Flauberts Dictionary Of Accepted Ideas Translated With An Introduction And Notes By Jacques Barzun

Jacques Barzun's masterful translation proves that Flaubert's Dictionary of Accepted Ideas—an acid catalogue of the clichés of 19th-century France—is as relevant today as ever. Throughout his life Flaubert made it a game to eavesdrop for the cliché, the platitude, the borrowed and unquestioned idea with which the “right thinking” swaddle their minds. After his death his little treasury of absurdities, of half-truths and social lies, was published as a Dictionnaire des idées reçues. Because its devastating humor and irony are often dependent on the phrasing in vernacular French, the Dictionnairewas long considered untranslatable. This notion was taken as a challenge by Jacques Barzun. Determined to find the exact English equivalent for each “accepted idea” Flaubert recorded, he has succeeded in documenting our own inanities. With a satirist’s wit and a scholar’s precision, Barzun has produced a very contemporary self-portrait of the middle-class philistine, a species as much alive today as when Flaubert railed against him.

Satirical compendium of words and concepts from the standpoint of an "all-knowing" everyperson. Parody of Gustave Flaubert's Dictionary of Accepted Ideas (Le Dictionnaire des idées reçues), as translated by the scholar Jacques Barzun (New Directions / 1954). It was originally part of a larger work, Bouvard et Pecuchet, published in 1881.

Jacques Barzun's masterful translation proves that Flaubert's Dictionary of Accepted Ideas--an acid catalogue of the clichés of 19th-century France--is as relevant today as ever.

“If there is one article of faith that dominates the Credo of Gustave Flaubert’s correspondence,” Francis Steegmuller writes in the introduction to this selection of Flaubert’s letters, “it is that the function of great art is not to provide ‘answers.’” The Letters of Gustave Flaubert is above all a record of the intransigent questions—personal, political, artistic—with which Flaubert struggled throughout his life. Here we have Flaubert’s youthful, sensual outpourings to his mistress, the poet Louise Colet, and, as he advances, still unknown, into his thirties, the wrestle to write Madame Bovary. We hear, too, of his life-changing trip to Egypt, as described to family and friends, and then there are lively exchanges with Baudelaire, with the influential critic Sainte-Beuve, and with Guy de Maupassant, his young protégé. Flaubert’s letters to George Sand reveal her as the great confidante of his later years. Steegmuller’s book, a classic in its own right, is both a splendid life of Flaubert in his own words and the ars poetica of the master who laid the foundations for modern writers from James Joyce to Lydia Davis. Originally issued in two volumes, the book appears here for the first time under a single cover.

A spoof encyclopedia of contemporary accepted wisdom and commonplaces, the Dictionary of Received Ideas sees Flaubert at his witty and satirical best. Perhaps intended as a companion to his final, unfinished novel Bouvard and Pecuchet, this compilation was the result of a lifetime of collecting the absurd and the cliched with darkly humorous explanations. A playful look at nineteenth-century values and talking points, this dictionary will provide enduring entertainment and prove relevant even today.

Mock Ritual in the Modern Era explores the complex interrelations between ritual and mockery, the latter of which is not infrequently the unofficial face of claims to rationality. McGinnis and Smyth consider how the mocking and parodying of ritual often associated with modern rationalism may itself become ritualized, and other ways in which supposedly sham ritual may survive its "outing." This volume traces the evolution of "mock ritual" in various forms throughout the modern era, as found in literary, historical, and anthropological texts as well as encyclopedias, newspapers, and films. Mock Ritual in the Modern Era places famous eighteenth- and nineteenth-century authors in dialogue with contemporary popular culture, from Diderot, Sterne, and Flaubert to the TV shows Survivor and Judge Judy, and from Voltaire to the Charlie Hebdo tragedy of 2015. Ritualistic and mock ritualistic aspects of comedy and ridicule are considered along with those, notably, of sexuality, medicine, art, education, and justice.