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Kathryn Mills argues that despite the enduring celebrity of Baudelaire and Flaubert, their significance to modern art has been misunderstood. Millsplaces Le Spleen de Paris and Trois contes, their authors' relatively less well-known but last published works, in relationship with the times and artistic goals of Baudelaire and Flaubert, showing that these seminal authors literally sought to "come to terms with" the changes transforming the nineteenth-century into the modern age by forging a new form for literature.
List of contents
Table of Contents:
Abbreviations
Introduction: Formal Revolution in the Work of Baudelaire and Flaubert
Chapter One: "Le Voyage": the End of Les Fleurs du mal and of Poetry in Verse
Chapter Two: Historical Contexts: the Sketch-Artist, the Philosopher, and Painting Modern Life
I. Constantin Guys, Le Peintre de la vie moderne, and Prose Poetry
II. Joseph de Maistre, Le Peintre de la vie moderne, and Prose Poetry
Chapter Three: The Midas Touch of Verse: Les Fleurs du mal and Modern Life
Chapter Four: Le Peintre de la vie moderne and Le Spleen de Paris: the Albatross Takes Flight
Chapter Five: "Deux bonshommes distincts": Flaubert's Novels and Esthetics in the 1860s
I. The Esthetic: "Deux bonshommes distincts"
II. The Problem: the Real "Bonhomme" vs. the Ideal "Bonhomme"
III. An Underlying Cause: Modernity as a Problem of Expression
IV. "Deux bonshommes distincts": More on Flaubert and His Times
Chapter Six: Towards a Modern Form: La Tentation de saint Antoine, Trois contes and Bouvard et Pécuchet
Conclusion: "Crépuscule"
Appendix: "The Voyage"
Bibliography
About the Author
About the author
By Kathryn Oliver Mills
