This landmark of psychological realism chronicles a young provincial's progress in Parisian society of the early 19th century, where he encounters passion, intrigue, and mortal peril.
A Major New Translation The Red and the Black, Stendhal’s masterpiece, is the story of Julien Sorel, a young dreamer from the provinces, fueled by Napoleonic ideals, whose desire to make his fortune sets in motion events both mesmerizing ...
Arguing that French Revolutionary and Napoleonic legislation created a conception of commercial identity that tied together the debtor’s social, moral, and physical person, In the Red and in the Black examines the history of debt ...
A landmark in the development of psychological realism, Stendhal's masterpiece chronicles a young man's struggles with the dualities of his nature.
In part one he provides generous samples of the most important nineteenth-century responses to the novels, almost all of them translated into English for the first time.
Ibsen calls this guilty gigantism a kind of megalomania characteristic of a mankind that has become an unnatural product , especially the Christian part , equally responsive to the priestly caste's call to duty and the instinct's urge ...
Walter Mosley is one of America’s bestselling novelists, known for his critically acclaimed series of mysteries featuring private investigator Easy Rawlins.
This transitional period is brought to life in the exhilaratingly ambitious historical novel, The Red and the Black, which follows the life of Julien Sorel, born of a working-class family, who attempts to improve his station in life.
The novel's full title, Le Rouge et le Noir: Chronique du XIXe siècle (The Red and the Black: A Chronicle of the 19th Century), indicates its twofold literary purpose as both a psychological portrait of the romantic protagonist, Julien ...
The novel, set in France during the Second Restoration (1815-30), is a powerful character study of Julien Sorel, an ambitious young man who uses seduction as a tool for advancement.
We can also compare the deeper, handled bowls where the silver product is so much more delicate than the clay, and mugs too where the silver is once again wafer thin (Gill 1986; Vickers and Gill 1994: 105—23; cf.