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• W2040312084 abstract "Balzac's La Rabouilleuse (1842) has elicited no champions, a paucity of fans, and little scholarly interest. Notwithstanding Balzac's letter to Mme Hanska proclaiming its surprising success, critics, with notable exceptions of Dorothy Magette and Lucienne Frappier-Mazur, have found work difficult to appreciate. Even sympathetic Fredric Jameson seems regretfully to have no choice but to recognize the book's ... structural dissymmetry and Andre Le Breton called it une oeuvre profoundement repugnante though few others would follow him to such an extreme.' Certainly, it cannot be said to resemble those highly regarded works that pick up and exploit once again structure he employed to unify Comedie humaine itself, where an extremely sophisticated understanding of clarifies much of confusion. What has been called an or spatial or descriptive structure subordinates all constitutive parts, including plots, to work's overall vision. Such patterns or images are particularly significant in explaining how Balzac left his more popular brethren behind, for they made it possible for him to focus on his view of whole of society. Rather than having importance in and for themselves, his characters and descriptions serve as vehicles of significant meaning. When successful, novelist was able to subsume plots of creations like Gobseck, or Eugenie Grandet, or Le Pere Goriot to a pattern that encourages a momentary comprehension of whole (2) and a deeper understanding of shape that modern world was taking. Balzac was, of course, not limited to image structure. The novelist was a master of many devices and structures, and his work is no more tied to a particular technique than to a particular subject. La Rabouilleuse illustrates a separate category from many of novelist's creations, for it depends upon different though nonetheless effective techniques that reward close reading. La Rabouilleuse should attract knowledgeable readers, in that it both continues Balzac's description of July Monarchy and reveals novelist's mastery of sequential or process structure. On first reading, it would seem to justify denigration that Robbe-Grillet, Nathalie Sarraute, and other Nouveaux Romanciers regularly heaped on nineteenth-century novelist. (3) Bardeche more generously says that it is un roman dont la structure est assez singuliere, mais surtout dont l'equilibre est d'une puissante et extraordinaire na'ivete (6: 93). Still, while such masterpieces as La Cousine Bette might justifiably be preferred to La Rabouilleuse, latter is a work from Balzac's maturity and well worth attention. In addition, I would differ with Bardeche and suggest that novel's structure is anything but naive. La Rabouilleuse deploys a highly complex that leads readers efficiently from first to last page. The terra plot armature is intended to help separate narration into its component parts and emphasize abstract plot, free of characters and episodes. Aristotle defined narration as a work's sequence of episodes or when animated by a character. I am interested in sequence or vector, including both direction and quantity, rather than in episodes and characters. The plots of novels could be compared to cables that include any number of strands, most of which do not continue from beginning to end. Names, symbols, myths, biblical elements, descriptions, characters, various themes feed into and around central vector growing in importance as novel's significance is constructed and illuminated within encompassing web. In most narrations, a character or group of characters make up core of cable, thus combining and character and providing an example of Aristotlian narration. For La Rabouilleuse, however, is not a character, but rather novel takes a number of characters, images, and themes like genius and patriarchy and weaves them into a developing, encompassing sheath as it moves from beginning to end and closure. …" @default.
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• W2040312084 date "2005-01-01" @default.
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• W2040312084 title "Process Structure in Balzac's La Rabouilleuse" @default.
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• W2040312084 doi "https://doi.org/10.1353/ncf.2005.0068" @default.
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