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La princesa Casamassima av Henry James
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La princesa Casamassima (utgåvan 1979)

av Henry James

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
6351128,209 (3.59)25
Henry James conceived the character of Hyacinth Robinson--his 'little presumptuous adventurer with his combination of intrinsic fineness and fortuitous adversity'--while walking the streets of London. Brought up in poverty, Hyacinth has nevertheless developed aesthetic tastes that heighten his awareness of the sordid misery around him. He is drawn into the secret world of revolutionary politics and, in a moment of fervour, makes a vow that he will assassinate a major political figure. Soon after this he meets the beautiful Princess Casamassima. Captivated by her world of wealth and nobility, art and beauty, Hyacinth loses faith in radicalism, 'the beastly cause'. But tormented by his belief in honour, he must face an agonizing, and ultimately tragic, dilemma. The Princess Casamassima is one of James's most personal novels and yet one of the most socially engaged. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.… (mer)
Medlem:teresasoler
Titel:La princesa Casamassima
Författare:Henry James
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The Princess Casamassima av Henry James

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» Se även 25 omnämnanden

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PB -2
  Murtra | Dec 28, 2020 |
AG-4
  Murtra | Oct 7, 2020 |
This 1886 novel is not going to appeal to everyone. But I loved it. I love the richness and hesitancy of mid-period Henry James - note that the Black Penguin edition uses James' original 1880s text, not his later 1910s revision, which is more convoluted and obscure than the original. I also loved the beautiful,sad, and short hero, Hyacinth Robinson, a mild bookbinder blessed and burdened with an exquisite consciousness!

This is said to be the most "Dickensian" of Henry James' major novels. It certainly revels in detailing the fogs and smudges and gaslit pubs and bold "New Women" of late 19th century London. It also is a boldly political text that is quite relevant to the world in 2017, dealing with terrorism, conspiracies, and individuals caught up in affairs far beyond their comprehension. Parts of the book remind me of an Arthur Conan Doyle story, or the Joseph Conrad of "The Secret Agent." At the same time, it's undeniably a Jamesian novel with mysteries of motivation and gaps in the action and completely "unrealistic" dialogue between the major characters -- but if you really want "realism" I'd recommend that you stick to Anthony Trollope. ( )
1 rösta yooperprof | Oct 5, 2017 |
I chose this (early in my acquaintance with James) for the plot: Henry James does radical London. I stayed for the style…

I understand this is his ‘middle period’, without the tortuosity of his late; still with traits you either like or don’t. For me it was word-perfect – only a suspicion of waffling three-quarters through. The thing I most often dispense with in a book is description of places and objects; I read that James didn’t believe in physical description for its own sake, not unless it conveys a mood of his novel or its inhabitants. For me, there was not a word wasted in his gorgeous descriptions of a gloomy London; and there was no extraneous detail to clutter you as you fleet through the pages. Wordy? This author is not wordy. He spends his words on inwardness and conversations, and since I believe this is where words should be spent, I read smoothly and absorbed. He has pretty juxtapositions of words, too; sentences that make me know I have to come back and read this again. Anyway, I doubt he can do a plot I’m going to be as intrigued by.

It’s a political thriller, and has been accused of an attempt to be sensational. But revolutionary terrorism was an issue of the day, and I am so glad James decided to turn his hand to it. The ‘reluctant revolutionary’ type I know from Russian fiction, and one introduction tells me he took a real-life example in a volunteer assassin who had qualms and botched his job.

Hyacinth is torn between a love of the fine things that an unfair society creates, and sympathy for the misery of the bulk of London’s people. Perhaps these were the terms then. It seems to Hyacinth (and probably to James) that if we blow up the aristocracy we’ll be left with the ugly and vulgar. But I do not mean his working-class heroes are ugly or vulgar or stupid; they are rather fine, with a mix of the humane and the inhumanely-committed. In what tugs Hyacinth to the noble houses, this novel gave me a new insight into aristocracy-appreciation. But not because they have better people; they don’t, in the novel. Hyacinth’s attachment is about things, the artistry. His naïve ideas about noble people are shot through, and he never becomes a turncoat from his cause, he just… becomes confused.

The novel has two slumming noblewomen, who identify themselves with the people’s cause. I imagine James was more at home in writing them (though he does a fair job at everyone, if you ask me). One is awkward, endearing, genuinely selfless; the other, the princess of the title, at different times comes across as a tourist in search of sensation, a spy afraid for her class, or a real and dangerous revolutionary. It is James’ indirectness not to solve what she is – as he doesn’t solve Hyacinth’s divided loyalties.

I liked Hyacinth, the more as we go on, and his puzzles, although the terms have changed (in that the non-aristocratic world is creative, too), were meaningful to me. I liked the intelligent women, and the unsatirised eccentricity of cast like Mr Vetch and the French communist couple. I enjoy how James conceals major scenes, so that we piece them in by gradual stages after the fact, the more effectively for our imaginations. I enjoy how conversations go nowhere or speeches reach no certain conclusion, as in life.

Lastly, I want to note that James’ queer sensibilities (rampant, for instance, in ‘The Turn of the Screw’) are to be found here. I can’t be more explicit, I just decided along the way this a queer-friendly text. ( )
2 rösta Jakujin | Oct 22, 2016 |
Um romance maravilhoso. Hyacinth Robinson é um jovem artesão que compartilha a companhia de um grupo de revolucionários com a Princesa Casamassima, ansiosa por abraçar as profundezas e profundidades dos pobres e socialmente voláteis trabalhadores. Alguém que provém da elite recusa-se a ser elitista. O verdadeiro elitista chama isto de hipocrisia. O esquerdista (verdadeiro ou não) acha tal decisão, pelo contrário, admirável. "Burguesia é menos uma origem social do que um estado de espírito" - ouvi toda a vida este argumento defendido por meus amigos auto-nomeados progressistas. "Não importa de onde você vem, mas o que você vai plantar". Bem, elites são, por definição, minoritárias. Elas podem ser esclarecidas ou corruptas; cultas ou incultas; do bem ou do mal; do lado dos mais ou dos menos - assim chamados - "desfavorecidos". Mas nenhuma elite poderia estar do lado de uma maioria porque, nesse caso, estaríamos diante de um oximóron. Igualdade social, se para uns é mito, para outros é o móvel precípuo da militância; restando a coerência por conta da consciência de cada um. Henry James faz aqui a sua mais profunda incursão pela política, pois, - "Os Possuídos" de Dostoevsky vem logo à mente - contando a história de um membro da camada superior da sociedade que "brinca" de ativismo social e denuncia uma desigualdade social cujas desvantagens nunca sentiu na pele: pode-se confiar em alguém que ama as belas criações da cultura e, ao mesmo tempo, injuria hipocritamente as disparidades sociais de classe (ou melhor, de casta) que tornam tais luxos possível? James retrata a hipocrisia com que a elite bem educada vive (desde o novecentos e ainda hoje) e a inocuidade de se tentar absolver tal hipocrisia - se de hipocrisia realmente se tratar. ¨A Princesa Casamassima" é fascinante pela forma como tira James da sua zona de conforto para descrever o mundo social de operários, costureiras, lojistas, frequentadores de bares e (algo improvável na sua obra, para dizer o mínimo) revolucionários clandestinos em Londres no final da era vitoriana. Já li críticas ao romance, reclamando que, em seu mundo de brilho intenso e privilégios, o autor jamais denunciaria, confrontaria ou bateria realmente de frente na "questão social" e na desigualdade sobre a qual a sociedade se ergue. A verdade é que, no personagem de seu "pequeno encadernador", Hyacinth Robinson, ele arrisca uma valente tentativa ao introduzir complexidade e precisão documentária nos problemas sociais que descreve, aliás muito melhor do que a maioria dos outros escritores que se arvoram em simpatizantes dos desafortunados. Nenhum livro me fez entender o sistema de classes britânico mais acentuadamente do que este. O olho sutil de James registra o acabamento de uma luva, a asperidade de uma mão, a não-aspiração da letra 'h' no linguajar cockney da Inglaterra, por volta de 1885. Ele também é sensível à forma como a caridade pode ser uma expressão de poder (não propriamente daqueles que a praticam, mas, em especial, dos que a recebem!) e quão mistos soem ser os motivos edificantes dos bem-intencionados afortunados que "assumem" a causa dos pobres. O próprio conceito de pobre complica-se quando James percorre toda uma gama de profissionais: encadernadores, violinistas de teatro, químicos industriais, aristocratas de estirpe empobrecidos etc. James quis descascar o próprio pepino neste romance ao questionar se a igualdade (o que podemos hoje chamar de "justiça social") deve ser obtida em detrimento da beleza, da graça e dos padrões estéticos que a riqueza fornece. O frustrante, talvez, é a falta de resposta. No final, ele opta pela "religião da amizade", uma decisão de ver nas pessoas, independentemente da sua condição social, indivíduos, primeiro, e colocar suas respectivas personalidades acima de teorias abstratas. Mas ele também é arguto o suficiente para perceber as personalidades de que mais gosta: as excepcionais, com inteligência e bom gosto, não a "média" homeostática que vige quando todo o mundo é igual. A confusão (como bem resumiu o crítico Arch Llewellyn) é abordada com o amor habitual do escritor pelo detalhe e pela valorização das complexidades nas relações humanas. ( )
  jgcorrea | May 10, 2016 |
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» Lägg till fler författare (32 möjliga)

Författarens namnRollTyp av författareVerk?Status
Henry Jamesprimär författarealla utgåvorberäknat
Brewer, DerekBidragsgivaremedförfattarevissa utgåvorbekräftat
Campbell, DavidInledningmedförfattarevissa utgåvorbekräftat
Gibson, FloBerättaremedförfattarevissa utgåvorbekräftat
Mir, EnricFormgivaremedförfattarevissa utgåvorbekräftat
Pera i Cucurell, MartaÖversättaremedförfattarevissa utgåvorbekräftat
Richards, BernardInledningmedförfattarevissa utgåvorbekräftat
Silió, SoledadÖversättaremedförfattarevissa utgåvorbekräftat
Trilling, LionelInledningmedförfattarevissa utgåvorbekräftat
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Henry James conceived the character of Hyacinth Robinson--his 'little presumptuous adventurer with his combination of intrinsic fineness and fortuitous adversity'--while walking the streets of London. Brought up in poverty, Hyacinth has nevertheless developed aesthetic tastes that heighten his awareness of the sordid misery around him. He is drawn into the secret world of revolutionary politics and, in a moment of fervour, makes a vow that he will assassinate a major political figure. Soon after this he meets the beautiful Princess Casamassima. Captivated by her world of wealth and nobility, art and beauty, Hyacinth loses faith in radicalism, 'the beastly cause'. But tormented by his belief in honour, he must face an agonizing, and ultimately tragic, dilemma. The Princess Casamassima is one of James's most personal novels and yet one of the most socially engaged. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

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