Jacques Riviere – författare

Jacques Riviere knew how to accept art emotionally. No French critic was ever less a traditional pedagogue. Rivibre was an intelligent French writer, who knew that the summit of the intellect is to admit aff ective knowledge, instinct, and intuition. The "heart," or taste, is always superior to raw intelligence.Reviere's supple metaphors are not easily rendered into English. Th e density of his thought, the complexity of his views, the moral and spiritual fervor that vibrates in these pages, further enhances the difficulties the skilled translator must overcome. Literary criticism is often ephemeral; it has served its purpose if it stimulates discussion about the work of art under scrutiny. Not so with essays like these. Th ey demand an active reading, as do the original works themselves. Th ey do not easily yield their signifi cance.Among the critics who came into the French literary scene in the years immediately preceding and following the First World War, Jacques Riviere has been least affected by the attrition of time. His studies of Proust and Rimbaud still rank among the two or three essential works to be read on these authors. Few other critics have gone further in a sensuous perception of these authors' work and the intellectual lucidity in analyzing it. Reviere had few pretensions to profundity and a great purity of style. In an age of slogans and judgments, this volume reminds the reader of the extraordinary role of European critical thought in the twentieth century.

Jacques Riviere knew how to accept art emotionally. No French critic was ever less a traditional pedagogue. Rivibre was an intelligent French writer, who knew that the summit of the intellect is to admit aff ective knowledge, instinct, and intuition. The "heart," or taste, is always superior to raw intelligence.Reviere''s supple metaphors are not easily rendered into English. Th e density of his thought, the complexity of his views, the moral and spiritual fervor that vibrates in these pages, further enhances the difficulties the skilled translator must overcome. Literary criticism is often ephemeral; it has served its purpose if it stimulates discussion about the work of art under scrutiny. Not so with essays like these. Th ey demand an active reading, as do the original works themselves. Th ey do not easily yield their signifi cance.Among the critics who came into the French literary scene in the years immediately preceding and following the First World War, Jacques Riviere has been least affected by the attrition of time. His studies of Proust and Rimbaud still rank among the two or three essential works to be read on these authors. Few other critics have gone further in a sensuous perception of these authors'' work and the intellectual lucidity in analyzing it. Reviere had few pretensions to profundity and a great purity of style. In an age of slogans and judgments, this volume reminds the reader of the extraordinary role of European critical thought in the twentieth century.

Jacques Riviere knew how to accept art emotionally. No French critic was ever less a traditional pedagogue. Rivibre was an intelligent French writer, who knew that the summit of the intellect is to admit aff ective knowledge, instinct, and intuition. The "heart," or taste, is always superior to raw intelligence.Reviere''s supple metaphors are not easily rendered into English. Th e density of his thought, the complexity of his views, the moral and spiritual fervor that vibrates in these pages, further enhances the difficulties the skilled translator must overcome. Literary criticism is often ephemeral; it has served its purpose if it stimulates discussion about the work of art under scrutiny. Not so with essays like these. Th ey demand an active reading, as do the original works themselves. Th ey do not easily yield their signifi cance.Among the critics who came into the French literary scene in the years immediately preceding and following the First World War, Jacques Riviere has been least affected by the attrition of time. His studies of Proust and Rimbaud still rank among the two or three essential works to be read on these authors. Few other critics have gone further in a sensuous perception of these authors'' work and the intellectual lucidity in analyzing it. Reviere had few pretensions to profundity and a great purity of style. In an age of slogans and judgments, this volume reminds the reader of the extraordinary role of European critical thought in the twentieth century.

Jacques Riviere knew how to accept art emotionally. No French critic was ever less a traditional pedagogue. Rivibre was an intelligent French writer, who knew that the summit of the intellect is to admit aff ective knowledge, instinct, and intuition. The "heart," or taste, is always superior to raw intelligence.Reviere's supple metaphors are not easily rendered into English. Th e density of his thought, the complexity of his views, the moral and spiritual fervor that vibrates in these pages, further enhances the difficulties the skilled translator must overcome. Literary criticism is often ephemeral; it has served its purpose if it stimulates discussion about the work of art under scrutiny. Not so with essays like these. Th ey demand an active reading, as do the original works themselves. Th ey do not easily yield their signifi cance.Among the critics who came into the French literary scene in the years immediately preceding and following the First World War, Jacques Riviere has been least affected by the attrition of time. His studies of Proust and Rimbaud still rank among the two or three essential works to be read on these authors. Few other critics have gone further in a sensuous perception of these authors' work and the intellectual lucidity in analyzing it. Reviere had few pretensions to profundity and a great purity of style. In an age of slogans and judgments, this volume reminds the reader of the extraordinary role of European critical thought in the twentieth century.

Extrait : "Il me semble qu''on fait fausse route quand on veut apercevoir d''abord chez les Allemands des sentiments d''une violence et d''une cruauté anormales, un tempérament furieux. Je ne nie pas cette violence, cette cruauté, cette fureur, dont il y a tant d''exemples constatés. Mais je ne pense pas qu''elles soient en eux primitives. Je ne nie pas qu''ils soient des barbares. Mais il ne me paraît pas que ce soit tout à fait à la façon des Huns."À PROPOS DES ÉDITIONS LIGARAN : Les éditions LIGARAN proposent des versions numériques de grands classiques de la littérature ainsi que des livres rares, dans les domaines suivants : • Fiction : roman, poésie, théâtre, jeunesse, policier, libertin. • Non fiction : histoire, essais, biographies, pratiques.

André Gide, né en 1870, est décrit par Remy de Gourmont comme un esprit romanesque et philosophique, de la lignée de Gœthe. Il est étonnant de voir avec quelle parcimonie et quel regret ses compatriotes lui dispensaient leur admiration, au moment où, à l''étranger, André Gide était considéré comme l''un des grands écrivains français. En France, il y avait un silence autour de lui. On craignait peut-être de le juger trop favorablement. On les sentait pleins d''inquiétudes et de restrictions secrètes, ceux qui affectaient de le tenir en haute estime, et leur louange se taisait aussitôt, redoutant d''aller trop loin. Qu''avait donc André Gide qui intimidait de la sorte ?

Jacques Rivière, eine fast mythische Figur der französischen Kultur, machte unter anderem Marcel Proust berühmt und die "Nouvelle Revue Française" zur bedeutendsten Zeitschrift Frankreichs. Sein Tagebuch aus der Kriegsgefangenschaft in Deutschland von 1914 bis 1917 wurde zur Grundlage seiner nun erstmals auf Deutsch vorliegenden Analyse "L''Allemand": deutsche Typen, deutsches Benehmen, deutsches Denken und deutsche Unheimlichkeiten, gesehen mit den Augen eines ebenso klugen wie emotionalen Beobachters. Seit dem Erscheinen 1918 prägte "L''Allemand" in Frankreich intensiv das Bild vom Menschen jenseits des Rheins. Aber die scharfe, kontrastierende antideutsche Studie zielte keineswegs auf irrationalen Hass, für Rivière gab es nur eine Konsequenz: den notwendigen deutsch-französischen Dialog.