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Bellies, bowels and entrails in the eighteenth century最新文献

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Rotund bellies and double chins: Hogarth’s bodies 圆肚子和双下巴:贺加斯的身体
Pub Date : 2018-10-01 DOI: 10.7228/MANCHESTER/9781526127051.003.0013
F. Ogée
In his choice of subjects as in his painting technique, William Hogarth’s rendering of ‘life’ is remarkable for its tangible physicality. Be it for the materiality of its settings or for the variety of human characters, his pictures try to offer some kind of total ‘show’, with a view to representing Nature ‘as it is’ and in action, in opposition to the rarefied delusions of ‘high’ art which tended to show it as it ought to be, and ‘abstracted’. While some forms were certainly more ‘polite’ than others, a true representation of mankind had to allow for the presence of all its specimens. By composing ‘modern history paintings’ in which the most elegant forms converse with the plainest lines, Hogarth endowed variety with a new epistemological and aesthetic status that meant the inclusion of the ones and of ‘the others’. In all his pictures, it is always the human body which, from painful distortions to graceful curves, endows his art with its textural, formal and rhythmic qualities. Hogarthian beauty and grace, far from being abstract concepts, emerge as transient, “living”, physical phenomena, apprehended by the beholder through visual representations of the bodies’ natural and ‘peculiar’ movements.
在他对主题的选择和他的绘画技巧上,威廉·贺加斯对“生命”的描绘以其有形的物质性而引人注目。无论是背景的物质性还是人物的多样性,他的画都试图提供某种全面的“展示”,以表现自然的“现状”和行动,与“高级”艺术的稀薄妄想相反,后者倾向于表现自然的“应该”和“抽象”。虽然有些形式肯定比其他形式更“有礼貌”,但人类的真正代表必须考虑到所有物种的存在。通过创作“现代历史绘画”,最优雅的形式与最朴素的线条相反,贺加斯赋予了多样性一种新的认识论和美学地位,这意味着包括了“一”和“他者”。在他所有的作品中,从痛苦的扭曲到优美的曲线,总是人体赋予他的艺术以质感,形式和节奏的品质。Hogarthian的美和优雅,远非抽象的概念,而是作为短暂的,“活的”,物理现象出现,观者通过身体自然和“特殊”运动的视觉表现来理解。
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引用次数: 0
Potbelly, paunch and innards: variations on the abdomen in Marivaux’s L’Homère travesti and Le Télémaque travesti 大肚腩、大腹便便和内脏:马里沃的《旅人》和《旅人》中腹部的变化
Pub Date : 2018-10-01 DOI: 10.7228/MANCHESTER/9781526127051.003.0011
Clémence Aznavour
In Marivaux’s plays and fictional memoirs, the somatic vocabulary is quite limited and mostly refers to the ‘face’, the ‘eyes’ and the ‘hands’ of the characters. The ‘belly’ is rarely mentioned, except in order to describe the gluttony of servants and peasants. ‘Paunch’, ‘potbelly’ and ‘innards’, on the other hand, punctuate two parodic works Marivaux wrote at the beginning of his career: L’Homère travesti and Le Télémaque travesti. This chapter analyses this exceptional vocabulary and highlights its link with the burlesque register, and the specific context of the Homeric Warfare in which L’Homère traveti and Le Télémaque travesti played their part. Throughout the burlesque register, Marivaux creates new epic targets and focuses on physiological disturbances in order to call into questions the heroism of antiquity and the alleged perfection of the heroic body. This register also allows him to examine the link between appetite and sexual desire: if the equivalence between food and women’s body will remain in Marivaux’s following works, the ‘belly’ will never appear again as the material location of desire.
在马里沃的戏剧和虚构回忆录中,躯体词汇相当有限,主要指人物的“脸”、“眼睛”和“手”。除了用来形容仆人和农民的暴饮暴食外,“belly”这个词很少被提及。另一方面,“大肚子”、“大肚腩”和“内脏”是马里沃在职业生涯初期创作的两部戏仿作品:《旅人》和《旅人》。本章分析了这一特殊的词汇,并强调了它与滑剧语域的联系,以及《荷马战争》的具体背景,其中《旅行的人》和《旅行的人》发挥了作用。在整个滑稽剧中,马里沃创造了新的史诗目标,并专注于生理紊乱,以质疑古代的英雄主义和所谓的英雄身体的完美。这一记录也让他得以审视食欲和性欲之间的联系:如果食物和女性身体之间的等同在马里沃的后续作品中仍然存在,那么“肚子”将永远不会再作为欲望的物质位置出现。
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引用次数: 0
Introduction: entrails and digestion in the eighteenth century 导言:十八世纪的内脏和消化
Pub Date : 2018-10-01 DOI: 10.7228/manchester/9781526127051.003.0001
R. Barr, Sylvie Kleiman-Lafon, Sophie Vasset
This chapter discusses the ideas and themes underpinning the volume, contextualizing the importance of the gastric area in literary and medical culture, and more widely in the cultural imaginary of the eighteenth-century. It discusses the various ways in which stomach disorders, digestive motions, and belly-centred conceptions of the self and society complicate notions of the Enlightenment. Using examples from artisanal diaries, from scientific experiments, and from eighteenth-century novels, the chapter contextualizes and introduces the main themes of the volume: from revolutionary art’s visualizations of the viscera, to carnivalesque scatologies, to medical conceptions of the function of the stomach, and the city as bodily organism.
本章讨论的思想和主题支撑的体积,背景的胃区在文学和医学文化的重要性,更广泛地在十八世纪的文化想象。它讨论了胃病、消化运动和以腹部为中心的自我和社会概念使启蒙运动的概念复杂化的各种方式。本章以手工日记、科学实验和18世纪小说为例,对本书的主题进行了语境化和介绍:从革命艺术对内脏的可视化,到狂欢式的粪便学,再到胃功能的医学概念,以及作为身体有机体的城市。
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引用次数: 1
The legibility of the bowels: Lichtenberg’s excretory vision of Hogarth’s A Harlot’s Progress 肠的易读性:利希滕伯格对贺加斯的《妓女的历程》的排泄视觉
Pub Date : 2018-10-01 DOI: 10.7228/manchester/9781526127051.003.0009
A. Mahler
This essay lays bare the rampant but thinly veiled scatology in Georg Christoph Lichtenberg’s renowned commentaries of William Hogarth’s A Harlot’s Progress. It shows that Lichtenberg finds all kinds of scatological objects – chamber pots, enemas, anal swabs – in Hogarth’s prints by applying what he calls the hermeneutics of hypochondria. Such a hermeneutics follows digressions, metaphorical associations, and metonymical connections to identify scatological objects in the images even where there are none. The resulting excremental vision of A Harlot’s Progress evidences, in Lichtenberg’s view, his own hypochondria and threatens the validity of his interpretations. But he also turns the scatological motif against the interpretive excess that produced it: excrement confronts the hypochondriacal interpreter with his own corporeal mortality and thus with the limits of his interpretive capacities as a human. Scatological satire therefore serves, in Lichtenberg’s conception, as something like a cynic self-therapy for interpretive hubris.
这篇文章揭露了乔治·克里斯托夫·利希滕贝格对威廉·霍加斯的《妓女的进步》的著名评论中猖獗但几乎不加掩饰的淫秽言论。它表明,利希滕伯格通过运用他所谓的疑病症解释学,在霍加斯的版画中发现了各种各样的粪便物品——便壶、灌肠剂、肛门拭子。这样的解释学遵循离题、隐喻关联和转喻联系来识别图像中的粪便对象,即使没有。在利希滕贝格看来,《妓女的进步》所产生的排泄物证明了他自己的疑病症,并威胁到他的解释的有效性。但他也把粪便学的主题与产生它的解释过剩对立起来:粪便面对着疑病症的解释者,面对着他自己的肉体死亡,因此面对着他作为一个人的解释能力的限制。因此,在利希滕贝格的概念中,粪便讽刺就像是一种愤世嫉俗的自我疗法,用来治疗解释性的傲慢。
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引用次数: 0
Iconography of the belly: eighteenth-century satirical prints 腹部图像:18世纪的讽刺版画
Pub Date : 2018-10-01 DOI: 10.7228/MANCHESTER/9781526127051.003.0014
B. Stentz
This chapter analyses metaphorical and formal aspects of satirical representations of bodily functions related to digestion and evacuation (indigestions, winds, belches, enemas, etc.) and their political overtones in graphic satire. Beyond the burlesque tradition, a large belly that attracts the eye can be evocative of the social and political tensions of the time. A traditional sign of opulence, power and wealth, the oversized belly signals the opposition and unbalanced relations between the rich and the poor, the powerful and the powerless. In England, caricatures often portrayed greedy, potbellied physicians, while in France the revolutionary caricaturists used the belly as the symbol of the degeneration and of the moral and physical slackening of some of their adversaries. This iconography from the early times of the revolution shows a reversal after a while, as protruding bellies became unacceptable and depreciated and had to be corrected by radical treatments.
本章分析了与消化和排泄(消化不良,风,打嗝,灌肠等)有关的身体功能的讽刺表现的隐喻和形式方面及其在图形讽刺中的政治含义。除了滑稽的传统,一个吸引眼球的大肚子可以唤起当时的社会和政治紧张局势。作为富裕、权力和财富的传统标志,超大的腹部象征着富人与穷人、有权者与无权者之间的对立和不平衡关系。在英国,漫画经常描绘贪婪、大肚子的医生,而在法国,革命的漫画家们用肚子作为一些对手堕落和道德和身体松弛的象征。这幅来自革命早期的图像显示了一段时间后的逆转,因为突出的腹部变得不可接受和贬低,必须通过激进的治疗来纠正。
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引用次数: 0
Eighteenth-century paper: the readers’ digest 18世纪的报纸:读者文摘
Pub Date : 2018-10-01 DOI: 10.7228/MANCHESTER/9781526127051.003.0007
Amélie Junqua
The consumption of paper within the social body is the focus of the chapter. Using paper in the eighteenth-century is as the act of eating, providing fuel and nourishment, but also discarding waste, that in turns produces yet more lucrative materials. Paper evidences the movement of commerce in society, the passing of matter through the huge body of the “commonwealth.”
社会主体内的纸张消费是本章的重点。在18世纪,用纸是一种吃饭的行为,提供燃料和营养,但也丢弃废物,反过来又生产出更有利可图的材料。纸证明了商业在社会中的运动,物质在“联邦”这个庞大的身体中传递。
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引用次数: 0
Sawney’s seat: the social imaginary of the London bog-house c.1660–c.1800 索尼的座位:1660 - 1800年伦敦沼泽屋的社会想象
Pub Date : 2018-10-01 DOI: 10.7228/MANCHESTER/9781526127051.003.0006
M. Jenner
Contemporary culture often works with a toilet-training model of history. This popular version of the past dismisses the pre-modern privy as an epitome and symbol of the era’s supposed hygienic backwardness. Surveying court depositions, medical texts and scatological satires, this chapter challenges these assumptions. It reconstructs the ways in which access to such toilet facilities in late seventeenth- and eighteenth-century London shaped the use of public space in classed and gendered ways, analyses the ambiguous and provisional forms of privacy afforded by the house of office, and examines how the image of the privy offered satirists ways to discuss the transience of print culture and the public sphere.
当代文化经常以“厕所训练”的历史模式运作。这种流行的过去版本将前现代的厕所视为那个时代所谓卫生落后的缩影和象征。调查法庭证词,医学文本和粪便讽刺,本章挑战这些假设。它重建了17世纪晚期和18世纪伦敦使用厕所设施的方式,以分类和性别的方式塑造了公共空间的使用,分析了办公室所提供的模糊和临时形式的隐私,并研究了厕所的形象如何为讽刺作家提供了讨论印刷文化和公共领域的短暂性的方法。
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引用次数: 1
‘Words have no smell’: faecal references in eighteenth-century French théâtre de société “言语没有气味”:18世纪法语《tre de socie》中关于粪便的引用
Pub Date : 2018-10-01 DOI: 10.7228/manchester/9781526127051.003.0008
Jennifer Ruimi
During the eighteenth century, society theatre saw the emergence of forms that evaded censorship. Many of these works break with the rules of classical propriety and freely evoke the lower body, both the belly and its excremental waste. These references have a clear carnivalesque dimension, but this chapter argues that they also have wider aesthetic and ideological implications.
在18世纪,社会戏剧出现了逃避审查制度的形式。这些作品中有许多打破了古典礼仪的规则,自由地唤起了下半身,腹部和它的排泄物。这些参考文献具有明显的狂欢性,但本章认为它们也具有更广泛的美学和意识形态含义。
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引用次数: 0
Parodies of pompous knowledge: treatises on farting 对浮夸知识的拙劣模仿:关于放屁的论文
Pub Date : 2018-10-01 DOI: 10.7228/MANCHESTER/9781526127051.003.0010
Guilhem Armand
This chapter analyses parodic treatises on winds, imagined as productions of the Rabelaisian tradition and of the new science of the Enlightenment. As science became more popular, this new popularity had its drawbacks: innumerable books, often pseudo-scientific ones, were written on every subject, and long before the advent of positivism, new scientists proclaimed the new physics had an explanation for everything. If the veneer of science allowed any subject to be turned into vain and pompous writings, then flatulence could also be an object of interest. Treatises or eulogies, these texts combine the parodies of several literary genres to form their own unique genre. From Pierre Hurtaut to Mercier de Compiègne or Swift, their authors rely on satirical winds to write on more serious matters.
本章分析了关于风的戏仿论文,这些论文被认为是拉伯雷传统和启蒙运动新科学的产物。随着科学变得越来越流行,这种新的流行也有它的缺点:无数的书,往往是伪科学的,写在每个主题上,早在实证主义出现之前,新科学家就宣称新物理学可以解释一切。如果科学的外表允许任何学科变成虚荣和浮夸的著作,那么胀气也可以是一个感兴趣的对象。论文或颂词,这些文本结合了几种文学类型的模仿,形成了自己独特的类型。从Pierre hutaut到Mercier de compicomegne或Swift,他们的作者依靠讽刺的风来写更严肃的事情。
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引用次数: 0
Eighteenth-century paper 十八世纪的纸
Pub Date : 2018-08-31 DOI: 10.7765/9781526127068.00015
Amélie Junqua
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引用次数: 0
期刊
Bellies, bowels and entrails in the eighteenth century
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