“The trouble with fiction… is that it makes too much sense. Reality never makes sense.” – Aldous Huxley from The Doors of Perception “For a country to have a great wri…
Boris Pasternak Gabriel García Márquez Milan Kundera Arthur Miller Susan Sontag Ursula K. Le Guin Boris Vian Sergei Dovlatov John Updike Simone de Beauvoir Eugen Ionescu Thornton Wilder Vladimir Nabokov William Saroyan Paul Auster Sylvia Plath Jacques Prévert Paul and Nusch Eluard Jorge Luis Borges…
Non certo la necessità, bensì il caso è pieno di magia. Se l'amore deve essere indimenticabile, fin dal primo istante devono posarsi su di esso le coincidenze, come uccelli sulle spalle di Francesco d'Assisi. Kundera, L'insostenibile leggerezza dell'essere.
"Qu'est-il resté des agonisants du Cambodge ? Une grande photo de la star américaine tenant dans ses bras un enfant jaune. Qu'est-il resté de Tomas ? Une inscription : Il voulait le Royaume de Dieu sur la terre. Qu'est-il resté de Beethoven ? Un homme morose à l'invraisemblable crinière, qui prononce d'une voix sombre : "Es muss sein !" Qu'est-il resté de Franz ? Une inscription : Après un long égarement, le retour. Et ainsi de suite, et ainsi de suite. Avant d'être oubliés, nous serons changés en kitsch. Le kitsch, c'est la station de correspondance entre l'être et l'oubli."
Boris Pasternak Gabriel García Márquez Milan Kundera Arthur Miller Susan Sontag Ursula K. Le Guin Boris Vian Sergei Dovlatov John Updike Simone de Beauvoir Eugen Ionescu Thornton Wilder Vladimir Nabokov William Saroyan Paul Auster Sylvia Plath Jacques Prévert Paul and Nusch Eluard Jorge Luis Borges…
Kundera, le roman d’une vie (5/6). Au milieu des années 1980, le romancier décide de revoir toutes les traductions de ses livres, puis, en 1995, se met à écrire en français. Manie obsessionnelle ou stratégie de globalisation littéraire ?
Buchtyp: Roman Sprache: Französisch Artikelnummer: 40900629
The Czech author has died at the age of 94. Here are some of the most memorable quotes from interviews and articles over the course of his career
In this story of irreconcilable loves and infidelities, Milan Kundera addresses himself to the nature of 20th century 'Being'. The novel encompasses the extremes of comedy and tragedy, and embraces, it seems, all aspects of human existence. | Author: Milan Kundera | Publisher: Harper Perennial | Publication Date: Jun 13, 2016 | Number of Pages: 322 pages | Language: English | Binding: Paperback | ISBN-10: 0062179381 | ISBN-13: 9780062179388
69 quotes by Milan Kundera with Kwize, collaborative quote checking. Join Kwize to pick, add, edit or explain your favorite quotes.
“An elegant, personalized integration of anecdote, analysis, scholarship, memory and speculation. . . . Not since Henry James, perhaps, has a fiction writer examined the process of writing with such insight, authority and range of reference and allusion.” —Russell Banks, New York Times Book Review “A magic curtain, woven of legends, hung before the world. Cervantes sent Don Quixote journeying and tore through the curtain. The world opened before the knight-errant in all the comical nakedness of its prose.” In this thought-provoking, endlessly enlightening, and entertaining essay on the art of the novel, renowned author Milan Kundera suggests that “the curtain” represents a ready-made perception of the world that each of us has—a pre-interpreted world. The job of the novelist, he argues, is to rip through the curtain and reveal what it hides. Here an incomparable literary artist cleverly sketches out his personal view of the history and value of the novel in Western civilization. In doing so, he celebrates a prose form that possesses the unique ability to transcend national and language boundaries in order to reveal some previously unknown aspect of human existence. Product DetailsISBN-13: 9780060841959 Media Type: Paperback Publisher: HarperCollins Publishers Publication Date: 12-26-2007 Pages: 176 Product Dimensions: 5.31(w) x 8.00(h) x 0.40(d)About the Author The Franco-Czech novelist Milan Kundera (1929 - 2023) was born in Brno and lived in France, his second homeland, since 1975. He is the author of the novels The Joke, Life Is Elsewhere, Farewell Waltz, The Book of Laughter and Forgetting, The Unbearable Lightness of Being, and Immortality, and the short story collection Laughable Loves—all originally in Czech. His later novels, Slowness, Identity, Ignorance, and The Festival of Insignificance, as well as his nonfiction works, The Art of the Novel, Testaments Betrayed, The Curtain, and Encounter, were originally written in French.Read an Excerpt Read an Excerpt The Curtain An Essay in Seven Parts By Milan Kundera HarperCollins Publishers, Inc. Copyright © 2007 Milan Kundera All right reserved. ISBN: 9780060841867 Chapter One The Consciousness of Continuity They used to tell a story about my father, who was a musician. He is out with friends someplace when, from a radio or a phonograph, they hear the strains of a symphony. The friends, all of them musicians or music buffs, immediately recognize Beethoven's Ninth. They ask my father, "What's that playing?" After long thought he says, "It sounds like Beethoven." They all stifle a laugh: my father doesn't recognize the Ninth Symphony! "Are you sure?" "Yes," says my father, "Late Beethoven." "How do you know it's late?" He points out a certain harmonic shift that the younger Beethoven could never have used. The anecdote is probably just a mischievous little invention, but it does illustrate the consciousness of continuity, one of the distinguishing marks of a person belonging to the civilization that is (or was) ours. Everything, in our eyes, took on the quality of a history, seemed a more or less logical sequence of events, ofattitudes, of works. From my early youth I knew the exact chronology of my favorite writers' works. Impossible to think Apollinaire could have written Alcools after Calligrammes, because if that were the case he would have been a different poet, his whole work would have a different meaning. I love each of Picasso's paintings for itself, but I also love thewhole course ofhis work understood as a long journey whose succession of stages I know by heart. In art, the classic metaphysical questions--Where do we come from? Where are we going?--have a clear, concrete meaning, and are not at all unanswerable. History and Value Let us imagine a contemporary composer writing a sonata that in its form, its harmonies, its melodies resembles Beethoven's. Let's even imagine that this sonata is so masterfully made that, if it had actually been by Beethoven, it would count among his greatest works. And yet no matter how magnificent, signed by a contemporary composer it would be laughable. At best its author would be applauded as a virtuoso of pastiche. What? We feel aesthetic pleasure at a sonata by Beethoven and not at one with the same style and charm if it comes from one of our own contemporaries? Isn't that the height of hypocrisy? So then the sensation of beauty is not spontaneous, spurred by our sensibility, but instead is cerebral, conditioned by our knowing a date? No way around it: historical consciousness is so thoroughly inherent in our perception of art that this anachronism (a Beethoven piece written today) would be spontaneously (that is, without the least hypocrisy) felt to be ridiculous, false, incongruous, even monstrous. Our feeling for continuity is so strong that it enters into the perception of any work of art. Jan Mukarovsky, the founder of structural aesthetics, wrote in Prague in 1932: "Only the presumption of objective aesthetic value gives meaning to the historical evolution of art." In other words: in the absence of aesthetic value, the history of art is just an enormous storehouse of works whose chronologic sequence carries no meaning. And conversely: it is only within the context of an art's historical evolution that aesthetic value can be seen. But what objective aesthetic value can we speak of if each nation, each historical period, each social group has tastes of its own? From the sociological viewpoint the history of an art has no meaning in itself but is part of a society's whole history, like the history of its clothing, its funeral and marriage rituals, its sports, or its celebrations. That is roughly how the novel is discussed in the Diderot and d'Alembert Encyclopédie (1751-72). The author of that entry, the Chevalier de Jaucourt, acknowledges that the novel has a broad reach ("nearly everyone reads it") and a moral influence (sometimes worthwhile, sometimes noxious), but not a specific value in itself; and furthermore, he mentions almost none of the novelists we admire today: not Rabelais, not Cervantes, not Quevedo, nor Grimmelshausen, nor Defoe, nor Swift, nor Smollett, nor Lesage, nor the Abbé Prévost; for the Chevalier de Jaucourt the novel does not stand as autonomous art or history. Rabelais and Cervantes. That the encyclopedist did not cite either one of them is no shock: Rabelais hardly worried about whether he was a novelist or not, and Cervantes believed he was writing a sarcastic epilogue to the fantastical literature of the previous period; neither saw himself as "a founder." It was only in retrospect, over time, that the practice of the art of the novel assigned them the role. And it did so not because they were the first to write novels (there were many other novelists before Cervantes), but because their works made clear--better than the others had--the raison d'être of this new epic art; because for their successors the works represented the first great novelistic values; and only when people began to see the novel as having a value--a specific value, an aesthetic value--could novels in their succession be seen as a history. Theory of the Novel Fielding was one of the first novelists able to conceive a poetics of the novel: each of the eighteen books of Tom Jones opens with a chapter devoted to a kind of theory of the novel (a light, playful theory, for that's how a novelist theorizes--he holds jealously to his own language, flees learned jargon like the plague). Fielding wrote his novel in 1749, thus two centuries after Gargantua and Pantagruel and a century and a half after Don Quixote, and yet even though he looks back to Rabelais and Cervantes, for him the novel is still a new art, so much so that he calls himself "the founder of a new province of writing . . ." That "new province" is so new that it has no name yet! Or rather, in English it has two names--novel and romance--but Fielding refuses to use them because no sooner is it discovered than the "new province" is . . . Continues... Excerpted from The Curtain by Milan Kundera Copyright © 2007 by Milan Kundera. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Roger Kimball on Milan Kundera's novels and beliefs.
Informacje o NIEZNOŚNA LEKKOŚĆ BYTU - Kundera Milan (KSIĄŻKA) - 8265175212 w archiwum Allegro. Data zakończenia 2019-09-19 - cena 149,99 zł
The Czech author, who died this week at 94, warned against the marginalization of literature and fought for its future.
Ano de publicação: 2010 | Capa do livro: Mole | Número de páginas: 248. | Dimensões: 125 mm largura x 180 mm altura. | Peso: 206 g. | ISBN: 9788535917291.
Sprache: Französisch Artikelnummer: 40899142
Milan Kundera was born in Czechoslovakia. He lives and writes in France. This week’s quote has been set in Dotum.
Explore king_natasha's 1024 photos on Flickr!
Milan Kundera quote about senses from The Unbearable Lightness of Being: “Sensuality is the total mobilization of the senses: an individual observes his partner intently, straining to catch every sound.”
El escritor checoslovaco, Milan Kundera (1929), en La Broma desarrolla una extensa tesis tendiente a mostrar ( y demostrar) como un hecho en particular, una broma, puede ser determinante en la vida…
Tamina 2018, mixed media, various sizes. Series of three illustrations from The Book of Laughter and Forgetting by Milan Kundera.
