'D@B I &0 D ?B h · GUSTAVE FLAUBERT Madam Bovary Ba ra B²r|¢|r Madame Bovary Mœurs de province...
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Transcript of 'D@B I &0 D ?B h · GUSTAVE FLAUBERT Madam Bovary Ba ra B²r|¢|r Madame Bovary Mœurs de province...
Madam Bovary
Madame Bovary. Mœurs de province
The Cambridge Companion to Gustave Flaubert
Madame Bovary MLN
N N TM N N L NL
M
G L M LT
B ve C LT
m ay ar
GUSTAVE FLAUBERT
Madam Bovary
a ra r rMadame BovaryMœurs de province
EV RE mih Tirya io lu
GUSTAVE FLAUBERT A A F A F
R R
E rt et rogrès S F
Bir elinin n lar marh as m T
E S S F uygusal itim A
F B R
uygusal itim B
rmi ntonius ve eytan
B A L
F E Madame
Bovary F L
F F Madame
Bovary F
alambo S
uygusal itim F
B T G G G S T E
G B Bouvard ve cuchet
i ye F E A G
R
E LER
6
7
8
13
ÖNSÖZ
/
MICHAEL TILB 25
Madam Bovary
Birinci Bölüm 51
inci Bölüm 121
Üçüncü Bölüm 289
SONSÖZ
MADAM BOVARY J ATHA . CULLER 415
6
Madam Bovary
7
Madam Bovary
8
9
10
11
13
G F A R
B A F
A
A F
B S A
G
R
V G R
B F
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G F
Tar a ar Haya v E r r m m ay ar
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Tarih a ar a a r ri i i a ar
F E è a atliam
L B
V T L
B . en oni
V L F
A
R A
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B L B V B
R
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G Faust
F T B
L B
B F
15
Tarih a ar a a r ri i i a ar
S
M Beagle G A
A
L B
ava erine
V F A E
B
F
V G
R A
T E
F F
S F
E S uygusal itim
A
16
Tarih a ar a a r ri i i a ar
V B
V
S
Oliver Twist A
F T A
B
A S
L
A
L
S
A
G l Canlar A
F Une leçon d’histoire naturelle,
Genre Commis assion et vertu
Madame Bovary
Bir Delinin n lar Loys
rmi ntonius ve eytan
marh
R
B as m A
17
Tarih a ar a a r ri i i a ar
Duygusal itim A
S
R
Duygusal itim
B
L
B
ar les champs et par les gr ves
L B A Duygusal itim
B E A
G
A T
Martin Chu lewit A Üç ilah rler
B A
A F
L
S B
B ane yre U ultulu Tepeler gnes Grey
A F
L L
B F
Netoç a Ne vanova om nist Mani esto
18
Tarih a ar a a r ri i i a ar
S
L F
B
T A B
B L F
B A
A
S F L Moby Dic
L
F
rmi ntonius ve eytan
B
A
A E R
A
R F
L
Madame Bovary
Madam Bovary erle i D nceler l
19
Tarih a ar a a r ri i i a ar
B
B AB F
B G E è
AB
T E
G V La Traviata
F B R
L B B
position Universelle F
S
AB
L
L
Madam Bovary La evue de aris
F rmi ntonius
20
Tarih a ar a a r ri i i a ar
F T
Madam Bovary
rmi ntonius L’ rtiste
alambo
alambo A
B G G
U B A
B
S
AB
T rlerin eni i
ehrin i yesi G Oblomov
S
B S A
F
A S F
B
A L AB B
B
S
21
Tarih a ar a a r ri i i a ar
alambo F
G S B
T
Duygusal itim S
L gion d’honneur G
S
A B
T Babalar ve O ullar S
B L g rl Bildirgesi
S R
A L
E
F eralt ndan Notlar
AB S G R E L
B L R T
F uç ve Ce a
A A AB S
22
Tarih a ar a a r ri i i a ar
A
V S G el Mavi Tuna
A S Budala
F S A
G
B
A F S
F
S
A T
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Cinler
L Le roi l’a dit
Duygusal itim
L B
rmi ntonius ve eytan B
F S A
R
A R
A rmi ntonius ve eytan
23
Tarih a ar a a r ri i i a ar
oci t nonyme Coop rative des rtistes eintres, culpteurs et Graveurs
E
B Carmen
alais Garnier
T E
B
E A
V
R Nibelung
eer Gynt E G
rmi ntonius Bilirbilme ler
A E B B
B Üç i ye
24
Tarih a ar a a r ri i i a ar
S S amson ve Delila
T E
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A A R B
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F B A S
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arama ov arde ler
Üç i ye F Bilirbilme ler
Bilirbilme ler R
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ÖNSÖZ
MICHAEL TILB
Énorme**
bêtise
Essai sur l’indifférence en matière de religion S
Salambo
F Énorme F
F
The rt o the Novel F L B
26
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sa Ermi ntonius ve eytan’a sa a a as a a Madam Bovary s a a a a a a sa a as a a sa
a a a a a a a a a a a a
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a a sa Madam Bovary s a a a a s a a homo sapiens’i
a a a ’i a a a as a i as a ai ’i i i a a as a a a a i a a
B Literary Criticism rmi ntonius ve eytan’ French riters, Other uropean riters U
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i a a a asi i te i i ’ i sa a a a s s i a a i i i i i i a
si i i a a i i a i a a bêtise’in ns n n a a s a insa s ana is i
na is isna i i a n a a a s as i i an a i i ni i in i i n s a
a i i n a n ns bêtise’ an i a a erle i -nceler S l ’n sin n i i i i a a a as n
a n an a n a an a a s i Bilir-bilme ler’ i a sini a an
a ’in a n n i n n a n a n a i i asa an i s a i aa i i asa i i in a
na s i sa a a s n a a i n i i i n i a i in n
s sa a n sa a a a n n i i n a n an a si an a a i a a nan i i inin ans a a i i i an a s i aporia as n a n n i ini ni n a i a n a
a a is i i i a ’in i is i i si sa a i i a a n i in a i an an i i
in n i a a ins a a a a a i ini i a ’in s i i in n i i s i i
ni sa i a na i a a a ini n Ön in uygusal E itim s i a a i s an a as i a n a n i in i n n n in i s n i i in n i
issi a a n a san s i n i sa ii i a i a as n a i i i a n a n a a n
s a an s i n as as na as a i n n in ni in s i i in nin i a si a a s i a a a
B B Üç i ye B A B
Bilirbilme ler
Literary Criticism Correspondance de Gustave Flaubert L F
R S Critical n uiry
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a i in a a i i in sana i i in n i ii i i n i i i i i n a a i i inn a sa a a as n a ansa’n n n isi sa an s a in n n i a as na i i
a an a i n Ermi ntonius ve eytan ve Bilirbilme ler sin i i i s a a i i i a s a
i in a a i inin i in n a i i a a a s n a s n iis i n n n s i an a a a aa n n Sana ’a an a i a a n n a a a n in i i a as n a n i i n a s’in a ’i n s i sin s a a i si na
i i a s Literary Criticism s a a s a a an Bilirbilme ler’in n i i
si i in n sa ins a a n a n a a n a i n in i i sa i an a a an a n a a n a a a a
s na a a a n n n a a a n an ana i as a n i n i n a a a in a ai i i i i i i i s i a a s a n a a i n a
i an a a i i ’nin isin n as i i nai i inin a i i a i a i i i a i i n a a
n isin n n i i i i a a a a a sa a as n a insana s i a a n an a i n isinin a i a n a an a a a a as na i a a a i i a a a ’in n i a a aa i i
a a a n a i n i a i s n i a a a a i i i i a a a an i i a i i i
n a i i a a n n i sa an s n n n a na isi i an sin s
a ’in a a a a a si n n i ia a a a i i i n i n ni s’ a n ini i
si i n a Ermi ntonius ve eytan i in i a i a i n in n in n a a i i a an a a a a an a a i i i inin na a a a n n i in
n isini a a a sa n a in i in in a as a i i insan na s in n s ina
A
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n s i s n i n sa i a a a i a sa ini i i n sa s an n a an n as i
in i inin a n a i i a n ni s n i aa s a si i inin an n a as a i a n He-
rodias’ a a anann’ n as i in as a a i asi na as n n a i i a a’ a a i s i as i i i
n S in a n s nan’ as n n sin a ’ ini i n i i sa n i a a n i i a
a a an i n a a i i sa a a an ni s sana a a a ’in sin
an a n an a i n i n i an n s i i n san si n i a a a a an
a a i a an a a a a n i is i an a i inin si in a a n a a i assa s a in
n ni s i n’in an as i i an a a a a sana i i i n i a i sa Ermi n-
tonius ve eytan’ a a n a a a i isa a a in a a a a n i ini i i n
inin a an s n a a s a a a a ana ’in s in i n i i i a sana sa aa i i
i n a n i i si i i a a a n an a i a a an a a a a a a s i is i is is a an i sis in a as a an a
a a n a a si i na a n i a a a a n n n ni i i i i an i n i a i i
i i a an a n a n in as n inin i n i a a a a a
Madam Bovary a i an ’nin ani s a a a s i ’nin si i a a i in
A E Üç i ye
F A
F F F L E
F G F
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i a a is is ni i i a n n n in n a i i i n a a i a a n s ini n
ssa n a i a sin i i a i Z a’ a a sa an n a i a a a n a a s nii n sa i n i i i in a na n i
i in a n isin a an i an a as n i i a a s n a na a i in a a a na a
i i i i n i i i n s nis ssa a n sis i i asin n i i i i a a a a sa
a n i i i a ini a an i in n aa i i n sn i i i i a a an aa an a i i i an as ai ’ n s i
a a i a sini n i i i n i i i i a assan ’a ’ a a i a na a i i i
a a n anas a a i i i a i a is n nni’nin s ini a in ’ n a a as na n a n i
i i i Sana n n a s na an s a i a i a a a a ini as na a n a is’in i a sana inn nis n a as n an an a a a i n s n
ssa ’in an a n a a na Salambo’n n n s n a’ n i i ai i a i ’ i n a n s a a n a
n a i n Sain ’ an a a i i i a n a Z a sin n a assan n n a an a is
i n sa a a a a n n a as n a San n i i a i in sa a a n a a is is i i i a a a a na a a n n i i a s n an a
a a a a a as n a a i i a a i a a a an i an si i a i n sa a an i i i
si an i a a i s a a as na a n sa n i in a a sini a a n n s n na aa a i i
a a i i a s sana a a an
B uvres compl tes Les omanciers naturalistes
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a n na sa a sin n i i Le mot jus-te’ an s na a n s in a s sana a an n a a a n as n i is aa n i i n i s i i in a n n a
s n n i n a a i i n i sa a n n si n i nin an i in a a n asa a a a n a a as n s in n a ais n a
i n an s’in a a n an s n i i i n i n s a a ’n n si ini a i
a sa a n s a a s i sana i isin a in i i a ai a i i i a a a
i n a a a n n n a is Sa n i in i a a aa a ’ an a a a an a a a i a a a
n a a s n a uygusal E itim’ ni n in i i ss n ’nin si asi i i as a a a a
ini a na a a a i i ai n n i i E itim’ S n a i in s ni
ini a a a i in i a a na a n i Duy gusal E itim’ s’ n asas na a an i a a n n sini a
n a a n in a i i n a as i i i a a as a a ana i i a a a
a n s’ n a i a a n a sa a i a n a a’in n i a a an a n n n i i a an an n
i n n i aa i n in a an n a i i in i i in a a i i i a a an a a a a n a i s na n n a is si ii i a i n n san a a i s a a
n Bibliomanie a n i sinin a a an a a na ia a n n as n a a a s a
s a a i i i as a a sa i i insan a a a ’in an a n a i is isna a i Duygusal E itim’ i a a a ’ n i n a a i i i ansa’n n
F F
Duygusal itim S
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a S ’ a s i a i i n an a an sa i isi i s i s i a a n a
a a a s n an a a i s a a i sin i i a ii a a a a n a n a a a a
i n a n ini n i i inin a a inin sin a ’in n n a ni in asa a n a i a
a s ana a n an a a a s i in i a a n a a a n an a a sa i i is a i s n as ii a a n n n s n asa a s i
i a a s a ’in i ans a a n an n n i i i i i n a as n a a a
i i an a a Z a’ a i ’nin Colomba’s n an i sa a s isin as a i i s i is i n isinin
n a an S n a ’in s in n n a a an an i a i a a n a an a n i s in insan a a i i a a a a a is si i i a i ani s a n ii a a ’ n nsanl omedyas ’n n ns n n an i a a s in a i n i an an a s in n
i ns n a Sana n s n a a sa s ni a a a a i n n in i a a a i i i
i in i in i a i s i i i s a a na i i a s a a in i i i a na sin i asa a a a n a i a i i i i ii n i i a a n s in nas na
a as n san s a ’in i n a an i si n s idées reçues’ i n s n i a a i i a ’in a a a ni a a i i in a an i i a i i s
inin n a a i i n i n s ini ain i n i i i
a ’in a a i a n as n an a a sn inin an s i si asi a a s a a a a i i Madam Bovary’ in an s n i s a as a
a an a a s s n as na a n a a n s n n a i i Na n’ s sin a n a a
ns Na n ns s a i ’ an s n an n n
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i a a a s na a a n a s in n i an an an a a San ’a i i ans n a n i in i i i a a
a a ni i in i i ’in s n a n a a n a a a a a a n a a n a a n an s i Duy-
gusal E itim’ i i’ni s i i s i i an an a i i i a i a an n a i ia i i
Edebiyat Nedir? i a n a an a Sa a ’in i i i an a an ni s in n si i i a is an i a a a s n n i i in i i i anan s n a a s in a n n s n a a a n sa ii i a i n a i i an a s a n n
S f r Derecesi a n n Sa i n n sin a’i s s a n s i a as n a s an i
n a a n i a a s i i a i isinin ii a n i i n i i nan n i i a n n
i a n a i sa ss i ini s i ni asi n n a a a ni a inin si i
si a a a ’i s i a as n anaa a a a a Ya-n n S f r Derecesi a a ni a ’in in ini a a n s a n a i i i i sa a i a is i i n a
i an an a n a ’in s i n inin n i n a i a s n n i n i si a a i
i an i i isi n n i i ns s i i i a i a ai ’ a a
a a i i a s a a na n i i n a i i an a i in a i i a a a n i in i sa a a an a n a i a ’ a s s a a i n a a n a n a a a a n n
n a a a n a ann i in a a a s n in a a sa
an i i in a a n a ini i n a a a n s isini a a n a a i i a ais’
a an s i s n s a i ’ i i i aa n i a i i a n a i i a a a a ais
R B a n n r Derecesi T
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n a n a i isi insan a in s a s a na ni i a Un parfum à sentir’ s i i a a s
anin’in L’ ne mort et la femme guillotinée an n n isi a a n a a a n’ a i i as
n n a i a Bibliomanie i i i s n s n n a a n s i a n a a n n a a a n an a an Qu-
idquid volueris is s ’in a a a i sin Champavert’ an i isini sa a a a
Ön i i a an a ’in s n inin insan s n i i n n n ni anin as na Sain
’ a as n n a as na s an a is Sa a an a i a ’ n i a n a i i i i i i ans
an i inin i s a n a an a n sa is in n i i i i an i n a ’in n i s
i s n a i an a is s in si a as n in a as an Ermi ntonius ve eytan’ a i a sa i in i n’ a a an i a a i a i i
Sa a is in a a i i i i i a ’in a a sa n in a i i in a ans a n a a an i a i aa sin n i sa n sa n a
s a a a an as n an sa an n in ’ n si si sini i i i in n sa i in n a i i i
s n i i i a an a a i i a n n a a isin a an a a i a i i s i Ermi ’ Sa a isi ias’ n sa a ni i na a a an a
as a ’in a a n n s in an a i a n a i i i i i in sa i in i a n n si
i i i i i a i sinin a as na n i ini i a Sa is i a nin a a ansa’ a n s a a s
i si i s i n inin i in i a as n an an n i inin s n a as n in s
n i a an a n a a i i an a a a a in i i a a in i i a in’i n n n a an
a a i a a n a an a a a in a
B The omantic gony U L
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ini a a a n i ni i n a s nsa a an isi aa i a Madam Bovary’ i s s i inin a a i
n ’ i nan a sa a n i a a a n nan a a a n an a an s is i ’in a a na a an a i a a a s a a
asi i i i Yerle i D nceler S l ’n i i a si a a an ’n n a n a i a a a
ans an a n a i n ai a a n a a a a a n a an a a a n a n isin ana
ini a a a i in n i n i ann a a as n a a a i s nin sa s as insi a ins i i a a an i si i i a i i i n a s n isini a a n n a s ann i i ann sini nin ’ n a a an n a n a i i a an a in ’n n s a si i inin a n i a ss i a ai ’in as a an a n i in i
nin a a sa n a ann i i a s’ aa a a n a na as a a ns a ins i i a s i ’in
a i i inin ini n i a as s a i s’in in ans i i i i i i i i an s ni
n a a i an a a a a a n n n n a a ’ a an i i isin a a a Duy-
gusal E itim’ s a i s i ’ a a ’ n n s i n arrivis-te’ini s n a an a a as n s i i s a nsanl omedyas ’n a i as i na ’ a asana a a a a s n n ini n n a a ’ n a a a an a a in i sa
sa a a a s a i s’ Sana a a a as n a i i i i an a i in si i i i i i n an a a a ’in i a n a n a a sin i i isi n a a a s i i i i n i
a’n n a S as a a ’nin a n a a n a i i an a n an a a a a i n in a ’in averley omanlar ’n an an a n n i i i sa a a
S ’ i in i in a San ’a The Fair Ma-id of Perth’i as n a si i i i in i i
Duygusal itim
Duygusal itim
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s a a n n’a a a i ini i n a an i i in an na a a a S ’ an a an n i
i an a a sa a a a a ’in a a a n a i i i i nsanl omedyas ’n
a a n s n a a i ss n ’nin in n aa in i i i a i s a a an a a ’ a i n ini n i a a a a n in n i a
n i i in is ’ a a Lou-is Lambert’ i n i as n n as i ini a a Par les champs et par les grèves’ a a ’ n a n a i a n
sin a n a a s na a n i n i Bette bla’ a an n n a a a n an sa a a ’ n
n n sa s n in i Sain ’ n i aa a a a a ’ an a sin a an a Z a’n n
s i in a a ’ n s in an i isi n isinin sana a i a a a i i a an a a a a ’in a a
a s n a a a ’ an in i i i as s a a si n sa a a ’ n i a s i a n an ini in ai an a a i i
a a anan i Duygusal E itim a a ’ n as ina S nm Hayaller’ n an a a inin as i ini an n n n i i i a a an s
n i i Ö a i an a an n a an a an i s s a a n an i i i i i a i n n an a a a a a
an i a n s s n a ’in a a ’ a a a aais s isini i a a a a is i i n i i i in n
a n a an a n i nin a a an i a mal du sièc-le’in as a a i a in a i n an i i i
B G F L Madame Bovary evue des Lettres Modernes R
E B T T S F L’ ducation sentimentale French tudies
A V F B L’ ducation sen-timentale evue d’ istoire litt raire de la France
F A
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n a a a ’ i an i s i a a an i s a a s a sa i n i ni i
a a a n an an a s a a a an a a s an Öni i n a a ’in an a a i a a an an a
n n i a a a i a s an a a as an asa i E itim nsanl omedyas ’n a i a n i i in n
a a ’ n adide i amba ’ a i an n ss ’in i n i sa ’a an a n an a i n a a an a a a
i ’in a a n sn si i n s n a aa ’ n a a a is as i in n a in i a ss n ’nin sa si S nm Hayaller’ i na ’
a a a i in i E itim’ n s a a n s a i a a a sa a a Duygusal E itim a a n an n i i i i
i in s a a ini a a ’ n a a i a a a aa as a a in s n ni i sin as n i i
n a a an a i i i si i a a n n i Duygusal E itim’i a a ’ n a n n n a si i i nas a n s i i i i n i sa ’ n a i n ’ a s i n a a n s a an
n i a san ’in n a a an si i i s a n s a i i a a a n i ini i s
in i E itim’ i a a n as a i i a i i n n n i sin an n a s na n s i i i i i a a a n n n in an a a i a a i a a a n a i i i an a i i i ini s i i i i i a
a a Madam Bovary’ n i i i i an a n n an a a a as n a i n i i si a i i
in a n n s i sana i i i n i si sasin a an a Na a i Sa a n a ’in trompe-l’œil a an as isi a a a i i i
a n i i in i n sa n as a i i a a an a ’in s s a an a an is i a sinin a a s i a as n an a n i i a a a n a an a a inin si i ini n n a an a i i ini a an a
in i E itim’ a ’in a a a an a a an a i i i i i s a n n n an i in i s i a i
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a i in i a a s a sin i i n i ain an a na a a a a n n
a a a ’ i s ni n i i n sn in i i i inin an a a i i i a n i a a s na a a ’ a as i n n i
i n a s i inin a a a aa i ini a an i i s n i i in i n as an a a n as a n n s i a i i a a a n as n n a i in
i as a a a i i s i a a n n as a n i i ni ai i a a a
n a a n an a a n i i i i i s an a s i i i i s n anan s in a as a in i i in n a n n a sin a a an as a a a anan i a an i in ia ’in s inin a a a i i i a
a a n a a s n an a is in n i a i inan n n i n i s n i i a a ’ n a sin i s a a
n i i i a a na i ni as a a i i sana a’in s ini a an a i a s inin n a a
a an a an a a a a an nsi a a s in n aa is si a an a a n a i s i an a a i i a a a n isi in n a a as n a i a a
’in i a is i i i n sa a a an sin i a ’in ni i si a n an n
i as n nin ans a i i in si in sa a a ini i s i in nini a a i in n n a si i i
in i i i a ’in a a n s inin in i i i a a i i i i a an a a a an a n n
a s i in n isi n a a i Duygusal E itim’ i i in i in sini an a as a a a a i i a n i is
i a s a a a i i s n in ai i an a i i a a sa sin in n
s i a a i i ia a ’ n n as n a an a i i i an a
i i a n an a s n nsanl omedyas ’n n n
39
as n a an a a i a i a n an a an a a a a n n i in a a s n a an a a a a a n a
s a a ’ n i i ni a i i n i a in a a in i i a i an a a n a i an n
s i n i i i in n ni n i i as a i s i a in as s a ni i
n a in a as a a a O sa ans in i a a n an s a a a in i i i i i i a
i a a sa i sini i i i s i i s i a a a a a i i i in a a i i ansi an a sa i a a sa ans s s
in i i i a an n n i in a i si a ana a an i a i i i
a ’in i i a n n n i an a nisini i n a a ’ a a an i a an a s’ n
asi i a a ain’in in i a i i i isi a a i a i i s a n n ini
a a a as n n s n isi i a an a n a a n sn as n a sa i a i i sin a
’in i in s i i n sn a an an a s a s an a a a si sini
s i a a in ia a ’ n n as n a n sn n as i in n as na as
a i i i i inin a i si i i i inin i ans i i sa sa n i i inin a a in a n
na a i i a ’in an a n a i i an s n a n a a a a sa i ina i s i issini
a n n n i i i i ini a in i a na a n i i i in n a n i aa an i i n a s n a i a n i i i a a ii i i Duygusal E itim Salambo’ a s a an an i i a
a a a a a as i i i a i i i i i i i nsi i a asa s issi i i a i
Salambo’ a i i s i Duygusal E itim’ s a as a
R B L E R B Litt rature et r alit S
40
n Madam Bovary’ s a n a n i i a an as a’in i i inin a a i i ini s i
a i i a an a n a a an si i in i i a ’in i i in i a a n a ii s a i n sn n as n n i si an a an insan
a an a a a a s n si i n i aa i a a s a n n a an an i i i n a s i n i i a an a a i a
’in n isin n n i a a a an a a i i an as an n i i a n n in a a a a si i a ’in i an i isi i s s si a a
n i i s i i a a a a a a i i i i s s n sinin a ’in a as a n a s i i n s n a
ninin ni i i in isi i a i a i a a n n n n a i i n i n si
a an a a as n a a a ’in s i in a a a i i i a s n i s nsa a a a n i i sa an i
ni i i i i as na a a na i a a a in i n i sin s n i s i in n a nan i n n isinin n s i
i n sn nin sa i a i i i a a an i i a s i n n sn nin n si i in a n a i in i ns a in i i
sin n a s n ani i s i inin in i ni i i a an as n n i n i si a a a n s
n si a in i i i i i i Madam Bovary’ a a a a a ’ n a a as i i i n i i
n a a n a a n insan i i i i a ais’nin asis an s in’i i i in a a an a n a n a i
in sa a a n a i a a s a a an sana n aa a n as n a i an a a an O n in an
a i i isi n n i a n n a i n a na as a n ni O n a sa i i an a i
i a a i a si i a as n a a a i ii a n s s a i nin a a sa an a in i i si i n a an a Madam Bovary’ n s i s
41
i a a a n i i si n a n as n a in i an a i n a a a a a is n a a a
a as n a i i i i a a a an s i nsan Sa ’in Molloy’ a i s a n i i sini a
a a an s n n s an aS n n a a n n n i i i n i i
nin in i i n n an a a i a a sis n si s in an a n n s n n
s ssi i na i i a as n a i is i Ö n in Madam Bo-vary a na i a a a as n a i i i a as a a i
a a n i a in a as n sa a a n sii a i i a a n s aisi i i s a a i i sin a i a ’in n
nan a s i s i ni a in a inin n an a n n a in a a a i a i
an s i i a i i n a n an n a ia n a a a a a sa a in a a a as na a ana n an a a a a a sai an i in i a San i a an n n a i a as
san ’a n i a a an s i n ns ass n a a n an an as n an sa n i a i
ini a i i i i Duygusal E itim’ a a a aan a n a a a a a a i in a a a
sa i i i iniE itim’in n a an i i i i in i si sn i i s
in an a n i a a n i n s n an i ni i a i a a a sa i a aa a an a i a as a a a a a i iin n a in n a sa i a i a a a a n ana a a in an i isini a i ini n
a i ’in s n ini n i a a i n i n as is i in as i san an a n si an a n i i i i sin ana an E itim n a pas-
sé simple imparfait a as n a i i i a ana i a i
F
42
i i i a ni i a a s an i a n an a a an sa sin i sa i a i i a a a a Madam
Bovary’ i s s a an a n i a a i i i a n a s in in n sa a a i a
n si i i i i a a i i a n a s na an n sa i n sis a i a a an n s n an
a a a n i a i a n n in aa an i ’i n in i i a ’in a a a n a i an a a i n a a a a ni is i nin i s i i i i
sa i s n a a n Salambo’ a a a in a a a n i n i a a an i s a a a
a n Salambo’ a s n i n is i an n n n a a i a an a n n
i a n s n a as a n i in n a an a a nii i i a n a an a an isi a a a a i
a a s in Salambo aan i in i S ’ an a n a i i an n in i i i s a a in i is si asi i i as a n n a an a i i a i i ni i in i i s s n
a a i i n a a s n an a a an an ni i i i an a an an a a a n sa a i i a a an a a n i nan a s a i nin n a a n an an S n i s’a
a i n i as n i i i a a i a ’n n a n n i an a a a a a n isi n a an a
a a a i a sa a an a i i i i a a a i in i si a a n i sana a a i n
n n in a ain i ’nin sa a i i i i a in a n i i s n a a n as i i
n a ’in i i s i n n n i i i i n a a si i i as i i an a n an n a s n i nin i isi i O a n a
a n i inan a n i i sis ini s i i n
Duygusal itim
43
i i inin i s s a a i a i i s nas n a n a sa n an an nin a i a
in i n a Salambo ana a san i an a n a i i i i sa n in n i nin a an i i isin sa
a is ns a i in a n s in a a an n s i a
a i i i i i in i in s an i i a n a in s in a a i i i i i i i an a
a i a a i i n na s n i i a a in a i i i n a n s a n an ai in a an a an a n n in n ini s a
a a a as n a a s in n i i i sa i as a a a sa na a a as a n a i i
i a ’in ns i n sini a i in an a a a i i i
a ’in s inin a a a n a an s i i n isinin ni i a n a a n s n
a sin a n n n n in n sin n i i a a a n s a ’n n an Fanny’nin i n Madam Bovary’ n i si i i i a
’in isi si sa i sinin i i n a in roman à clef** n i s i Charles Demailly a n an n si a a a a ’in a n n naa is i i i i i n a a a Z a a assan isa s ans’ n s in i i i an an a ’ n a i a na a is sa a a a i i n
n a ’ n an Une Belle Journée’ i rebours’a a ns s ans Les Soirées de Médan’
A R Toward an esthetic o eception U
B The Novel o Female dultery, Love and Gender in Continental uropean Fiction, - B
F G
B B Naturalist Fiction. The ntropic ision U The Family
in Crisis in Late Nineteenth-Century French Fiction U
44
a a an na a is a a a n na a n a Duygusal E i-tim’in i sa i a i n na a is
an n Z a’n n i i an is i a n s ii Z a’ a in Duygusal E itim’in a an as n an s n a i Madam Bovary’nin na a is an n sinn a a Bovary’nin a a ni i ini na a i i a
a n i i si i si a a a an n a as aa n sa an as a ’in a an n n a n i
si a i i Duygusal E itim’in i in i is n n in i i a i i a a sa ni a an n na a is i
na ai ni i i ni s i i Z a Œuvres comp-lètes s
Z a’n n an a a n i i a as i i a n n n s Son Excellence Eugène Rougon
i a n a Ni n s i n n a nini an a sa n Madam Bovary’ i Comices gricoles* sa n sinin nin i i i i i Pot-Bouille a n an an an sa n
a a a a a n s n n a a n i a a i an a s n i i Z a a i a i in n Education senti-
mentale ni Duygusal E itim’i i i n an a i i a n i sa n i an n a s i i i a
a a a a a n i a an n a a an a i i s n i assa a n a n a an s i i a
nin an n a ’ n a si n n a nan i i i a a n a a Z a Du roman a n sin a
’in i inin si ini n a n isi ai a a ’in i as a n n n n i a a a i i a a an n a s n i i in n s i i i n i ini a ’in s inin a
a a a as n n s inin ni i a n i
F B
B R L L Les Cahiers naturalistes B Fic-
tions o Female dultery, - B ot-Bouillet L E
Les Cahiers naturalistes
45
i a ’ n n asa a a an ana n n a Z a’n n i i a a an a si s i i i inaa i i i i a n n a n i sana sa n n a i
sini is i i i a ’ n i a a a a a a a na n n a i i i a n a
na i i i i a an a n a i i a aan i i ni a ’in an a a a i i i nin
in s in i in a n Z a’n n i in a ’in i in as a in i i i s i a aa i i i i in a a an a a an i
a a a n s i an n an an a Z a’n n ni a a an i na a a n a
s’ n na a is i a n a ’in si a i an n n s s i s n a a
s a a n sinin a n n i n a assan an a n sin Duygusal E itim’in ya
a n an i sana a n a a n i ia i i si an a ya a na i a a ya a a y i n in n ay a a i i an a as n s y a siy yi a ’in n i s in y in i i i i i a a in a a s in a assan ’ n a y n i y ya n a ni yin
y n s an i i n n i i i i a a ya a a sinn i an a n n a i a i i in n is i a n si i
i i niyi an as n an a an a nsan a n a sa i a a a ay ya an a a i n i i na a a
i i i y in i i in n i inay a ay a a i n si n ay n a n n i i s ana a a a a n a i i a s na
a ’in y y n i in i ya s n a a n i i n s na na a i in n in as si i in n an ys ans’ n in
i siy a i i i ys ans’ n n n an an a na a is n i si rebours’ a a an i s
i an a as s n n a s is i n n i i i i ai inan ni s si a ’in i as y a ya n na a is an in n ya a aya a a a y n i a a ni i a ’in n a a i i is iyan n n
46
n in an a rebours’ n a a an s ss ins’in a an in a n Sa an siy n n n
in s an ya a n a y n yay an Bi-lirbilme ler isini iss i i a ’n n Salomé’si a n a n e phrasis i s in ya a y in s an a n i a
’ a a a n a i i a an y a a sa a a ’ n i i i i Sa a ’in Ermi ntonius’ n a i Sa a i
si’nin a i i i i The Romantic gony s a ’in sais i sa n a an sa an s ys ans’ n na a is s n as n in n a ya n a a a iy ya n
i ay a n i i as anS is in an an si i i i i a y y s n in inin n i i a in n i an si a y n
i as n a i an s a i i n Z a na a is in ya s i an n i y n a a a sa a i
sisi si say ya an a n ya n n n i as in a a y a an a n in n a
s in a ’in ay an an s a a ’ y ni n ya ay s n ini s i y i i a a an y n ’ n i
i in s is an n n s n n i a a say a i a’in sana in n n a n an Sixtine’i a
a in rebours i a ayan y n a i ana a a in ya an an a a a a s n i ’in alpa anlar s ini y i i ’in i ni a a a s is s i in n a a in sin iyi a a a ’in i si an a i s n a s n a i si in a ya a s ns na ai is ini
y s n s a i a a y i i i i as ya a i aa iy i in n y ni n sin a ’in a
y as nouveau roman* say sin Sa a u -u a ’n a a ’i a a ’ a ayn y y i isin i i i i n nin s n ya a a a n n a a ya ysa a yi i y s n a n an n n s n i
si s y y i Nouveau roman’ n a ’ ay a i
F F
47
sa an s n i a a i Pour un nouveau roman ni an i in ’ s y y i Nouveau romancier’nin ni
an n n inin na a is n i sin n n a ’in s ini in n i a iy
in y i na a is in a as n an a a a sa i i Sa a ’ n Flaubert le précurseur a
i y nis as n a a i i S n a a i i in sas s y a n i i i a as n n i i a ’in in i i i sa a a na i a a a ana an
ya s n an a a a a i i a a a as n ai y n a aya nin ya an an n s n a n i i i a i i an a a nin y ini s i y a
n a n a y n i i a a y n sa nin y i an a a i an a as n a a’in a a i iy y bêtise’in i
a as n a i s an a a a a a a a i say a i i
eviren E SE N
S aul al ry et l’en ant d’ l phant Flaubert le pr curseur G
Paris Barosu üyesi,
s i i e e isi Ba a e es i i eri Ba a ,
a
e i i e say e er os u ,
s i i u i a a a oy a a i i er ü -
e , ü ü u i a yay a a i esi i er es-
e o sa a or u e i u e e sa u a -
a era er, e a a e i a ar a, i a-
u u a ir ü a a yü e , i -
e i i i a esi o a u i a a u e e i ri a
e iyoru i e a ar üyü o ursa o su , se i
e a a i e oy ü e e
GUSTAVE FLAUBERT
Paris, 12 Nisan 1857
51
Birinci Bölüm
I
A U
B R
B
S
A
A B
52
V
S
S
B T
S
S B
B
E
A
B
T
A
53
A
Charbovari!
B
Charbovari! Charbovari! G
B B
B B
S S
L B
