Isidora: journal d'un solitaire à Paris

Belser wissenschaftlicher Dienst
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Publisher
Belser wissenschaftlicher Dienst
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Published on
Dec 31, 1845
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Pages
229
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Language
French
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Cet ouvrage contient plus de 80 oeuvres de Georges Sand.

Présence d'une bibliographie complète : Les oeuvres sont classées par ordre chronologique et thématique. Ainsi,en parcourant la liste des volumes, le lecteur parcourt également la bibliograhie de l'auteur. Les titres en gras et soulignés offrent un lien renvoyant vers le texte correspondant; les autres titres ne sont pas présents dans l'ouvrage, mais pourrront être ajoutés lors de mises à jours ultérieures.
Ce volume présente en outre pus de 450 illustrations originales, ainsi que 4 ouvrages annexes biographiques sur George Sand.

Version 3. 10/09/2015 (ajout de Flamarande, les deux frères, la ville noire, la coupe, nuit d’hiver, la fille d’Albano, le prima donna, Jehan Cauvin.)

Contenu du volume :
LISTE DES OEUVRES

ROMANS ET CONTES
PREMIERS TEXTES (1828-31)
INDIANA (1832)
VALENTINE  (1832)
LÉLIA (Version de 1833)
Contemplation : Fragment inédit de Lélia
LÉLIA (1839)
JACQUES (1834)
LE SECRÉTAIRE INTIME (1834)
LAVINIA. (1834)
METELLA. (1834)
LA MARQUISE (1834)
ANDRÉ (1835)
LEONE LEONI (1835)
SIMON (1836)
MATTEA. (1837)
MAUPRAT (1837)
ALDO LE RIMEUR (1837)
LA DERNIÈRE ALDINI (1838)
LES MAÎTRES MOSAÏSTES (1838)
L'USCOQUE. (1838)
SPIRIDION (1838)
PAULINE (1840)
GABRIEL (1840)
COMPAGNONS DU TOUR DE FRANCE (1841)
HORACE (1842)
L'ORCO (1842)
Le poëme de Myrza (1843)
JEAN ZISKA (1843)
CONSUELO (1843)
LA COMTESSE DE RUDOLSTADT (1844)
JEANNE (1844)
LE MEUNIER D'ANGIBAULT (1845)
KOURROGLOU (1845)
LA  MARE AU DIABLE (1846)
ISIDORA  (1846)
TEVERINO (1846)
CORA. (1846)
LE PÉCHÉ DE M. ANTOINE (1847)
LUCREZIA FLORIANI (1847)
LE PICCININO (1847)
FRANCOIS LE CHAMPI (1848)
LA  PETITE FADETTE (1849)
LE CHÂTEAU DES DÉSERTES (1851)
HISTOIRE DU VÉRITABLE GRIBOUILLE (1851)
MONSIEUR ROUSSET (1852)
MELCHIOR (1853)
LES MAÎTRES SONNEURS (1853)
LA VALLÉE NOIRE (1854)
LA DANIELLA (1857)
LES BEAUX MESSIEURS DE BOIS-DORÉ (1858)
LÉGENDES RUSTIQUES (1858)
ELLE ET LUI (1859)
L’HOMME DE NEIGE (RDDM) (1859)

NARCISSE (1859)
JEAN DE LA ROCHE (1860)
LE MARQUIS DE VILLEMER (1860)
LA VILLE NOIRE  (1860)
VALVÈDRE (1861)
TAMARIS (1862)
LES DAMES VERTES (1863)
MADEMOISELLE LA QUINTINIE (1863)
LAURA. — VOYAGE DANS LE CRISTAL (1865)
Flavie (1866)
Le Dernier Amour (1867)
CÉSARINE DIETRICH (1871)
FRANCIA (1872)
UN BIENFAIT N'EST JAMAIS PERDU (1872)
NANON (1872)
FLAMARANDE (1875)
LES DEUX FRÈRES (1875)
CONTES D'UNE GRAND'MÈRE II (1876)
LA COUPE
Marianne
THÉÂTRE
LE PAVÉ (1862)
Théâtre de Nohant - Plutus (1864)
CADIO (1868)
ESSAIS/DIVERS
La reine Mab (1832)
Quelques réflexions sur Jean-Jacque Rousseau (1841)
Les visions de la nuit dans les campagnes (1843)
Le diable à Paris (1846)
(Article sur les Amschaspands et Darvands, tiré de la Revue indépendante.)
Obermann/Préface
Hamlet.
Garibaldi (1860)
AUTOUR DE LA TABLE (1862)
AUTOBIOGRAPHIE
LETTRES D’UN VOYAGEUR (1837)
UN HIVER A MAJORQUE (1842)
HISTOIRE DE MA VIE. (1855)
PROMENADES AUTOUR D'UN VILLAGE (1866)
JOURNAL D'UN VOYAGEUR PENDANT LA GUERRE (1871)
NOUVELLES LETTRES D'UN VOYAGEUR (1877)
CORRESPONDANCE
GEORGE SAND CORRESPONDANCE I
GEORGE SAND CORRESPONDANCE II
GEORGE SAND CORRESPONDANCE III
GEORGE SAND CORRESPONDANCE IV
GEORGE SAND CORRESPONDANCE V
VOIR AUSSI
GEORGE SAND   PAR E. CARO (1887)
ALFRED DE MUSSET ET GEORGE SAND  (1896)
UNE HISTOIRE D’AMOUR  (1897)
GEORGE SAND ET SES AMIS  (1903)


An abbot’s ghost searches for an intelligent monk to exhume his manuscript from a hellish crypt and learn the truth that monks lack two things: freedom of inquiry and benevolence.

Both Gothic and philosophical, Spiridion tells the story of a young novice, Angel, who finds himself cruelly ostracized by his monastic superiors and terrified by the ghostly visits of his monastery’s founder, the abbot Spiridion. Though he founded the monastery on the search for truth, Spiridion watched his once intelligent and virtuous monks degenerate into a cruel, mindless community. Turning away from the Church and withdrawing into his cell, he poured his energy into a manuscript that tells the “truth” about Roman Catholic doctrine and monastic life and provides a vision of a new and eternal gospel. The manuscript was buried with him, and his spirit now searches for a monk who is intelligent enough to exhume it from his crypt, which is guarded by hellish spirits, and share its vision with the world.

Translated into English for the first time in more than 160 years, Spiridion offers a fierce critique of Catholic doctrine as well as solutions for living with the Church’s teachings. Although Sand had broken with the Church several years earlier, she nevertheless continued to believe in an omnipotent God, and her novel makes the distinction, as Angel’s protector, Father Alexis, puts it, “between the authority of faith and the application of this authority in the hands of men.” As translator Patricia J. F. Worth argues in her introduction, the novel’s emphasis on freedom of inquiry, benevolence, and moral reform inspired other nineteenth-century writers, including Fyodor Dostoyevsky, Matthew Arnold, and Henry James, and the novel is also relevant to twenty-first-century discussions of religious authority and rigid adherence to doctrine.

“This is an excellent translation of a tale of the supernatural by a major French author. With her searing critique of Catholicism and its labyrinthine structures, Sand in Spiridion deconstructs her culture in a way similar to what Mary Shelley has done in Frankenstein. Both works are effective as horror stories, but both can also sustain serious academic inquiry, yielding still deeper rewards. Beyond academe, serious students of religion will also find that Spiridion’s subject matter raises provocative theological questions.” — Lynn Hoggard, translator of Nelida by Marie d’Agoult
The first translation of The Countess von Rudolstadt in more than a century brings to contemporary readers one of George Sand's most ambitious and engaging novels, hailed by many scholars of French literature as her masterpiece. Consuelo, or the Countess von Rudolstadt, born the penniless daughter of a Spanish gypsy, is transformed into an opera star by the great maestro Porpora. Her peregrinations throughout Europe (especially Vienna, Berlin, and the Bohemian forest), become a quest undertaken on a number of levels: as a singer, as a woman, and as an unwilling subject of alienation and oppression.

Sand's heroine moves through a mid-eighteenth-century Europe where absolute rulers mingle with Enlightenment philosophers and gender-bending members of secret societies plot moral and political revolution. As the old order breaks down, she undergoes a series of grueling initiations into radically redefined notions of marriage and social organization. In a novel by equal measures philosophical and lurid, nothing is what it seems. Written some fifty years after the French Revolution, the book taps into many of the political and religious currents that contributed to that social upheaval—and aims to channel their potential for future change.

Fed by Sand's rich imagination and bold aspirations for social reform, The Countess von Rudolstadt is a sinuous novel of initiation, continuing the coming of age tale of the titular heroine of Sand's earlier Consuelo and drawing on such diverse models as Ann Radcliffe's Gothic tales and Goethe's Wilhelm Meister.

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