Philipp Lammers | Universität Konstanz (original) (raw)

Conferences by Philipp Lammers

Oktober 2014, Konferenz an der Universität Tübingen

Book Reviews by Philipp Lammers

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Romanische Forschungen, 2018

"Seicento e Settecento" - XI 2016, pp. 171-173 Review (in French) of F. Meier's new book.

Drafts by Philipp Lammers

L'Année Stendhalienne, 2017

Considering a new generation of historians and a new way of writing history, Stendhal is himself ... more Considering a new generation of historians and a new way of writing history, Stendhal is himself part of the debates about a new 'writing culture' in an emerging historical science from 1820 on. Contributing regularly to the British press, Stendhal reviews not only a wide range of novels, but also many of these contemporary historiographical works. Both Stendhal and mostly liberal french historians share a self-perception of a young new generation that overcomes old debates. Thus, as this article shows, Stendhal adopts the role of a critic in the sense of the french Enlightenement and sticks to important parts of this Enlightenment-ethos for his self-positioning as an author, while the 'new historians' tend to exaggerate their emancipation from Enlightenment positions for the sake of their much asserted novelty.

An adapted version of this draft is published in L'Année Stendhalienne, No. 16 (2017), p. 135-150.

Papers by Philipp Lammers

lendemains, 2024

Pierre Rosanvallons partizipative Internetplattform "Raconter la Vie" sollte ein "Parlament der U... more Pierre Rosanvallons partizipative Internetplattform "Raconter la Vie" sollte ein "Parlament der Unsichtbaren" werden, das die Probleme der heutigen politischen Repräsentation durch Erzählungen, Geschichten der Menschen selbst lindern sollte. Darin, so die These des Beitrags, manifestieren
sich zwei Fantasmen. Zum einen evoziert der Traum der ‚einfachen‘ Sprache und der unmittelbaren Zeugenschaft das Fantasma einer reinen, verlustfreien Repräsentation. Hier hat die Kritik im Sinne der Frage Spivaks „Can the subaltern speak?“ eingesetzt. Und auch Raconter la vie kann sich den Aporien der Repräsentation und des Sprechen-Machens nicht entziehen. Zum anderen aber arbeitet Rosanvallons Entwurf deutlich mit dem Gegen-Fantasma des Exotischen, mit dem erträumten Außerhalb der Repräsentation, dem Noch-nicht-Eingeholten, den sprichwörtlichen
invisibles. Das Projekt benötigt die Faszination für ‚das Andere‘, um überhaupt zu mobilisieren. Auch dieses Fantasma ist derweil längst dekonstruiert. Rosanvallons Projekt – und nicht nur sein Projekt – zeigt hingegen, dass beide Fantasmen ineinandergreifen und
sich gegenseitig immer wieder hervorbringen. Vor allem aber, dass trotz weit fortgeschrittener Theoretisierung in dieser Frage solche Projekte immer von Neuem Strahlkraft erzeugen können.
Der Artikel untersucht Rosanvallons Projekt in Filiation zu seinem historisch-philosophischen Grundlagenwerk "Le Moment Guizot" und stellt die These auf, dass Rosanvallons jüngere Projekte und sein Denken beständig um eine Erneuerung der Demokratie mittels einer Rückkehr vor die Anfänge der Demokratie, zu einem neuen "Moment Guizot", kreisen.

Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte, 2023

The blank verse as ›unbound‹ verse has been the object of lively discussions about the freedom o... more The blank verse as ›unbound‹ verse has been the object of lively discussions
about the freedom of poetry since its emergence in the Renaissance. The basis
of these discussions is the status of rhyme. Its absence opens up new possibilities
of representation. Against the fetters of rhyme, blank verse is increasingly stylised
as a form of freedom in the 18th century, according to the thesis presented here.
This article focuses on the discourses on tragic blank verse throughout Europe up to
1800. It examines which poetological potentials are attributed to the form and the
historical and political ideas associated with the rhymeless but classical verse.

Zusammenfassung Der Blankvers als ›ungebundener‹ Vers ist seit seiner Entstehung in der Renaissance Objekt lebhafter Diskussionen um die Freiheit der Dichtung. Grundlage dieser Diskussionen ist der Reim, dessen Fehlen neue Möglichkeiten der Darstellung eröffnet. Gegen die Fesseln des Reims wird der Blankvers im 18. Jahrhundert zunehmend zu einer Freiheitsform stilisiert, so die These des Artikels. Der Beitrag stellt die europaweiten Diskurse um den tragischen Blankvers bis 1800 ins Zentrum seiner Betrachtung. Er untersucht, welche poetologischen Potenziale der Form zugeschrieben und welche historischen und politischen Vorstellungen mit dem reimlosen Vers verknüpft werden.

In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has re... more In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has recently been the subject of increased attention, with texts by Annie Ernaux, Didier Eribon, Christian Baron, Richard Hoggart and others frequently being mentioned in this regard. While individual cases, such as the French reception of Richard Hoggart, have been studied before, this essay takes a broader approach and examines English-, French-and German-language texts in order to trace the complex itinerary of autosociobiography and sketch out the history of this emerging form in the second half of the twentieth century. In addition, we explore how the emergence of autosociobiography relates to international and supranational developments such as the expansion of higher education, economic recession and the rise of Neoliberalism after the Trente Glorieuses. Autosociobiography-so runs our thesis-is an attempt to reinstall a logic of the general in a 'society of singularities'. Finally, our essay discusses the methodological problems that will be encountered in the study of autosociobiography as a travelling genre.

Comparative Critical Studies, 2023

In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has re... more In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has recently been the subject of increased attention, with texts by Annie Ernaux, Didier Eribon, Christian Baron, Richard Hoggart and others frequently being mentioned in this regard. While individual cases, such as the French reception of Richard Hoggart, have been studied before, this essay takes a broader approach and examines English-, French- and German-language texts in order to trace the complex itinerary of autosociobiography and sketch out the history of this emerging form in the second half of the twentieth century. In addition, we explore how the emergence of autosociobiography relates to international and supranational developments such as the expansion of higher education, economic recession and the rise of Neoliberalism after the Trente Glorieuses. Autosociobiography – so runs our thesis – is an attempt to reinstall a logic of the general in a ‘society of singularities’. Finally, our essay discusses the methodological problems that will be encountered in the study of autosociobiography as a travelling genre.

Le Centre pour la Communication Scientifique Directe - HAL - SHS, 2022

Considering a new generation of historians and a new way of writing history, Stendhal is himself ... more Considering a new generation of historians and a new way of writing history, Stendhal is himself part of the debates about a new 'writing culture' in an emerging historical science from 1820 on. Contributing regularly to the British press, Stendhal reviews not only a wide range of novels, but also many of these contemporary historiographical works. Both Stendhal and mostly liberal french historians share a self-perception of a young new generation that overcomes old debates. Thus, as this article shows, Stendhal adopts the role of a critic in the sense of the french Enlightenement and sticks to important parts of this Enlightenment-ethos for his self-positioning as an author, while the 'new historians' tend to exaggerate their emancipation from Enlightenment positions for the sake of their much asserted novelty

Recherches & Travaux, 2017

Contributing regularly to the British press, Stendhal reviews not only a wide range of novels, bu... more Contributing regularly to the British press, Stendhal reviews not only a wide range of novels, but also many contemporary historiographical works. Considering a new generation of historians and a new way of writing history, he envisions a “new novel” using a corpus of criteria based on the new successful historiography, leading towards a new poetics of the novel.

Résumé Le Rouge et le Noir may be read as a life story/biography, and thus compared to the memoi... more Résumé

Le Rouge et le Noir may be read as a life story/biography, and thus compared to the memoir genre that is successful in the 1820s-40s. A close reading reveals a number of parallels with Jean-François Marmontel’s Memoirs(Mémoires d’un père pour servir à l'instruction de ses enfants), serving as a countermodel for Juliens biography and the description of the social word of Le Rouge. By focussing on space (lieu) and milieu, the novel turns against an idealised depiction of manners and the past in Marmontel's edifying Memoirs. Challenging the traditional design of the biographical form (Lukács), Stendhal proposes not only to abandon patriarcal lessons of life narratives, but to introduce new lessons, consistent with the historical challenges 19th century presents.

Books by Philipp Lammers

Stendhal was a fervent reader of memoirs. However, the role played by these readings in shaping h... more Stendhal was a fervent reader of memoirs. However, the role played by these readings in shaping his work had scarcely been the subject of in-depth study. This question is at the heart of the book, which gives an idea of its scope.
I place Stendhal's fascination with memoirs in the context of his own time: memoirs, which flourished under the Restoration, influenced both historians and novelists in their competing attempts, but also in their joint efforts to write the history of their time. The book studies the importance of this relationship with memorialist writing for the development of Stendhalian aesthetics from three angles: firstly, it analyses Stendhal's critical reception of the Memoirs and the lessons he drew from them; secondly, it shows the link between his biographical and autobiographical writings and the post-Revolutionary and Bonapartist memoirs; and thirdly, using the example of Le Rouge et le Noir (The Red and the Black), it examines how the Stendhalian novel works with the material provided by the memoirs.

OPEN ACCESS HERE: https://books.openedition.org/ugaeditions/30461

TABLE OF CONTENTS/ TABLE DES MATIÈRES

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Un « déluge » de Mémoires.
L’histoire du temps présent : un récit depuis l’arrière-garde.
Programme et enjeux
Pour une histoire littéraire.
Les « Mémoires » de Stendhal sans le biographisme.
Pour un travail du matériau.
Corpus et structure.

I. - VITA MAGISTRA HISTORIAE. La fascination des Mémoires. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Introduction
Chapitre 1 - La tâche du critique. Le corpus journalistique de Stendhal et la révolution de la littérature. . . . . . .31
Chapitre 2 - Le travail sur le matériau. Littérature et histoire en compétition pour les « sources ».. . . . . . . . . 57

II. - ÉCRIRE LA VIE ACTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Introduction
Chapitre 3 - Sur le chemin du roman ? Vie de Henry Brulard. . . . . . . . . . . .93
Chapitre 4 - Avec Bonaparte. Les Mémoires sur Napoléon. . . . . . . . . . . . . .123
Chapitre 5 - Milan 1796 - Waterloo 1815: La Chartreuse de Parme. . . . . . ..153

III. - LE ROUGE ET LE NOIR ET LE RÉCIT DE VIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Introduction
Chapitre 6 - Dans la petite ville. Les leçons des Mémoires de Marmontel . . . . . . . . . . . . . . . . .193
Chapitre 7 - Entrée dans le monde. Généalogies mémorialistes du subalterne. . . . . . . . . . . . . 215
Chapitre 8 - En prison. Se retirer et s’exposer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

Bibliographie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Winter Verlag (Heidelberg), 2021

The reception of the Memoirs is of great significance in the poetics of contemporary history that... more The reception of the Memoirs is of great significance in the poetics of contemporary history that Stendhal puts into practice in his writing, placed "in the rearguard of history" in more than one respect: after the end of the great historical events during Revolution and the reign of Napoleon, the writer offers a particular view of history. His narratives are situated in the wake of other narratives, historical and biographical, which give his work a critical depth.Memoirs are a contemporary ideal of (subjective) narrative, which both historians and writers draw on. Stendhal's work is in its various parts a work on contemporary history and on memoirs. In this respect, the reception of memoirs, the way in which Stendhal treats historical testimony and authorship, and the contemporary poetics of the novel are of major significance for understanding Stendhal's work.The first part situates into context Stendhal's essential place in the landscape of the memorialist genre of the 1820s and 1830s, when the enthusiasm for the genre was strong. A survey of the reception and criticism of the Memoirs in Stendhal's contributions to the English press provides categories for further analysis of Stendhal's narrative practice.The second part looks at Stendhal's biographical and autobiographical production in comparison with the post-revolutionary and Bonapartist memoirs. The fact that Napoleon's "narrative" legacy has not only political, but also poetic and aesthetic significance is an important starting point for the analysis.The third part addresses the question of how Stendhal's novel, especially The Red and the Black, presents itself as a new biographical form, developed after the collapse of the revolutionary and Napoleonic order. Exemplary and detailed analyses examine the Memoirs from the 17th to the 19th century as models that Stendhal's novel critically integrates.

L'Année Stendhalienne, 2017

Considering a new generation of historians and a new way of writing history, Stendhal is himself ... more Considering a new generation of historians and a new way of writing history, Stendhal is himself part of the debates about a new 'writing culture' in an emerging historical science from 1820 on. Contributing regularly to the British press, Stendhal reviews not only a wide range of novels, but also many of these contemporary historiographical works. Both Stendhal and mostly liberal french historians share a self-perception of a young new generation that overcomes old debates. Thus, as this article shows, Stendhal adopts the role of a critic in the sense of the french Enlightenement and sticks to important parts of this Enlightenment-ethos for his self-positioning as an author, while the 'new historians' tend to exaggerate their emancipation from Enlightenment positions for the sake of their much asserted novelty.

An adapted version of this draft is published in L'Année Stendhalienne, No. 16 (2017), p. 135-150.

lendemains, 2024

Pierre Rosanvallons partizipative Internetplattform "Raconter la Vie" sollte ein "Parlament der U... more Pierre Rosanvallons partizipative Internetplattform "Raconter la Vie" sollte ein "Parlament der Unsichtbaren" werden, das die Probleme der heutigen politischen Repräsentation durch Erzählungen, Geschichten der Menschen selbst lindern sollte. Darin, so die These des Beitrags, manifestieren
sich zwei Fantasmen. Zum einen evoziert der Traum der ‚einfachen‘ Sprache und der unmittelbaren Zeugenschaft das Fantasma einer reinen, verlustfreien Repräsentation. Hier hat die Kritik im Sinne der Frage Spivaks „Can the subaltern speak?“ eingesetzt. Und auch Raconter la vie kann sich den Aporien der Repräsentation und des Sprechen-Machens nicht entziehen. Zum anderen aber arbeitet Rosanvallons Entwurf deutlich mit dem Gegen-Fantasma des Exotischen, mit dem erträumten Außerhalb der Repräsentation, dem Noch-nicht-Eingeholten, den sprichwörtlichen
invisibles. Das Projekt benötigt die Faszination für ‚das Andere‘, um überhaupt zu mobilisieren. Auch dieses Fantasma ist derweil längst dekonstruiert. Rosanvallons Projekt – und nicht nur sein Projekt – zeigt hingegen, dass beide Fantasmen ineinandergreifen und
sich gegenseitig immer wieder hervorbringen. Vor allem aber, dass trotz weit fortgeschrittener Theoretisierung in dieser Frage solche Projekte immer von Neuem Strahlkraft erzeugen können.
Der Artikel untersucht Rosanvallons Projekt in Filiation zu seinem historisch-philosophischen Grundlagenwerk "Le Moment Guizot" und stellt die These auf, dass Rosanvallons jüngere Projekte und sein Denken beständig um eine Erneuerung der Demokratie mittels einer Rückkehr vor die Anfänge der Demokratie, zu einem neuen "Moment Guizot", kreisen.

Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte, 2023

The blank verse as ›unbound‹ verse has been the object of lively discussions about the freedom o... more The blank verse as ›unbound‹ verse has been the object of lively discussions
about the freedom of poetry since its emergence in the Renaissance. The basis
of these discussions is the status of rhyme. Its absence opens up new possibilities
of representation. Against the fetters of rhyme, blank verse is increasingly stylised
as a form of freedom in the 18th century, according to the thesis presented here.
This article focuses on the discourses on tragic blank verse throughout Europe up to
1800. It examines which poetological potentials are attributed to the form and the
historical and political ideas associated with the rhymeless but classical verse.

Zusammenfassung Der Blankvers als ›ungebundener‹ Vers ist seit seiner Entstehung in der Renaissance Objekt lebhafter Diskussionen um die Freiheit der Dichtung. Grundlage dieser Diskussionen ist der Reim, dessen Fehlen neue Möglichkeiten der Darstellung eröffnet. Gegen die Fesseln des Reims wird der Blankvers im 18. Jahrhundert zunehmend zu einer Freiheitsform stilisiert, so die These des Artikels. Der Beitrag stellt die europaweiten Diskurse um den tragischen Blankvers bis 1800 ins Zentrum seiner Betrachtung. Er untersucht, welche poetologischen Potenziale der Form zugeschrieben und welche historischen und politischen Vorstellungen mit dem reimlosen Vers verknüpft werden.

In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has re... more In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has recently been the subject of increased attention, with texts by Annie Ernaux, Didier Eribon, Christian Baron, Richard Hoggart and others frequently being mentioned in this regard. While individual cases, such as the French reception of Richard Hoggart, have been studied before, this essay takes a broader approach and examines English-, French-and German-language texts in order to trace the complex itinerary of autosociobiography and sketch out the history of this emerging form in the second half of the twentieth century. In addition, we explore how the emergence of autosociobiography relates to international and supranational developments such as the expansion of higher education, economic recession and the rise of Neoliberalism after the Trente Glorieuses. Autosociobiography-so runs our thesis-is an attempt to reinstall a logic of the general in a 'society of singularities'. Finally, our essay discusses the methodological problems that will be encountered in the study of autosociobiography as a travelling genre.

Comparative Critical Studies, 2023

In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has re... more In Germanophone and Francophone literary spaces, a genre by the name of autosociobiography has recently been the subject of increased attention, with texts by Annie Ernaux, Didier Eribon, Christian Baron, Richard Hoggart and others frequently being mentioned in this regard. While individual cases, such as the French reception of Richard Hoggart, have been studied before, this essay takes a broader approach and examines English-, French- and German-language texts in order to trace the complex itinerary of autosociobiography and sketch out the history of this emerging form in the second half of the twentieth century. In addition, we explore how the emergence of autosociobiography relates to international and supranational developments such as the expansion of higher education, economic recession and the rise of Neoliberalism after the Trente Glorieuses. Autosociobiography – so runs our thesis – is an attempt to reinstall a logic of the general in a ‘society of singularities’. Finally, our essay discusses the methodological problems that will be encountered in the study of autosociobiography as a travelling genre.

Le Centre pour la Communication Scientifique Directe - HAL - SHS, 2022

Considering a new generation of historians and a new way of writing history, Stendhal is himself ... more Considering a new generation of historians and a new way of writing history, Stendhal is himself part of the debates about a new 'writing culture' in an emerging historical science from 1820 on. Contributing regularly to the British press, Stendhal reviews not only a wide range of novels, but also many of these contemporary historiographical works. Both Stendhal and mostly liberal french historians share a self-perception of a young new generation that overcomes old debates. Thus, as this article shows, Stendhal adopts the role of a critic in the sense of the french Enlightenement and sticks to important parts of this Enlightenment-ethos for his self-positioning as an author, while the 'new historians' tend to exaggerate their emancipation from Enlightenment positions for the sake of their much asserted novelty

Recherches & Travaux, 2017

Contributing regularly to the British press, Stendhal reviews not only a wide range of novels, bu... more Contributing regularly to the British press, Stendhal reviews not only a wide range of novels, but also many contemporary historiographical works. Considering a new generation of historians and a new way of writing history, he envisions a “new novel” using a corpus of criteria based on the new successful historiography, leading towards a new poetics of the novel.

Résumé Le Rouge et le Noir may be read as a life story/biography, and thus compared to the memoi... more Résumé

Le Rouge et le Noir may be read as a life story/biography, and thus compared to the memoir genre that is successful in the 1820s-40s. A close reading reveals a number of parallels with Jean-François Marmontel’s Memoirs(Mémoires d’un père pour servir à l'instruction de ses enfants), serving as a countermodel for Juliens biography and the description of the social word of Le Rouge. By focussing on space (lieu) and milieu, the novel turns against an idealised depiction of manners and the past in Marmontel's edifying Memoirs. Challenging the traditional design of the biographical form (Lukács), Stendhal proposes not only to abandon patriarcal lessons of life narratives, but to introduce new lessons, consistent with the historical challenges 19th century presents.

Stendhal was a fervent reader of memoirs. However, the role played by these readings in shaping h... more Stendhal was a fervent reader of memoirs. However, the role played by these readings in shaping his work had scarcely been the subject of in-depth study. This question is at the heart of the book, which gives an idea of its scope.
I place Stendhal's fascination with memoirs in the context of his own time: memoirs, which flourished under the Restoration, influenced both historians and novelists in their competing attempts, but also in their joint efforts to write the history of their time. The book studies the importance of this relationship with memorialist writing for the development of Stendhalian aesthetics from three angles: firstly, it analyses Stendhal's critical reception of the Memoirs and the lessons he drew from them; secondly, it shows the link between his biographical and autobiographical writings and the post-Revolutionary and Bonapartist memoirs; and thirdly, using the example of Le Rouge et le Noir (The Red and the Black), it examines how the Stendhalian novel works with the material provided by the memoirs.

OPEN ACCESS HERE: https://books.openedition.org/ugaeditions/30461

TABLE OF CONTENTS/ TABLE DES MATIÈRES

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Un « déluge » de Mémoires.
L’histoire du temps présent : un récit depuis l’arrière-garde.
Programme et enjeux
Pour une histoire littéraire.
Les « Mémoires » de Stendhal sans le biographisme.
Pour un travail du matériau.
Corpus et structure.

I. - VITA MAGISTRA HISTORIAE. La fascination des Mémoires. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Introduction
Chapitre 1 - La tâche du critique. Le corpus journalistique de Stendhal et la révolution de la littérature. . . . . . .31
Chapitre 2 - Le travail sur le matériau. Littérature et histoire en compétition pour les « sources ».. . . . . . . . . 57

II. - ÉCRIRE LA VIE ACTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Introduction
Chapitre 3 - Sur le chemin du roman ? Vie de Henry Brulard. . . . . . . . . . . .93
Chapitre 4 - Avec Bonaparte. Les Mémoires sur Napoléon. . . . . . . . . . . . . .123
Chapitre 5 - Milan 1796 - Waterloo 1815: La Chartreuse de Parme. . . . . . ..153

III. - LE ROUGE ET LE NOIR ET LE RÉCIT DE VIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Introduction
Chapitre 6 - Dans la petite ville. Les leçons des Mémoires de Marmontel . . . . . . . . . . . . . . . . .193
Chapitre 7 - Entrée dans le monde. Généalogies mémorialistes du subalterne. . . . . . . . . . . . . 215
Chapitre 8 - En prison. Se retirer et s’exposer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

Bibliographie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Winter Verlag (Heidelberg), 2021

The reception of the Memoirs is of great significance in the poetics of contemporary history that... more The reception of the Memoirs is of great significance in the poetics of contemporary history that Stendhal puts into practice in his writing, placed "in the rearguard of history" in more than one respect: after the end of the great historical events during Revolution and the reign of Napoleon, the writer offers a particular view of history. His narratives are situated in the wake of other narratives, historical and biographical, which give his work a critical depth.Memoirs are a contemporary ideal of (subjective) narrative, which both historians and writers draw on. Stendhal's work is in its various parts a work on contemporary history and on memoirs. In this respect, the reception of memoirs, the way in which Stendhal treats historical testimony and authorship, and the contemporary poetics of the novel are of major significance for understanding Stendhal's work.The first part situates into context Stendhal's essential place in the landscape of the memorialist genre of the 1820s and 1830s, when the enthusiasm for the genre was strong. A survey of the reception and criticism of the Memoirs in Stendhal's contributions to the English press provides categories for further analysis of Stendhal's narrative practice.The second part looks at Stendhal's biographical and autobiographical production in comparison with the post-revolutionary and Bonapartist memoirs. The fact that Napoleon's "narrative" legacy has not only political, but also poetic and aesthetic significance is an important starting point for the analysis.The third part addresses the question of how Stendhal's novel, especially The Red and the Black, presents itself as a new biographical form, developed after the collapse of the revolutionary and Napoleonic order. Exemplary and detailed analyses examine the Memoirs from the 17th to the 19th century as models that Stendhal's novel critically integrates.