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Arte do Romance (Ed de Bolso) - Lart du…

Arte do Romance (Ed de Bolso) - Lart du Roman (Poc (Em Portugues do… (udgave 2009)

af Milan Kundera (Forfatter)

MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingOmtaler
1,432239,574 (3.77)16
Betragtninger over romankunsten med afsnit om den europæiske roman, specielt om M. de Cervantes Saavedra, Hermann Broch og Franz Kafka, et interview med forfatteren (f. 1929) om hans praktiske erfaringer med romankunsten samt en ordbog over nøgleord i hans forfatterskab.
Titel:Arte do Romance (Ed de Bolso) - Lart du Roman (Poc (Em Portugues do Brasil)
Forfattere:Milan Kundera (Forfatter)
Info:Companhia de Bolso (2009)
Samlinger:Dit bibliotek

Detaljer om værket

The Art of the Novel af Milan Kundera

Nyligt tilføjet afcarlets, Rennie80, ajboots4, Hemamg, OrderMustBe, Alistair_Ian_Blyth, ejmw
Efterladte bibliotekerEeva-Liisa Manner

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Engelsk (20)  Fransk (2)  Hollandsk (1)  Alle sprog (23)
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Kundera in his article Kafka's World (1988) drawn from his book “Art of the Novel” (1986) says the difference between Dostoyevsky and Kafka is that in Dostoyevsky the offence seeks out punishment (Raskonikov) but in Kafka punishment seeks out the offence.

Kundera sees Kafka's imaginary, oneiric writings as one manifestation of the growth of bureaucracies and depersonalization and totalitarianism as another, prosaic, material manifestation of the same thing. He does not think Kafka was predictive of totalitarianism, but was writing about the same things which made totalitarianism possible, only Kafka saw them already in the microcosm of the family and the office as well as the state. A human being becomes identified with his/her file which in the bureaucrat's world is more important than the person. This causes the person to no longer be able to understand the bureaucracy which seems like an endless maze, which it is since the bureaucracy itself has no central unity, it is just endless process.

Kundera, a Czech exiled and writing before the fall of communism, really brings some interesting personal and local color to Kafka. He says the Party Headquarters in Prague was called the Castle and the second in command was nicknamed Klamm, which is from the Czech word 'klam' meaning 'fraud, illusion' which is what Klamm is in The Castle. Kundera has several examples of stories and anecdotes that illustrate the Kafkaesque, (which is translated from the French kafkaien as Kafkan). I have written that I don't think Kafka has much of the Orwellian totalitarian state, but Kundera makes very good arguments to show it does in fact. I rather believe he is right. ( )
  antao | Aug 24, 2020 |
Few intresting thoughts and ideas. This compilation of essays talks about Kundera's own work, analayzing it style and content. Also couple of chapters I've quick-read because it's basically studies on Kafka and Broch.
If you're looking for writing advice - that's probably not the first place you're want to look. As a study on literature through time and space - it's fascinating. ( )
  Alevis | May 17, 2020 |
What a wonderful day it has been. Cool and sunny, the weather welcomes with only a slim wink of menace behind such. I awoke early and after watching City i went and joined some friends for smoked wheat beer and colorful conversations about public vomiting and the peasant revolts during the Reformation. Oh and there was a parade. I didn't pay much attention to that.

Returning home I watched Arsenal's triumph and enjoyed the weather and picked up this witty distillation. Zadie Smith's Changing My Mind had engendered this recent interest in essays, especially those concerning the history of the novel. I bought the volume in Camden when we went to London in 2004. I truly bought it for my wife but it certainly fit my own present situation. Kundera weaves together an intriguing portrait of modernity. He also sidesteps the English literary tradition aside from a handful of nods to Fielding and Sterne. Such is fine.

Thinking about my own influences, I remain intrigued that Nietzsche remains so fixed and central and Kafka has slinked to the dark margins. Perhaps Hrabal (that usurper) took his place in my murky mindpool.
( )
  jonfaith | Feb 22, 2019 |

NOVEL. The great prose form in which an author thoroughly explores, by means of experimental selves (characters), some great themes of existence.

LETTERS. They are getting smaller and smaller in books these days. I imagine the death of literature; bit by bit, without anyone noticing, the type shrinks until it becomes utterly invisible.

The above two quotes convey the richness and creamy depth along with the playfulness a reader will encounter in this book by one of the giants of modern literature, Czech-born Milan Kundera. As a matter of fact, I couldn’t imagine a collection of essays containing more gems of wisdom on each and every page. And since Mr. Kundera consistently composes his works in a seven part structure to accord with his own artistic, literary and musical sensibilities, I think it only fair that I list seven quotes, one from each of his seven parts, and make my modest comments accordingly.

Part One – The Depreciated Legacy of Cervantes
“To take, with Cervantes, the world as ambiguity, to be obliged to face not a single absolute truth but a welter of contradictory truths (truths embodied in imaginary selves called characters), to have as one’s only certainty the wisdom of uncertainty, requires no less courage.” ---------- I recall a lecturer on The Platonic Tradition accusing non-Platonists of being nihilistic skeptics and relativists for denying there is a truth as well as thinking how even if there was a truth it couldn’t be known, and even if it could be known, it couldn’t be communicated. Contrary to this accusation, Mr. Kundera outlines with flair and in some detail how the wisdom of the novel transcends the overly simplified binary categories of good/evil, either/or, black/white in dogmatic discourse.

Part Two – Dialogue on the Art of the Novel
“I’m too fearful of the professors for whom art is only a derivative of philosophical and theoretical trends. The novel dealt with the unconscious before Freud, the class struggle before Marx, it practiced phenomenology (the investigation of the essence of human situations) before the phenomenologists.” ---------- Mr. Kundera underscores how his novels and the great novels of other writers are not philosophy per se; rather, any ideas or philosophy arises from the specific existential situation of characters.

Part Three – Notes Inspired by “The Sleepwalkers
“The world is the process of disintegration of values (values handed down from the Middle Ages), a process that stretches over the four centuries of the Modern Era and is their very essence.” ---------- This is a most intriguing section where the author analyzes the historical and cultural context of the various possibilities of freedom we face and how novelist Hermann Broch outlines three such possibilities in his great work.

Part Four – Dialogue on the Art of Composition
“Let me return to the comparison between the novel and music. A part is a movement. The chapters are measures. These measures may be short or long or quite variable in length. Which brings me to the issue of tempo. Each of the parts in my novels could carry a musical indication: moderato, presto, adagio, and so on.” ---------- We are told how the author was drawn more to music than to literature up to the age of twenty-five. Much of this section delves into some detail in comparing the structure of music with the structures of his novels, enough philosophic material here to keep both musicians and non-musicians ruminating for quite some time.

Part Five – Somewhere Behind
“There are periods of modern history when life resembles the novels of Kafka.” ---------- The author relates some of his own experience and stories living in Prague under a totalitarian regime. One story is about a mother of a one-year old baby boy who was unjustly imprisoned by the government. Years go by and the mother is released from prison. Then, some years after her release, the author visits the mother in her apartment. He watches as the mother dissolves in tears, waling and heaving, upset at her now twenty-five-year-old son over some minor matter like oversleeping. The author watches all this in shock; he see how the mother has taken the place of the totalitarian state and the son, like many of Kafka’s characters, accepts his guilt.

Part Six – Sixty-three Words
“IDEAS. My disgust for those who reduce a work to its ideas. My revulsion at being dragged into what they call “discussions of ideas.” My despair at this era befogged with ideas and indifferent to works.” ---------- At another point in the section, he says how novelists who think they are larger than their novels should get another job. Love his frankness!

Part Seven – Jerusalem Address: The Novel and Europe
“No peace is possible between the novelist and the agelaste. Never having heard God’s laughter, the agelasts are convinced the truth is obvious, that all men necessarily think the same thing, and that they themselves are exactly what they think they are.” ---------- The agelaste is a man or woman who does not laugh, who has no sense of humor. You know the type – and they hate literary novels like the ones written by Milan Kundera. ( )
  Glenn_Russell | Nov 13, 2018 |
"Mentre Dio andava lentamente abbandonando il posto da cui aveva diretto l'universo e il suo ordine di valori, separato il bene dal male e dato un senso a ogni cosa, Don Chisciotte uscì di casa e non fu più in grado di riconoscere il mondo. Questo, in assenza del Giudice supremo, appare all'improvviso una terribile ambiguità; l'unica Verità divina si scompose in centinaia di verità relative, che gli uomini si spartirono tra loro. Nacque così il mondo dei Tempi moderni, e con esso il romanzo, sua immagine e modello".

Ecco, il nostro romanzo è una cavalcata nell'ambiguità ma senza possedere la "sola certezza" cioè "la saggezza dell'incertezza" che "richiede una forza altrettanto grande". Oggi tutti possiedono un monte di certezze che farebbero rabbrividire Cartesio, nel suo splendido libro Kundera ci ricorda che "l'uomo sogna un mondo in cui il bene e il male siano nettamente distinguibili, e questo perché, innato e indomabile, esiste in lui il desiderio di giudicare prima di aver capito. Su questo desiderio sono fondate le religioni e le ideologie". Perfetto. Il problema del nostro tempo, accelerato dall'accesso ai mass media e dalla chat sul nulla ("ciao, come stai?"), fu riassunto in maniera lapidaria da Ennio Flaiano così: "Oggi il cretino è pieno di idee". È questa la crisi della democrazia, la sua naturale involuzione: il cretino oggi ha non sole le idee, si trova nella sala comando e clicca pulsanti che non sa cosa provocano. (cit. Mario Sechi - LIST - 25 settembre 2017) ( )
  AntonioGallo | Nov 2, 2017 |
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Betragtninger over romankunsten med afsnit om den europæiske roman, specielt om M. de Cervantes Saavedra, Hermann Broch og Franz Kafka, et interview med forfatteren (f. 1929) om hans praktiske erfaringer med romankunsten samt en ordbog over nøgleord i hans forfatterskab.

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