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Explosive Narratives: Terrorism and Anarchy in the Works of Émile Zola by Eduardo A. Febles (review)

Explosive Narratives: Terrorism and Anarchy in the Works of Émile Zola by Eduardo A. Febles (review) French Forum Spring/Fall 2014 Vol. 39, Nos. 2­3 ops and posits her argument: if French literature was (and continues to be) taxonomized in oppositional terms like romanticism/realism and symbolism/naturalism, impressionism in literature is that category that is beyond oppositions and defies categorisation. It is marginal, fragmented, and elusive. While this final statement is demonstrated convincingly, I do hesitate about some of Pouzet-Duzer's premises; for even as she asserts the slipperiness of the term impressionism in the literary context, she seems to retain other "­isms" as stable aesthetic constructs, minimizing the nuance and contradictions that are built into them as well. Such hesitations notwithstanding, L'Impressionisme littéraire is a finely argued book. Pouzet-Duzer's erudition is impressive and wide-ranging but does not weigh down this very readable and beautifully illustrated book, which I fully expect to become a standard for students and scholars interested in the rich exchanges between authors and painters, texts and images in late nineteenth-century France. Sima Godfrey, University of British Columbia Eduardo A. Febles. Explosive Narratives: Terrorism and Anarchy in the Works of Émile Zola. Amsterdam and New York: Rodopi, coll. "Faux titre", 2010. 198 pp. Terrorism is a byword these days. It is helpful, then, to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png French Forum University of Nebraska Press

Explosive Narratives: Terrorism and Anarchy in the Works of Émile Zola by Eduardo A. Febles (review)

French Forum , Volume 39 (2) – Jan 9, 2014

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 French Forum, Inc.
ISSN
1534-1836
Publisher site
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Abstract

French Forum Spring/Fall 2014 Vol. 39, Nos. 2­3 ops and posits her argument: if French literature was (and continues to be) taxonomized in oppositional terms like romanticism/realism and symbolism/naturalism, impressionism in literature is that category that is beyond oppositions and defies categorisation. It is marginal, fragmented, and elusive. While this final statement is demonstrated convincingly, I do hesitate about some of Pouzet-Duzer's premises; for even as she asserts the slipperiness of the term impressionism in the literary context, she seems to retain other "­isms" as stable aesthetic constructs, minimizing the nuance and contradictions that are built into them as well. Such hesitations notwithstanding, L'Impressionisme littéraire is a finely argued book. Pouzet-Duzer's erudition is impressive and wide-ranging but does not weigh down this very readable and beautifully illustrated book, which I fully expect to become a standard for students and scholars interested in the rich exchanges between authors and painters, texts and images in late nineteenth-century France. Sima Godfrey, University of British Columbia Eduardo A. Febles. Explosive Narratives: Terrorism and Anarchy in the Works of Émile Zola. Amsterdam and New York: Rodopi, coll. "Faux titre", 2010. 198 pp. Terrorism is a byword these days. It is helpful, then, to

Journal

French ForumUniversity of Nebraska Press

Published: Jan 9, 2014

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