Pub Date : 2018-10-01DOI: 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.
{"title":"Rotund bellies and double chins: Hogarth’s bodies","authors":"F. Ogée","doi":"10.7228/MANCHESTER/9781526127051.003.0013","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526127051.003.0013","url":null,"abstract":"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.","PeriodicalId":257444,"journal":{"name":"Bellies, bowels and entrails in the eighteenth century","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134286694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 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.
{"title":"Potbelly, paunch and innards: variations on the abdomen in Marivaux’s L’Homère travesti and Le Télémaque travesti","authors":"Clémence Aznavour","doi":"10.7228/MANCHESTER/9781526127051.003.0011","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526127051.003.0011","url":null,"abstract":"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.","PeriodicalId":257444,"journal":{"name":"Bellies, bowels and entrails in the eighteenth century","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129615937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 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.
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Pub Date : 2018-10-01DOI: 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.
{"title":"The legibility of the bowels: Lichtenberg’s excretory vision of Hogarth’s A Harlot’s Progress","authors":"A. Mahler","doi":"10.7228/manchester/9781526127051.003.0009","DOIUrl":"https://doi.org/10.7228/manchester/9781526127051.003.0009","url":null,"abstract":"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.","PeriodicalId":257444,"journal":{"name":"Bellies, bowels and entrails in the eighteenth century","volume":"109 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133738220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 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.
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Pub Date : 2018-10-01DOI: 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.”
{"title":"Eighteenth-century paper: the readers’ digest","authors":"Amélie Junqua","doi":"10.7228/MANCHESTER/9781526127051.003.0007","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526127051.003.0007","url":null,"abstract":"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.”","PeriodicalId":257444,"journal":{"name":"Bellies, bowels and entrails in the eighteenth century","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129966867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 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.
{"title":"Sawney’s seat: the social imaginary of the London bog-house c.1660–c.1800","authors":"M. Jenner","doi":"10.7228/MANCHESTER/9781526127051.003.0006","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526127051.003.0006","url":null,"abstract":"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.","PeriodicalId":257444,"journal":{"name":"Bellies, bowels and entrails in the eighteenth century","volume":"82 1 Pt 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123234836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 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.
{"title":"‘Words have no smell’: faecal references in eighteenth-century French théâtre de société","authors":"Jennifer Ruimi","doi":"10.7228/manchester/9781526127051.003.0008","DOIUrl":"https://doi.org/10.7228/manchester/9781526127051.003.0008","url":null,"abstract":"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.","PeriodicalId":257444,"journal":{"name":"Bellies, bowels and entrails in the eighteenth century","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121457372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-01DOI: 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。
{"title":"Parodies of pompous knowledge: treatises on farting","authors":"Guilhem Armand","doi":"10.7228/MANCHESTER/9781526127051.003.0010","DOIUrl":"https://doi.org/10.7228/MANCHESTER/9781526127051.003.0010","url":null,"abstract":"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.","PeriodicalId":257444,"journal":{"name":"Bellies, bowels and entrails in the eighteenth century","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130848799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-31DOI: 10.7765/9781526127068.00015
Amélie Junqua
{"title":"Eighteenth-century paper","authors":"Amélie Junqua","doi":"10.7765/9781526127068.00015","DOIUrl":"https://doi.org/10.7765/9781526127068.00015","url":null,"abstract":"","PeriodicalId":257444,"journal":{"name":"Bellies, bowels and entrails in the eighteenth century","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128422116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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