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Portrait - Portraiture
The novel and its characters: visions of man and the world
X Argumentation direct / indirect - Praise and / or blame (degrees)
X Movements Cultural nineteenth century
The fictional character: hero or character?
X Theatre - Poetry
Fact or Fiction? (p.539) - mirror or "beautiful lie" ?
I - READ - The Bildungsroman (or learning): Goriot, Balzac
II - WRITING - the novel collective générérationel and making of
"The mission of art is not to copy nature, but the express! "You're not a lowly scribe, but a poet!"
Balzac The Chef d 'oeuvre unknown (1831)
ART PORTRAIT: Portrait physical moral portrait (description and / or argument), the portrait in action (scene or dialogue)
THE ART OF DESCRIPTION: it is generally from top to bottom ( describe also means list) . The Arts poetic stress dynamics of vertical motion and completeness .
Portrait - Portraiture
The novel and its characters: visions of man and the world
X's argument directly / indirect - Praise and / or blame (degrees) X Cultural Movements
The fictional character: hero or character?
X Theatre - Poetry
A survey of the subject's place in the history of representations
Fact or Fiction? (P.539) - mirror or lie?
I - READ - The Bildungsroman (or learning): Goriot, Balzac
II - WRITING - The novel collective générérationel and making of
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"The mission of art is not to copy nature but to express it!" You don 're not a vile copyist, but a poet! "
The Chef d' oeuvre unknown, Balzac (1831)
OF ART PORTRAIT: Being paper, the fictional character, if he can sometimes make his dream player, move him or seduce him so that he may appear as a model and lead to the identification process (as in Emma Bovary, the heroine of Flaubert big reader of novels), yet remains a romantic construction. Hero or character, it can also foster learning (essay topics 6 and 11).
characterization of the character begins with his name or surname . Other features of the character are primarily physical, psychological or moral . All are designed to lend an autonomous existence and to give life and consistency in the reader's imagination. The character is also characterized by historically or socially a condition and / or beliefs : in Le Pere Goriot de Balzac Rastignac is "son of a noble family" , Julien Sorel in The Red and the Black Stendhal is "son of a lumberjack" and admirer of Napoleon. Finally, a character is characterized by its "voice" , that is to say style of his language , regardless of how his words are reported (direct speech, indirect or indirect free as often Flaubert and Zola).
The portrait is the first type of descriptive text . It can be physical, moral and / or write the character in a scene (portrait in words and action). The medieval portrait is subject to specific rules enacted by the poetic arts who insist on completeness, dynamics of vertical motion and color. The description is from top to bottom , it is generally static ( "describe" also means list) : are examined in order the hair, forehead, eyebrows and the interval between them, eyes, cheeks and skin, nose, mouth and teeth, chin and the body: neck, neck and shoulders to the legs and feet. The colors of the portrait are codified : the red for cheeks and lips, the white porcelain complexion, the gold (blond) to the hair. The medieval portrait must first be bright. description inaugural has often value Program: the first appearance of the eponymous character, the narrrateur portrays the ideal knight of courtly romance that announces the romance and chivalry. OF Erec and Enid Chretien de Troyes The Princess of Cleves Madame de La Fayette, the hero and heroine are of superlative beauty (see the portrait of the Prince of Nemours). Enid, the heroine of aristocratic birth, differs from the peasants (the "villains" ) by its dazzling beauty, despite her ragged and wretched home where she lives, Erec, the knight, has no trouble recognizing it as "his lady" .
Physiognomy: praise and / or blame
Already in the medieval portrait, the portrait is considered the physical reflection of interiority: an ugly man is necessarily a bad thing, a beautiful woman necessarily wise and virtuous. In the epic poem in which the characters are types (the knight, the king, the traitor, the woman to conquer, etc..), This logic of the portrait ideal, but in literary genres, the characters grew and become more complex: they are neither entirely good nor entirely bad. The novel is individual initiation: it is the story of an individual, and no history of a nation . The physical characteristics of the character, coded portrait of the soul, is no longer aligned with the hero. Changes "cladding" mark most often a social change to reflect a change in his initiation: the costume and the food signal the social status of characters, situations symbolize the plot, highlight the significant moments of drama.
READ: comparative reading of two portraits of the same person.
Compare the two portraits of Father Goriot early novels of Balzac and analyze how changing social status of the eponymous hero is shown by the deterioration of his physical appearance and lifestyle (the description of body postures of the character of his costume, his eating habits and due its housing: the symbolic passage from 2nd to 3rd floor of the pension Vauquer), reactions of those around him.
WRITE: composition of two contrasting portraits of the same person.
On your turn, compose a double portrait diptych "in the manner of Balzac." You might find the subject invention FAE 2008: describe a character that the narrator has experienced much younger and contrast this description of the image he had kept to that which occurs in his eyes when he tells the meeting. The observed changes will not necessarily signs of degradation: the character described may have evolved positively.
=> comparing portraits of Gervaise and her laundry in the Assommoir Zola
In the realistic novel of the nineteenth century, the portrait of the characters' s entered through a description of life that often precedes their appearance (description Verrières in The Red and the Black Stendhal , the pension Vauquer in Goriot of Balzac or the Passage du Pont-Neuf in Zola Therese Raquin). The "captatio benevolontiae" the incipit appears more varied: the description of spatial-temporal framework, a scene (the arrival of the new and the ruckus of the schoolroom in Madame Bovary by Flaubert ), a portrait in action ( Bel Ami de Maupassant). The hero is often described as static (see the first picture of Rastignac): Zola depicts the arrival of Etienne Lantier Montsou mine in Germinal or that of Denise and her brothers in Au Bonheur des ladies.
Classical rhetoric distinguished the description which is to face, body, face, or only the physical qualities outside, maintaining the movement of an animate being, real or fictional (the prosographie ), the description is to the morals, character, vices, virtues, talents, defects, finally, the good or bad moral qualities of a real or fictional. She contrasted the character portrait from the number of individuals carrying traits: if the object was a description of the individual , it was about portrait if it tended to generalization of character.
From the eighteenth century theater "character" becomes theater "status" (Diderot, The Paradox comedian ).
In the nineteenth century realist novel distinguish "type" to "individual".
Essay Topic No. 16. "A realist novel is a novel that brings to vivid life in a meticulously detailed - they are inseparable from the rest - characters who are both types and individuals. "
You're reviewing this ruling you pressing specific examples taken from the realistic novels that you have studied and on the texts of the corpus.
cf. Praise and / or blame (allegory, caricature, satire: sublimation idealization or degradation)
=> Gallery portraits of "The Human Comedy" .
The character is not only inseparable from the place where he lives, but it can not be achieved without a dynamic that does engage with other actors (within the story, fictional character is defined by what he does, the same way as a character in a play is in the dramatic action). Active force or passive element, driven by his desires and ambitions, capable of shares or mired in inertia, it is necessarily in a scheme actantial of narration: in The Assommoir Zola, the subject performs the action is Gervaise the object of his quest : happiness in his life and family, the recipient : she and her children, adjuvant : Coupeau (before his accident), opponents : Lantier, still.
The Bildungsroman (or learning) : a journey of initiation.
In the medieval romance, the reader as the hero passes very quickly the known to the unknown, which destabilizes and raises questions ((subjects No. 15, 17, 18, 21, 23). He left the castle, place of familiarity, to enter the forest that represents the universe of "wonder" .
In the novel Balzac Rastignac leaves also protect the family castle. He turns to the narrative rebounded. But the orientation of his quest in the formation of Balzac's novel is the opposite of courtly quest: ultimately, it is not to defend and protect "his lady" , deserve her love, it uses the resources of his intelligence and sensitivity, but to enter the "social jungle" of "The Comedy human " and conquer the capital (money and power):
" Rastignac, left alone, took a few steps up the cemetery and saw Paris tortuously lying along both banks of the Seine, where the lights began to shine. His eyes almost eagerly attached themselves between the column of the Place Vendome and the dome of the Invalides, where living this beautiful world he had wanted to enter. He launched this buzzing hive a look that seemed to advance in the honey pump, and said these words grandiose - the two of us now! "
The omniscient point of view:
in medieval romance, irony mark often amused distance the narrator towards his characters, where flashes of humor that punctuate the text. The narrator sometimes turns sharply to the front of the stage. His speech can be preachy.
In Balzac's novel, the narrator, widespread presence, (god or demiurge?) Is everywhere and nowhere (focusing between external / internal focus and zero). Initially, the look seems objective (views separate internal and external), then the narrator merges with author in an overview of space and time for action novels, far exceeding those that 'have different characters. Balzac, novelist "omniscient" and directs readers imposes "vision" .
"Balzac is a visionary, but a passionate visionary" , Baudelaire
ARS: means both knowledge and expertise
PORTRAIRE : Draw (1175: portret, pourtrait)
PAINTING: (1080) - Lat pingere - 1. cover, stained with paint => perform, reproduce the painting (the speech)
The SELF PORTRAIT: "The fool has had Montaigne project to paint" , Thoughts, Pascal (seventeenth century)
"The project has been charming Montaigne to paint naively as he did because he painted human nature," Voltaire , Philosophical Letters, 1734
"When I speak of me, I'm talking about you" Victor Hugo
THE PICTURESQUE : who is worthy of being painted (1708 - it. Pittoresco, of pittore: paint)
physiognomy: determination of a person based on traits and conformation of his face, his physical appearance. Physiognomy (ancient Greek physiko , body, and gnomos , knowledge) had its boom in the nineteenth century and today it has no more scientific authority.
Bibliography : portrait, self-portrait and the self-portrait in literature
Regrets , Du Bellay; Essays, Montaigne;
Characters La Bruyere ; Maxims, The Rochefoucaultd; Fables, La Fontaine The Princess of Cleves Madame de La Fayette ; Molière's comedies (the scene of portraits in The Misanthrope , II, 4 ); the tragedies of Racine
Confessions, Rousseau;
Rene Memoires d'outre-tombe , Chateaubriand
"Functions of the poet" Victor Hugo "The Albatross" , "The Artist's Confiteor" , Baudelaire (the poet's self-portraits)
A La Recherche du temps perdu Proust
Childhood , Nathalie Sarraute; Words, Sartre, L'Age d'homme , Michel Leiris; If a man Primo Levi; Pain , Marguerite Duras; Promise of dawn, Romain Gary ...
Literature and Painting: stories that depict characters from painters
(be / sound - nature / art - "mirror" / "beautiful lie" - true / false)
The Unknown Masterpiece ; House Cat and Racket : new Balzac
L'Oeuvre, Zola (Claude Lantier, Gervaise's daughter, brother of Stephen in Germinal )
Portrait , News Petersburg, Nicolas Gogol
The Picture of Dorian Gray , Oscar Wilde
Narcissus and Goldmund , Rosshalde Hermann Hesse
How Wang was saved O, Marguerite Yourcenar ( New Oriental )
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However, if you are someone who would never, under any circumstances declare your love to your beloved, if the fear of shyness, or respect, it is best to let him make the decision. 
Atonement 
