Against the prohibitively specialist critical legacies of source criticism (Seznec, Foucault) and critique génétique (Gothot‐Mersch, Séginger) on Flaubert's Tentation of 1874 the introduction sets out to prize the work as Flaubert's resilience to critics' blocks, both those of its first reception and subsequently. This ‘remapping’ of the text's critical legacies then moves to the all‐important viewpoints and vision of the central protagonist, the 4th‐century AD Antoine as the optic whereby Flaubert may in fact reconsider forms and representations of knowledge (religion and science) of his own times by analogy. The dialogue between religion and science, Antoine and his major others structuring the 1874 Tentation, also structures the two main parts of the book and their various chapters mapped into the seven tableaux of the text.
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