Andre Maurois Research Articles

LA CORRESPONDENCIA EN FEMENINO DE GEORGE SAND: LA MARCA DEL GÉNERO GRAMATICAL EN LA TRADUCCIÓN DEL FRANCÉS AL ESPAÑOL

La traducción al español de la correspondencia de George Sand,una escritora con una identidad andrógina que oscila entre elgénero masculino y femenino, presenta las problemáticas de unlenguaje sexista y excluyente. El problema traductológico surgecuando esta mujer, próxima al género masculino a fin de obtenersu lugar en el mundo literario, muestra su cambio de identidad nosolo en sus acciones y su vestimenta, sino también en su lenguaje.Ahora bien, contrariamente a lo que André Maurois asegura al decirque, desde el día en que Aurore Dudevant se convirtió enGeorge Sand, “empezó a utilizar el masculino en todos los adjetivosque se referían a ella” (1952: 147), su correspondencia demuestracómo hace uso alterno del masculino y del femenino parareferirse a su persona. Tratando de mantenerme fiel a laalternancia e incluso a la ausencia de género en francés medianteel uso de sustantivos epicenos y de construcciones parafrásticasen español, esta traducción demuestra las limitaciones dellenguaje a la hora de representar la alternancia entre ambosgéneros y la ausencia de un género específico.

Literatura, formación y república. André Maurois y el instinto de felicidad burgués (Primera parte)

This article describes the relationship between literature and the educational ideals of Andre Maurois (1885-1967). After a review of his formative years in the shadow of the philosopher Alain, who was his teacher at Rouen Lyceum, the paper goes on to highlight the presence of military elements in his educational universe The extent of this influence can be seen in the fact that, after the Dreyfus affair, the educational work undertaken during the Third French Republic (1870-1940) is best understood in the light of the combination between intelligence and weapons, that is, between the lyceum and the garrison. Maurois, who traveled throughout the United States, was concerned about the atmosphere of crisis in the decade of the twenties and thirties, and took inspiration from Marshal Hubert Lyautey in order to comprehend the characteristics of the art of leadership. This skill, together with the art of thinking, the art of loving, the art of working, and the art of growing old, give shape to the various aspects of Maurois’ The Art of Living (1939), which fits nicely in the best of French pedagogical traditions (Montaigne, Rousseau, Alain) and highlights the importance of the task of living. Ultimately, and from a bourgeois stance embracing order, Maurois intended for the human being to lead a happy life, in line with the Republican values inherited from the 1789 Revolution. In short, he was an intellectual who combined tradition and modernity in a changing world that, after World War I (1914-1918), left behind the false securities of the Belle Epoque. An author who never forgot the perspective of human happiness beyond any metaphysical consideration, Maurois’ work had a great impact in Spain, before and after the Civil War. This paper expounds on the influence he exerted and the way he contributed decisively to changing the public sense of morality in our country.

La renovación biográfica de las “Vidas Españolas e Hispanoamericanas del Siglo XIX"

This paper analyses the Espasa-Calpe collection “Vidas Espanolas e Hispanoamericanas del Siglo XIX” (1929-1942), an editorial project promoted by Jose Ortega y Gasset and directed by the critic an historian Melchor Fernandez Almagro. Inasmuch as the collection was the best Spanish example of the biographical renovation known as “New Biography”, brought about during the first three decades of the twentieth century —with Lytton Strachey, Emil Ludwig, Andre Maurois and Stefan Zweig, inter alia—, firstly we shall expose the particularities of this renovation, whose main objectives were the historiographic disengagement and the autonomy of biography as a genre. Secondly, we shall explain the reception of the collection in Spain, just when the crisis of the novel which Ortega y Gasset announced in Ideas sobre la novella (1925) had turned the public to biographies. Finally, we shall describe the coordinates of the Espasa-Calpe collection. These were marked not only by the limitation of European and Hispano-American nineteenth-century characters, but also by Ortega’s “razon vital” and his intellectual teaching

The enigma of Gerstmann's syndrome (The William Gowers lecture delivered on 2 December 1965). By Macdonald Critchley. Brain 1966: 89; 183-198

As a young neurologist, (Sir) William Gowers (1845–1915), working in collaboration with John Hughlings Jackson (1835–1911), described the case of Eliza Joad. First designated as ‘imperception’, the term ‘agnosia’ was subsequently introduced to describe her inability to perceive or interpret items that nonetheless were sensed. With the naming of ‘apraxia’ by Hugo Liepmann (1863–1925), ‘neurologists … began to unravel the complicated tangle of frontal, temporal, parietal and occipital dysfunction’. Macdonald Critchley introduces his William Gowers lecture with a quote from Andre Maurois: ‘The members of the medical fraternity can at least classify our ailments in carefully labelled compartments, and that, in itself, is reassuring. To be able to call a demon by its name is half-way to getting rid of him’. Noting Gowers’ dislike of descriptive papers, Critchley opens his lecture with an account of the patient described by Josef Gerstmann (1887-1969), writing from Vienna in 1924 ( Wiener Klinische Wochenschrift 1924: 37; 1010–1012), who—amongst other deficits—is unable to name her fingers and identify her own or the examiner’s individual digits on request. He calls this symptom ‘finger-agnosia’ which Critchley considers to be ‘an ill-chosen expression’. In 1927, Gerstmann describes two new cases and proposes that difficulty with writing forms part of the emerging syndrome. Further observations add yet more phenomena and, by 1930, the descriptive tetrad is complete: ‘Gerstmann’s syndrome’ now consists of finger-agnosia, dysgraphia, dyscalculia and right–left disorientation; and it localizes to the left angular gyrus—a region assumed by Gowers to be a higher visual centre. A quote from Oscar Wilde, aimed at those interested in cerebral localization, who find ‘a curious pleasure in tracing the thoughts and passions of men to some pearly cell in the brain, or some white nerve in the body, delighting in the absolute dependence of the spirit on certain physical conditions, morbid or …

The War against the Moon: Andre Maurois' 1927 “Fantasy on the Coming Power of the Press”

In 1927, French author André Maurois published The Next Chapter: The War against the Moon, a “fantasy on the coming power of the press.” Unlike seminal dystopian works such as We, Brave New World, and 1984 in which governments control the news media, War against the Moon presents a future in which news media control the world's governments. Unevaluated heretofore by journalism historians, War against the Moon reflects post-World War I concerns regarding propaganda, the malleability of public opinion, media consolidation, the power of press barons, and the drift of news toward sensationalism.

When is a Biography an Autobiography? Questions of Genre and Narrative Style in Christoph Meckel's Suchbild

A curious reader picking up Christoph Meckel's work Suchbild. Uber meinen Vater' for the first time, and looking for clues as to its genre and content would most likely assume it to be a work of biography, since from its subtitle it is possible to infer both identity between author and narrator and the existence of the subject as a real person. It would be assumed therefore that the work is the biography of a father written by his son. reader who happened to know Eberhard Meckel and Christoph Meckel as writers might even anticipate that the book might fall into the category of literary biography, the biography of one poet written by another (Edel; Maurois). This sub-category of the genre biography has received particular attention from English theorists because of what are seen as its inherent problems with regard to achieving authenticity and in the portrayal of the life. While in most literary biographies no blood relationship exists, there is nevertheless often a parallel to the father-son relationship, where an author chooses to write the life of an older writer who has had a strong influence on his or her own development. Such an undertaking is perceived by older theorists such as Andre Maurois and Leon Edel, for whom objectivity and detachment are the supreme artistic virtues (Maurois 63), to hold the inherent risk of distorting the image of the biographical subject. The biographer needs to know himself before he seeks to know the life of another: and this leads us into a very pretty impasse, since there seems to be considerable evidence that

The Fragile World of the Papiertheater

In his biography of George Sand, Andre Maurois wrote that in the disappointment and confusion of the years following the massacres of the June I848 insurrection in France, she retreated from public life and owed her salvation to the theatre (1953:364). Sand left Paris for her estate in Nohant where her son Maurice (then 25 years old) set up a puppet theatre. He carved dolls from lime roots and his mother dressed them. In a letter to

Re-Membering Modiano, or Something Happened

Raphael Schlemilovitch, the protagonist of La Place de l'Etoile, has an uncouth name for a Frenchman.' It does not belong to the suave group of Coudreuse, Jacquet, Lebon, Mouraille, Vincent, Gerbault (VT, 23), bears no resemblance to such very French double as SergentDelval or Hattier-Morel (VT, 59), and is oil to the water of Drieu la Rochelle, Peugeot, and Debigorre (cf. PE, VT). It belongs with Bloch, Hirschfeld, and Schlossblau (cf. BC, 160). It harmonizes with Paul Sonachitz6, Stioppa de Djagoriew, Victor Chmara, Moncef el Okbi. It is one of those names that evokes, among other things, the small cosmopolitan societies of overseas free ports and settlements (VT, 36): Osvaldo Valenti, Scouffi, Citroein, or Patrick Modiano. Raphael Shlemilovitch has a problem. But the problem does not lie only in his name, since names can be changed and often are. Raphael himself becomes Jean-Frangois des Essarts, Jean Cassis de CoudrayMacouard, and Raphael de Chateau-Chinon. Similarly, Emile Herzog became Andre Maurois, Georg Bluene (ML, UJ) Georges Bellune, Jean Dekker (QP) Ambrose Guise, and Marc Newman Gerard Valvert (DBG, 192: If one changes his last name, he might as well change his first name). In LF, the protagonist's father, Aldo, calls himself Guy Jaspaard deJonghe, and uncle Alex says he is Frangois Aubert. Guy Roland in RBO was probably Pedro McEvoy, aka Jimmy Pedro Stern (itself an assumed name, perhaps, since Stern is said to be a Greek citizen born in Salonica in 1912 and since a fire destroyed the Salonica archives during World War I). Sometimes the change is relatively minor: Roland de Bejardy (UJ, 117) and Grout de l'Ain (DBG, 193) may have simply added the particule. Sometimes it proves wiser to adopt a foreign appellation: Odette Blache, who has had trouble with the police, resurfaces as Sonia O'Dauy6 (DBG, 72: The O'Dauy6 ... were nobles of Irish origin who settled in Poland in the 18th century), and Richard Mouliade, an ex-con, plays the role of

Telling Lives: The Biographer's Art , and: Bloomsbury: A House of Lions (review)

Reviews Leon Edel, Justin Kaplan, Alfred Kazin, Doris Kearns, Theodore Rosengarten, Barbara Tuchman, and Geoffrey Wolff, Telling Lives: The Biographer's Art. Ed. Marc Pachter. Washington, D.C: New Republic Books/National Portrait Gallery, 1979. 155 pp. $9.95. Leon Edel, Bloomsbury: A House of Lions. New York: J. B. Lippincott , 1979. 288 pp. $12.95. In the now famous codicil to his will, T. S. Eliot forcefully objected to the writing of any study of his life. In death, he held tenaciously to his earlier distinction between "the man who suffers and the mind which creates." Like Matthew Arnold before him, Eliot wished to be remembered for his "creative literature," not for the quality of his life. Many other outstanding figures—artists and statesmen alike—have cast a cold eye on the biographer's art, a fear of the inquisitorial and adversary nature of biography. This impulse, in part, may be viewed as an instinct for self-protection, and in the case of the literary artists, as an insistence on the value of literature as literature. From a series of lectures first presented at the National Portrait Gallery in Washington, D.C. in November 1978, Telling Lives is a provocative exploration by accomplished biographers into the nature and form of the art of life study. In his compact and brilliant essay, "The Figure Under the Carpet," Leon Edel conceives biography as a "young" art form, still evolving. As an art form, biography has been, until recent years, an amorphous effort based upon no standard or crit- 358 biography Vol. 3, No. 4 ical principles. Past biography has all too frequently assumed its shape and form from the view and intentions of the biographer, each holding a different mission, a different rationale for exploring the private life of a subject. In a tentative and theorizing approach to the biographer's art, Telling Lives offers a series of reflections on "the joys, limitations, and challenges of defining a life." Echoing Lytton Strachey's comment "that it is perhaps as difficult to write a good life as it is to live one," Marc Pachter in his opening essay, "The Biographer Himself: An Introduction ," defines the distinction between biography as an element in popular culture and fine biography: "Distinguished biography . . . bears no resemblance to the voluminous, indiscriminate compendia of facts-shoveled-on-facts in which the writer buries alive both his hero and the reader." The current rage of biographies and autobiographies of movie celebrities, famous gangsters and killers, and notables of the jet set exists mainly for expose and exploitation. They are factoids of popular culture, and unrelated to the art of distinguished biography. Such works are not the concern of Telling Lives. In creating fine biography today, it is no longer true that a subject's public career is selfsufficient and central in the drama of life. In the 19th century, the biographer generally saw his task as "testimonial" and the fundamental drama of a life consisted of the narration of a great public event. "The idealizing biography, like the standard boardroom portrait and other totems of respectability, begs to be ignored." The biographical studies of Lytton Strachey have radicalized modern biography because he opens the biographer's art to new possibilities, to an "honest evocation of the truth of a life." The modern biographer must portray "the whole sense of a person." Only as the biographer comprehends the dynamic in a personality—its evolving sense of itself as it is and as it would like to be—is the vital truth uncovered. The biographer's drive is our human curiosity made intense and particular; his "passion for life" is a will to know the true shape of another's experience. In Pachtern words, fine biography challenges the pose to find the personality. W. H. Auden once complained that biography was "always superfluous " and "usually in bad taste." In "The Figure Under the Carpet ," Leon Edel, the Pulitzer Prize-winning author of the life of Henry James, re-affirms Andre Maurois' metaphor of the relationship between the portrait painter/sculptor and the biographer. Some painted portraits are "mere facades," suited more for an archive or a family album. Edel believes that...

Changing Perceptions of the State Duma: Some Personal Retrospections

The first historians of the State Duma, writers of official minutes, reports and other documents excluded, probably did not think of themselves as historians but as reporters of current events. Their reports, along with the official documents, private papers, memoirs and polemics among participants, form the basic primary sources for the study of the Duma. Relatively few of these were widely known in the west when I began to study the Duma in the late 1940s. This first effort was touched off by long hours tete-Atete with Sir Bernard Pares, listening to his recollections of the institution and many of its members. Pares was more than an excellent raconteur; he was himself a 'living document whose voice gave life and sparkle to the printed sources. My own first perceptions of the Duma were greatly influenced by him. was not so planned, but my concentrated study of the Duma and its period was interrupted until early in the 1970s. The prolonged hiatus exacted some penalties, but at least it compelled me to update my knowledge of what had been published or made accessible during the interval. That work, plus the passage of time and richly varied experiences, supplied a perspective which was lacking in the first go-round. Reviewing my earlier work chasteningly reminded me of a famous quip by Josh Billings: It is better to know nothing than to know what ain't so.Reading and reviewing the works of others often called to mind Andre Maurois' astringent observation to the effect that while history does not repeat itself, historians regularly repeat each other. may be added that we repeat ourselves. My retrospection included finding repetitive errors in simple facts, in faulty assumptions and, consequently, in perceptions. A major case in point has to do with Article 87. Stressing the abuses of this article has become accepted history, but research so recent as to be unpublished to date2 suggests that... the emergency

The Future in Retrospect: A Frenchman's View of America Between Wars

pay at least a superficial visit to the Louvre, to the chateaus and even to the Salle Pleyel concert hall, the phenomenon is, on second thought, quite understandable. The fact is that few if any of our intellectual visitors really expected to find any culture in America at all. What they knew about our country they had mostly learned from the movies, and so it was the aspects of life emphasized on the screen that they wished to examine for themselves. Among our visitors some were very distinguished, including several academicians. Georges Duhamel was among the first. He was followed, to mention but the best known, by Andre Maurois, Luc Durtain, and Jules Romains. Of the group Maurois and Morand were the most inclined to seek a balanced view. Jules Romains looked for and found the picturesque. He also lived up to his reputation as a Parisian by paying special attention to women's ankles. Luc Durtain found the material for some superficial and satiric pieces of fiction. Maurois was most factual, most charitable, and the least inclined to make hasty judgments. But it remained for Duhamel, who seemed to most people one of the wisest of men to indulge in a veritable orgy of angry denunciation. Let us therefore speak of him. If he was not typical he was at least most influential.

Andre Maurois' Esthetics of Biography

Andre Maurois' Esthetics of Biography

Andre Maurois' Esthetics of Biography

Andre Maurois' Esthetics of Biography

An Illustrated History of England. Andre Maurois , Hamish Miles

<i>An Illustrated History of England</i>. Andre Maurois , Hamish Miles

THE ABBE NICOLAS

As Andre Maurois has expressed it, the French Revolution began not in tumult but idyllically. The supporters of the ancien regime, however, were unappreciative of the idyll, and did not choose to wait for the crescendo. Some of these emigres, both clerical and lay, went to England. But the stream was to become a flood as events (such as the democratic Abbe Gregoire failed to envisage) compelled more and more of the clergy to organise escape from the increasing difficulties of mere survival in Revolutionary France. The compulsory matching of the dioceses with the new departements— a geometrical and lay operation; the Law of the Civil Constitution of the Clergy of 12th July, 1790; the condemnatory briefs of Pius Vt in March and April, 1791; the displacement of the pretres fonctionnaires; the conflict of the refracteurs and the assermentes; and the persecution, slaughter and forced deportations of so many priests conspired to win Protestant England to welcome the clerical refugees who managed to escape. Geography dictated that most of the priest refugees, who came to England, came from Brittany, Normandy, Picardy or Paris. (Many came via the Channel tslands: there survives, in Scotland, evidence of their stay in Jersey.) Among the escapees was Mgr. Jean-Francois de la Marche, Bishop of St. Pol de Leon,1 a prelate who was to work heroically in organising and supervising the displaced French clergy, in default of the task's being done by Mgr. Arthur Richard Dillon, Archbishop of Narbonne, who was witty, worldly and typically ancien regime in outlook and behaviour; and a cleric whose ecclesiastical tastes were slight. He died in London in 1806.

Employment of June 1960 High School Graduates

Vocational Guidance QuarterlyVolume 10, Issue 1 p. 27-28 Employment of June 1960 High School Graduates ANDRE MAUROIS, ANDRE MAUROISSearch for more papers by this author ANDRE MAUROIS, ANDRE MAUROISSearch for more papers by this author First published: Autumn 1961 https://doi.org/10.1002/j.2164-585X.1961.tb01787.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume10, Issue1Autumn 1961Pages 27-28 RelatedInformation

The Life of Sir Alexander Fleming.

Four years ago Andre Maurois accepted the second Lady Fleming's invitation to write the story of her husband's life. To gain insight into the man and his work, he not only read everything he could about Alexander Fleming and talked to men and women who had known him but even took a course in bacteriology at the Pasteur Institute. The story of Sir Alexander Fleming is the story of penicillin. But it is more than that. It is the chronicle of a perceptive, sensitive but independent and tough-minded man. Perhaps most important of all, Maurois has caught the spirit of Fleming's attitudes toward research. Over and over, Fleming's life emphasizes what Pasteur realized—how the prepared mind sees what the unprepared mind merely looks at. Fleming understood the value of learning from mistakes and from the unanticipated. He knew that following their paths is often more profitable than pursuing the question

Andre Maurois: The Man and His Work

Andre Maurois: The Man and His Work

He Inspired American Teachers

J AST June Andre Maurois was received into the French Academy. We all know Maurois for his Ariel and Colonel Bramble, but the fact that Maurois took the place of Rene Doumic and that Doumic had lectured summers at the Alliance Frangaise for over forty years made the address of the new Academy member of far more importance to the many American teachers of French who had heard Doumic lecture. All who had

The Miracle of England. An Account of Her Rise to Pre-Eminence and Present Position. Andre Maurois , Hamish Miles

Previous articleNext article No AccessBook ReviewsThe Miracle of England. An Account of Her Rise to Pre-Eminence and Present Position. Andre Maurois , Hamish Miles W. E. LuntW. E. Lunt Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Journal of Modern History Volume 10, Number 1Mar., 1938 Article DOIhttps://doi.org/10.1086/243500 Copyright 1938 The University of Chicago PressPDF download Crossref reports no articles citing this article.