Although it might be possible to link some of these to Flaubertian
sexuality, this seems far from the primary concern of his investigations.
In decrying the use of literature as a handmaiden for extraneous ideas, Fontane is not advocating their exclusion in favour of a Flaubertian
'novel about nothing'; he simply thinks that novels should contain a range of ideas rather than being dominated by a single one.
John Aldridge notes that Hemingway and his cohort of writers of the 1920s were distinguished from previous generations "by their dedication to the Flaubertian
ideal of the artist, their sense of belonging to an aristocratic fraternity of talent" (111).
On the search for the Flaubertian
mot juste, see also Moser (1976), 181.
To speak of ethical obligation in the shadow of Flaubertian
form is to realize how swiftly that shadow moves in relation to contemporary narrative experimentation in novels.
Just as there are many different types of males, there are many patriarchies, from pre-roman Carthage and third-century Egypt to the Paris of 1848, and it is this plurality that is emphasized in Orr's consideration of "the fragments of fractured and split masculinities" (22) that constitute the Flaubertian
These fantasy sequences hint at Greville's growing derangement (or, given the artificiality of his political world, increasing sanity), and they hint at mythic substructures underlying the action of the novel, a technique reminiscent of the beginning of Ulysses when Stephen Dedalus's thoughts keep breaking into the Flaubertian
third-person-limited point of view.
As an early admiring student of Flaubertian
meticulousness, Eca in his first two novels gives us a baleful vision of provincial Portuguese society.
Thus, under the guise of an old barber, equipped with the consummate verbal skills of a master storyteller, Koumandareas is free to put to good use his uncanny Flaubertian
eye in detecting the telling details as well as the fine shades of thought and feeling that make up the inner and outer lives of his woebegone characters.
37), such later works of Flaubertian
naturalism as Glasgow's The Descendant depict attraction and repulsion as an aloof principle of physics.
The second takes a pair of funny, nasty, Flaubertian
novels by Evan S.
In what is another version of Flaubertian
betise, he is impervious to the sort of existential boredom that his wife experiences: "Le soir, brise, la tete vide, il goutait des voluptes infinies au fond de l'hebetement qui le prenait" (3: 35).