Walter Redfern – författare

The culmination of a lifetime''s fascination with humour in all its forms, this book is the first in any language to embrace such an impressive span of authors and such a broad range of topics in French literary humour.In nine wide-ranging chapters Walter Redfern considers diverse writers and topics, including: Diderot, viewed as a laughing philosopher, mainly through his fiction (Les Bijoux indiscrets, Le Neeu de Rameau, and Jacques le fataliste); humourlessness, corraling Rousseau, Sade, the Christian God, and Jean-Pierre Brisset; the aesthete Huysmans, in both his avatars, Symbolist and Naturalist (A Rebours, Sac au dos, and other texts); the dramatic use ofparrots by Flaubert, Queneau, and Beckett; Vallès and la blague; exaggeration in Vallès and Céline (Mort à credit and L''Enfant); the fiction, plays, and autobiography of Sartre; bad jokes in Beckett; wordplay in Tournier''s fiction (especially Roi des aulnes and Les Météores).Five interleaved ''riffs'' on laughter, dreams, black humour, politics, and taste, carry the enquiry into questions of humour outside of the purely French context, enhancing a book that impresses as much with its vivacity of style as with the breadth and depth of its scholarship.

The culmination of a lifetime's fascination with humour in all its forms, this book is the first in any language to embrace such an impressive span of authors and such a broad range of topics in French literary humour. In nine wide-ranging chapters Walter Redfern considers diverse writers and topics, including: Diderot, viewed as a laughing philosopher, mainly through his fiction (Les Bijoux indiscrets, Le Neeu de Rameau, and Jacques le fataliste); humourlessness, corraling Rousseau, Sade, the Christian God, and Jean-Pierre Brisset; the aesthete Huysmans, in both his avatars, Symbolist and Naturalist (A Rebours, Sac au dos, and other texts); the dramatic use of parrots by Flaubert, Queneau, and Beckett; Vallès and la blague; exaggeration in Vallès and Céline (Mort à credit and L'Enfant); the fiction, plays, and autobiography of Sartre; bad jokes in Beckett; wordplay in Tournier's fiction (especially Roi des aulnes and Les Météores). Five interleaved 'riffs' on laughter, dreams, black humour, politics, and taste, carry the enquiry into questions of humour outside of the purely French context, enhancing a book that impresses as much with its vivacity of style as with the breadth and depth of its scholarship.

The full French text of Sartre's first full-length play is accompanied by French-English vocabulary. Notes and a detailed introduction in English put the work in its social and historical context.

The full French text of Sartre's first full-length play is accompanied by French-English vocabulary. Notes and a detailed introduction in English put the work in its social and historical context.

"The 19th century in France spawned numerous ''fous litteraires, one of them being Jean-Pierre Brisset (1837-1919). An individualist among individualists, he dismantled the existing French tongue, reshaping it to suit his own grandiose purposes, which were to explain afresh the development of human beings (from frogs) and of their language (from croaks). Continuous and ubiquitous punning was a unique feature of his writing. In this study, Redfern examines such themes as the nature of literary madness, the phenomenon of deadpan humour, the role of analogy, and the place of institutional religion in Brisset''s creative rewriting of the creation."

"The 19th century in France spawned numerous ''fous litteraires, one of them being Jean-Pierre Brisset (1837-1919). An individualist among individualists, he dismantled the existing French tongue, reshaping it to suit his own grandiose purposes, which were to explain afresh the development of human beings (from frogs) and of their language (from croaks). Continuous and ubiquitous punning was a unique feature of his writing. In this study, Redfern examines such themes as the nature of literary madness, the phenomenon of deadpan humour, the role of analogy, and the place of institutional religion in Brisset''s creative rewriting of the creation."

The 19th century in France spawned numerous 'fous litteraires, one of them being Jean-Pierre Brisset (1837-1919). An individualist among individualists, he dismantled the existing French tongue, reshaping it to suit his own grandiose purposes, which were to explain afresh the development of human beings (from frogs) and of their language (from croaks). Continuous and ubiquitous punning was a unique feature of his writing. In this study, Redfern examines such themes as the nature of literary madness, the phenomenon of deadpan humour, the role of analogy, and the place of institutional religion in Brisset's creative rewriting of the creation.