Search results for ""Author Peter Brooks""

Contending that a search for "realism" distorts the writing of Crebillon, Marivaux, Laclos, and Stendahl, Peter Brooks considers their novels with reference to the manner in which the characters explore their worth and pursue their own systems of relationships. The novels discussed are used as examples of the fictional exploitation of the drama inherent in man's social existence and the encounters of personal styles within the framework and code provided by a coterie which is an object of conscious cultivation for its own sake. The author gives detailed readings of the four authors' works and moves backward to consider the seventeenth-century moralistes and the drawing rooms in which literary forms applied to social man were eloquently elaborated. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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The constant call to admit guilt amounts almost to a tyranny of confession today. We demand tell-all tales in the public dramas of the courtroom, the talk shows and in print, as well as in the more private spaces of the confessional and the psychoanalyst's office. Yet we are also deeply uneasy with the concept: how can we tell whether a confession is true? What if it has been coerced? In "Troubling Confessions", Peter Brooks juxtaposes cases from law and literature to explore the kinds of truth we associate with confessions, and why we both rely on them and regard them with suspicion. For centuries the law has considered confession to be "the queen of proofs", yet it has also seen a need to regulate confessions and the circumstances under which they are made, as evidenced in the continuing speech a prime measure of authenticity, seeing it as an expression of selfhood that bears witness to personal truth. Yet the urge to confess may be motivated by inextricable layers of shame, guilt, self-loathing, the desire to propitiate figures of authority. Literature has often understood the problematic nature of confession better than the law, as Brooks demonstrates in perceptive readings of legal cases set against works by Rousseau, Dostoevsky, Joyce and Camus, among others. Mitya in "The Brothers Karamazov" captures the trouble with confessional speech eloquently when he offers his confession with the anguished plea: this is a confession; handle with care. By questioning the truths of confession, Peter Brooks challenges us to reconsider how we demand confessions and what we do with them.

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A book on the experience of reading Honoré de Balzac's La Comédie humaine which recounts the process of Peter Brooks's own discovery of Balzac. A personal account of coming to terms with Balzac: moving from more classical and restrained authors to the highly-coloured melodramatic novels of the Human Comedy, which give us the dynamics of a new and challenging world on the threshold of modernity. This volume shows readers how to read, and to love reading, Balzac, and how to engage with his vast work.

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"We know that it matters crucially to be able to say who we are, why we are here, and where we are going," Peter Brooks writes in Enigmas of Identity. Many of us are also uncomfortably aware that we cannot provide a convincing account of our identity to others or even ourselves. Despite or because of that failure, we keep searching for identity, making it up, trying to authenticate it, and inventing excuses for our unpersuasive stories about it. This wide-ranging book draws on literature, law, and psychoanalysis to examine important aspects of the emergence of identity as a peculiarly modern preoccupation. In particular, the book addresses the social, legal, and personal anxieties provoked by the rise of individualism and selfhood in modern culture. Paying special attention to Rousseau, Freud, and Proust, Brooks also looks at the intersection of individual life stories with the law, and considers the creation of an introspective project that culminates in psychoanalysis. Elegant and provocative, Enigmas of Identity offers new insights into the questions and clues about who we think we are.

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Henry James's reputation as The Master is so familiar that it's hard to imagine he was ever someone on whom some things really were lost. This is the story of the year--1875 to 1876--when the young novelist moved to Paris, drawn by his literary idols living at the center of the early modern movement in art. As Peter Brooks skillfully recounts, James largely failed to appreciate or even understand the new artistic developments teeming around him during his Paris sojourn. But living in England twenty years later, he would recall the aesthetic lessons of Paris, and his memories of the radical perspectives opened up by French novelists and painters would help transform James into the writer of his adventurous later fiction. A narrative that combines biography and criticism and uses James's writings to tell the story from his point of view, Henry James Goes to Paris vividly brings to life the young American artist's Paris year--and its momentous artistic and personal consequences. James's Paris story is one of enchantment and disenchantment. He initially loved Paris, he succeeded in meeting all the writers he admired (Turgenev, Flaubert, Zola, Maupassant, Goncourt, and Daudet), and he witnessed the latest development in French painting, Impressionism. But James largely found the writers disappointing, and he completely misunderstood the paintings he saw. He also seems to have fallen in and out of love in a more ordinary sense--with a young Russian aesthete, Paul Zhukovsky. Disillusioned, James soon retreated to England--for good. But James would eventually be changed forever by his memories of Paris.

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A book which should appeal to both literary theorists and to readers of the novel, this study invites the reader to consider how the plot reflects the patterns of human destiny and seeks to impose a new meaning on life.

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Psychoanalysis and Narrative is a clear and exemplary demonstration of the ways in which the vital connections between psychoanalysis and literature can be articulated without reductive simplification. Following Freud's assumption that sexuality and narrative form are analogous, Brooks proposes that literature constitutes a fundamental part of human existence. He supplements the terminology of narrative theory with the rich and suggestive language of psychoanalysis.

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In 1869, Gustave Flaubert published what he considered to be his masterwork novel, A Sentimental Education, which told a deeply human and deeply pessimistic story of the 1848 revolutions. The book was a critical and commercial flop. Flaubert was devastated.

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This book tests the proposition that the humanities can, and at their best do, represent a commitment to ethical reading. And that this commitment, and the training and discipline of close reading that underlie it, represent something that the humanities need to bring to other fields: to professional training and to public life. What leverage does reading, of the attentive sort practiced in the interpretive humanities, give you on life? Does such reading represent or produce an ethics? The question was posed for many in the humanities by the “Torture Memos” released by the Justice Department a few years ago, presenting arguments that justified the use of torture by the U.S. government with the most twisted, ingenious, perverse, and unethical interpretation of legal texts. No one trained in the rigorous analysis of poetry could possibly engage in such bad-faith interpretation without professional conscience intervening to say: This is not possible. Teaching the humanities appears to many to be an increasingly disempowered profession—and status—within American culture. Yet training in the ability to read critically the messages with which society, politics, and culture bombard us may be more necessary than ever in a world in which the manipulation of minds and hearts is more and more what running the world is all about. This volume brings together a group of distinguished scholars and intellectuals to debate the public role and importance of the humanities. Their exchange suggests that Shelley was not wrong to insist that poets are the unacknowledged legislators of mankind: Cultural change carries everything in its wake. The attentive interpretive reading practiced in the humanities ought to be an export commodity to other fields and to take its place in the public sphere.

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The text is accompanied by an introduction, textual annotations by the editor, and a map of Paris. "Responses: Contemporaries and Other Novelists" illustrates Balzac’s immense influence on other writers, among them Charles Baudelaire, Hippolyte Taine, Émile Zola, and Marcel Proust. "Twentieth-Century Criticism" presents a superb selection of critical writing about the novel. The critics include Ernst Robert Curtius, Albert Béguin, Erich Auerback, Georges Poulet, Michel Butor, Louis Chevalier, Pierre Barbéris, Peter Brooks, Sandy Petrey, Nicole Mozet, and Janet L. Beizer.

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