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Panoramascener i Pappa Goriot och Röda Rummet

Mörte Alling, Annika LU orcid (2018) In Tidskrift för litteraturvetenskap 2018(1-2). p.72-81
Abstract
The article treats panorama scenes in the novels Father Goriot (1837–1843) by Honoré de Balzac and The Red Room (1879) by August Strindberg. My observations focus on the main characters Eugène de Rastignac and Arvid Falk, and the emotions that the capital arise in them where they stand in their high positions in front of Paris and Stockholm respectively; Rastignac on the hill of the Père Lachaise Cemetery at the end of Father Goriot, and Arvid on Mosebacke at the beginning of The Red Room. The strategic position of these scenes, in the beginning and end of the novels enhance the importance of the characters’ emotions, and so does their solitude at that moment.

Balzac’s novel contributes to a certain conception of the capital as... (More)
The article treats panorama scenes in the novels Father Goriot (1837–1843) by Honoré de Balzac and The Red Room (1879) by August Strindberg. My observations focus on the main characters Eugène de Rastignac and Arvid Falk, and the emotions that the capital arise in them where they stand in their high positions in front of Paris and Stockholm respectively; Rastignac on the hill of the Père Lachaise Cemetery at the end of Father Goriot, and Arvid on Mosebacke at the beginning of The Red Room. The strategic position of these scenes, in the beginning and end of the novels enhance the importance of the characters’ emotions, and so does their solitude at that moment.

Balzac’s novel contributes to a certain conception of the capital as an important novel topos, while Strindberg departs from it. Nonetheless, in Father Goriot there are very few descriptions of Paris as it is known, and there is in general an accentuation on the locality and particularity of places within the capital.
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author
organization
publishing date
type
Contribution to journal
publication status
published
subject
keywords
Balzac, Strindberg, panorama scenes, emotions, Paris, Stockholm
in
Tidskrift för litteraturvetenskap
volume
2018
issue
1-2
pages
72 - 81
publisher
Föreningen för utgivande av Tidskrift för litteraturvetenskap
ISSN
1104-0556
project
The Cosmopolitan and Vernacular in the Nineteenth-Century French Novel from Stendhal to Zola
language
Swedish
LU publication?
yes
id
5b53a585-b100-4c2c-a1f1-2c18e57c506f
date added to LUP
2018-07-14 08:36:43
date last changed
2021-02-17 02:23:37
@article{5b53a585-b100-4c2c-a1f1-2c18e57c506f,
  abstract     = {{The article treats panorama scenes in the novels Father Goriot (1837–1843) by Honoré de Balzac and The Red Room (1879) by August Strindberg. My observations focus on the main characters Eugène de Rastignac and Arvid Falk, and the emotions that the capital arise in them where they stand in their high positions in front of Paris and Stockholm respectively; Rastignac on the hill of the Père Lachaise Cemetery at the end of Father Goriot, and Arvid on Mosebacke at the beginning of The Red Room. The strategic position of these scenes, in the beginning and end of the novels enhance the importance of the characters’ emotions, and so does their solitude at that moment. <br/><br/>Balzac’s novel contributes to a certain conception of the capital as an important novel topos, while Strindberg departs from it. Nonetheless, in Father Goriot there are very few descriptions of Paris as it is known, and there is in general an accentuation on the locality and particularity of places within the capital.<br/>}},
  author       = {{Mörte Alling, Annika}},
  issn         = {{1104-0556}},
  keywords     = {{Balzac; Strindberg; panorama scenes; emotions; Paris; Stockholm}},
  language     = {{swe}},
  number       = {{1-2}},
  pages        = {{72--81}},
  publisher    = {{Föreningen för utgivande av Tidskrift för litteraturvetenskap}},
  series       = {{Tidskrift för litteraturvetenskap}},
  title        = {{Panoramascener i Pappa Goriot och Röda Rummet}},
  volume       = {{2018}},
  year         = {{2018}},
}