Bruges-La-Morte by Georges Rodenbach is one of those minor pieces of world literature that can have a major effect on the reader. It is not a sublime work of art, . 3 / 1 / Georges Rodenbach, Bruges-la-Morte. James Elkins. This is the book most often taken as the starting point for novels illustrated with photographs. BRUGES-LA-MORTE t ‘Ronance. BY. GEORGES RODENBACH. Translated from the rench, with a Critical. Introduction, by. THOMAS DUNCAN. WITH THREE.

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I prefer the third alternative. Nell’ Avvertenza posta all’inizio del romanzo Rodenbach dice infatti: Needless to say, readers will have to turn to another edition if they want to see the photographs chosen by Rodenbach. View all 59 comments. As in Vertigo when Madeleine Elster refuses to assume the persona that Omrte wants her to, Jane resists the transformation.

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Bruges-la-Morte – Wikipedia

There is something archetypal about the repeated vision of the pale, beautiful, fragile, utterly feminine corpse. Perhaps he liked the way the second photograph revisits the first, in a more intensive fashion. There are several meanings entangled here, which it may be useful to provisionally separate:. Envoi, on non-visual editors and heorges. Paperback 1 82 6 Ebook 1 20 8 Rights: And the difference becomes more noticeable as time passes: Little is mentioned to gforges of the lost beloved wife other than the mementos and his recall of their happiness rodenvach ten years.

What happens next you will have to find out from this unfortunately neglected little book, which it will take you only an hour or so to read. Your email address will not be published. Otherwise, Viane and Colin Farrell have little in common. The figures in the photos raise interesting problems for reading.


Mi sorridono affettuosamente gli occhi, ogni volta che la guardo. Symbolist burges Fernand Knopff, also of Bruges, did the original frontispiece, and later did his own versions, ghostly and elegaic, of several of the photos: Bruges-la-Morte is, of course, primary concerned with death, but rather than focussing on corpses and funerals and all that, he rodenbsch to write about change and decay and memory [which are all, or can be, related to death, of course].

But anyway, however interesting this early use of photography may be, the real star is Rodenbach’s prose. This has been corrected.

This is a religion which is supported by the mementos of the beloved dead wife including a tress of her golden hair, where homage is paid daily. Beuges apprend que c’est plutot Jane Scott une danseuse mais il refuse d’accepter que ce n’est pas sa femme.

It felt that way, anyway. This work is a poet’s novel, dense, visionary and haunting. Jane pour sa part n’est pas meilleure. The narrative here is still the scene in the theater, so this is the first image that is disconnected from the text.

Having lost his wife, Hugues Viane moves to the melancholy city of Bruges in Belgium where he lives a somber life morosely contemplating his loss some five years ago.

When he’s not staring at her pictures, he’s out taking moody walks along the canals. Bruges-la-Morte, though, edges away from allegory, or maintains a pious silence as to whether it is, or is not, allegorical. It certainly is symbolist, though, in the sense that Georges Rodenbach’s reputation is as a symbolist writer.

Arts Council Fiction Group. The town appears in its meager population to be a summonings of those waiting for time to pass without disruption to end in a, good death. Rodenvach are some paragraphs here that seem to be made up entirely of alexandrines. Besides, grief does strange things to you. Each town is a state of mind, a mood which, after only a short stay, communicates itself, spreads to us in an effluvium which impregnates us, which we absorb with the very air.


Rodenbach must surely have been a Nerval fan. He also makes so much use of repetition that brugfs might otherwise be small decisions become very big ones.

Bruges-la-Morte is a Symbolist novel, perhaps the Symbolist novel, according to critic James Gardner. The book is short and the ill advised affair undertaken by Viane is plotted in grim detail.


Bruges is very much the main character in the novel: I have seen it described as ornate, but it never struck me that way, especially in the context of when the book was published,a time when authors really did know a thing or two about overcooking their sentences.

Towns above all have a personality, a spirit of their own, an almost externalised character which corresponds to joy, new love, renunciation, widowhood.

Moreover, he will not throw or give away her clothes or things, or change the arrangement of the home they shared, for this, he thinks, will, in a way, mean losing her again, or another part of her.