Rousseau's Literary Ideals, Based on Les Confessions, La Nouvelle Heloise and Emile


Book Description

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




Rousseau's Venetian Story


Book Description

Originally published in 1966. This book is primarily a literary study of Rousseau's account of his diplomatic experiences in Venice, contained in book 7 of the Confessions and written in 1769. The author analyzes Rousseau's methods of achieving an artistic rendering of psychological truth in autobiography, as exemplified in his treatment of the events of 1742–1749. Professor Madeleine Ellis contributes to an understanding of Rousseau as a creative artist and positions him vis-à-vis the classical and romantic movements. Ellis collates the text of the Confessions with contemporary correspondence and other documents to show how discrepancies between the two have artistic implications. These implications lead her to define Rousseau's principles and methods as a man of letters and the interrelations of art and truth in his memoirs. In revealing that Rousseau, the memorialist, gives an artistic rendering of psychological truth, Ellis shows Rousseau's attitude toward truth. She does this by following a path of analysis unexplored by previous critics but indicated by Rousseau himself when he says, "It is the story of my soul that I have promised . . . I record not so much the events of my life as the state of my soul as they happened." Ultimately, the objective of this study is to illustrate the artistic means—literary and rhetorical—employed by Rousseau and their implications for the truth he proposed.




Rousseau's Socratic Aemilian Myths


Book Description

In this illuminating study of two literary milestones in the history of our civilization, a noted Rousseau scholar examines for the first time the nature of, and inspiration for, the symbolic language that informs Rousseau's two great masterworks. Though Rousseau himself, in the pedagogical novel, invites such a study by including an aesthetic profession of faith and by warning the reader more than once that he is using the language of symbolic expression, Rousseauist criticism has, beyond noting the presence of a few symbols in "Emile, " produced as yet no systematic inquiry into the emblematic conveyance of ideas therein. Professor Ellis's scrupulous collation of the texts of the two books and her adroit use of the Old and New Testaments and the Platonic dialogues reveal for the first time that not only is the "Social Contract" an "appendix" to Emile, as Rousseau says it is, but also that the two together constitute a Rousseauist version of Plato's "Republic" and "Symposium" transfigured by Judeo-Christian and biblical tradition. Although once again Rousseau himself invites such a comparison by calling both Christ and Socrates, or Plato, his "master," a distinction he accords to no one else, scholars have consistently ignored this invitation as they have the first. Dr. Ellis's study conclusively demonstrates that the imagery of these ancient writings, which is also Rousseau's, is the real clue to the relationship between the pedagogical novel and its political appendix. Madeleine B. Ellis is professor of French literature and humanities at Marianopolis College, Montreal, and the author of "Julie or La Nouvelle Heloise: A Synthesis of Rousseau's Thought (1749-1759); Robert Charbonneau et la creation romanesque: une etude de textes; Saint-Denys Garneau: art et realisme;" and "Rousseau's Venetian Story: An Essay upon Art and Truth in "Les Confessions."""




Justice and Difference in the Works of Rousseau


Book Description

In this 1993 book, Dr Still draws on literary theory to examine Rousseau's ideas about the individual and human relationships.




The New Heloise [Christmas Summary Classics]


Book Description

Christmas Summary Classics This series contains summary of Classic books such as Emma, Arne, Arabian Nights, Pride and prejudice, Tower of London, Wealth of Nations etc. Each book is specially crafted after reading complete book in less than 30 pages. One who wants to get joy of book reading especially in very less time can go for it. About The Book JEAN JACQUES ROUSSEAU The New Heloise Jean Jacques Rousseau, born at Geneva on June 28, 1712, tells the story of his own life in the "Confessions" (see LIVES AND LETTERS, Vol. X). All his dreams of felicity having been shattered, he took up his abode in Paris, where he made a poor living by copying music. Hither, again, he returned after a short stay in Venice, where he acted as secretary in the Embassy. He now secured work on the great Encyclopaedia, and became known, in 1749, by an essay on the arts and sciences, in which he attacked all culture as an evidence and cause of social degeneration. A successful opera followed in 1753; and to the same year belongs his "Essay on Inequality among Men" ("Discours sur l'inegalite parmi les Hommes"), in which he came forward as the apostle of the state of nature, and of anarchy. His revolutionary ideas were viewed with great displeasure by the authorities, and he fled in 1764 to Switzerland; and in 1766, under the auspices of David Hume, to England. Rousseau wrote "The New Heloise" ("La Nouvelle Heloise") in 1756-7, while residing at the Hermitage at Montmorency--an abode where, in spite of certain quarrels and emotional episodes, he passed some of the most placid days of his life. This book, the title of which was founded on the historic love of Abelard and Heloise (see Vol. IX), was published in 1760. Rousseau's primary intention was to reveal the effect of passion upon persons of simple but lofty nature, unspoiled by the artificialities of society. The work may be described as a novel because it cannot very well be described as anything else. It is overwhelmingly long and diffuse; the slender stream of narrative threads its way through a wilderness of discourses on the passions, the arts, society, rural life, religion, suicide, natural scenery, and nearly everything else that Rousseau was interested in--and his interests were legion. "The New Heloise" is thoroughly characteristic of the wandering, enthusiastic, emotional-genius of its author. Several brilliant passages in it are ranked among the classics of French literature; and of the work as a whole, it may be said, judicially and without praise or censure, that there is nothing quite like it in any literature. Rousseau died near Paris, July 2, 1778. For more eBooks visit www.kartindo.com




A Critical History of French Children's Literature


Book Description

This two-volume critical history of French children’s literature from 1600 to the present helps bring awareness of the range, quality and importance of French children’s literature to a wider audience.




Les Confessions


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The Surprising Effects of Sympathy


Book Description

Through readings of works by Marivaux, Diderot, Rousseau, and Mary Shelley, David Marshall provides a new interpretation of the eighteenth-century preoccupation with theatricality and sympathy. Sympathy is seen not as an instance of sensibility or natural benevolence but rather as an aesthetic and epistemological problem that must be understood in relation to the problem of theatricality. Placing novels in the context of eighteenth-century writing about theater, fiction, and painting, Marshall argues that an unusual variety of authors and texts were concerned with the possibility of entering into someone else's thoughts and feelings. He shows how key eighteenth-century works reflect on the problem of how to move, touch, and secure the sympathy of readers and beholders in the realm of both "art" and "life." Marshall discusses the demands placed upon novels to achieve certain effects, the ambivalence of writers and readers about those effects, and the ways in which these texts can be read as philosophical meditations on the differences and analogies between the experiences of reading a novel, watching a play, beholding a painting, and witnessing the spectacle of someone suffering. The Surprising Effects of Sympathy traces the interaction of sympathy and theater and the artistic and philosophical problems that these terms represent in dialogues about aesthetics, moral philosophy, epistemology, psychology, autobiography, the novel, and society.




On the Happiness of the Philosophic Life


Book Description

Contents -- Preface -- Preface to the American Edition -- Note on Citations -- Translator's Note and Acknowledgments -- First Book -- I. The Philosopher among Nonphilosophers -- II. Faith -- III. Nature -- IV. Beisichselbstsein -- V. Politics -- VI. Love -- VII. Self-Knowledge -- Second Book -- Rousseau and the Profession of Faith of the Savoyard Vicar -- Name Index