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  <id type="integer">762787</id>
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  <title>
    <![CDATA[The Banquet Years: The Origins of the Avant-Garde in France, 1885 to World War I]]>
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    <![CDATA[Portrays the cultural bohemia of turn-of-the-century Paris who carried the arts into a period of renewal and accomplishment, who laid the ground-work for Dadaism and Surrealism.]]>
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  <id type="integer">88506</id>
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    <![CDATA[Forbidden Knowledge: From Prometheus to Pornography]]>
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    <![CDATA[An intellectual tour-de-force, <em>Forbidden Knowledge</em> is a study of the ethics of literary and scientific inquiry. Shattuck first approaches his subject indirectly, conducting an engaging tour of Western literature: Adam and Eve, Prometheus, Milton's <em>Paradise Lost</em>, Goethe's <em>Faust</em>, and Mary Shelley's <em>Frankenstein</em>. He then uses these tales to address the moral questions raised by mankind's tendency to search for dangerous knowledge. He contrasts J. Robert Oppenheimer's acceptance of guilt for the atomic bombings with Edward Teller's dismissal of the same. In his own field of literary criticism he argues against the neutral analysis of immoral works as &quot;pure literature,&quot; illustrating his point with a critique of the Marquis de Sade. <em>Forbidden Knowledge</em> is a stimulating and forceful intellectual argument against moral relativism, as well as a practical approach to difficult ethical problems, from genetic engineering to pornography.]]>
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  <id type="integer">28388</id>
  <isbn>0393321800</isbn>
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  <title>
    <![CDATA[Proust's Way: A Field Guide to In Search of Lost Time]]>
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  <link>http://www.goodreads.com/book/show/28388.Proust_s_Way_A_Field_Guide_to_In_Search_of_Lost_Time</link>
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    <![CDATA[For any reader who has been humbled by the language, the density, or the sheer weight of Marcel Proust's <em>In Search of Lost Time</em>, Roger Shattuck is a godsend. Winner of the National Book Award for <em>Marcel Proust</em>, a sweeping examination of Proust's life and works, Shattuck now offers a useful and eminently readable guidebook to Proust's epic masterpiece, and a contemplation of memory and consciousness throughout great literature. Here, Shattuck laments Proust's defenselessness against zealous editors, praises some translations, and presents Proust as a novelist whose philosophical gifts were matched only by his irrepressible comic sense. <em>Proust's Way</em>, the culmination of a lifetime of scholarship, will serve as the next generation's guide to one of the world's finest writers of fiction.]]>
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        <book>
  <id type="integer">88543</id>
  <isbn>1568360487</isbn>
  <isbn13>9781568360485</isbn13>
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  <title>
    <![CDATA[The Forbidden Experiment]]>
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  <average_rating>3.60</average_rating>
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    <![CDATA[On a cold morning just a few days into the year 1800, the citizens of the southern French village of Saint-Sernin awoke to a strange vision: a hairy boy, naked, who appeared as if by some witchcraft from the nearby woods. Captured while digging up vegetables from a tanner's garden, the boy did not--could not--speak. Instead, he emitted a few weird cries, trying to hide himself from his puzzled captors.<p> The next day, the gendarmes took the boy to a hospice in a nearby town. From there, writes the historian and literary scholar Roger Shattuck, his path took this &quot;prisoner without a crime,&quot; now called Victor, into the studies and laboratories of revolutionary France, where the boy presented a rare homegrown instance of Rousseau's &quot;noble savage&quot; to the civilized world. Much scholarly and scientific debate surrounded him. Finally, Victor, now famed as the &quot;wild boy of Aveyron,&quot; came under the care of a sympathetic young doctor who concluded that Victor was in fact an abandoned deaf-mute, intelligent but forlorn, who had somehow been able to survive on his own. Dismissed in a contemporary encyclopedia as &quot;half wild&quot; and &quot;incapable of learning to speak in spite of all efforts to teach him,&quot; Victor was eventually forgotten. &quot;A state pension kept him alive, like an animal in a zoo,&quot; writes Shattuck, &quot;and when he died no one noticed.&quot; Scientific debate about his condition was renewed from time to time, however, and the story of the wild boy was influential in the development of several theories of language learning and human evolution. Shattuck's slender narrative is a fine work of scholarly detection, yielding an instructive episode in the history of science. <em>--Gregory McNamee</em> </p>]]>
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        <book>
  <id type="integer">101437</id>
  <isbn>0393321118</isbn>
  <isbn13>9780393321111</isbn13>
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  <title>
    <![CDATA[Candor and Perversion: Literature, Education, and the Arts]]>
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  <link>http://www.goodreads.com/book/show/101437.Candor_and_Perversion_Literature_Education_and_the_Arts</link>
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    <![CDATA[In <em>Candor and Perversion</em> Roger Shattuck carries on two conversations. The more strident of the two, deceptively titled &quot;Intellectual Craftsmanship,&quot; takes up the first section of this collection of essays and reviews. Here Shattuck engages in verbal fisticuffs with those who would mire the study of literature in the byzantine politics of identity and the arcane language of theory. Insisting that he's not a conservative, he instead gives himself the coy title of &quot;conservationist.&quot; &quot;Some of us,&quot; he writes, &quot;have come to believe that it is possible, even necessary, to be liberal in political matters and conservationist in cultural matters.&quot; Shattuck lays bare the perceived dangers besetting the traditional literary scholar, and insists on the primacy of canonical texts in our universities: &quot;In order to have a common frame of reference within which to reason together, I would argue that there are books everyone should read.&quot; Lest anyone think him extreme, he follows up quickly: &quot;And we should never stop discussing which ones those are.&quot;<p>  Ironically, Shattuck does more to support his position in the second half of his book, which is devoted to the practice of criticism. In two dozen book reviews and essays he engages in a passionate, learned, and imaginative conversation with the greats of Western civilization. This is a scholarship of compulsion: Shattuck returns again and again to key touchstones, such as Virginia Woolf's statement that &quot;on or about December 1910 human character changed.&quot; His enthusiasms spawn new forms of criticism, such as his delightful fairy tale &quot;The Story of  Hans/Jean/Kaspar Arp,&quot; which tells of a child &quot;born in Strasbourg with bright eyes, nice big ears, and a wonderful egg-shaped head. All his life, he liked egg-shaped things--clouds, pebbles, jars, fruits.&quot; Shattuck here is so worked up over Arp's art that he struggles to find a new critical shape to contain his joyful interest. Such lively writing does more to make his case for studying the so-called dead white males than all his polemics. <em>--Claire Dederer</em></p>]]>
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        <book>
  <id type="integer">201473</id>
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    <![CDATA[Marcel Proust]]>
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    <![CDATA[]]>
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  <id type="integer">864847</id>
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    <![CDATA[Proust's Binoculars: A Study of Memory, Time, and Recognition in a La Recherche Du Temps Perdu]]>
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    <![CDATA[]]>
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    <![CDATA[Selected works of Alfred Jarry]]>
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    <![CDATA[The poems are in French and English, the prose selections in English translation.<br/><br/>Dynix#: 469064<br/>NNBR#: 700291824<br/>LCCN#: 63017002]]>
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    <id>53419</id>
        <name><![CDATA[Simon Watson Taylor]]></name>
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    <average_rating>4.28</average_rating>
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  <id type="integer">123052</id>
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  <title>
    <![CDATA[The Innocent Eye: On Modern Literature and the Arts]]>
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    <![CDATA[In this volume, one of the great polymaths of our time focuses on the often disputed contributions of modern, primarily French, art and literature to contemporary culture. Emphasizing individual works and artists over theory and method, and with an authoritativeness characteristic of all his writing, Roger Shattuck embraces a wide range of themes, including politics, theatricality, the dynamics of artistic movements and the nature of consciousness. The essays here range from his celebrated analyses of Dada and the 1935 International Writers' Congress, to fresh considerations of 19th- and 20th-century literature, to groundbreaking studies of Monet, Magritte and the art writings of Meyer Shapiro. A tour-de-force of aesthetic philosophy and criticism, The Innocent Eye is, says the New York Times, &quot;a fast-paced, interesting book spun out of a wealth of intimately assimilated culture.&quot;]]>
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    <![CDATA[Half Tame]]>
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