Balzac et la critique britannique, miroir de la création (1830-2023) II
The second part begins in the 1880s, with Balzac’s dissemination in the form of translations of important ensembles of the Comédie humaine, both for the general public and in editions for connaisseurs. Balzac is celebrated both in the anodine (but influential) appreciations of a Saintsbury and in th...
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
| Publié: |
2024
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | The second part begins in the 1880s, with Balzac’s dissemination in the form of translations of important ensembles of the Comédie humaine, both for the general public and in editions for connaisseurs. Balzac is celebrated both in the anodine (but influential) appreciations of a Saintsbury and in the creations of prominent writers of the following century such as Havelock Ellis, Yeats ou Powell. The twentieth century witnessed the birth of academic criticism, offspring of the journalistic criticism of Saintsbury or Helm, and represented by the work of erudite French academics such as Brunetière, Lanson or Rudler, of whom the last would settle in England; the inter-war period saw the publication of more substantial critical overviews foreshadowing those of later decades. But nothing was less certain than the establishment of vibrant scholarly university Balzac criticism in England in 1950, at the centenary of Balzac’s death, a time when the strange backwash of sometimes unhealthy, on occasion Nietzschean enthusiasms from a past which was far from over was still making itself felt. It is the unknown masterpiece, or rather the ghost of the unknown masterpiece of a scholar who is himself now forgotten, H. O. Stutchbury, which heralds a Golden Age of diverse, prolific, and modern Balzac criticism, which has been able both to respond and adapt to mobile and dynamic contemporary preoccupations, an age which is far from over. |
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