streets of Paris, de Muffat arrives once again at the deserted and dark passage closed now by bars from which emanates the humidity of a cellar:. It is not the look of the chronicler, however, it is an imaginary look with its complex conditions which gives a physionomy to this place.

And it is here exactly that begins the myth of the passage which Aragon has detailed in his Anicet ou le panorama and especially in his Paysan de Paris, which will become in Walter Benjamin the origin of his great myth of the passage as the center of a myth of Paris. But only in Zola does the passage, being part of a Parisian myth of the demi-monde and of the Second Empire, take on its very sociological signification. The passage is the non-place par excellence of that non-place or place of an imaginary real which is the demi-monde.

The myth of Nana, the idol of a society that consumes itself in he furies of pleasure, will be at its point of culmination at the moment when Muffat is definitely ruined by Nana, who exposes him to the utmost humiliation. It is a scene where description, once again, takes on the energy of an imaginary vision:.

Dans son luxe royal, la nouvelle chambre resplendissait. This myth is at the same time a myth of Paris under the Second Empire. Because here luxury and fashion, far from serving the appetite of a demi-monde, are the objects of desire of the honest world of the bourgeoisie and the lower bourgeoisie. It is for them that the great department store is intended, a department store of a new kind, which serves the desires of a new kind of woman customer whom it allows at reasonable prices to participate in a world of luxury inaccessible before.

Nana, heroine of the demi-monde, is opposed to Denise, a young sales woman of fashionable items, niece of the old style cloth merchant Baudu, at whose home she arrives with her two young brothers. Denise becomes a sales woman in the department store "Au Bonheur des Dames", the devastating rival of Baudu, and in spite of some inevitable peripeties, she ascends from degree to degree in the almost military hierarchy of the establishment up to the supreme moment when she marries Mouret, the owner and director of the great firm. Soap opera seems to be an invention of Zola. When Denise enters the department store, her first impression is that of a machine:.

III, sq. It is through the gazes of Madame Desforges, fascinated by the magic of the stage management, that we see the new construction and, even more, through the reminders of Piranesi and of Victor Hugo. The exact description gives way once again to a great vision:. In front of the newly enlarged building,. III, ; , has become a thief and is caught when she is about to steal some precious laces.

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The exposition in white with a whole landscape of white clothes is the white and bourgeois dream of innocent luxury:. Here we find Claude Lantier once again, the friend of Florent in Le Ventre de Paris, now in a desperate fight with his impossible conception of painting, which finally will destroy him. It is the great fight between life and art which this novel treats.

Art ruins the life of Claude Lantier who is not able to transpose his artistic ideas into a great and final work. During one of his crises, Claude, walking through Paris with his artist friends, seems to find again his certainty looking at a magnificent tableau de Paris seen in front of the "Corps legislative":. It seems easy to transpose it into art, but in reality it will be an impossible project.

During his walks with Christine, who will be his mistress, his model and his wife, Claude discovers at the Pont Neuf the ideal place for a supreme project: to paint the heart of the city, to paint the city, to paint Paris, an emanation of the myth of life itself. He will ruin himself in this work, he will forget his wife, he will forget his child, and he will never reach the realization of his vision.

Claude works in blind obsession. But is it possible to force life, to force so many different cities, to force so many perspectives into one vision? It is now that imperceptibly through his sketches the whole of the city transforms itself, with its thousand horizons, its inexhaustible life, into a female allegory. Sandoz, the architect, his friend, looking at the painting in progress, discovers a change:. Questioned by Sandoz, Claude himself discovers the obscure fundament of his research:. The imaginary woman, who took the place of his real wife and who gets hold of all his life, cannot become real as a work of art.

Before hanging himself, Claude is looking once more at his failed painting:. Zola, with his program of the experimental novel, fails equally. But this failure, instead of ruining his project, makes it possible. Zola has written the myth of Paris under the Second Empire. My own approach to the myth of Paris in Zola follows the line of my previous work on the discourse of Paris as the very paradigm of urban discourse.

See Karlheinz Stierle, La Capitale des signes. Paris et son discours, trad. All subsequent references will be to this edition. The second page number refers to an English translation indicated in footnote. I, , Starkweather , New York: Mondial , George Holden, Harmondsworth: Penguin, III, , Eisenarchitektur in der Literatur des Fink, , , especially IV, , 74 sq. Kraus, F. It is doubtful whether a history of this genre will or can ever be written: the number of "Mirrors of Princes" produced by all ages and all lands since the dawn of history is appalling and defies all imagination.

Probably, he served as a model to more than one humanist who wished to imitate the master in this field, too.

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Certainly, he was preceded by a host of ancient and mediaeval writers who wished to hold up a mirror to one or to all princes. Sometimes, the utopia was embedded in a pedagogical treatise intended for princes and nobles, a manner which has been cultivated increasingly since the i5th century,12 though not without illustrious percursors in the 13th. Jn general, cf. Whether Petrarch actually read them or not, the subsequent investigations will show that, in his conception of the ideal ruler, he singularly agreed with that school of thought which he strongly opposed in his other writings.

Indeed, Cicero appears right in its initial remarks, although in a less complimentary form than we are accustomed to hear about him from his disciple. Assuring Francesco Da Carrara of his sincere gratitude, he blames Cicero for his duplicity in praising Caesar in speeches and slandering him in his letters.

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Baumann, Die Staatslehre des h. Thomas v. Aquino, Leipz. Enke, Stuttgart, Kirchenrechtl. Maugeri, M Petrarca e.

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Girolamo, V. Glannotta, Catania, On and Scholasticism, cf. Fracassetti, Le Monnier, Firenze, , 11, pp. BernardaMs, Teubner Leipz. Hortis, M. Voigt, o. Teubner, Leipz. Petrarch states that he does not wish to compose a systematic work on the art of government; he is fully aware of the fact that he is broaching a topic well-known to ait, and he is satisfied with setting down random notes and ideas as they flow from his pen.

It would be unfair to compare his opuscule to the great treatises on the subject. Instead of objective and abstract ideas, he offers personal remarks which make the letter ail the more significant and attractive to the modern reader. Two qualities are of fundamental importance in the rector patriae, amiability and justice, which cause him to be loved by the good, and to bs feared by the wicked. Thus, amiability and justice must constitute the foundations of the rule of a good prince, and not fear.

The prince must love his subjects and his State as he loves himself. The road of justice and pietas is the road to Heaven.