The death of Keith Reader in July 2022 is a sad loss for French studies in the UK. Keith was a wonderfully rich and insightful scholar who contributed prolifically to the discipline across an astonishingly diverse range of subjects. He was exceptionally erudite; even more importantly, he was an intellectual in every sense of the word, although he would have been quick to deprecate the application of the term to himself. Keith was himself possessed of an acutely probing mind; moreover, he was keenly convinced both of the value of intellectual enquiry in itself and the importance of the broader social contribution it can make. Born in Tunbridge Wells, Keith grew up in Crawley before going to Cambridge in 1964 to study for a BA in French. However, it was an experience there outside the halls of academia that proved a real watershed in his life. The syllabus that awaited him at university was wholly devoted to language and literature, in line with most modern languages programmes at the time; while he found it somewhat narrow and dreary, albeit less for its content than for how it was taught, the discovery of film in the three independent cinemas then existing in Cambridge was to prove the beginning of a passion that would last throughout his life. That early hunger that drove him to supplement his studies with a field manifestly of relevance to his chosen academic discipline, although with little institutional recognition (let alone legitimation) of the connections between them, found a parallel in his next experience as a student, when he enthusiastically embraced whatever little—mainly anglophone—theory was on offer in the context of the graduate course in General and Comparative Literature in which he enrolled at Oxford. That enthusiasm heralded the determination with which he used the years he spent as a lecteur in Caen and then in Paris to engage with the French variety of theory, becoming one of the very first UK scholars to explore the world peopled by Barthes, Lacan, Foucault, Derrida, and Althusser, this last still a very visible presence in the École normale supérieure during Keith’s period there. Keith returned to the UK armed with this enthusiasm, although it was not until he completed his PhD that he obtained his first academic lectureship, at Kingston, soon to become his first professorship. The gratitude he subsequently expressed towards Kingston was due not only to the security of his first permanent post but above all to the institutional flexibility that allowed him to integrate his non-mainstream interests into his teaching. In his subsequent appointments to Chairs at Newcastle University (in 1995) and then the University of Glasgow (in 2000), he maintained his commitment to integrating areas hitherto confined to the margins of the discipline into both his research and teaching. Indeed, that
Keith Reader于2022年7月去世，这对英国的法语研究来说是一个悲伤的损失。基思是一位非常富有和富有洞察力的学者，他在令人惊讶的不同学科领域为这一学科做出了大量贡献。他非常博学;更重要的是，他是一个真正意义上的知识分子，尽管他很快就会反对把这个词用在自己身上。基思本人就具有敏锐的探索头脑;此外，他强烈地相信知识探索本身的价值和它所能作出的更广泛的社会贡献的重要性。基思出生于滕布里奇韦尔斯，在克劳利长大，1964年前往剑桥大学攻读法语学士学位。然而，在学术殿堂之外的一段经历才是他人生中真正的分水岭。等待他进入大学的教学大纲完全致力于语言和文学，与当时大多数现代语言课程一致;虽然他觉得电影有点狭窄和沉闷，但与其说是内容，不如说是教学方式，但在剑桥当时存在的三家独立电影院发现了电影，这证明了他一生中一种激情的开始。早期的那种渴望驱使他用与他所选择的学科明显相关的领域来补充他的研究，尽管这些学科之间的联系几乎没有得到机构的认可(更不用说合法化了)，但在他作为学生的下一段经历中，他发现了类似的东西，当时他在牛津大学注册的普通文学和比较文学研究生课程中，热情地接受了任何很少的(主要是英语的)理论。这种热情预示了他的决心，他在卡昂和巴黎做讲师的那几年里，他参与了法国各种各样的理论，成为第一批探索巴特、拉康、福柯、德里达和阿尔都塞所居住的世界的英国学者之一，在基思的École normale supsamrieure中，后者仍然是一个非常明显的存在。凯斯带着这种热情回到了英国，尽管直到他完成了博士学位，他才在金斯顿大学获得了他的第一个学术讲师职位，很快成为他的第一个教授职位。他后来对金斯顿表示感谢，不仅是因为他的第一个长期职位有保障，而且最重要的是机构灵活性，使他能够将他的非主流兴趣纳入他的教学。在他随后被任命为纽卡斯尔大学(1995年)和格拉斯哥大学(2000年)的主席期间，他一直致力于将迄今为止局限于该学科边缘的领域整合到他的研究和教学中。事实上,这
{"title":"Keith Reader (1945–2022)","authors":"M. Hanrahan","doi":"10.1093/fs/knad040","DOIUrl":"https://doi.org/10.1093/fs/knad040","url":null,"abstract":"The death of Keith Reader in July 2022 is a sad loss for French studies in the UK. Keith was a wonderfully rich and insightful scholar who contributed prolifically to the discipline across an astonishingly diverse range of subjects. He was exceptionally erudite; even more importantly, he was an intellectual in every sense of the word, although he would have been quick to deprecate the application of the term to himself. Keith was himself possessed of an acutely probing mind; moreover, he was keenly convinced both of the value of intellectual enquiry in itself and the importance of the broader social contribution it can make. Born in Tunbridge Wells, Keith grew up in Crawley before going to Cambridge in 1964 to study for a BA in French. However, it was an experience there outside the halls of academia that proved a real watershed in his life. The syllabus that awaited him at university was wholly devoted to language and literature, in line with most modern languages programmes at the time; while he found it somewhat narrow and dreary, albeit less for its content than for how it was taught, the discovery of film in the three independent cinemas then existing in Cambridge was to prove the beginning of a passion that would last throughout his life. That early hunger that drove him to supplement his studies with a field manifestly of relevance to his chosen academic discipline, although with little institutional recognition (let alone legitimation) of the connections between them, found a parallel in his next experience as a student, when he enthusiastically embraced whatever little—mainly anglophone—theory was on offer in the context of the graduate course in General and Comparative Literature in which he enrolled at Oxford. That enthusiasm heralded the determination with which he used the years he spent as a lecteur in Caen and then in Paris to engage with the French variety of theory, becoming one of the very first UK scholars to explore the world peopled by Barthes, Lacan, Foucault, Derrida, and Althusser, this last still a very visible presence in the École normale supérieure during Keith’s period there. Keith returned to the UK armed with this enthusiasm, although it was not until he completed his PhD that he obtained his first academic lectureship, at Kingston, soon to become his first professorship. The gratitude he subsequently expressed towards Kingston was due not only to the security of his first permanent post but above all to the institutional flexibility that allowed him to integrate his non-mainstream interests into his teaching. In his subsequent appointments to Chairs at Newcastle University (in 1995) and then the University of Glasgow (in 2000), he maintained his commitment to integrating areas hitherto confined to the margins of the discipline into both his research and teaching. Indeed, that","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131291407","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}
Bridget Alsdorf begins her wide-ranging and impressive study of onlookers in latenineteenth-century France with a discussion of an 1892 woodcut by the Franco-Swiss artist Félix Vallotton, entitled La Foule de Paris. In many respects, this is a book about Vallotton, whose work looms large in each of the four chapters, alongside figures such as Honoré Daumier, Pierre Bonnard, and Henri de Toulouse-Lautrec. The book’s focus on ‘gawkers’ or ‘badauds’ allows a subtle interrogation of the social and cultural dynamics at play in nineteenth-century Paris via a marginal position, which, in turn, allows more marginal artists, such as Vallotton to come to the fore. For Alsdorf ‘the badaud has always been the flâneur’s other side’ (p. 11), and while badauds ‘abound in late nineteenth-century art and literature, [...] they have received only a minute fraction of the attention devoted the flâneur’ (p. 9). Her beautifully illustrated, carefully researched study makes an excellent case for taking this topic, and also the artists who treat it, into the critical mainstream. The first chapter focuses on the ‘Accident’, analysing the faits divers and tragedies which captured the public and artistic imagination, such as, for example, the 1895 train crash which saw a train break through the north façade of the Gare Montparnasse and land on the street below, ironically killing a newspaper seller. The next chapter, ‘Audience’ investigates both theatre and street scenes, looking at artists ‘who not only represented theaters and the crowds who animate them, but who more specifically understood this subject in relationship to the theater of the city and the viewing of art’ (p. 71). For Alsdorf, ‘the trope of the theater audience is at the heart of this book’s larger investigation of badauds as a model of modern subjectivity’ (p. 69) and the badaud’s marginal and shifting perspective has clear implications for both artistic form and modern subjecthood. Chapter 3 dives into an exploration of street theatre, drawing links between the theatre of everyday Parisian life and the aesthetic form of works by Vallotton and Bonnard, as well as a fascinating glimpse into early cinema in the analysis of films such as Concours d’automobiles fleuries (1899) and Charmeur d’oiseaux (1896–97) by the Lumière brothers. ‘Attraction’ is the title of the final chapter, which ‘represent[s] badauds in relation to advertising — posters, kiosks, fairground tents, shop windows and department store displays — as a means of questioning the relationship between art and its audience’ (pp. 173–74). Here, Alsdorf discusses a series of images related to consumerism, including Vallotton’s exceptional Le Bon Marché (1898), which captures the world of Zola’s 1883 novel, Au Bonheur des dames. Alsdorf ’s fine monograph allows a fresh perspective on late-nineteenth-century France, on its spectacles and streets, and on the figures which depicted and shaped a rapidly changing world. It is a welcome addition to a gro
布里奇特·阿尔斯多夫(Bridget Alsdorf)开始了她对19世纪法国围观者的广泛而令人印象深刻的研究，她讨论了一幅1892年的木刻作品，由法裔瑞士艺术家f lix Vallotton创作，名为《巴黎的Foule de Paris》。在许多方面，这是一本关于瓦洛东的书，他的作品在四章中的每一章都很突出，与多米埃、皮埃尔·博纳尔和亨利·德·图卢兹-罗特列克等人物并列。这本书的重点是“看客”或“坏蛋”，允许通过边缘位置对19世纪巴黎的社会和文化动态进行微妙的拷问，这反过来又允许更多边缘艺术家，如瓦洛东脱颖而出。对于阿尔斯多夫来说，“badaud一直是flalneur的另一面”(第11页)，尽管badaud“在19世纪晚期的艺术和文学中比比皆是”，[…]他们只得到了fl作者所给予的关注的一小部分”(第9页)。她精美的插图，仔细研究的研究，使这个话题成为一个极好的案例，也使那些对待这个话题的艺术家进入批评的主流。第一章着重于“事故”，分析了捕捉公众和艺术想象力的事实和悲剧，例如，1895年的火车相撞事故，一列火车穿过蒙帕纳斯火车站的北侧，降落在下面的街道上，讽刺地杀死了一个卖报纸的人。下一章“观众”调查了剧院和街头场景，关注艺术家“他们不仅代表剧院和使剧院活跃起来的人群，而且更具体地理解这一主题与城市剧院和艺术观看的关系”(第71页)。对于阿尔斯多夫来说，“戏剧观众的比喻是这本书对巴多作为现代主体性模型的更大调查的核心”(第69页)，巴多的边缘和转变的视角对艺术形式和现代主体性都有明确的含义。第三章深入探索街头戏剧，将巴黎日常生活的戏剧与瓦洛顿和波纳尔作品的美学形式联系起来，并通过分析lumi兄弟的电影，如Concours d 'automobiles fleures(1899)和Charmeur d 'oiseaux(1896-97)，对早期电影进行了迷人的一瞥。“吸引力”是最后一章的标题，它“代表了与广告有关的badauds——海报、报亭、集市帐篷、商店橱窗和百货商店展示——作为一种质疑艺术与观众之间关系的手段”(第173-74页)。在这里，阿尔斯多夫讨论了一系列与消费主义相关的图像，包括瓦洛东非凡的Le Bon march(1898)，它捕捉了左拉1883年的小说《Au Bonheur des dames》。阿尔斯多夫这部优秀的专著以全新的视角审视了19世纪晚期的法国，它的景观和街道，以及描绘和塑造了一个迅速变化的世界的人物。这是一个受欢迎的补充，越来越多的工作，试图提供一个对立物的休闲和浮浮感的愿景，主导了19世纪晚期法国艺术的讨论，毫无疑问，将有利于法国研究，艺术史和戏剧研究的奖学金。
{"title":"Gawkers: Art and Audience in Late Nineteenth-Century France by Bridget Alsdorf (review)","authors":"Claire Moran","doi":"10.1093/fs/knad019","DOIUrl":"https://doi.org/10.1093/fs/knad019","url":null,"abstract":"Bridget Alsdorf begins her wide-ranging and impressive study of onlookers in latenineteenth-century France with a discussion of an 1892 woodcut by the Franco-Swiss artist Félix Vallotton, entitled La Foule de Paris. In many respects, this is a book about Vallotton, whose work looms large in each of the four chapters, alongside figures such as Honoré Daumier, Pierre Bonnard, and Henri de Toulouse-Lautrec. The book’s focus on ‘gawkers’ or ‘badauds’ allows a subtle interrogation of the social and cultural dynamics at play in nineteenth-century Paris via a marginal position, which, in turn, allows more marginal artists, such as Vallotton to come to the fore. For Alsdorf ‘the badaud has always been the flâneur’s other side’ (p. 11), and while badauds ‘abound in late nineteenth-century art and literature, [...] they have received only a minute fraction of the attention devoted the flâneur’ (p. 9). Her beautifully illustrated, carefully researched study makes an excellent case for taking this topic, and also the artists who treat it, into the critical mainstream. The first chapter focuses on the ‘Accident’, analysing the faits divers and tragedies which captured the public and artistic imagination, such as, for example, the 1895 train crash which saw a train break through the north façade of the Gare Montparnasse and land on the street below, ironically killing a newspaper seller. The next chapter, ‘Audience’ investigates both theatre and street scenes, looking at artists ‘who not only represented theaters and the crowds who animate them, but who more specifically understood this subject in relationship to the theater of the city and the viewing of art’ (p. 71). For Alsdorf, ‘the trope of the theater audience is at the heart of this book’s larger investigation of badauds as a model of modern subjectivity’ (p. 69) and the badaud’s marginal and shifting perspective has clear implications for both artistic form and modern subjecthood. Chapter 3 dives into an exploration of street theatre, drawing links between the theatre of everyday Parisian life and the aesthetic form of works by Vallotton and Bonnard, as well as a fascinating glimpse into early cinema in the analysis of films such as Concours d’automobiles fleuries (1899) and Charmeur d’oiseaux (1896–97) by the Lumière brothers. ‘Attraction’ is the title of the final chapter, which ‘represent[s] badauds in relation to advertising — posters, kiosks, fairground tents, shop windows and department store displays — as a means of questioning the relationship between art and its audience’ (pp. 173–74). Here, Alsdorf discusses a series of images related to consumerism, including Vallotton’s exceptional Le Bon Marché (1898), which captures the world of Zola’s 1883 novel, Au Bonheur des dames. Alsdorf ’s fine monograph allows a fresh perspective on late-nineteenth-century France, on its spectacles and streets, and on the figures which depicted and shaped a rapidly changing world. It is a welcome addition to a gro","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125787295","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}
Abstract:This article contends that Victor Hugo’s Notre-Dame de Paris is a novel that follows a democratic principle by opening up its meaning, and that of its titular cathedral, to anyone and everyone. Whereas Hugo’s novel and his famous syntagm ‘ceci tuera cela’ have been extensively studied as an examination of the fall of architecture in favour of the printed book, this article will argue that a semiotic analysis of the syntagm reveals Hugo’s intention to recognize the legitimacy of society’s subjects to experience and talk about (artistic) objects. Through a discussion of the chapters added in the book’s second edition and in which Hugo comments on his own work, this article recontextualizes the spatial, historical, and political components that help clarify the democratic intent at the centre of the novel, but also of its resurgence in popularity in 2019 when Notre-Dame was devastated by fire.Résumé:Cet article affirme que Notre-Dame de Paris est un roman dont les enjeux sont démocratiques car son sens, et celui de la cathédrale à laquelle il réfère, est constamment réceptif à toute interprétation. Tandis que le roman de Victor Hugo et son célèbre syntagme ‘ceci tuera cela’ ont été maintes fois étudiés sous l’angle du déclin de l’architecture au profit du livre imprimé, cet article démontre qu’une analyse sémiotique du syntagme révèle l’intention de Hugo qui est de reconnaître la légitimité des sujets vivant en société à argumenter sur des objets (artistiques). À travers une discussion des chapitres ajoutés à la deuxième édition du livre, dans lesquels Hugo commente son œuvre, cet article recontextualise les éléments spatiaux, historiques et politiques qui aident à comprendre plus avant l’intention démocratique au centre du roman mais aussi de sa résurgence en 2019, lorsque Notre-Dame fut ravagée par les flammes.
摘要:本文认为，维克多·雨果的《巴黎圣母院》是一部遵循民主原则的小说，它向任何人和所有人开放了它的意义，以及其名义上的大教堂的意义。鉴于雨果的小说和他著名的语法“ceci tuera cela”已经被广泛研究，作为对建筑衰落的检验，有利于印刷书籍，本文将认为，对语法的符号学分析揭示了雨果的意图，即认识到社会主体对体验和谈论(艺术)对象的合法性。通过讨论本书第二版中增加的章节，以及雨果对自己作品的评论，本文重新梳理了空间、历史和政治因素，这些因素有助于阐明小说中心的民主意图，以及它在2019年巴黎圣母院被大火烧毁时重新流行起来的原因。3 .该条款申明:“巴黎圣母院est un roman not les enjeux sonsondmomoatiques car son sens”，“et celui de la cathemodrale laquelle il camcamfere”，“est constment ment camcamcitif toute interpracement”。关于维克多·雨果和他的儿子，关于通讯工具的交换，关于通讯工具的交换，关于通讯工具的交换，关于通讯工具的交换，关于通讯工具的交换，关于通讯工具的交换，关于通讯工具的交换，关于通讯工具的交换，关于通讯工具的交换，关于物体的交换(艺术)的交换。À通过对《关于生活的一切》、《关于生活的一切》、《关于生活的一切》等章节的讨论，这篇文章重新审视了《关于生活的一切》、《关于生活的一切》、《关于生活的一切》、《关于生活的一切》、《关于生活的一切》、《关于生活的一切》、《关于生活的一切》、《关于生活的一切》、《关于生活的一切》、《关于生活的一切》。
{"title":"Literature for all: On Designation and Interpretation in Hugo’s Notre-Dame de Paris","authors":"A. Dubois","doi":"10.1093/fs/knad030","DOIUrl":"https://doi.org/10.1093/fs/knad030","url":null,"abstract":"Abstract:This article contends that Victor Hugo’s Notre-Dame de Paris is a novel that follows a democratic principle by opening up its meaning, and that of its titular cathedral, to anyone and everyone. Whereas Hugo’s novel and his famous syntagm ‘ceci tuera cela’ have been extensively studied as an examination of the fall of architecture in favour of the printed book, this article will argue that a semiotic analysis of the syntagm reveals Hugo’s intention to recognize the legitimacy of society’s subjects to experience and talk about (artistic) objects. Through a discussion of the chapters added in the book’s second edition and in which Hugo comments on his own work, this article recontextualizes the spatial, historical, and political components that help clarify the democratic intent at the centre of the novel, but also of its resurgence in popularity in 2019 when Notre-Dame was devastated by fire.Résumé:Cet article affirme que Notre-Dame de Paris est un roman dont les enjeux sont démocratiques car son sens, et celui de la cathédrale à laquelle il réfère, est constamment réceptif à toute interprétation. Tandis que le roman de Victor Hugo et son célèbre syntagme ‘ceci tuera cela’ ont été maintes fois étudiés sous l’angle du déclin de l’architecture au profit du livre imprimé, cet article démontre qu’une analyse sémiotique du syntagme révèle l’intention de Hugo qui est de reconnaître la légitimité des sujets vivant en société à argumenter sur des objets (artistiques). À travers une discussion des chapitres ajoutés à la deuxième édition du livre, dans lesquels Hugo commente son œuvre, cet article recontextualise les éléments spatiaux, historiques et politiques qui aident à comprendre plus avant l’intention démocratique au centre du roman mais aussi de sa résurgence en 2019, lorsque Notre-Dame fut ravagée par les flammes.","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126677353","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}
Abstract:The deployment of natural spaces as explicit metaphors for the female body dates, in the western tradition, to Plato’s Timaeus. In French literature, this femino-spatial commonplace is at least as old as the Roman de la rose and endures into the present. Madeleine de Scudéry’s Clélie (1654–60) represents a pivotal moment in this tradition by expanding the novel’s textual metaphor to include a map of the fictional nation of Tendre. The landscape shown on the ‘Carte de Tendre’ resembles an anatomical drawing, a representational feature carried forward into other examples of the carte galante genre. Current scholarship has observed, though not yet thoroughly investigated, the importance graphical representations such as the ‘Carte de Tendre’ held over later authors. This study will demonstrate such influence by examining Émile Zola’s La Faute de l’abbé Mouret (1875), where the garden, Le Paradou, figures as an explicit metaphor for the central female character’s body. The carte galante influence is evident when read in conjunction with the author’s hand-drawn sketches and maps included in the ‘Dossier préparatoire’. Zola’s exploration of gender-coded spaces reaches beyond his literary influences and extends toward the graphical tradition of the carte galante.Résumé:Dans la tradition occidentale, l’espace naturelle déployé comme allégorie explicite du corps féminin remonte au moins au Timée de Platon. Dans la littérature française, ce lieu commun liant corps et l’espace existe au moins depuis Le Roman de la rose et persiste jusqu’à présent. La Clélie (1654–60) de Madeleine de Scudéry élargit cette tradition, en ajoutant au texte une représentation cartographique d’un espace métaphorique, le pays de Tendre. Le paysage présenté sur la carte ressemble fortement à un dessein anatomique, un aspect figuratif rendu visible dans d’autres exemples du genre de la carte galante. La réflexion courante observe, sans tout à fait expliquer, la manière dont cette tradition graphique influence les romanciers des siècles suivantes, qui explorent ce lieu commun de corps-espace. En examinant La Faute de l’abbé Mouret (1875) d’Émile Zola, cette étude montrera de quelle manière la tradition graphique établie par Clélie affecte la représentation textuelle du jardin du Paradou, qui figure comme métaphore explicite du corps d’Albine, la protagoniste du roman. Lu en conjonction avec les esquisses dans le ‘Dossier préparatoire’ de Zola, la liaison carte–corps devient évidente, car les dessins de Zola inscrivent une topographie corporelle sur Le Paradou de façon similaire aux exemples antérieurs. Grâce à cette lecture croisée, je propose que, chez Zola, la conception de l’espace genré s’étend bien au-delà des influences littéraires, et plie vers la tradition de la carte galante.
摘要:在西方传统中，将自然空间作为女性身体的明确隐喻可以追溯到柏拉图的《蒂迈奥》。在法国文学中，这种关于女性空间的老生常谈至少和罗马玫瑰一样古老，一直延续到现在。玛德琳·德·斯库德姆萨里的《克莱姆萨》(1654 - 1660)扩展了小说的文本隐喻，加入了虚构的Tendre国的地图，代表了这一传统的关键时刻。“Carte de Tendre”上展示的风景类似于一幅解剖图，这是一种代表性的特征，被发扬到其他Carte galante流派的例子中。目前的学者已经观察到，虽然还没有彻底调查，重要的图形表示，如“卡特德Tendre”持有对后来的作者。本研究将通过研究Émile左拉的La Faute de l ' abb Mouret(1875)来证明这种影响，其中花园，Le Paradou，作为中心女性角色身体的明确隐喻。当与作者的手绘草图和《pr paratoire档案》中的地图一起阅读时，carte galante的影响是显而易见的。左拉对性别编码空间的探索超越了他的文学影响，并延伸到卡特加兰特的图形传统。rsm:Dans la tradition occidentale, l 'espace naturele danci.922cha.com, l 'espace naturele danci.9cha.com。在通讯通讯系统(通讯通讯系统)中，有一种方法可以代替公共通讯系统，而在通讯通讯系统(通讯通讯系统)中，有一种方法可以代替公共通讯系统。La Clelie(1654 - 60)德玛德琳德Scudery elargit这个传统,en ajoutant cartographique d盟对于一个表示一个埃斯佩斯metaphorique,勒德Tendre支付。Le payage prassentsise sur la carte galante类似于forforement, undesdesenanatomique, unaspect figurisrendu，可见的danes d ' res，例如，genre de la carte galante。“我的生活不受传统的影响。我的生活不受传统的影响。我的生活不受传统的影响。我的生活不受传统的影响。”En审查员La Faute de便对穆雷打造(1875)d 'Emile左拉,这个练习曲montrera de您要传统图表etablie par Clelie affecte左岸textuelle du Paradou拉表示,图像,比喻explicite du陆战队d 'Albine,杜拉protagoniste罗马。在这两种情况下，有一种情况是，在左拉的档案中，有一种情况是，在左拉的档案中，有一种情况是，在左拉的档案中，有一种情况是，在左拉的档案中，有一种情况是，在左拉的档案中，有一种情况是，在左拉的档案中，有一种情况是，在左拉的档案中，有一种情况是，在左拉的档案中，有一种情况是类似的。grise cete lecture croissame, je propose que, chez Zola，“绅士空间”概念，“绅士空间”概念，以及“绅士空间”概念对“绅士空间”的影响，以及“绅士空间”概念对“绅士空间”的影响。
{"title":"Maps to the Other: The carte galante Tradition and Émile Zola’s ‘dossiers préparatoires’","authors":"Matthew Yost","doi":"10.1093/fs/knac268","DOIUrl":"https://doi.org/10.1093/fs/knac268","url":null,"abstract":"Abstract:The deployment of natural spaces as explicit metaphors for the female body dates, in the western tradition, to Plato’s Timaeus. In French literature, this femino-spatial commonplace is at least as old as the Roman de la rose and endures into the present. Madeleine de Scudéry’s Clélie (1654–60) represents a pivotal moment in this tradition by expanding the novel’s textual metaphor to include a map of the fictional nation of Tendre. The landscape shown on the ‘Carte de Tendre’ resembles an anatomical drawing, a representational feature carried forward into other examples of the carte galante genre. Current scholarship has observed, though not yet thoroughly investigated, the importance graphical representations such as the ‘Carte de Tendre’ held over later authors. This study will demonstrate such influence by examining Émile Zola’s La Faute de l’abbé Mouret (1875), where the garden, Le Paradou, figures as an explicit metaphor for the central female character’s body. The carte galante influence is evident when read in conjunction with the author’s hand-drawn sketches and maps included in the ‘Dossier préparatoire’. Zola’s exploration of gender-coded spaces reaches beyond his literary influences and extends toward the graphical tradition of the carte galante.Résumé:Dans la tradition occidentale, l’espace naturelle déployé comme allégorie explicite du corps féminin remonte au moins au Timée de Platon. Dans la littérature française, ce lieu commun liant corps et l’espace existe au moins depuis Le Roman de la rose et persiste jusqu’à présent. La Clélie (1654–60) de Madeleine de Scudéry élargit cette tradition, en ajoutant au texte une représentation cartographique d’un espace métaphorique, le pays de Tendre. Le paysage présenté sur la carte ressemble fortement à un dessein anatomique, un aspect figuratif rendu visible dans d’autres exemples du genre de la carte galante. La réflexion courante observe, sans tout à fait expliquer, la manière dont cette tradition graphique influence les romanciers des siècles suivantes, qui explorent ce lieu commun de corps-espace. En examinant La Faute de l’abbé Mouret (1875) d’Émile Zola, cette étude montrera de quelle manière la tradition graphique établie par Clélie affecte la représentation textuelle du jardin du Paradou, qui figure comme métaphore explicite du corps d’Albine, la protagoniste du roman. Lu en conjonction avec les esquisses dans le ‘Dossier préparatoire’ de Zola, la liaison carte–corps devient évidente, car les dessins de Zola inscrivent une topographie corporelle sur Le Paradou de façon similaire aux exemples antérieurs. Grâce à cette lecture croisée, je propose que, chez Zola, la conception de l’espace genré s’étend bien au-delà des influences littéraires, et plie vers la tradition de la carte galante.","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127711143","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}
{"title":"Travel, Translation and Transmedia Aesthetics: Franco-Chinese Literature and Visual Arts in a Global Age by Shuangyi Li (review)","authors":"Benjamin Hiramatsu Ireland","doi":"10.1093/fs/knad022","DOIUrl":"https://doi.org/10.1093/fs/knad022","url":null,"abstract":"","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126802435","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}
Domestic Georgic is one of the most irritating works of scholarship I have read in some time. I mean this in the sense mobilized by Catherine Brown in her expression ‘hermeneutic irritants’ — conceptual objects akin to chemicals secreted by molluscs to create a pearl: things that galvanize the imagination, and provoke dense, luminous forms of thinking (Contrary Things: Exegesis, Dialectic, and the Poetics of Didacticism (Stanford: CA, Stanford University Press, 1998)). For irritation, as Kadue herself proposes in her chapter on Montaigne, is what might sustain us in the often painful processes of self-preservation that both writing and embodied existence require. Caught between a rock and a hard place (the life of the mind and that of the body), irritation (from irrito, to stimulate, provoke, excite, instigate) is what keeps us attuned to things that matter, even if those things are small-scale, local, even mundane. At the heart of Kadue’s study is the claim that the poetics of Rabelais, Montaigne, Spenser, Marvell, and Milton had more in common with the ‘mundane maintenance work of [...] domestic laborers’ than the large-scale projects of systemor world-building, epic narrative, or digressive expansion with which they are often associated. On Kadue’s reading, Montaigne is not a sorcerous stylist forging a new genre through alchemical experiments with words, but a writer who knows that at best writing constitutes a form of self-management whose effects are often slow and excruciating, like drawing blood out of a stone, or stones out of a kidney. Similarly, in situating Rabelais’s œuvre between a coherent ‘grand design’ elicited by a reader like Edwin Duval and the infinite generation conjured by postmodern readers such as Michel Jeanneret, Kadue allows us to suspend commonplace interpretative strategies to consider what might hang in the in-between. While many of Kadue’s arguments rest on such tempering proclivities, an erring towards conservativism is itself tempered by the constellation of theorists interpolated throughout the book’s close readings. From Hannah Arendt to Silvia Federici to Sianne Ngai, it traverses a spectrum of political thought at the intersections of labour, gender, affect, and (re)production. Kadue encourages readers more or less complacent in their safe postures of early modern historicism to perform mental frottage between texts and time periods, and proves that analysing canonical early modern texts under the microscope of theory is enlivening, rewarding intellectual labour. In all this, Kadue eschews grand political gestures, proposing instead that the domestic is not just political, but might be where political theorizing is most at home. If Kadue’s razor-sharp prose focuses our attention on the affinities between writing and housework, I found myself thinking about the absence of the aleatory promenades of distraction in the picture she delivers of these early modern works. My own mental wanderings, made possible thro
{"title":"Domestic Georgic: Labors of Preservation from Rabelais to Milton by Katie Kadue (review)","authors":"Vittoria Fallanca","doi":"10.1093/fs/knad024","DOIUrl":"https://doi.org/10.1093/fs/knad024","url":null,"abstract":"Domestic Georgic is one of the most irritating works of scholarship I have read in some time. I mean this in the sense mobilized by Catherine Brown in her expression ‘hermeneutic irritants’ — conceptual objects akin to chemicals secreted by molluscs to create a pearl: things that galvanize the imagination, and provoke dense, luminous forms of thinking (Contrary Things: Exegesis, Dialectic, and the Poetics of Didacticism (Stanford: CA, Stanford University Press, 1998)). For irritation, as Kadue herself proposes in her chapter on Montaigne, is what might sustain us in the often painful processes of self-preservation that both writing and embodied existence require. Caught between a rock and a hard place (the life of the mind and that of the body), irritation (from irrito, to stimulate, provoke, excite, instigate) is what keeps us attuned to things that matter, even if those things are small-scale, local, even mundane. At the heart of Kadue’s study is the claim that the poetics of Rabelais, Montaigne, Spenser, Marvell, and Milton had more in common with the ‘mundane maintenance work of [...] domestic laborers’ than the large-scale projects of systemor world-building, epic narrative, or digressive expansion with which they are often associated. On Kadue’s reading, Montaigne is not a sorcerous stylist forging a new genre through alchemical experiments with words, but a writer who knows that at best writing constitutes a form of self-management whose effects are often slow and excruciating, like drawing blood out of a stone, or stones out of a kidney. Similarly, in situating Rabelais’s œuvre between a coherent ‘grand design’ elicited by a reader like Edwin Duval and the infinite generation conjured by postmodern readers such as Michel Jeanneret, Kadue allows us to suspend commonplace interpretative strategies to consider what might hang in the in-between. While many of Kadue’s arguments rest on such tempering proclivities, an erring towards conservativism is itself tempered by the constellation of theorists interpolated throughout the book’s close readings. From Hannah Arendt to Silvia Federici to Sianne Ngai, it traverses a spectrum of political thought at the intersections of labour, gender, affect, and (re)production. Kadue encourages readers more or less complacent in their safe postures of early modern historicism to perform mental frottage between texts and time periods, and proves that analysing canonical early modern texts under the microscope of theory is enlivening, rewarding intellectual labour. In all this, Kadue eschews grand political gestures, proposing instead that the domestic is not just political, but might be where political theorizing is most at home. If Kadue’s razor-sharp prose focuses our attention on the affinities between writing and housework, I found myself thinking about the absence of the aleatory promenades of distraction in the picture she delivers of these early modern works. My own mental wanderings, made possible thro","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132876949","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}
Abstract:Focusing on two medieval narratives about identity transformation, Yvain and Mélusine, this article explores areas of dialogue between medieval literary studies and current perspectives on sound and rewilding the environment. Sound studies have in recent times enabled a more expansive philosophical reflection on the intersections between language, ecology, and identity. This article uses a friction between philosophical perspectives on the French cri and ecological ‘acoustemology’ to illustrate such reflection. If, as contemporary ecologists suggest, rewilding is a process underscored by careful human management in order to restore landscapes back to a state of wilderness, the same can be said of moments of narrative transformation in medieval texts that are revealed through sound. How might such interpretations of texts offer ways of linking textual modes of rewilding to the transformation of human and nonhuman subjects? To conclude, the article suggests how listening to medieval texts, to their narrative pivots and the changes in the sounds they depict, modifies the way nonhuman identity is discussed in connection with medieval (and non-medieval) literature.Résumé:Cet article explore les possibilités de dialogue entre les études littéraires médiévales et certaines perspectives actuelles sur le son et le réensauvagement de l’environnement, en se concentrant sur deux récits de la transformation d’identité: Yvain et Mélusine. Les études du son ont récemment rendu possible une réflexion philosophique plus large sur les intersections entre le langage, l’écologie et l’identité. Cet article exploite une friction entre les perspectives philosophiques sur le ‘cri’ français et une ‘acoustémologie’ de l’écologie pour illustrer cette réflexion. Si, comme le suggèrent certains écologistes contemporains, le réensauvagement est un processus souligné par une gestion prudente de la part de l’humain afin de restaurer le sauvage dans le paysage, nous pouvons dire la même chose pour des moments de transformation narrative révélés par le son dans les textes médiévaux. Comment ce genre d’interprétation textuelle offrirait-il d’autres possibilités de faire le lien entre le réensauvagement textuel et la transformation des sujets hu-mains et non-humains? Pour conclure, l’article suggère comment l’écoute des textes médiévaux, y compris leurs pivots narratifs et les changements des phénomènes sonores, modifie la façon dont nous considérons l’identité non-humaine dans la littérature médiévale (et non-médiévale).
摘要:本文以《Yvain》和《msamulusine》这两种中世纪关于身份转换的叙事为中心，探讨了中世纪文学研究与当前关于声音和重新野生环境的观点之间的对话领域。近年来，对语言、生态和身份之间的交叉点进行了更广泛的哲学反思。本文利用法国cri的哲学观点与生态“声学”之间的摩擦来说明这种反思。如果，正如当代生态学家所指出的那样，重新野化是一个通过精心的人类管理来强调的过程，目的是将景观恢复到荒野状态，那么中世纪文本中通过声音揭示的叙事转变时刻也可以这样说。这种对文本的解释如何提供将文本模式与人类和非人类主体的转变联系起来的方法?综上所述，这篇文章表明，聆听中世纪文本、它们的叙事中心和它们所描绘的声音的变化，如何改变了与中世纪(和非中世纪)文学有关的非人类身份的讨论方式。这篇文章探讨了一些可能性，如:交换交换、交换交换、交换交换、交换交换、交换交换、交换交换、交换交换、交换交换、交换交换、交换交换、交换交换、交换交换、交换交换等。“Les日新月异”是一种可能的“日新月异”哲学，加上语言之间的巨大交集，“我的日新月异”和“我的身份认同”。这篇文章利用了一个摩擦中心的观点哲学，即“危机”、“声学”、“声学”、“声学”、“声学”、“声学”和“声学”。是的，我的建议是，在某些与生活有关的人的生活中，我们的生活是一个过程，我们的生活是一个过程，我们的生活是一个过程，我们的生活是一个过程，我们的生活是一个过程，我们的生活是一个过程，我们的生活是一个过程，我们的生活是一个过程，我们的生活是一个过程。评论类型d ' interprimastement textuelle offririite -il '作者的可能性，sames de faire, le samsamenssuvement texel et la transformation，主题是人类和非人类?倒对l 'article suggere评论l 'ecoute des文本medievaux, y的理解他们的轴心narratifs et les des成长变化sonores,改变了洛杉矶这样不常识鉴于l 'identite non-humaine在litterature medievale (et non-medievale)。
{"title":"Rewilding with the cri in Medieval French Texts: Yvain and Mélusine","authors":"Liam Lewis","doi":"10.1093/fs/knac272","DOIUrl":"https://doi.org/10.1093/fs/knac272","url":null,"abstract":"Abstract:Focusing on two medieval narratives about identity transformation, Yvain and Mélusine, this article explores areas of dialogue between medieval literary studies and current perspectives on sound and rewilding the environment. Sound studies have in recent times enabled a more expansive philosophical reflection on the intersections between language, ecology, and identity. This article uses a friction between philosophical perspectives on the French cri and ecological ‘acoustemology’ to illustrate such reflection. If, as contemporary ecologists suggest, rewilding is a process underscored by careful human management in order to restore landscapes back to a state of wilderness, the same can be said of moments of narrative transformation in medieval texts that are revealed through sound. How might such interpretations of texts offer ways of linking textual modes of rewilding to the transformation of human and nonhuman subjects? To conclude, the article suggests how listening to medieval texts, to their narrative pivots and the changes in the sounds they depict, modifies the way nonhuman identity is discussed in connection with medieval (and non-medieval) literature.Résumé:Cet article explore les possibilités de dialogue entre les études littéraires médiévales et certaines perspectives actuelles sur le son et le réensauvagement de l’environnement, en se concentrant sur deux récits de la transformation d’identité: Yvain et Mélusine. Les études du son ont récemment rendu possible une réflexion philosophique plus large sur les intersections entre le langage, l’écologie et l’identité. Cet article exploite une friction entre les perspectives philosophiques sur le ‘cri’ français et une ‘acoustémologie’ de l’écologie pour illustrer cette réflexion. Si, comme le suggèrent certains écologistes contemporains, le réensauvagement est un processus souligné par une gestion prudente de la part de l’humain afin de restaurer le sauvage dans le paysage, nous pouvons dire la même chose pour des moments de transformation narrative révélés par le son dans les textes médiévaux. Comment ce genre d’interprétation textuelle offrirait-il d’autres possibilités de faire le lien entre le réensauvagement textuel et la transformation des sujets hu-mains et non-humains? Pour conclure, l’article suggère comment l’écoute des textes médiévaux, y compris leurs pivots narratifs et les changements des phénomènes sonores, modifie la façon dont nous considérons l’identité non-humaine dans la littérature médiévale (et non-médiévale).","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114998914","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}
Drawing on a rich collection of archival materials, photographs, illustrations, newspaper reports, memoirs, and literary sources, Esther da Costa Meyer asks: ‘How [...] can one do justice to the terrifying complexity of the urban transformation of Second Empire Paris — a city that, like all others, does not exist outside representations and thus exceeds any single author or methodology?’ (p. 9). The book’s striking cover hints at its critical approach. Eugène Moreau’s illustration of Paris’s new Boulevard de la Reine Hortense, embellished with gardens and fountains, is juxtaposed with detail taken from Félix Thorigny’s 1858 depiction of demolitions on the Left Bank. While urban reform in nineteenth-century Paris is often examined for its effects on dichotomized social and political categories (men/women; the affluent/ the proletariat; those living in the centre/ those displaced to the periphery; municipal authority/ the private sector), da Costa Meyer’s extensive study approaches Haussmannization as an act of ‘tense syncretism’ (p. 305), in which multiple identities, perspectives, and cultures are to be understood in relation to each other. Venturing beyond a focus on individual Parisian monuments and biographical scholarship, da Costa Meyer considers the dynamic interactions of class, age, gender, national origin, and language in the reconstruction of urban space. The book’s scope is vast, with urban renewal analysed in the context of saturation, revolutions, and epidemics in the first chapter alone. While the needs of the bourgeoisie are presented as one of the major driving forces of Paris’s transformation and the effects of segregation and marginalization are clearly underlined throughout, the book points to the need to avoid totalizing views and binaries if we are to apprehend the complex consequences of Haussmann’s reforms. Thus, working women, who often took jobs as domestic servants in the affluent western half of Paris, were ‘more highly sought where they were most poorly represented’ (p. 103), while those economically displaced to the periphery were nonetheless some of the most active participants in the physical construction of the new city. One of the most significant aspects of the study is the attention it devotes to the relationship between urban reform and geopolitics: imported works of colonial art in Parisian museums, new parks filled with exotic plants from across France’s empire, migrant labour, and the quelling of insurrection by the généraux africains are all discussed comprehensively, as is the annexation of Paris’s peripheral communities, itself a ‘brutal act of colonization’ (p. 305). Da Costa Meyer persuasively argues that if the renewal of Paris is to be understood in relation to the Second Empire, the very influences that shape and underpin it simultaneously undermine Eurocentric myths about the city’s status as ‘capital of the nineteenth century’ or ‘capital of modernity’. This landmark book, brimming with detailed an
利用丰富的档案资料、照片、插图、报纸报道、回忆录和文学资料，埃斯特·达·科斯塔·梅耶问道:“如何……一个人能公正地对待第二帝国巴黎城市转型的可怕复杂性吗?这个城市，像所有其他城市一样，不存在于表象之外，因此超越了任何一个作者或方法。(第9页)。这本书引人注目的封面暗示了它的批判方法。eug·莫罗(eug Moreau)描绘的巴黎新建的林荫大道(Boulevard de la Reine Hortense)点缀着花园和喷泉，与f lix Thorigny 1858年描绘左岸拆迁的细节并列。虽然19世纪巴黎的城市改革经常被审查其对二分的社会和政治类别的影响(男性/女性;富人/无产阶级;居住在中心地区/迁居到外围地区的人士;市政当局/私营部门)，da Costa Meyer的广泛研究将豪斯曼化视为一种“紧张的融合”行为(第305页)，在这种行为中，多种身份、观点和文化将被相互理解。除了关注单个巴黎纪念碑和传记学术之外，da Costa Meyer还考虑了阶级、年龄、性别、国籍和语言在城市空间重建中的动态相互作用。这本书的范围很广，仅在第一章中就在饱和、革命和流行病的背景下分析了城市更新。虽然资产阶级的需求被认为是巴黎转型的主要驱动力之一，而且隔离和边缘化的影响贯穿始终，但本书指出，如果我们要理解奥斯曼改革的复杂后果，就需要避免全盘化的观点和二元对立。因此，在巴黎富裕的西半部，经常从事家仆工作的职业女性“在她们最缺乏代表性的地方更受追捧”(第103页)，而那些经济上被转移到外围的女性，尽管如此，却是新城市物质建设中最积极的参与者。该研究最重要的一个方面是它对城市改革和地缘政治之间关系的关注:巴黎博物馆中进口的殖民艺术作品，充满来自法兰西帝国各地的异国植物的新公园，移民劳工，以及非洲人对起义的镇压都进行了全面的讨论，就像对巴黎周边社区的吞并一样，本身就是一种“残酷的殖民行为”(第305页)。Da Costa Meyer令人信服地认为，如果要理解巴黎的复兴与第二帝国的关系，那么塑造和支撑它的影响同时也破坏了欧洲中心关于巴黎作为“19世纪之都”或“现代之都”地位的神话。这本具有里程碑意义的书，充满了详细的分析(在某些章节中有超过300个参考文献)，也是一本赏心悦目的书，包含60个彩色和115个黑白插图。本书对第二帝国巴黎城市改革的影响进行了敏锐的重新评估，将多种观点和声音带入对话，其中许多观点和声音迄今为止一直被忽视。
{"title":"Dividing Paris: Urban Renewal and Social Inequality, 1852–1870 by Esther Da Costa Meyer (review)","authors":"Steven Wilson","doi":"10.1093/fs/knad007","DOIUrl":"https://doi.org/10.1093/fs/knad007","url":null,"abstract":"Drawing on a rich collection of archival materials, photographs, illustrations, newspaper reports, memoirs, and literary sources, Esther da Costa Meyer asks: ‘How [...] can one do justice to the terrifying complexity of the urban transformation of Second Empire Paris — a city that, like all others, does not exist outside representations and thus exceeds any single author or methodology?’ (p. 9). The book’s striking cover hints at its critical approach. Eugène Moreau’s illustration of Paris’s new Boulevard de la Reine Hortense, embellished with gardens and fountains, is juxtaposed with detail taken from Félix Thorigny’s 1858 depiction of demolitions on the Left Bank. While urban reform in nineteenth-century Paris is often examined for its effects on dichotomized social and political categories (men/women; the affluent/ the proletariat; those living in the centre/ those displaced to the periphery; municipal authority/ the private sector), da Costa Meyer’s extensive study approaches Haussmannization as an act of ‘tense syncretism’ (p. 305), in which multiple identities, perspectives, and cultures are to be understood in relation to each other. Venturing beyond a focus on individual Parisian monuments and biographical scholarship, da Costa Meyer considers the dynamic interactions of class, age, gender, national origin, and language in the reconstruction of urban space. The book’s scope is vast, with urban renewal analysed in the context of saturation, revolutions, and epidemics in the first chapter alone. While the needs of the bourgeoisie are presented as one of the major driving forces of Paris’s transformation and the effects of segregation and marginalization are clearly underlined throughout, the book points to the need to avoid totalizing views and binaries if we are to apprehend the complex consequences of Haussmann’s reforms. Thus, working women, who often took jobs as domestic servants in the affluent western half of Paris, were ‘more highly sought where they were most poorly represented’ (p. 103), while those economically displaced to the periphery were nonetheless some of the most active participants in the physical construction of the new city. One of the most significant aspects of the study is the attention it devotes to the relationship between urban reform and geopolitics: imported works of colonial art in Parisian museums, new parks filled with exotic plants from across France’s empire, migrant labour, and the quelling of insurrection by the généraux africains are all discussed comprehensively, as is the annexation of Paris’s peripheral communities, itself a ‘brutal act of colonization’ (p. 305). Da Costa Meyer persuasively argues that if the renewal of Paris is to be understood in relation to the Second Empire, the very influences that shape and underpin it simultaneously undermine Eurocentric myths about the city’s status as ‘capital of the nineteenth century’ or ‘capital of modernity’. This landmark book, brimming with detailed an","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129651929","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}
Françoise Dolto (1908–1988) was a French psychoanalyst specializing in children and parenting who, as Richard Bates makes clear in this thorough and important account of her life, work, and influence, was also a ‘cultural phenomenon’ (p. 17). Contrasting Dolto’s place in French culture with that of Jacques Lacan, Bates argues that while the latter’s impact was restricted to theory and he addressed the ‘avant-garde elite’, Dolto’s work was directed towards the ‘everyday experience of ordinary French people’ (p. 8). Accordingly, Bates approaches Dolto through the lens of a cultural historian and situates his work alongside other (relatively rare) historical accounts of psychoanalysis as a social and cultural phenomenon. This wide-angle approach enables Bates to demonstrate the ways in which, in contrast to the left-oriented theoretical thrust of Lacan’s work, Dolto was a ‘thoroughly political’ and ‘nostalgically conservative’ figure (p. 13), whose work embodied a ‘ruralist nostalgia’ which reinforced ‘classic heteronormative assumptions’ and assumed an ‘overwhelmingly white and culturally Catholic audience’ (pp. 10, 12). One might suggest then that in the already fraught territory of the politics of the family and parenting, Dolto and ‘Doltomania’ have the status of a Barthesian myth, an allusion justified by Bates’s highlighting of Dolto’s ‘reassuring’ effect on her audience (p. 3). Bates offers a compelling analysis of this myth through meticulous and thoroughly documented research. He tracks the influence on Dolto of the 1930s psychoanalytic authorities, René Laforgue and Édouard Pichon. Their radically heteronormative concepts (for example, Laforgue’s ‘névrose familiale’) and defence of the Oedipal family unit, extending to Pichon’s rabid pathologization of homosexuality and insistence on the traditional division of gender roles, remained ‘cornerstones of Dolto’s later thinking’ (p. 38). A second chapter, ‘Dutiful Daughters’, discusses Dolto’s Catholic and anti-Dreyfusard background, evoking Simone de Beauvoir’s autobiographical memoir in comparison. Moving forward chronologically into the Occupation and its aftermath, Bates shows himself to be particularly adept at disentangling the ways in which Dolto’s barely ambivalent Pétainism played into the rifts in the institutional politics of psychoanalysis that led to her exclusion from the International Psychoanalytical Association in 1953. In the later chapters Bates focuses, with the same perspicacity and measured tone, on Dolto’s championing of the cause of children (as long as the family unit stood firm) and her startling ascription of autism to the ‘pathogenic family’; before a final chapter, which analyses Dolto’s move beyond the terrain of psychoanalysis as such and occupation of the role of media star, through the extremely popular daily radio broadcasts she made from the mid-1970s on. If Bates succeeds in his aim ‘not so much to judge Dolto’s work as to historicise it’ (p. 232), the pernic
{"title":"Psychoanalysis and the Family in Twentieth-Century France: Françoise Dolto and Her Legacy by Richard Bates (review)","authors":"P. ffrench","doi":"10.1093/fs/knad016","DOIUrl":"https://doi.org/10.1093/fs/knad016","url":null,"abstract":"Françoise Dolto (1908–1988) was a French psychoanalyst specializing in children and parenting who, as Richard Bates makes clear in this thorough and important account of her life, work, and influence, was also a ‘cultural phenomenon’ (p. 17). Contrasting Dolto’s place in French culture with that of Jacques Lacan, Bates argues that while the latter’s impact was restricted to theory and he addressed the ‘avant-garde elite’, Dolto’s work was directed towards the ‘everyday experience of ordinary French people’ (p. 8). Accordingly, Bates approaches Dolto through the lens of a cultural historian and situates his work alongside other (relatively rare) historical accounts of psychoanalysis as a social and cultural phenomenon. This wide-angle approach enables Bates to demonstrate the ways in which, in contrast to the left-oriented theoretical thrust of Lacan’s work, Dolto was a ‘thoroughly political’ and ‘nostalgically conservative’ figure (p. 13), whose work embodied a ‘ruralist nostalgia’ which reinforced ‘classic heteronormative assumptions’ and assumed an ‘overwhelmingly white and culturally Catholic audience’ (pp. 10, 12). One might suggest then that in the already fraught territory of the politics of the family and parenting, Dolto and ‘Doltomania’ have the status of a Barthesian myth, an allusion justified by Bates’s highlighting of Dolto’s ‘reassuring’ effect on her audience (p. 3). Bates offers a compelling analysis of this myth through meticulous and thoroughly documented research. He tracks the influence on Dolto of the 1930s psychoanalytic authorities, René Laforgue and Édouard Pichon. Their radically heteronormative concepts (for example, Laforgue’s ‘névrose familiale’) and defence of the Oedipal family unit, extending to Pichon’s rabid pathologization of homosexuality and insistence on the traditional division of gender roles, remained ‘cornerstones of Dolto’s later thinking’ (p. 38). A second chapter, ‘Dutiful Daughters’, discusses Dolto’s Catholic and anti-Dreyfusard background, evoking Simone de Beauvoir’s autobiographical memoir in comparison. Moving forward chronologically into the Occupation and its aftermath, Bates shows himself to be particularly adept at disentangling the ways in which Dolto’s barely ambivalent Pétainism played into the rifts in the institutional politics of psychoanalysis that led to her exclusion from the International Psychoanalytical Association in 1953. In the later chapters Bates focuses, with the same perspicacity and measured tone, on Dolto’s championing of the cause of children (as long as the family unit stood firm) and her startling ascription of autism to the ‘pathogenic family’; before a final chapter, which analyses Dolto’s move beyond the terrain of psychoanalysis as such and occupation of the role of media star, through the extremely popular daily radio broadcasts she made from the mid-1970s on. If Bates succeeds in his aim ‘not so much to judge Dolto’s work as to historicise it’ (p. 232), the pernic","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130208042","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}
{"title":"The Beauty of Baudelaire: The Poet as Alternative Lawgiver by Roger Pearson (review)","authors":"Julien Zanetta","doi":"10.1093/fs/knad006","DOIUrl":"https://doi.org/10.1093/fs/knad006","url":null,"abstract":"","PeriodicalId":332929,"journal":{"name":"French Studies: A Quarterly Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128030362","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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