Madame Bovary

Resumen: Madame Bovary, publicada por entregas a lo largo de 1856, y en libro en 1857,tuvo un gran impacto en la sociedad de la época por su análisis de la institución matrimonial y de la insatisfacción femenina causada por las novelas románticas, inspirando novelas como Anna Karenina y La Regenta. Su subtítulo "Costumbres de provincia" y su retrato de los tipos sociales como Homais, el boticario pedante y liberal, Charles, el ignorante marido burlado, o Rodolphe, el seductor donjuanesco entroncan con la tradición costumbrista, como Emma con el Romanticismo. El presente trabajo pretende dilucidar los motivos y modelos de otros textos literarios que funcionan en esta novela, especialmente en su protagonista, mediante el concepto teórico de la "intertextualidad", muy importante en la lingüística y la teoría literaria del siglo XX. Abstract: Madame Bovary, published by installments throughout 1856, and in book in 1857, made a great impact in society due to its analysis of the marriage institution and female dissatisfaction caused by romantic novels, and inspired novels such as Anna Karenina and La Regenta. The subtitle "Customs of the province" and the portrait of social types such as Homais, the pedantic and liberal apothecary, Charles, the ignorant deceived husband, or Rodolphe, the seducer, connect with the tradition of "Costumbrism", as Emma does with Romanticism. The present work wants to show the motives and models a of other literary texts that work in this novel, focusing on its main character, through the theoretical concept of "intertextuality", very important in linguistics and literary theory of the twentieth century.

Ao longo da História da Literatura, a produção francesa permaneceu como farol para outras culturas/ literaturas, mesmo na Europa e isso se deve, por certo, a diversos autores de obras-primas da literatura universal. Tal importância está no fato de o romance ser uma obra que ultrapassa gerações, dada a sua inabalável atualidade. Narrativa que inaugura o Realismo, Madame Bovary também permite percepções por vieses distintos; isto é, trata-se de um romance que permite não apenas a análise literária, engrandecendo as personagens, mas comporta visões diferentes como, por exemplo, uma leitura do comportamento suicida da protagonista. Assim, lemos esta obra literária pelas lentes das Ciências da Saúde e discutimos o comportamento suicidada da personagem central, para em seguida conferimos o detalhamento do envenenamento. Nossas reflexões caminham no sentido de ressaltar a relação tão marcada entre a arte e a vida; afinal, a arte imitaria a vida? Portanto, a tônica da nossa discussão centra-se na a literatura enquanto representação do real, ou na sua possibilidade de ultrapassá-la, posto estar para além da imitação. Tais ponderações estão ancoradas na proeminente descrição do suicídio de Emma, ressaltada nas minúcias dos efeitos e reações causadas pelo arsênio no organismo humano. Esta pesquisa documental e bibliográfica está ancorada nas bases teóricas para a análise literária na perspectiva de Jouve (2012) e também na procura da veridicidade das alterações orgânicas vivenciadas pela protagonista no momento de seu envenenamento, pela ótica de Oga et al. (2014); Olson et al., (2014) e Klassen et al.(2013).

There is a paradoxical difference between the grief of the romantic heroines and that of the protagonists of previous poetic and musical narratives. The latter suffer because of being abandoned or betrayed by the beloved man. The former, on the contrary, are in a perfect sentimental situation: they love and are loved; it is an absolute and mutual love, that is expressed by the soprano and the tenor in the terms of a magical harmony and of a passion transcending the earth. Nevertheless, those premises of total happiness become corrupted, due to an obstacle, so that they transform into a catastrophic outcome (a political and family conflict or the rivalry of another loving man, there; the bourgeois respectability, there). "Lucia di Lammermoor" stands for an unsurpassable term because its tragic dynamics. The fatal knot of "Traviata", indeed, is that Violetta herself choose her sacrifice and therefore her death, in an inexplicable but effective way. Last but not least, there is also a musical paradox: often, the more the sorrow is severe and unbearable, the more the music and singing are delicious and enjoyable.
TABLE OF CONTENTS
0. THE GEOMETRY OF PAIN IN THE PAST EXAMPLES. ABANDONMENT, JEALOUSY AND MEMORY
1. THE HEROIC SURRENDER TO THE DELIRIUM OF LOVE
2. THE PAIN OF FAREWELL AND DISTANCE 
3. THE HEROISM OR THE COWARDICE OF SACRIFICING
4. THE TRANSFIGURED EROS IN THE CELESTIAL VISION

Una volta Flaubert scrisse a Louise Colet: « Come saremmo colti se conoscessimo bene soltanto cinque o sei libri ». A prima vista sembra l'auspicio di un lettore esigente. Un capolavoro letterario è un ecosistema talmente complesso che per essere digerito merita la massima perizia possibile. La verità è più sottile: Flaubert, sebbene all'epoca non avesse ancora pubblicato niente, esprimeva il desiderio che un giorno ai suoi libri venisse prestata la medesima cura maniacale che lui avrebbe profuso per concepirli e scriverli. Sognava un lettore dell'avvenire capace di godere di ogni snodo, frase, virgola e congiunzione. Con buona pace del suo famigerato disincanto, rimarrebbe piacevolmente sorpreso nel constatare con quale amore i suoi esegeti abbiano cercato di compiacerlo. I lettori di Flaubert sono quasi più pazzi di lui. E di certo Giampiero Marzi, con questo suo libro che spero vi accingiate a leggere, non fa eccezione.
[ dalla prefazione di Alessandro Piperno ]

The House of Ulloa (1886) is considered the most significant work of Emilia Pardo Bazán, who is said to have introduced Zola’s naturalism into the Spanish narrative. Although some of its characters show direct affinity with the bovarist psychological model (dreaminess, disappointment with reality, and unrealistic expectations), this particular aspect of the novel – a masterpiece of the 19th century Spanish literature – has not yet been researched, even within the Spanish-speaking literary criticism. The comparatist perspective of the present study required a closer look at some elements of the diegesis: space, customs represented by the secondary characters and the inner world of the main characters. The primary aims of the paper are to juxtapose Flaubert’s mentality models with those in The House of Ulloa, consider the specificity of the bovarist model as shown in the classic as well as to demonstrate that this peculiar take on the Emma Bovary syndrome enriches the symbolic dimension of the novel and represents the symptomatic state of mind of the Spanish at the end of the 19th century.

Keywords: The House of Ulloa; Emilia Pardo Bazán; bovarysme; 19th century Spanish narrative; aboulia

La société depuis des siècles a été dans l'ordre de la richesse et la quête de la passion, soit dans les bons moments soit dans les mauvais moments. La richesse est adaptée dans la mode de vie et l'attitude générale des Français. Jusqu'aujourd'hui, la société vit dans la cupidité et insatisfaction, que ce soit pour l'argent, la richesse ou le pouvoir. Cela se voit dans les différents niveaux de la vie; la famille, la religion, la communauté ou le gouvernement. De telle sorte que tout travail de vie on se voit choisir une opportunité pour achever leur but. Ces mauvaises manières qui entourent la richesse ont défini le caractère de beaucoup d’entre eux qui ne se soucient pas, du fait qu'elle influence négativement la société et ceux avec lesquelles elles se rapportent. C’est la raison des luttes contre la cupidité et l’immoralité dans la société. Balzac et Flaubert en tant qu'écrivains inspirés par les événements réels dans la société, ont consciemment et inconsciemment dans l'esprit du réalisme, mis en évidence la négativité qui accompagne l'acquisition de la richesse dans la société française du 19ème siècle à travers leurs œuvres, en particulier, Eugénie Grandet et Madame Bovary. Cependant, à l'aide des œuvres choisis, cette étude fait une étude sociologique des œuvres de Balzac et Flaubert pour montrer le niveau d'avidité l’amour insatiable de l’homme et les conséquences négatives qu'il présente aux individus et à la société, afin de chercher les moins possible de résoudre ces problèmes sociales.

A partir de la pena capital en Irán, Sakineh Mohammadi Ashtiani, por cuyo indulto luchamos en Amnistía Internacional, me pareció interesante revisar el adulterio femenino en el siglo XIX, a partir de Effi Brist, Emma Bovary, Anna Karenina y la amante del primo Basilio de Theodor Fontaine y la bella versión cinematográfica de Rainer Maria Fassbinder, Gustave Flaubert, León Tolstoi, Eça de Queiros y Leopoldo Alas "Clarín", sin olvidar la mujer adúltera del Evangelio; se trata de comprender los motivos subjetivos de la mujer adúltera y su reacción frente a culturas misóginas, que caen en depresiones narcisistas, tras expresar su rebeldía frente a sociedades misóginas y convencionales, que les hacen recurrir a un feminismo espontáneo.

The nineteenth-century woman reader was irremediably ill. In his writings, the French philosopher Jules de Gaultier coined the name of the amorous pathology that afflicted them using the name of its patient zero, Emma Bovary: bovarism. In this article, after a brief reflection on the relationship between women and literature, we will proceed to give textual examples of the symptoms and consequences of the aforementioned disease in different European novels of adultery from the second half of the 19th century: Madame Bovary (1857) by Gustave Flaubert, La Regenta (1884-1885) by Leopoldo Alas, Cousin Bazilio (1878) by Eça de Queirós and Cécile (1886) by Theodor Fontane. Finally, we will explore the influence of the syndrome and of Flaubert's novel on samples of contemporary popular culture.

Ripercorrendo dapprima la storia e la trasmissione del romanzo, mi sono soffermata sul magistrale lavoro di Rosita Copioli che ha curato, nel 2007, l’edizione "La prima Madame Bovary", ovvero la traduzione italiana della prima stesura dell’opera flaubertiana. Dalla comparazione dell'opera originaria di Flaubert con quella poi stampata, e che tutti conoscono, è stato possibile evidenziare i passaggi salienti in cui la penna dello scrittore francese apporta modifiche, correzioni, tagli o aggiunte. Da queste considerazioni, mi sono poi fermata ad analizzare quei cambiamenti significativi che hanno dato vita alla figura di Charles Bovary e che tutti i lettori conoscono. Da questi cambiamenti, si può notare come lo stesso Flaubert abbia inizialmente dato vita a uno Charles diverso e più ragionevole.

Bu çalışmamı yapmak istememin sebebi Tanzimat Fermanı’ndan sonra Osmanlı toplumunda başlayan batılılaşma dalgasının ne boyutta olduğunu farklı bir pencereden incelemektir. Bu pencere Batı’dan aldığımız edebi akımlar çerçevesinde yazılan ve Osmanlı'nın batılılaşmaya başlamasıyla beraber toplumun nasıl yozlaştığını ve ahlaki anlamda nasıl bozulduğunun gösterilmeye çalışıldığı bir penceredir...

Après la deuxième guerre mondiale, les deux concepts de ‘’l’Autrui’’ et
de ‘’La Mort’’ ont été devenus les questions essentielles dans le domaine
philosophique. Dans cette recherche, on traitera ces deux concepts à
partir des pensées d’Emmanuel Lévinas, philosophe français d'origine
lituanienne, et celles de Maurice Blanchot, penseur français, pour voir
comment ces deux concepts sont exprimés dans le monde fictif de
Madame Bovary de Gustave Flaubert. Dans cette thèse, nous analysons
et comparons le concept de l’ « autrui » dans les relations interhumaines
du point de vu de Lévinas et Blanchot dans le roman Madame Bovary .
Nous introduisons Emmanuel Lévinas, sa vie personnelle et
professionnelle. Les notions essentielles de Lévinas comme l’autrui,
l’éthique, l’humain, la fécondité et le féminin sera étudiées dans
Madame Bovary. Nous vérifions le point de vue de Maurice Blanchot sur
la position de l’autrui et de la responsabilité dans Madame Bovary. Puis
7
nous ouvrons une partie sur la relation entre l’auteur et le personnage en
tant que deux existants séparés. Dans cette recherche, consacrée à une
étude analytique et comparative de la mort dans Madame Bovary, nous
mettons à l’étude le point de vue de Lévinas et celui de Blanchot. Nous
voulons montrer comment, selon Lévinas, la mort n’est pas de tout
l’anéantissement, mais un passage d’une vie envers une autre vie.
Blanchot considère la mort, ou plus précisément le suicide, comme un
acte de négation par laquelle un être dit non à sa situation existentialiste

Le but de cet article est de décrire le lien entre Madame Bovary, le chef d’oeuvre flaubertien, et Gemma Bovery, le roman graphique de la dessinatrice anglaise Posy Simmonds. Nous analyserons d’abord les éléments biographiques et psychologiques partagés par les deux héroïnes et, ensuite, nous allons approfondir les caractéristiques stylistiques et les thèmes que les deux oeuvres ont en commun, y compris le phénomène du bovarysme. Pour conclure, nous utiliserons ces éléments en vue d’offrir une définition sémiologique du rapport qui lie Gemma Bovery à Madame Bovary.

This chapter presents Gustave Flaubert’s Madame Bovary and Samuel Beckett’s Trilogy as modern fictions with ancient-skeptical ambitions.  Whether in the affective domain (Flaubert) or in the cognitive (Beckett), the aim is to help the reader achieve a position of studied neutrality—ataraxia, époché—thanks not to an a priori decision but to the mutual cancellation of opposing tendencies.  Understanding Flaubert and Beckett in this way allows us, first, to enrich our sense of what “catharsis” may involve; second, to see why the apparently odious Charles, in Madame Bovary, suddenly becomes a deeply touching figure; and third, to recognize the severe limitations of empathy-based moralist theories of fiction.

Seemingly, suicide is a conscious act of killing oneself but Émile Durkheim, in his Suicide: A study in sociology (1897), presents a groundbreaking sociological study of suicide asserting that social causes can be responsible for suicide as well. The book proposes a typology of suicide based on low and high social integration (Egoistic and Altruistic suicide), and low and high social oppression (Anomic and Fatalistic suicide). However, this writing revolves around the character of Emma Bovary to depict the contextual elements which have played significant role in shaping the character of Emma in Gustave Flaubert's Madame Bovary (1856) and, ultimately, led her to drink arsenic.

Drawing from recent studies on authorial attachment by Dawson (2013) and Korthals Altes (2014), the article revises the notions of narrative authority and gnomic statements. I claim that authorial concerns, instead of manifesting themselves in imposing intrusions, may take the form of agential indecision, reflecting the ultimate imbalance between lived experience and its artistic framing. As a narrative emblem of this relativist stance toward knowledge and authority, I deal with focalizers who assume authorial postures in their present-tense internal discourse and by doing so juxtapose existentialist immediacy of experience with artistic maneuvering. The ultimate locus for authorial ethos without authoritativeness is found in the gnomic statement that is framed by free indirect discourse and ambivalent pronominal reference. My main test case is Michael Cunningham's novel By Nightfall (2010), but I also discuss its intertextual networking with Madame Bovary, Death in Venice, and Disgrace. In its keen attention to gnomic statements, Cohn's canonical analysis of Death in Venice serves as a methodological inspiration. I suggest that By Nightfall offers an unconven-tional reading of Mann's novella by drawing an analogy between the protagonists of these two novels: the self-deprecation and aesthetic perfectionism of Cunningham's protagonist preoccupies the very narrative discourse that nevertheless refers to him in the third-person, suggesting that also Aschenbach may have more narrative control over his downfall than Cohn is ready to allow him. My cross-fertilizing analyses, moving between canonized readings and contemporary examples, demonstrate a relativist stance toward gnomic truths, a stance finding its expression in the narrative double exposure of the figural and the authorial.

In this study, a comparative analysis of Honoré de BALZAC, Gustave FLAUBERT ve Émile ZOLA was created in terms of the literary style, the use of language, the symbols in the works, the literary movements they maintained and the subjects they dealt with, who had experienced almost the same economic, political and social events in recent years, but saw these events from different aspects and had their own unique style. The purpose of this work is to introduce the literary movements in which the authors gave works, to examine the works one by one, to give general information in terms of the contents of these works and to explain their contributions to literature. Although Une Passion Dans Le Désert (1830), Madame Bovary (1856) and La Mort d'Olivier Bécaille (1884) looked very different from each other at first sight, it was noticed that they met at almost some point during the examinations. It is shown with excerpts that authors inspired by each other in terms of style, subject, literary movement, method and theme. In the light of the interviews and the acquired data, it was revealed that the eminent serial La Comedie Humaine by Honore de Balzac, impressed by the triple cantos called Divina Commedia created by Dante Alighieri was advocated by Emile Zola, who accordingly authored Les Rougon-Macquart serial dealing with the native and societal history of a family living under the hegemony of the Second Empire and therefore they coincide at some points with each other, Honore de Balzac and Gustave Flaubert, the forerunners of Realism, were akin to one another in style, if not all aspects, what contributions Emily Zola made to the Naturalistic movement claimed to be led by Gustave Flaubert and why her name became synonymous with this movement.

Este artículo documenta la historia de las primeras traducciones al español de Madame Bovary en España y Latinoamérica a lo largo de más de medio siglo: desde 1875, cuando se publica la primera versión en castellano, hasta la guerra civil española, punto de inflexión en el mundo editorial hispánico marcado por el declive de la industria editora española y el auge del sector en Latinoamérica. Nuestro propósito principal es el análisis del caudal de traducciones publicado a ambos lados del Atlántico en dicho periodo con el objetivo de documentar las prácticas de traducción y de edición utilizadas y establecer las bases para un futuro catálogo de las traducciones al español de esta obra.

This article documents the history of the first Spanish translations of Madame Bovary in Spain and Latin America over more than half a century: from 1875, when the first version was published in Spanish, until the Spanish Civil War, turning point in the Hispanic publishing world marked by the decline of the Spanish publishing industry and the boom of the sector in Latin America. Our main purpose is the analysis of the translations published on both sides of the Atlantic in that period with the aim of documenting the translation and editing practices used and establishing the foundation for a future catalog of the Spanish translations of this work.

English:
Perfumed Letters, Fatal Correspondence
This article focuses on the fragrant presence of two fictional letters, considered in the context of 19th-century social practices related to perfume and perfuming. Epistolary episodes simultaneously dramatize the complexity of interpreting socially readable odors, and relate fragrance to physical and psychological imbalance. Like extra-literary writing of the era, these novels reveal an insidious confusion of miasma and cosmetic fragrance that at once reflects and fosters contradictory attitudes about women who use perfume.

French:
Cet article se concentre sur la présence aromatique de deux lettres fictives que nous lisons dans le cadre des pratiques sociales du xixe siècle relatives au parfum. Ces épisodes épistolaires mettent en scène la complexité de l’interprétation des odeurs socialement déchiffrables, en reliant la fragrance au déséquilibre physique et psychologique. Comme les écrits extra-littéraires de l’époque, ces romans expriment une confusion sournoise entre les miasmes et les fragrances cosmétiques, qui reflète et alimente des attitudes contradictoires à l’égard de la femme qui se parfume.

Manche Krankheitsbilder haben sprechende Namen: das Hiob-Syndrom bezieht sich auf die alttestamentarische Gestalt und bezeichnet eine Hauterkrankung; das Undine-Syndrom verweist auf das mythologische Wasserwesen und beschreibt eine Störung der Atemregulation; das Felix-Krull-Syndrom rekurriert auf Thomas Manns fabulierenden Hochstapler und verdeutlicht den pathologischen Lügner; und das Truman-Syndrom verknüpft die Filmfigur Truman Burbank mit einer paranoischen Störung. Die Bezeichnung solcher und anderer Syndrome leitet sich nicht wie üblich aus der Ätiologie oder der Pathogenese ab. Die literarischen und filmischen Narrative entwickeln eine derart starke Dynamik, dass sie Elemente eines medizinischen Wissens werden.

Jeder Beitrag des Bandes stellt ein Syndrom in den Mittelpunkt, um das Nachleben eines historischen, literarischen und medialen Wissens in der medizinischen Nomenklatur zu untersuchen. Dabei wird deutlich, inwiefern Literatur und Film einen Zugang zu Akteuren, Leiden und Erleben einer Krankheit ermöglichen. Offensichtlich wird aber auch, inwiefern die Geschichte der ‚literarischen‘ und ‚filmischen‘ Syndrome eine Geschichte der Überinterpretation, Irrwege und Missverständnisse ist.

Las traducciones de Madame Bovary al castellano se han multiplicado de una manera sorprendente en los primeros años del siglo XXI. Sus frecuentes retraducciones hablan de un interés ininterrumpido por este clásico y lo convierten en un interesante caso de estudio. Se puede afirmar, sin duda alguna, que esta novela de Flaubert ha roto los cánones establecidos en lo que respecta a la periodicidad y frecuencia de sus retraducciones. La asombrosa eclosión de traducciones de Madame Bovary en el mundo editorial hispánico, prácticamente coincidente en el tiempo, hace necesario un análisis de este fenómeno, para el que nos hemos centrado en las últimas versiones en España y Argentina, los dos mercados editoriales más dinámicos.

Servet-i Fünûn romanında Bovarizm’in etkilerini açıkça görebilmek mümkündür. Ancak, bu Bovarist etki tümüyle Gustave Flaubert’in ünlü eseri Madame Bovary ile her açıdan yüzde yüz örtüşmez. Bu bazen, büyük bir paralellik şeklinde karşımıza çıkarken bazen de temellük edilmiş bir etkinin tezahürü gibidir. Bu noktalarda, kimin Bovarizminin kime üstünlük sağladığı da belli olmaz.

Analiza relacji transtekstualnych (Genette), a w szczególności roli motta „Pani Bovary to ja” w Postrzyżynach Bohumila Hrabala, wskazuje na obecność motywów charakterystycznych dla melancholii. Cytat z Flauberta całkowicie zmienia interpretacyjną optykę i pozwala patrzeć na główną bohaterkę powieści Hrabala również jako alter ego Emmy.
W tym osobowościowym rozchwianiu przejawia się bowaryzm, czyli „zdolność postrzegania siebie innym, niż się jest” (de Gaultier), w którym zawiera się narracyjna strategia czeskiego pisarza.

Paul Bourget (1852−1935) ha sido el maestro secreto de un amplio conjunto de intelectuales – Nietzsche, Thomas y Heinrich Mann, Hofmannsthal, Gide, Henry James, D’Annunzio, etc. – atentos a las ambigüedades y tensiones de la modernidad (ante todo la decadencia y el avance del nihilismo), que encontraron en estos ensayos un diagnóstico lúcido y penetrante de la enfermedad del alma europea, efectuado a partir de los signos visibles en el gran cuerpo de la literatura francesa del siglo XIX.
Las obras de Baudelaire, Renan, Taine, Flaubert y Stendhal se presentan aquí como diversos y elocuentes sistemas de síntomas, atentamente examinados e interpretados con miras a detectar las múltiples tendencias de una cultura que a fines del s. XIX parecía amenazada de disolución y muerte.
La edición (la única en nuestra lengua) se completa con las variantes de la segunda edición a pie de página, un indispensable estudio introductorio de Giuliano Campioni,  un aparato de notas al texto y un apartado biobibliográfico sobre Paul Bourget a cargo de Francesca Manno.-